DOCSLIB.ORG

El Vídeo Viral: Claves De Difusión Masiva

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
El Vídeo Viral: Claves De Difusión Masiva UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD II TESIS DOCTORAL El vídeo viral: claves de difusión masiva MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Laura Picazo Sánchez DIRECTOR Félix del Valle Gastaminza Madrid, 2017 © Laura Picazo Sánchez, 2015 Universidad Complutense de Madrid FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II EL VÍDEO VIRAL: CLAVES DE DIFUSIÓN MASIVA MEMORIA PARA OPTAR AL GRADO DE DOCTOR CON MENCIÓN EUROPEA PRESENTADA POR Laura Picazo Sánchez bajo la dirección del Prof. Dr. Félix del Valle Gastaminza, Profesor Titular de la Universidad Complutense de Madrid MADRID 2015 Universidad Complutense de Madrid FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II EL VÍDEO VIRAL: CLAVES DE DIFUSIÓN MASIVA Trabajo de investigación que presenta Doña Laura Picazo Sánchez para la obtención del grado de Doctor con Mención Europea por la Universidad Complutense de Madrid, bajo la dirección de Don Félix del Valle Gastaminza, Profesor Titular Doctor de la Facultad de Ciencias de la Información de la Universidad Complutense de Madrid. MADRID 2015 A Carmina, porque de ella sale todo lo que soy. A Sagrario Miralles, maestra. AGRADECIMIENTOS Quiero comenzar este apartado citando a Ramón y Cajal, a quien agradezco escribiera una obra tan empática con el investigador joven como Reglas y Consejos sobre investigación científica, sabiendo dirigirse, motivar y hacerse comprendido al doctorando perdido que era yo (que en gran parte, sigo siendo) bien avanzada la investigación. Gracias por despertar el brillo dormido de mi ilusión y por entusiasmar un camino -incierto siempre- pero poblado de hermosa realidad cuando se sabe mirar. En mi deseo estará compartir este libro con todo estudiante adulto, como dice Severo Ochoa, y avivar en él la magia y el genio de conocer, de inventar, como en mí han despertado tantas personas y causas. Agradezco su espiritual compañía también a Antonio Machado, cuyo recuerdo me infunde constancia, no sé por qué, y virtud, y otras cosas. Quiero agradecer a mi director, Félix del Valle, su comprensión y honradez. Me siento afortunada y sinceramente feliz de ser su doctoranda y poder conocerle, de ser testigo de su humildad y su manera de ver y hacer su trabajo. No podría haber llevado a cabo esta tesis sin su ayuda y su perspectiva, sin su paciencia y su optimismo, sin su imaginación, sin su confianza. A él llegué por Paco Bernete, a quien agrdezco su honestidad como académico y persona durante el período de la investigación en que me ha dirigido, dándome oportunidades y ayudándome, incluso aunque, por ignorante e inexperta, yo no supiera verlo. La más valiosa de esas posibilidades fue mi estancia en Londres de la mano de Felipe Fernández-Armesto, cuya mención aprovecho para agradecer su predisposición, su ayuda y su trato, tan enriquecedor que no me gustaría perderlo jamás. Pero el mejor recuerdo de Londres lo vivo en presente con mi compañera y amiga Cristina, a quien agradezco su sinceridad, su capacidad, su corrección, su alegría y su comprensión, por encima de todo, y toda la ayuda que me ha prestado y me presta. Gracias por darme aliento, apoyo y ser una referencia en esta etapa de mi vida. Quiero dar las gracias a Salvador Gómez por guiarme como un hermano mayor académico, darme cauces, perspectiva, ánimo y criterio para avanzar en la profesión que he elegido y ser todo un ejemplo. Sé que su generosidad y su espíritu le van a llevar muy lejos. Además le agradezco que me diera a conocer a Paco Segado, a quien a su vez doy las gracias por depositar en mí su confianza y ser modelo de honestidad, trabajo, profesionalidad e ilusión. ¡Gracias por cruzaros en mi camino! Laura Picazo Sánchez- Tesis Doctoral Mi familia académica se vería incompleta sin Álvaro Collar, quien, seguramente, cambió el rumbo de mi profesión y despertó en mí curiosidades que me han llevado a terminar esta tesis. Le doy las gracias por mezclar su creatividad y libertad profesional con mis ganas de aprender, orientándome y compartiendo conmigo sus ideas e inquietudes. Entre la vida académica y la personal, estos años han dejado una estela de la que las bibliotecas de Madrid, Segovia y Londres son testigo. Gracias a Isabel y a mi bibliotecaria de Orcasur, a Louie, a Nuria Gaeta y, sobre todo, gracias a Natalia, a Manolo y a Mercedes, lo más parecido a mis compañeros de trabajo en estos años y a mi familia en Segovia. Tengo unos amigos de los que me enorgullezco y que, más lejos o más cerca, me han acompañado, animado, ayudado, aconsejado, escuchado en estos años de trabajo. Gracias, Ali, Ana, Denis, Diana, Edu, Maite, Nacho, Nuria, Sandra, Sergio. Sois quienes mejor me conocéis y vuestro ánimo constante ha sido mi energía. ¡Qué suerte teneros conmigo! Y también a todos los que me habéis transmitido vuestro afecto, consejo, os habéis acordado de mi trabajo, de darme ánimos, de estar conmigo: Gracias Ángelas, Alejandro, Beas, Blanca, Borja, Bruno, Carol, Ceci, Cris, Elena, Guechu, Izas, Julia, Julio, Lauras, Lidia, Luis, Marco, Mariajo, Maroto, Mili, Minerva, Mónica, Nadia, Noé, Oñez, Pablo, Pepelu, Peri, Rober, Rubén, Serra, Sonia, Susi, Vidu, Virginia, Will y muchos otros que seguro se me olvidan. Gracias a mi familia, a todos, por hacer de mi ilusión la suya y estar a mi lado. No os imagináis lo importantes que sois para mí. Gracias por interesaros, escucharme y animarme dándome vuestro cariño y alegría. Gracias, Dori, Carlos, José Luis, Mari Carmen, Sara, Carlos, Sonia, Maribel, Celia, María, primo Juanjo, Manoli, Paquita, Cynthia, David, Sebas, Loli, Isabelín, y obrigada também a minha família portuguesa, especialmente a Gisela, Luís, Víctor e Fernanda. Gracias a mi padre, que estaría orgulloso. Gracias a Juan José y a Josefa (“¡Yayos, una nieta doctora!”), que deben de estar celebrándolo. Gracias a Emilio y a Juan, porque sois primordiales para mí, por ser mis ejemplos y transmitirme vuestra visión de la vida y el trabajo, de la libertad y del esfuerzo. Hay mucho de vosotros en mí y así, en esta tesis. Gracias a Juanito y a Martín, aunque sean pequeños para entender lo que significa llenar de alegría, de entusiasmo y energía, lo que es transmitir ganas y dicha, tan sólo estando ahí. 8 EL VÍDEO VIRAL: Claves de difusión masiva Pero hay tres personas que han apuntalado este proyecto desde el primer día y han sido el apoyo más importante: Mentxu, gracias por todo lo que me has ayudado. Gracias por levantarme cuando me cansaba, por recordarme lo que olvidaba, por llenarme de alegría, de optimismo, por hacerme llorar de risa en los peores momentos, gracias por inventarte cosas para levantar mi ánimo, por darme tantas ideas fantásticas. Gracias por ayudarme a pelear por este trabajo, por ser sincera conmigo, por hacer que no deje de ser yo. Por acompañarme toda la vida y conocerme mejor que yo misma, gracias, ¡esta tesis va a medias contigo! (Bromas aparte, gracias también por la portada). Ricardo, a riesgo de resultar pedante a quien pueda leerme, he tenido mucha suerte de encontrarte. Gracias por ser mi compañero y quererme bien, pero bien de verdad. Gracias por aguantar mis malos humos, por contrarrestar mi impaciencia, calmar mis temores y apelar a mi mejor yo; gracias por participar de mi esfuerzo, escuchar mis inquietudes, hacer que vuelva a levantarme, darme todo el cariño, tiempo y espacio que he necesitado durante estos años. Gracias por admirarme pese a mis caídas Y gracias, sobre todo, por alimentar mi ilusión y ponerme los pies en la Tierra, a partes iguales. Carmina, gracias a ti -porque eres la más grande- en último lugar. Gracias por darme tantas lecciones, por levantar mi espíritu, saciar mis miedos y espabilar mi mente, gracias por dejarme ser testigo de tu genio, de tu fuerza, gracias por ser mi ejemplo. Por aguantarme (¡más que nadie!), y resistir como una fiera. Gracias por hacerme creer que soy capaz de hacerlo todo, por dármelo todo, por tu enseñanza, única y genial, por tu espontaneidad, ¡gracias! Gracias por tu bendita alegría. Gracias de corazón a todos por creer en mí y ayudarme, no sólo a dar una nueva oportunidad a mi profesión, sino a encontrar, además, mi vocación. Atrás quedan las adversidades; por delante, la firme promesa de mi esfuerzo para el futuro del que es simiente este trabajo, siempre con vosotros. 9 Laura Picazo Sánchez- Tesis Doctoral 10 EL VÍDEO VIRAL: Claves de difusión masiva ÍNDICE RESUMEN…………………………………………………………………………………………………………………………………………17 ABSTRACT………………………………………………………………………………………………………………………………………..21 CAPÍTULO 1. INTRODUCCIÓN………………………………………………………………………………………………………25 1.1. INTRODUCCIÓN AL TEMA DE INVESTIGACIÓN……………………………………………………………………………………..27 1.2. PROBLEMA DE INVESTIGACIÓN……………………………………………………………………………………………………….31 PARTE I: EL VÍDEO VIRAL EN EL CONTEXTO DEL CONSUMO DE CONTENIDOS EN INTERNET……………………………………………………………………………………………………………………………………41 CAPÍTULO 2. ESCENARIO DE LA VIRALIDAD: YOUTUBE, REDES SOCIALES Y USUARIOS …………………………………………………………………………………………………………………………………………………………43 2.1. INTERNET……………………………………………………………………………………………………………………………………..49 2.2. INTERNET 3.0 ……………………………………………………………………………………………………………………………….58 2.3. YOUTUBE…………………………………………………………………………………………………………………………………….59 2.4. CONTENIDO AMATEUR…………………………………………………………………………………………………………………….93 11 Laura Picazo Sánchez- Tesis Doctoral 2.5. LA VIRALIDAD………………………………………………………………………………………………………………………………..101 2.6. EL CONTAGIO………………………………………………………………………………………………………………………………..112
Load more

Recommended publications
  • 21-0706-MEDALLIONS-Call for Entry Brochure.Pdf
    ENTERYOURFINEST 2021 MEDALLIONENTER YOUR ENTERYOURAWARDS FINEST ENTERYOUR ENTERYOURFINEST ENTERYOURFINEST ENTERYOURFINEST ENTERYOURFINEST ENTERYOURFINEST ENTER YOUR PASSION ENTRY DETAILS WHO CAN ENTER The creative effort/concept must 2021 have originated from a community medallion or technical college or district or AWARDS state governing organization for two-year colleges. Entries may not be submitted through an ad YOu’VE DONE GReaT WORK. YOu’VE PUT IN EXTRA HOURS. agency; make submissions through a college, district or state govern- YOU DESERVE TO BE CELEBRATED FOR yoUR ACCOMPLISHMENTS. ing association only. In a time when creativity has been stretched to the limits, it’s WHAT TO ENTER important to take the time to reflect on your relentless pursuit of Entries must have been published, broadcast, displayed and used excellence. Show everyone the inspirational work you and your between July 1, 2020 and team have produced during one of the most challenging years June 30, 2021. in recent memory. Entries must be new designs or publications in the entry year; those that represent previously SPONSORED BY the National Council for RECOGNIZED AS the leading professional submitted work with minor Marketing & Public Relations (NCMPR), development organization for two-year modifications will be disqualified. the Medallion Awards recognize outstanding college communicators, NCMPR provides achievement in design and communication regional and national conferences, Entries must be original, creative at community and technical colleges webinars, a leadership institute, relevant work WITHOUT THE USE OF in each of seven districts. It’s the only information on emerging marketing TEMPLATES customized for regional competition of its kind that honors and PR trends, and connections to a individual college use.
    [Show full text]
  • An Introduction to Virality Metrics
    Association for Information Systems AIS Electronic Library (AISeL) UK Academy for Information Systems Conference Proceedings 2016 UK Academy for Information Systems Spring 4-12-2016 WHAT IS VIDEO VIRALITY? AN INTRODUCTION TO VIRALITY METRICS Joseph Asamoah University of Salford, [email protected] Adam Galpin University of Salford, [email protected] Aleksej Heinze University of Salford, [email protected] Follow this and additional works at: https://aisel.aisnet.org/ukais2016 Recommended Citation Asamoah, Joseph; Galpin, Adam; and Heinze, Aleksej, "WHAT IS VIDEO VIRALITY? AN INTRODUCTION TO VIRALITY METRICS" (2016). UK Academy for Information Systems Conference Proceedings 2016. 8. https://aisel.aisnet.org/ukais2016/8 This material is brought to you by the UK Academy for Information Systems at AIS Electronic Library (AISeL). It has been accepted for inclusion in UK Academy for Information Systems Conference Proceedings 2016 by an authorized administrator of AIS Electronic Library (AISeL). For more information, please contact [email protected]. What is video virality? An introduction to virality metrics. Joseph Asamoah The University of Salford, Salford UK. Email: [email protected] Abstract: Video virality is acknowledged by many marketing professionals as an integral aspect of digital marketing. It is being mentioned a lot as a buzz word but there has not been any definitive terminology ascribed to what exactly it is. It is common to hear a phrase such as, “this video has gone viral”. However, this
    [Show full text]
  • “Decreasing World Suck”
    Dz dzǣ Fan Communities, Mechanisms of Translation, and Participatory Politics Neta Kligler-Vilenchik A Case Study Report Working Paper Media, Activism and Participatory Politics Project AnnenBerg School for Communication and Journalism University of Southern California June 24, 2013 Executive Summary This report describes the mechani sms of translation through which participatory culture communities extend PHPEHUV¶cultural connections toward civic and political outcomes. The report asks: What mechanisms do groups use to translate cultural interests into political outcomes? What are challenges and obstacles to this translation? May some mechanisms be more conducive towards some participatory political outcomes than others? The report addresses these questions through a comparison between two groups: the Harry Potter Alliance and the Nerdfighters. The Harry Potter Alliance is a civic organization with a strong online component which runs campaigns around human rights issues, often in partnership with other advocacy and nonprofit groups; its membership skews college age and above. Nerdfighters are an informal community formed around a YouTube vlog channel; many of the pDUWLFLSDQWVDUHKLJKVFKRRODJHXQLWHGE\DFRPPRQJRDORI³GHFUHDVLQJZRUOGVXFN.´ These two groups have substantial overlapping membership, yet they differ in their strengths and challenges in terms of forging participatory politics around shared cultural interests. The report discusses three mechanisms that enable such translation: 1. Tapping content worlds and communities ± Scaffolding the connections that group members have through their shared passions for popular culture texts and their relationships with each other toward the development of civic identities and political agendas. 2. Creative production ± Encouraging production and circulation of content, especially for political expression. 3. Informal discussion ± Creating and supporting spaces and opportunities for conversations about current events and political issues.
    [Show full text]
  • Parody and Pastiche
    Evaluating the Impact of Parody on the Exploitation of Copyright Works: An Empirical Study of Music Video Content on YouTube Parody and Pastiche. Study I. January 2013 Kris Erickson This is an independent report commissioned by the Intellectual Property Office (IPO) Intellectual Property Office is an operating name of the Patent Office © Crown copyright 2013 2013/22 Dr. Kris Erickson is Senior Lecturer in Media Regulation at the Centre ISBN: 978-1-908908-63-6 for Excellence in Media Practice, Bournemouth University Evaluating the impact of parody on the exploitation of copyright works: An empirical study of music (www.cemp.ac.uk). E-mail: [email protected] video content on YouTube Published by The Intellectual Property Office This is the first in a sequence of three reports on Parody & Pastiche, 8th January 2013 commissioned to evaluate policy options in the implementation of the Hargreaves Review of Intellectual Property & Growth (2011). This study 1 2 3 4 5 6 7 8 9 10 presents new empirical data about music video parodies on the online © Crown Copyright 2013 platform YouTube; Study II offers a comparative legal review of the law of parody in seven jurisdictions; Study III provides a summary of the You may re-use this information (excluding logos) free of charge in any format or medium, under the findings of Studies I & II, and analyses their relevance for copyright terms of the Open Government Licence. To view policy. this licence, visit http://www.nationalarchives.gov. uk/doc/open-government-licence/ or email: [email protected] The author is grateful for input from Dr.
    [Show full text]
  • Looking At, Through, and with Youtube Paul A
    Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp.
    [Show full text]
  • A Closer Look at Viral Videos on Youtube
    Viral Video Style: A Closer Look at Viral Videos on YouTube Lu Jiang, Yajie Miao, Yi Yang, Zhenzhong Lan, Alexander G. Hauptmann School of Computer Science, Carnegie Mellon University Outline . Introduction . CMU Viral Video Dataset . Statistical Characteristics . Peak Day Prediction . Conclusions Outline . Introduction . CMU Viral Video Dataset . Statistical Characteristics . Peak Day Prediction . Conclusions What is a viral video? • A viral video is a video that becomes popular through the process of (most often) Internet sharing through social media. Gangnam Style What is a viral video? • A viral video is a video that becomes popular through the process of (most often) Internet sharing through social media. Charlie bit my finger Gangnam Style Missing pilot MH370 Social Validity • Viral videos have been having a profound impact on many aspects of society. • Politics: – Pro-Obama video “Yes we can” went viral (10 million views) in 2008 US presidential election [Broxton 2013]. – Obama Style and Mitt Romney Style went viral (30 million views in the month of Election Day), and peaked on Election Day. Social Validity • Viral videos have been having a profound impact on many aspects of society. • Politics: – Pro-Obama video “Yes we can” went viral (10 million views) in 2008 US presidential election [Broxton 2013]. – We found that Obama Style and Mitt Romney Style went viral (30 million views in the month of Election Day), and peaked on Election Day. Social Validity 6 x 10 2 Mitt Romney Style 1.5 Obama Style 2012 Election Day 1 0.5 Number of Views of Number 0 60 70 80 90 100 110 120 130 140 150 160 Days after the upload Social Validity cont.
    [Show full text]
  • Catching a Viral Video
    J Intell Inf Syst DOI 10.1007/s10844-011-0191-2 Catching a viral video Tom Broxton · Yannet Interian · Jon Vaver · Mirjam Wattenhofer Received: 2 February 2011 / Revised: 21 September 2011 / Accepted: 25 November 2011 © Springer Science+Business Media, LLC 2011 Abstract The sharing and re-sharing of videos on social sites, blogs e-mail, and other means has given rise to the phenomenon of viral videos—videos that become popular through internet sharing. In this paper we seek to better understand viral videos on YouTube by analyzing sharing and its relationship to video popularity using millions of YouTube videos. The socialness of a video is quantified by classifying the referrer sources for video views as social (e.g. an emailed link, Facebook referral) or non- social (e.g. a link from related videos). We find that viewership patterns of highly social videos are very different from less social videos. For example, the highly social videos rise to, and fall from, their peak popularity more quickly than less social videos. We also find that not all highly social videos become popular, and not all popular videos are highly social. By using our insights on viral videos we are able develop a method for ranking blogs and websites on their ability to spread viral videos. Keywords Viral videos · Internet sharing · YouTube · Social media · Ranking blogs · Data mining · Logs mining · Weblogs T. Broxton · Y. Interian (B) · J. Vaver · M. Wattenhofer Google Inc., San Bruno, USA e-mail: [email protected] T. Broxton e-mail: [email protected] J. Vaver e-mail: [email protected] M.
    [Show full text]
  • An Analysis on Youtube Rewinds
    KADİR HAS UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES NEW MEDIA DISCIPLINE AREA POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS ISTANBUL, AUGUST, 2017 i POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS Submitted to the Graduate School of Social Sciences of Kadir Has University in partial fulfillment of the requirements for the degree of Master’s in the Discipline Area of New Media under the Program of New Media. ISTANBUL, AUGUST, 2017 i ii iii TABLE OF CONTENTS Abstract Acknowledgements List of Figures List of Chapters 1. Introduction 2. Literature Review 2.1 Commercializing Culprit or Social Cement? What is Popular Culture? 2.2 Sharing is caring: user-generated content 2.3 Video sharing hype: YouTube 3. Research Design 3.1 Research Question 3.2 Research Methodology 4. Research Findings and Analysis 4.1 Technical Details 4.1.1 General Information about the Data 4.1.2 Content Analysis on Youtube Rewind Videos 5. Conclusion References iv ACKNOWLEDGEMENTS I would first and foremost like to thank my thesis advisor Assoc. Prof. Dr. Çiğdem BOZDAĞ of the Faculty of Communication at Kadir Has University. Prof. Bozdağ always believed in me even I wasn’t sure of my capabilities. She kindly guided me through the tunnel of the complexity of writing a thesis. Her guidance gave me strength to keep myself in right the direction. I would like to thank Assoc. Prof. Dr. Eylem YANARDAĞOĞLU whose guidance was also priceless to my studies.
    [Show full text]
  • Freedom of Speech, the War on Terror, and What's Youtube Got To
    Freedom of Speech, The War on Terror, and What’s YouTube Got to Do with it: American Censorship During Times of Military Conflict Melissa J. Morgans * TABLE OF CONTENTS I. INTRODUCTION ............................................................................... 147 II. BACKGROUND ................................................................................. 149 A. There is a Growing Issue of Terrorist Speech on the Internet Due to the Viral Nature Internet-Based Speech. ............................. 149 B. The United States Government Has Historically Censored Speech During Times of War. ............................................................... 151 C. Despite This Historical Precedent, the First Amendment Permits Censorship of Speech Only in Limited Circumstances. ........... 155 III. TERRORIST SPEECH ON THE INTERNET SHOULD BE CENSORABLE BY THE GOVERNMENT. ......................................................................... 159 A. Censoring Terrorist Speech Today is Consistent with the Tradition of Restrictions on Anti-Government Wartime Speech. ..................................................................................... 159 B. Targeting Internet-Based Speech is Consistent with the Tradition of Restrictions on Uniquely Invasive Media. ........................... 161 IV. THE “STOP TERRORIST ORGANIZATIONS FROM PROMOTING INTERNET TRANSMISSIONS ACT” COULD PERMISSIBLY REGULATE TERRORIST SPEECH ONLINE. ............................................................................. 164 * J.D., The George Washington University
    [Show full text]
  • Making a Home on Youtube
    IN THIS CHAPTER » Understanding the importance of being on YouTube » Becoming a viral video star » Making your channel unique » Producing video for fun and profi t Chapter 1 Making a Home on YouTube ouTube is the new business-and-entertainment frontier, which means there’s as much excitement and creativity associated with creating and Ymanaging a YouTube channel these days as was the case during the early days of television, when the sky seemed the limit. YouTube — like television before it — is caught up in the same adventure that comes from defi ning its target audience as well as fi nding out what audiences are willing to watch. For television, the adventurous nature of its early endeavors could be traced to the fact that TV was so new that audiences really didn’t know what they wanted. For YouTube, working in today’s market, it’s much more about meeting the diverse interests and needs of an audience that attracts more than a billion people from all over the planet. AnyoneCOPYRIGHTED who wants to show off their videoMATERIAL prowess or share their vision with the world can hang a virtual shingle on YouTube by starting their own channel. Of course, when television began, we humans had more toes than the TV had chan- nels. These days, YouTube has billions of users. That makes running a successful YouTube channel seem a bit more daunting. CHAPTER 1 Making a Home on YouTube 9 1.indd 9 Trim size: 7.375 in × 9.25 in July 15, 2020 6:00 PM Having more than 2 billion monthly active users can make getting noticed on your channel feel like searching for a virtual needle in an online haystack.
    [Show full text]
  • Biographical Dictionary
    Biographical Dictionary A Astor, John Jacob (1763–1848) American fur trader and financier, he founded the fur-trading post of Astoria and the American Fur Company. (p. 308) Adams, John (1735–1826) American statesman, Austin, Stephen F. (1793–1836) American colonizer he was a delegate to the Continental Congress, in Texas, he was imprisoned for urging Texas a member of the committee that drafted the statehood after Santa Anna suspended Mexico’s Declaration of Independence, vice president to constitution. After helping Texas win indepen- George Washington, and the second president dence from Mexico, he became secretary of state ICTIONARY of the United States. (p. 228) D for the Texas Republic. (p. 313) Adams, John Quincy (1767–1848) Son of President John Adams and the secretary of state to James Monroe, he largely formulated the Monroe B Doctrine. He was the sixth president of the United States and later became a representative Bagley, Sarah G. (d. 1847?) American mill worker in Congress. (p. 267) and union activist, she advocated the 10-hour Adams, Samuel (1722–1803) American revolution- workday for private industry. She was elected ary who led the agitation that led to the Boston IOGRAPHICAL vice president of the New England Working Tea Party; he signed the Declaration of Indepen- B Men’s Association, becoming the first woman dence. (p. 65) to hold such high rank in the American labor Addams, Jane (1860–1935) American social movement. (p. 357) worker and activist, she was Banneker, Benjamin (1731–1806) African American the co-founder of Hull House, mathematician and astronomer, he was hired an organization that focused by Thomas Jefferson to help survey land for the on the needs of immigrants.
    [Show full text]
  • Autumn on ITV1
    For All liFe’s Big events the autumn season on itv1 > events > sport > entertainment > Drama > Factual > Daytime > CITv > movies For All liFe’s Big events the autumn season on ITV1 events We Are most divAs 2 soccer Aid 2008 Amused (Wt) > pAge 2 For All liFe’s Big events the autumn season on ITV1 events s occer occer a id 2006 id returning soccer Aid 2008 An initiAl production For ITV1 press contActs World Cup legends and top this year, each squad will comprise of Kirsty Wilson celebrities are to go head-to-head eleven celebrities and five Worldc up greats. publicity manager With under a week to train and bond before in an England versus The Rest tel: 0844 881 13015 the big game, the pressure is on for the of The World football match, as mail: [email protected] players to get match-fit and be performance- Soccer Aid 2008, to raise funds www.itvpresscentre.com ready. england were victorious at old for the charity UNICEF and its trafford, but on new turf and with new teams, partners, returns to ITV1. there’s a clean slate this time around. With all picture contAct the players determined to score that winning With Ant & Dec presiding, this year’s event goal and lift the prestigious soccer aid 2008 – to be screened live – takes place on the www.itvpictures.com trophy, it really is anyone’s game. hallowed turf of Wembley stadium, where the crowd will have a thrilling opportunity soccer aid 2008 will raise funds for UNICEF’s to see football legends play alongside big- health, education and protection work with name celebrities.
    [Show full text]