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Proquest Dissertations FROM CROWDSURFING TO CROWDSOURCING: USER-GENERATED CONCERT VIDEOS, YOUTUBE.COM AND THE PRACTICES OF MUSIC FANDOM YEE-MAN JANICE LEUNG A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATION AND CULTURE YORK UNIVERSITY, TORONTO, ONTARIO 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-38797-9 Our file Notre reference ISBN: 978-0-494-38797-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Abstract This thesis focuses on examples of fan-produced concert videos. Through an analysis of YouTube, I have gathered a range of performance footages captured and uploaded by fans who have attended the Broken Social Scene concerts at Toronto's Olympic Island Festival and Chicago's Lollapalooza in the summer of 2006. From this sample, I will evaluate how the immediacy, aesthetics and content of fan-produced concert videos enable music fans to leverage their cultural capital and to attain a sense of self-identification. iv Acknowledgements To my supervisor, Professor Barbara Crow, who has endlessly encouraged and supported my intellectual pursuits. I cannot thank you enough for believing in me, and for dispelling every doubt I have in my research in the past two years. I would also like to extend my gratitude to the other members in my supervisory committee, Professor Steve Bailey and Professor Greg Elmer for their generosity and valuable insights. To my "concert gang" for driving me to shows, and for ritualizing post-gig discussions while cruising down the highway, with caffeinated beverages in hands. To my Mom, Dad and Sister. I could have never completed this (with my sanity, somewhat intact) without their tireless love and support. Thank you. v Table of Contents Abstract iv Acknowledgements v Table of Contents vi List of Figures viii List of Tables ix Introduction 1 Admit One: Recording Devices are Strictly Expected 1 Research Outline 3 Framing the Research: Why Fan-Produced Concert Videos? 5 Literature Review 13 Structure, Agency and the Construction of the Fan 13 A Brief Analysis of Fan Study 14 Part 1: Social Structure and the Pathological Fan 14 Part 2: Agency and Everyday Fandom 19 Methods 34 The Limits of Focus Group Interviews 34 Fan Concert Videos and YouTube.com 36 The Position of the Aca/Fan 41 Case Study and Data Analysis 42 YouTube, Fandom, and the Banking of Cultural Capital 42 "From Someone Who Wasn't There But Heard All About It...Thank You!": Immediacy in Fan-Documented Concert Videos 47 "This Video Made Me Smile A Lot": Aesthetics in the Fan-Documented Concert Videos 53 vi "All 16 Members of Broken Social Scene Perform 'Anthems For A 16 [sic] Year Old Girl'": Content in the Fan-Documented Concert Videos 69 Conclusions 81 Bibliography 89 Appendix A : YouTube Video Samples from Toronto 97 Appendix B : YouTube Video Samples from Chicago 101 Appendix C : How do Music Fans Deploy Their Mobile Camera Phones and Digital Cameras at Live Music Concerts? 105 Appendix D : Self-Produced Concert Videos 114 vn List of Figures Figure 1: Screenshot of YouTube's interface 36 Figure 2: Rating Features on YouTube's Interface 40 Figure 3: Stars at The Docks Nightclub, March 1, 2006 105 Figure 4: Arctic Monkeys at The Phoenix Concert Theatre, March 21, 2006 .. 106 Figure 5: Matthew Barber & The Union Dues at the Drake Hotel, April 27, 2006 107 Figure 6: Broken Social Scene at Olympic Island Festival, June 24,2006 107 Figure 7: Wolf Parade at the Phoenix Concert Theatre, August 5, 2006 108 Figure 8: Death Cab for Cutie at Massey Hall, October 31, 2006 109 Figure 9: Shout Out Out Out Out at Lee's Palace, March 3, 2007 109 Figure 10: Bloc Party at Kool Haus, March 26, 2007 110 Figure 11: Voxtrot at Sneaky Dee's, June 8,2007 110 Figure 12: Travis at Kool Haus, July 19,200 Ill Figure 13: Travis at Kool Haus, July 19, 2007 112 vin List of Tables Table 1: Number of videos uploaded on to YouTube within the first 24 hours of the Olympic Island concert (Toronto) on June 24, 2006 49 Table 2: Number of videos uploaded on to YouTube within the first 24 hours of Lollapalooza (Chicago) on August 6, 2006 50 Table 3: Video T2 in the Toronto sample has received the highest number of star rating 58 Table 4: Video C27 in the Chicago sample has received the highest number of star rating 58 Table 5: User-assigned ratings for fan concert videos (from Toronto's Olympic Island Concert), sorted based on video's playing length (in descending order) ...72 Table 6: User-assigned ratings for fan concert videos (from Chicago's Lollapalooza), sorted based on video's playing length (in descending order) 72 Table 7: Broken Social Scene at Olympic Island, Toronto, June 24, 2006 97 Table 8: Broken Social Scene at Lollapalooza, Chicago, August 6, 2006 101 IX Introduction Admit One: Recording Devices are Strictly Expected At a recent Death Cab for Cutie concert in Toronto, lead singer Ben Gibbard—with all his rock star postures intact—was strutting confidently across the stage as he and his band delivered a high-energy rendition of Crooked Teeth. Two-thirds into the performance, the singer accidentally tripped over his guitar cable and fell flat on his back. Upon completing the remainder of the song, Gibbard exclaimed to his adoring fans, many armed with mobile camera phones and digital cameras that he trusted, videos of his blunder were made. He continued by announcing that he was prepared to see footages on YouTube.com prompting his legion of fans to respond with a reassuring cheer. With YouTube's meteoric rise to ubiquity, the popular web community has accumulated an extensive collection of amateur videos rendering everything from Gibbard's pratfall in Toronto (please see bibliography for links to YouTube videos mentioned in the thesis) to the Arcade Fire's impromptu performance outside Union Square in New York City. Created by three former PayPal employees in February 2005, YouTube became an overnight success ten months later when an unsuspected user uploaded the infamous "Lazy Sunday" skit from 1 an episode of Saturday Night Live. With more than 100 million videos viewed per day (Businessweek, 2007), the entertainment industry has wasted no time in trying to capitalize on the hype and buzz surrounding the popular website. Predictably by October 2006, YouTube was sold to Google for a hefty sum of $1.65 billion. At the time of writing, there continues to be minimal discussion—both within academic and popular literatures—regarding the users and their motivations to generate and circulate content on YouTube. In an attempt to rectify this lack, my research will be anchored by the following questions: 1) why are music fans willing to create self-produced concert videos; and 2) what are the rituals and practices related to the production and dissemination of user-generated concert videos. By situating this topic in relation to existing research on fan productivities, my aim is to unpack the "particular forms of cultural production, aesthetics traditions and practices" (Jenkins, 1992, p. 279) of fan-produced concert videos, and exemplify how music fans render these texts and the subsequent discourses surrounding these texts (supported by the various rating, recommending, and commenting features on YouTube) as strategies to negotiate pleasures and cultural affiliations vis-a-vis their consumptions of popular music. 1 For more information on Lazy Sunday and its presence on YouTube, please refer to: http://en.wikipedia.org/wiki/Lazy_Sunday 2 Research Outline In order to comprehend why music fans are willing to contribute and disseminate content for YouTube, it is useful to first contextualize this research question with a detailed literature review on the topic of fandom. By tracing two of the most common yet polarized perceptions of fans—that is, fan behaviours are either 'dependent on' or 'independent from' official/mainstream culture, I will outline the limitations embedded in the current research in fan culture, and demonstrate why we need to move towards a more nuanced conceptualization of fan behaviour.
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