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A Study for Non-Profit Organizations and Social Actors

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A Study for Non-Profit Organizations and Social Actors Digital Content Creation in 2018: A Study for Non-Profit Organizations and Social Actors - A Mixed Methods Approach To The Experiences of New Media November 2, 2018 Simone Staack Hedelund Media and Communication Studies Master Thesis (2-year), 15 Credits Supervisor: Bo Reimer Malmö University K3 | School of Arts and Communication Acknowledgements A warm thank you to Bo Reimer for generous guidance throughout the process of this thesis. Your constructive support and attentive encouragement have been valuable tools. Being a student at Malmø University for the last two years has been a fantastic experience, and I have encountered dedicated and talented staf through a fascinating program. I am deeply appreciative for all the individuals who contributed to this project, by sharing their time and knowledge on the broad subject of media transformation. The knowledge points provided in the interviews have altered my approach to new media. !2 Abstract This study explores the phenomenon of new power as a framework for empowerment for non-profit organizations. The concept is coined by social entrepreneurs Henry Timms and Jeremy Heimans in their book New Power (2018), and the aim is to investigate the efects of new media today through an analysis twelve media actors experiences of working in the creative industries. Through a flexible study based on the paradigm of phenomenology, this thesis researched by examining new power as a 'black box’—an object of human perception—to arrive at new understandings of the workings of media environments today. The qualitative data is backed by a case study of a niche community in the form of digital scrapings that reveal characteristics of spreadable mechanisms in a networked community. Drawing on dominating theories about participatory cultures, convergence media, and mediatization, the study found tendencies of new media leading to the subordination to the power of prevailing media actors. It concludes by considering future implications for the evolution of Web 3.0, where digital platforms will evolve into a co-constitutive digital sphere where media actors and individuals alike will take action in shaping the digital culture of media, as in the cases of leading digital companies BuzzFeed and Reddit. Keywords: Media Transformation, Non-profit organization, Web 2.0, Media Transformation, New Media, Participatory Cultures, New Power, Social Mobilization, Digital Promise !3 Table of Contents Acknowledgements 2 Abstract 3 1. Introduction | Creating Digital Content 7 1.1. Web 2.0 and the Relevance for Non-Profit Organizations 7 1.2. New Power for Media Actors 8 1.3. New Media Efects 9 1.4. Research Questions | Navigating a Changing Media Landscape 10 2. Context | Influential Participants in Networked Communities 12 2.1. The Harvey Weinstein Example 12 2.2. An Expectation to Participate 13 2.3. Influential Participants 14 2.4. The Creative Industries 15 3. Literature Review | New Media Theory 17 3.1. Manovich and the Language of New Media 17 3.2. Three Key Points For New Media Literature 18 3.3. Convergence Culture and Spreadability 19 3.3.1. Spreadability 20 3.3.2. Storytelling Practices 20 3.4. Criticism of the 'Digital Promise’ 22 3.4.1. Online Transparency and Future Prospects 23 3.5. Literature Review Summary 23 4. Theoretical Framework | New Power 25 4.1. Framework Purpose 25 4.2. New Power Values 25 4.2.1. Participatory Cultures 27 4.3. From Making It ‘Stick’ to Making It ‘Spread’ | A.C.E. 27 4.4. The Participation Scale 29 4.5. Theoretical Summary 31 5. Mixed Methods | Empirical Data Representing Experiences Of New Media 33 5.1. Phenomenology and New Power 33 5.1.1. Mixed Methods and Design of Study 34 5.1.2. Purpose of Mixed Methods Study 34 5.2. Qualitative Interviews and External Validity 35 !4 5.2.1. Semi-Structured Interviews 35 5.2.2. Categories, Coding, and Participants 35 5.2.3. Questions 37 5.2.4. The Role of the Interviewer 38 5.3. Case Study of the Non-Profit Organization MAD 38 5.3.1. Participatory Community, Live Events, and Quantitative Data 39 5.3.2. Digital Scrapings | Quantitative Data 40 5.3.3. Coding 40 5.4. Ethics 41 5.5. Data Integration 42 6. Analysis | Experiences of New Media 43 6.1. Media Production: The Increasing Relevance of Spreadable Mechanisms 43 6.1.1. Taking the Digital Seriously 44 6.1.2. The Tandem Between Live Events and Digital Content 45 6.2. Creating a Sense of Agency: Engaging Niche Communities 46 6.2.1. Participation Scales 47 6.2.2. Producing Content Intended for the Audience 48 6.3. Digital Packaging: Communicating New Power Values 48 6.3.1. Navigating Platforms By Listening to Audiences 49 6.3.2. Co-Creating 50 6.4. Implications of Observations 50 6.5. Quantitative Data | Spreadable Media Analyzed 51 6.5.1. The MAD Community Studied 53 7. Future Perspectives | Digital Content Creation 58 7.1. The Role of Non-Profit Organizations 59 7.2. Future Research of Influencers 59 References 61 Endnotes 64 *Note: Use of Wikipedia for Truth by Consensus 64 Appendix 65 Figures and Images, Appendix A 65 Transcribed Interviews, Appendix B 69 !5 List of Figures Figure 1: Instagram profiles with most followers (September 2018) 8 Figure 2: Example of new power language from BuzzFeed article 10 Figure 3: Example of terror organization ISIS’s social media usage 13 Figure 4: Example of creative storytelling | Paul Nicklen 15 Figure 5: Social media platforms listed by most active users (September 2018) 21 Figure 6: Old power values vs. New power values 26 Figure 7: The participation scale 29 Figure 8: Spreadable media in networked communities 30 Figure 9: Social media statistics: Non-profit organization MAD 40 Figure 10: Example of ofine media going viral 46 Figure 11: Example of extensible media 53 Figure 12: Social media posts with #MAD6 54 Figure 13: Example of actionable media post 54 Figure 14: Example of extensible media post 55 Figure 15: Example of connected media post 56 Figure 16: Example of connected media post 57 !6 1. Introduction | Creating Digital Content 1.1. Web 2.0 and the Relevance for Non-Profit Organizations In the contemporary media landscape, digital content is abundant. New types of narratives, storytelling practices, and platform innovations, are continually created and re-created in the context of Web 2.0. It is a term describing the second generation of the world wide web departing from static HTML pages to interactive web experiences (Techopedia; Web 2.0 definition, n.d.), which has altered the way people across the globe communicate and interact. Studies show that media actors working strategically with new media—media native to computers—have been successful in driving attention to their message (Bickart, Fournier & Martin, 2017; Awan, 2017). For non-profit organizations, the new media environment is an exciting period to reach new audiences and gain support using digital tools to create narratives about their mission. One organization that uses the digital to strengthen their visibility is the non-profit National Geographic. Courteney Monroe, leader of their TV division, says: “The way I think about it is, I compete with anybody that is capturing somebody’s attention, other than National Geographic… I compete with Netflix; I compete with traditional television networks… I compete with anybody who is taking a consumer’s time away from watching National Geographic content” (Johnson, 2018). To stay relevant for their users, National Geographic is adapting to contemporary media habits throughout the organization. Goldberg elaborates: “We never 'just' produce a magazine story. We have cross-departmental and cross-functional teams meeting to create content… that will tell the story most efectively across platforms” (Johnson, 2018). Their approach to new media has given them a leading position on social platforms, in particular the photo-sharing platform Instagram. Figure 1 contains a list of the most followed profiles on Instagram. Here, the organization is the profile with most followers as a non-famous actor, with more than 92,2 million followers (National Geographic, September 2018). By taking the digital environment seriously, they have become a dominant digital actor with a massive, supportive audience. !7 Figure 1: Instagram profiles with most followers (September 2018) 1.2. New Power for Media Actors According to scholars, the transformation of media is a process of societal mediatization, which ultimately “lead to the subordination of the power of prevailing influential [media] institutions” (Hjarvard, 2008:7). According to the theory, non-profit organizations, like National Geographic, can gain significant influence by embracing new media and social platforms. Social entrepreneurs Henry Timms and Jeremy Heimans argue that activists and social actors play a crucial role in the future, because it “will be a battle for mobilization. Those who flourish will be those best able to channel participatory energy—for the good, the bad, and the trivial. This battle will have big implications for people, organizations, and for the world at large” (2018). One way to frame the new media landscape, is through the concept of new power coined by Timms and Heimans in New Power (2018). Today, they argue, ordinary people can become empowered through digital platforms: “People around the world have the capacity to make films, friends, or money; to spread hope or spread ideas; to build community or build up movements; to spread misinformation or propagate violence—all on a vastly greater scale and with greater potential impact than a few years ago” (Timms & Heimans, 2018). A study by Lovejoy and Saxton (2012) reveals that social media is beneficial for nonprofit organizations because media practices help to create and maintain connections, engaging stakeholders, and inviting public audiences to join, converse, and collaborate.
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