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Authentizitätskonstruktionen Bei Youtube-Celebrities

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Authentizitätskonstruktionen Bei Youtube-Celebrities Medien Katja Spangler Authentizitätskonstruktionen bei YouTube-Celebrities Masterarbeit Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen National- bibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d- nb.de/ abrufbar. Dieses Werk sowie alle darin enthaltenen einzelnen Beiträge und Abbildungen sind urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsschutz zugelassen ist, bedarf der vorherigen Zustimmung des Verla- ges. Das gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen, Auswertungen durch Datenbanken und für die Einspeicherung und Verarbeitung in elektronische Systeme. Alle Rechte, auch die des auszugsweisen Nachdrucks, der fotomechanischen Wiedergabe (einschließlich Mikrokopie) sowie der Auswertung durch Datenbanken oder ähnliche Einrichtungen, vorbehalten. Impressum: Copyright © 2017 GRIN Verlag ISBN: 9783668635418 Dieses Buch bei GRIN: https://www.grin.com/document/388769 Katja Spangler Authentizitätskonstruktionen bei YouTube-Celebrities GRIN Verlag GRIN - Your knowledge has value Der GRIN Verlag publiziert seit 1998 wissenschaftliche Arbeiten von Studenten, Hochschullehrern und anderen Akademikern als eBook und gedrucktes Buch. Die Verlagswebsite www.grin.com ist die ideale Plattform zur Veröffentlichung von Hausarbeiten, Abschlussarbeiten, wissenschaftlichen Aufsätzen, Dissertationen und Fachbüchern. Besuchen Sie uns im Internet: http://www.grin.com/ http://www.facebook.com/grincom http://www.twitter.com/grin_com Authentizitätskonstruktionen bei YouTube-Celebrities Freie wissenschaftliche Arbeit zur Erlangung des akademischen Grades „Master of Arts“ an der Philosophischen Fakultät und Fachbereich Theologie der Friedrich-Alexander-Universität Erlangen-Nürnberg Eingereicht von: Katja Spangler Eingereicht am: 20.02.2017 Inhaltsverzeichnis 1 Einleitung ............................................................................................... 3 2 Stars, Celebrities und Prominente ....................................................... 7 2.1 Begriffsabgrenzungen und Definitionen ............................................................... 7 2.2 Das (Star)Image und neue Entwicklungen.......................................................... 12 2.3 Das Phänomen YouTube-Celebrity .................................................................... 14 3 Authentizität ........................................................................................ 17 3.1 Authentizität im Medienumfeld .......................................................................... 18 3.1.1 Medienvermittelte Authentizität .................................................................... 18 3.1.2 Parasozialität .................................................................................................. 20 3.2 Dokumentarische Authentizität........................................................................... 24 4 Medien, Konvergenz und Medialitätskonzepte................................ 28 4.1 Medien, soziale Medien, (soziales) Internet und Konvergenz ............................ 28 4.2 Medialitätskonzepte und das Konzept des vernetzten Erzählens ........................ 32 5 Analyse: Authentizitätskonstruktionen von YouTube-Celebrities 36 5.1 Die Erfolgsgeschichte YouTube ......................................................................... 37 5.2 Abgrenzung und Vorstellung des Untersuchungsgegenstands: Das YouTuber ABC............................................................................................................................. 38 5.3 Primärmedium YouTube..................................................................................... 42 5.3.1 Videoästhetik .................................................................................................. 44 5.3.2 Berechenbarkeit .............................................................................................. 47 5.3.3 Unmittelbarkeit und Einbezug des Zuschauers .............................................. 49 5.3.4 Motivation und Entwicklung .......................................................................... 53 5.3.5 Zwischen Gewöhnlichkeit und Außergewöhnlichkeit ................................... 56 5.3.6 Zwischen Natürlichkeit und Konstruktion ..................................................... 59 5.3.7 Zwischen Nähe und Distanz ........................................................................... 63 5.3.8 Vernetzung ..................................................................................................... 67 5.4 Sekundärmedien Instagram, Snapchat, Twitter und Blogs ................................. 69 5.4.1 Instagram ........................................................................................................ 70 5.4.2 Snapchat ......................................................................................................... 74 5.4.3 Twitter ............................................................................................................ 75 5.4.4 Blogs ............................................................................................................... 77 5.4.5 Authentizitätspyramide .................................................................................. 79 5.5 Zusammenwirken der Medien – vernetztes Erzählen ......................................... 80 5.5.1 Vernetzung auf formaler Ebene ..................................................................... 81 5.5.2 Vernetzung auf inhaltlicher Ebene ................................................................. 83 6 Fazit ...................................................................................................... 91 7 Ausblick ................................................................................................ 93 8 Abbildungsverzeichnis ........................................................................ 95 9 Videoverzeichnis .................................................................................. 96 10 Literaturverzeichnis .......................................................................... 100 3 1 Einleitung Thanks to YouTube, you know me, so who the fuck do you want to get your news from?!1 Abbildung 1: Screenshots des YouTube-Videos Leave Britney Alone Quelle: https://www.youtube.com/watch?v=ElXi7yDHyWo [10.08.2016] Der Zusammenschnitt aus dem oben dargestellten YouTube-Video dürfte wohl fast jedem bekannt sein. Der bekennende Britney Spears Fan Chris Crocker veröffentlichte das Medi- enprodukt als Reaktion auf die Diskreditierung der amerikanischen Sängerin bei den MTV Video Music Awards im Jahr 2007 mit dem Titel Leave Britney Alone. Im Video verteidigt er sein Vorbild und erlebt dabei einen emotionalen Gefühlsausbruch, der von Wut, über Verzweiflung bis hin zu Trauer reicht. Crocker, der bereits vor der Veröffentlichung eine große Fangemeinde besaß, landete mit diesem Video einen viralen Erfolg. Das Medienpro- dukt wurde auf diversen sozialen Netzwerken geteilt, diskutiert und parodiert. Andere In- ternetmedien aber auch Zeitungen und das Fernsehen berichteten über Crocker, was wiede- rum noch mehr Aufmerksamkeit induzierte, so dass der Videoinhalt sogar Einzug in eine Folge der Fernsehserie South Park hielt. Crocker selbst wurde in namhafte amerikanische 1 Tufnell 2013 4 Fernsehshows wie etwa Jimmy Kimmel Live! oder The Tonight Show with Jay Leno einge- laden, erhielt eine Myriade an Interviewanfragen und erlangte somit internationale Be- rühmtheit – und das in kürzester Zeit. Dies demonstriert, dass bereits zu den Anfangszeiten von YouTube vielen Videos, darunter auch dem allseits bekannten The Sneezing Baby Panda2, ermöglichte zu viralen Phänome- nen zu arrivieren. Beide erwähnten Medienprodukte werden oft im Zusammenhang mit den erfolgreichsten viralen Videos genannt. Viralität ist dabei, wie gezeigt, nicht nur einzelnen Videos vorbehalten, sondern kann gleichermaßen auf ganze Kanäle bzw. Personen zutref- fen. Ab einem bestimmten Punkt steigt die Aufmerksamkeit exponentiell an und eine Art Schneeballeffekt wird ausgelöst, was manchen YouTube-Produzenten quasi über Nacht zu Ruhm verhalf. Ein weiteres, noch früheres Beispiel dafür ist der amerikanische Anwalt Ste- phen Voltz, der zusammen mit seinem Partner Fritz Grobe ein simples Experiment mit den Kaudragees Mentos und dem Softgetränk Cola Light durchführte und auf Video festhielt, welches sie 2006 auf YouTube veröffentlichten.3 Nachdem das Video um die Welt ging und ebenfalls Einzug in Schulklassenzimmer fand, wurden die beiden Partner, genau wie Cro- cker, in Fernsehshows wie etwa der Late Night with David Letterman oder der The Today Show interviewt. Daraufhin gründeten Voltz und Grobe ihre Firma „EepyBird's“ mit dem Motto: "Taking ordinary objects and doing extraordinary things with them.“4 und produ- zierten weitere Videos, die diesem Prinzip folgten.5 Beide konnten ihre ursprünglichen Er- werbstätigkeiten niederlegen und machten YouTube bzw. ihr Unternehmen, welches sie nur mit Hilfe ihres Erfolgs auf der Medienplattform gründen konnten, zu ihrem neuen Beruf. Es zeichnen sich deutliche Tendenzen ab, dass YouTube die Fähigkeit besitzt Berühmthei- ten hervorzubringen bzw. zu generieren und Viralität zu erzeugen. Dieser Trend hat sich mit Fortschreiten der Digitalisierung und dem Web 2.0 freilich noch intensiviert sowie aus- differenziert, so dass sich solche und ähnliche Phänomene bis heute nicht nur wiederholen,
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