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Identity and Representation on the Neoliberal Platform of Youtube
Identity and Representation on the Neoliberal Platform of YouTube Andra Teodora Pacuraru Student Number: 11693436 30/08/2018 Supervisor: Alberto Cossu Second Reader: Bernhard Rieder MA New Media and Digital Culture University of Amsterdam Table of Contents Introduction ............................................................................................................................................ 2 Chapter 1: Theoretical Framework ........................................................................................................ 4 Neoliberalism & Personal Branding ............................................................................................ 4 Mass Self-Communication & Identity ......................................................................................... 8 YouTube & Micro-Celebrities .................................................................................................... 10 Chapter 2: Case Studies ........................................................................................................................ 21 Methodology ............................................................................................................................. 21 Who They Are ........................................................................................................................... 21 Video Evolution ......................................................................................................................... 22 Audience Statistics ................................................................................................................... -
Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales. -
Hearst Pays $81.3M for Stake in Awesomenesstv 12 December 2014
Hearst pays $81.3M for stake in AwesomenessTV 12 December 2014 Hearst Corp. is betting $81.3 million that Internet video network AwesomenessTV will live up to its name. The investment announced Thursday gives Hearst a 25 percent stake in AwesomenessTV, which DreamWorks Animation SKG Inc. acquired in May 2013. The deal is the latest to underscore the growing popularity of Internet video services. Glendale- based DreamWorks bought AwesomenessTV, or ATV, at a price that could exceed $100 million if certain financial targets are reached. Just 19 months later, Awesomeness TV has now been valued at $325 million, based on Hearst's investment. ATV, which tailors its videos for teens, got its start with a small piece of the $100 million that Google Inc.'s YouTube doled out to about 100 programmers in 2012. New York-based Hearst, which owns 29 traditional television stations, hopes to help ATV expand its audience beyond the viewers who watch the network's clips about 800 million times per month. Among other things, Hearst is allowing ATV to use its video-on-demand technology to expand. "For us, it's very important to make a bet on the future of how content is created," said Hearst CEO Steven Swartz. ATV's stable of talent includes Cimorelli, Miss Glamorazzi, Tyler Oakley, Cameron Dallas and Nash Grier. © 2014 The Associated Press. All rights reserved. APA citation: Hearst pays $81.3M for stake in AwesomenessTV (2014, December 12) retrieved 30 September 2021 from https://phys.org/news/2014-12-hearst-813m-stake-awesomenesstv.html This document is subject to copyright. -
Universidade Federal Do Rio De Janeiro Centro De Filosofia E Ciências Humanas Escola De Comunicação
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO MEU ÍNTIMO, UM MERCADO: CURADORIA DE VIDA EM ZOELLA Júlia Ceciliano Nasra Rio de Janeiro/RJ 2018 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO MEU ÍNTIMO, UM MERCADO: CURADORIA DE VIDA EM ZOELLA Júlia Ceciliano Nasra Monografia de graduação apresentada à Escola de Comunicação da Universidade Federal do Rio de Janeiro, como requisito parcial para a obtenção do título de Bacharel em Comunicação Social, Habilitação em Produção Editorial. Orientadora: Prof. Dr.ª Amaury Fernandes da Silva Júnior Rio de Janeiro/ RJ 2018 Dados Internacionais de Catalogação na Publicação (CIP) N264 Nasra, Júlia Ceciliano Meu íntimo, um mercado: curadoria de vida em Zoella / Júlia Ceciliano Nasra. – 2018. 71 f.: il. Orientador: Prof. Dr Amaury Fernandes da Silva Júnior Monografia (graduação) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, Habilitação Produção Editorial, Rio de Janeiro, 2018. 1. Redes sociais. 2. YouTube. 3. Celebridade. 4. Intimidade. I. Silva Júnior, Amaury Fernandes da. II. Universidade Federal do Rio de Janeiro. Escola de Comunicação. CDD: 302.3 Elaborada por: Érica dos Santos Resende CRB-7/5105 AGRADECIMENTO Aos meus pais, Bianca, Marcelo, Maurício e Luciane, por incentivarem e proporcionarem minha educação. Essa conquista também é de vocês. Ao meu irmão Pedro, a quem sempre quero dar o exemplo da dedicação e comprometimento. Ao meu irmão de quatro patas, Guga, pela companhia durante as tardes de escrita. Ao meu Guigo, por me aguentar falar sobre a monografia incessantemente e por ter um abraço que sempre me acalma. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) NOV CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 14 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2020 $NOT B200 172; HS 1, 14 BLACKBEAR AK 4, 11; H100 67; MO 1, 20; RKA TASHA COBBS LEONARD GA 5, 6, 17, 18; FITZ AND THE TANTRUMS A40 39 ILLENIUM EA 17; AK 19; DA 2; DES 8, 21; LADY GAGA B200 136; EA 1, 2, 25; STX 6; AC 21 SAVAGE B200 11; RBA 7; RLP 7; H100 55, 1, 31; RO 4, 11 GS 25 FIVE FINGER DEATH PUNCH IND 41; RKA 34 RO 20 12; DES 3, 19, 20 83; RBH 15, 27; RP 15; RS 14, 23; STM 47 BLACK COFFEE DA 27 COCHREN & CO. -
Developing a Curriculum for TEFL 107: American Childhood Classics
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Winter 12-19-2019 Developing a Curriculum for TEFL 107: American Childhood Classics Kendra Hansen [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the American Studies Commons, Education Commons, and the English Language and Literature Commons Recommended Citation Hansen, Kendra, "Developing a Curriculum for TEFL 107: American Childhood Classics" (2019). Dissertations, Theses, and Projects. 239. https://red.mnstate.edu/thesis/239 This Project (696 or 796 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Developing a Curriculum for TEFL 107: American Childhood Classics A Plan B Project Proposal Presented to The Graduate Faculty of Minnesota State University Moorhead By Kendra Rose Hansen In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language December, 2019 Moorhead, Minnesota Copyright 2019 Kendra Rose Hansen v Dedication I would like to dedicate this thesis to my family. To my husband, Brian Hansen, for supporting me and encouraging me to keep going and for taking on a greater weight of the parental duties throughout my journey. To my children, Aidan, Alexa, and Ainsley, for understanding when Mom needed to be away at class or needed quiet time to work at home. -
Laughter Effect
caty borum chattoo center for media & social impact school of communication american university may 2017 the laughter effect: the [serious] role of comedy in social change about the The Laughter Effect: The [Serious] Role of Comedy in Social Change is the second in a three-part inves- project tigation about comedy and social influence. All were directed and written by Caty Borum Chattoo, produced under the auspices of the Center for Media & Social Impact at American University’s School of Communication. All three projects were funded by the Bill & Melinda Gates Foundation. The first project, Entertainment, Storytelling & Social Change in Global Poverty, an experimental design study that examined the persuasive impact of the comedic documentary film, Stand Up Planet, was published in February 2015; it was funded under the auspices of Learning for Action, LLC. Borum Chattoo was also the executive producer and producer of the documentary, which premiered in 2014 in the United States and India. Lauren Feldman, PhD, Associate Professor in the School of Communication and Information at Rut- gers University, served as peer reviewer for The Laughter Effect. For the Center for Media & Social Impact, graduate student fellows Jessica Henry Mariona, Diya Basu and Hannah Sedgwick provided research support; all were students at the American University School of Communication graduate Strategic Communication program. The reports are available at www.cmsimpact.org. about the Caty Borum Chattoo is Director of the Center for Media & Social Impact and Executive in Residence project at the American University School of Communication in Washington, D.C. She works at the intersec- director tion of social-change communication/media, media effects research, and documentary production. -
Identity / Vlog
Identity Our deeply interconnected social media environment world challenges our understanding of how we fit into the world and demands that we craft and project a personal brand online. We create media, or watch and share it, in order to express and perform our identities and affiliate ourselves with our communities. Affiliative Loop Theater Affiliative videos target micro-audiences by reflecting Working within the constraints of the now-defunct social viewers back to themselves, operating on a level of intimacy video platform Vine, users iterated on a unique kind of and recognition similar to in-jokes. These videos rely on performance that relied on the 6.5-second loop as a defining recognizable phrases and situations, incentivizing viewers to formal element. Fast edits, absurd switches in logic, over-the- share them to their networks to express their own identities. top acting, and nonsensical phrases and situations coined a That affiliative videos cost little to produce allows them to number of memes and found the videos shared far outside target narrowly carved audiences that have not received such their originating platform as Vine compilations. The strange, specialized attention in traditional media. wacky humor was performed for friends and followers on the social network, an expression of self-identity. Shit Girls Say | 1:18 | 2011 | Shit THINGS ONLY TRANS GUYS Girls Say UNDERSTAND | 9:01 | 2016 | Sam Swipe up to scroll through a selection of Vine videos. Shit White Girls Say...to Black Girls | Barnes 2:01 | 2012 | chescaleigh -
How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 9-2018 Performing Stereotypical Tropes on Social Media Sites: How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram Ariana Arely Cano California State University - San Bernardino, [email protected] Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Communication Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Cano, Ariana Arely, "Performing Stereotypical Tropes on Social Media Sites: How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram" (2018). Electronic Theses, Projects, and Dissertations. 756. https://scholarworks.lib.csusb.edu/etd/756 This Thesis is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. PERFORMING STEREOTYPICAL TROPES ON SOCIAL MEDIA SITES: HOW POPULAR LATINA PERFORMERS REINSCRIBE HETEROPATRIARCHY ON INSTAGRAM ! ! A Thesis Presented to the Faculty of California State University, San Bernardino ! ! In Partial Fulfillment of the Requirements for -
Sources & Data
YouTube Highest Earning Influencers Ranking Name Channel Category Subscribers Total views Earnings Per Video ($) Age 1 JoJo https://www.youtube.com/channel/UCeV2O_6QmFaaKBZHY3bJgsASiwa (Its JoJo Siwa) Life / Vlogging 10.6M 2.8Bn 569112 16 2 Anastasia Radzinskayahttps://www.youtube.com/channel/UCJplp5SjeGSdVdwsfb9Q7lQ (Like Nastya Vlog) Children's channel 48.6M 26.9Bn 546549 6 Coby Cotton; Cory Cotton; https://www.youtube Garrett Hilbert; Cody Jones; .com/user/corycotto 3 Tyler Toney. (Dude Perfect) n Sports 49.4M 10Bn 186783 30,30,30,33,28 FunToys Collector Disney Toys ReviewToys Review ( FunToys Collector Disney 4 Toys ReviewToyshttps://www.youtube.com/user/DisneyCollectorBR Review) Children's channel 11.6M 14.9Bn 184506 Unknown 5 Jakehttps://www.youtube.com/channel/UCcgVECVN4OKV6DH1jLkqmcA Paul (Jake Paul) Comedy / Entertainment 19.8M 6.4Bn 180090 23 6 Loganhttps://www.youtube.com/channel/UCG8rbF3g2AMX70yOd8vqIZg Paul (Logan Paul) Comedy / Entertainment 20.5M 4.9Bn 171396 24 https://www.youtube .com/channel/UChG JGhZ9SOOHvBB0Y 7 Ryan Kaji (Ryan's World) 4DOO_w Children's channel 24.1M 36.7Bn 133377 8 8 Germán Alejandro Garmendiahttps://www.youtube.com/channel/UCZJ7m7EnCNodqnu5SAtg8eQ Aranis (German Garmendia) Comedy / Entertainment 40.4M 4.2Bn 81489 29 9 Felix Kjellberg (PewDiePie)https://www.youtube.com/user/PewDiePieComedy / Entertainment 103M 24.7Bn 80178 30 10 Anthony Padilla and Ian Hecoxhttps://www.youtube.com/user/smosh (Smosh) Comedy / Entertainment 25.1M 9.3Bn 72243 32,32 11 Olajide William Olatunjihttps://www.youtube.com/user/KSIOlajidebt -
The Self-Referential Narcissism of Youth Behind the Name Vanity Teen
Since publishing in 2008, we have The self-referential narcissism of been pioneers in featuring the youth behind the name Vanity future faces of fashion, art and Teen alludes to the importance we think Adolescence plays in entertainment that will pave the society. Transcending the wave not only in its respective evocative and refreshing attributes areas, but also echoes the ethos of the modern generation, today’s of today’s society. From the first youth is an extremely fashion and influencers like Cameron Dallas, social conscious audience that Lucky Blue Smith, Paris Brosnan clearly reflects and impacts to current influencers and society’s mood and style. celebrities like Manu Rios and Sundy Jules. VTEEN Cover 2018 INFO Being Spain’s most followed influencer, Manu Rios with over 500,000 followers on Twitter, and 5 million followers on Instagram, Manu Rios has become designers’ favorite including Dior and Calvin Klein. From making the cover of Australian singer-songwriter Vance Joy’s "Riptide", which earned him over 4 million views on YouTube, the Spanish influencer and 21-year-old entertainer's upcoming project includes its role in the fourth season of Netflix’s Spanish thriller teen drama ‘’Elite’’. Manu Rios IG (5.4M followers) Adidas, Antonio Morato, MM& Maison Margiela, Diesel, Tommy Hilfiger. VTEEN Cover 2013 Cameron Dallas INFO Before becoming the American internet personality that he is now, Cameron Dallas began his career in September 2012 by posting vines of himself playing jokes and pranks on his friends and family. By 2014, Dallas had 8.1 million followers on Vine, making him the 11th most followed account,and 11.3 million followers on Twitter.