How Do Romanian Post-Millennials Behave on Youtube? a Comparative Analysis of Contemporary Online Cohorts
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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 ................................................................................................................... -
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. -
Practical Applications of Affinity Spaces for English
Running head: HARNESSING WRITING IN THE WILD 1 Harnessing Writing in the Wild: Practical Applications of Affinity Spaces for English Language Instruction Marta Dominika Halaczkiewicz Utah State University Abstract In this article I aim to explore ways in which affinity spaces (Gee, 2004) can be adapted for English language instruction. Affinity spaces attract participants who enthusiastically share their passions, such as popular culture, video games, or literature. Researchers have found that affinity spaces contribute to improvements in reading (Steinkuehler, Compton- Lilly, & King, 2010) and writing (Black, 2007) literacy of both native English speakers and ELLs. Previous research has explored applications of these spaces in language instruction including incorporating topics from popular culture in courses and engaging students in online writing (Sauro & Sundmark, 2016). Other adaptations used the online content of affinity spaces as materials for language analysis in the classroom (Thorne & Reinhardt, 2008). I break down the characteristics of affinity spaces (Gee & Hayes, 2012) and propose them as a framework aimed to harness the benefits of affinity spaces for English language classroom adaptation. These practical applications include student- selected course activity topics, sharing student writing online, and taking on leadership roles in an online environment. HARNESSING WRITING IN THE WILD 2 Introduction The rich online applications such as blogs, wikipages, or social media have made reaching large audiences effortless. These online platforms have encouraged many aspiring authors to share their ideas. In fact, writers have been so prolific online that research attempts commenced to study these literacy practices (Gee, 2004; Howard, 2014; Thorne & Reinhardt, 2008). The New Literacy Studies (Howard, 2014) look at how people connect online and how, through active participation, they become authors and consumers of content. -
Disturbed Youtube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children
Proceedings of the Fourteenth International AAAI Conference on Web and Social Media (ICWSM 2020) Disturbed YouTube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children Kostantinos Papadamou, Antonis Papasavva, Savvas Zannettou,∗ Jeremy Blackburn,† Nicolas Kourtellis,‡ Ilias Leontiadis,‡ Gianluca Stringhini, Michael Sirivianos Cyprus University of Technology, ∗Max-Planck-Institut fur¨ Informatik, †Binghamton University, ‡Telefonica Research, Boston University {ck.papadamou, as.papasavva}@edu.cut.ac.cy, [email protected], [email protected] {nicolas.kourtellis, ilias.leontiadis}@telefonica.com, [email protected], [email protected] Abstract A large number of the most-subscribed YouTube channels tar- get children of very young age. Hundreds of toddler-oriented channels on YouTube feature inoffensive, well produced, and educational videos. Unfortunately, inappropriate content that targets this demographic is also common. YouTube’s algo- rithmic recommendation system regrettably suggests inap- propriate content because some of it mimics or is derived Figure 1: Examples of disturbing videos, i.e. inappropriate from otherwise appropriate content. Considering the risk for early childhood development, and an increasing trend in tod- videos that target toddlers. dler’s consumption of YouTube media, this is a worrisome problem. In this work, we build a classifier able to discern inappropriate content that targets toddlers on YouTube with Frozen, Mickey Mouse, etc., combined with disturbing con- 84.3% accuracy, and leverage it to perform a large-scale, tent containing, for example, mild violence and sexual con- quantitative characterization that reveals some of the risks of notations. These disturbing videos usually include an inno- YouTube media consumption by young children. Our analy- cent thumbnail aiming at tricking the toddlers and their cus- sis reveals that YouTube is still plagued by such disturbing todians. -
Audio-Visual Genres and Polymediation in Successful Spanish Youtubers †,‡
future internet Article Audio-Visual Genres and Polymediation in Successful Spanish YouTubers †,‡ Lorenzo J. Torres Hortelano Department of Sciences of Communication, Universidad Rey Juan Carlos, 28943 Fuenlabrada, Madrid, Spain; [email protected]; Tel.: +34-914888445 † This paper is dedicated to our colleague in INFOCENT, Javier López Villanueva, who died on 31 December 2018 during the finalization of this article, RIP. ‡ A short version of this article was presented as “Populism, Media, Politics, and Immigration in a Globalized World”, in Proceedings of the 13th Global Communication Association Conference Rey Juan Carlos University, Madrid, Spain, 17–19 May 2018. Received: 8 January 2019; Accepted: 2 February 2019; Published: 11 February 2019 Abstract: This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre. -
How to Create a Youtube Channel You Will Need a Gmail (Google Account)
How to Create a YouTube Channel You will need a Gmail (google Account) to create a YouTube channel. Create a Gmail account To sign up for Gmail, create a Google Account. You can use the username and password to sign in to Gmail and other Google products like YouTube, Google Play, and Google Drive. 1. Go to the Google Account creation page. 2. Follow the steps on the screen to set up your account. 3. Use the account you created to sign in to Gmail. Create a personal YouTube Channel Follow these instructions to create a channel that only you can manage using your Google Account. 1. Sign in to YouTube on a computer or using the mobile site. 2. Try any action that requires a channel, such as uploading a video, posting a comment, or creating a playlist. 3. If you don't yet have a channel, you'll see a prompt to create a channel. 4. Check the details (with your Google Account name and photo) and confirm to create your new channel. Create a channel with a business or other name Follow these instructions to create a channel that can have multiple managers or owners. You can use a Brand Account to create a channel that has a different name but that's still managed from your Google Account. Learn more about Brand Accounts. 1. Sign in to YouTube on a computer or using the mobile site. 2. Go to your channel list. 3. Choose to create a new channel or use an existing Brand Account: Create a new channel by clicking Create a new channel. -
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 -
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2012 Jessica L. Aldred Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94206-2 Our file Notre reference ISBN: 978-0-494-94206-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives 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 I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, 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 this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
“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. -
Translating Youtube Chemistry: an Analysis of Popular Science Based on Youtube Video Subtitles
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea Translating YouTube Chemistry: An analysis of popular science based on YouTube video subtitles Relatrice Laureando Prof.ssa Maria Teresa Musacchio William Incani n° matr.1180184 / LMLCC Anno Accademico 2019 / 2020 Table of Contents Introduction ..................................................................................................................... 3 1. Popular science and advertising on the internet – Google and YouTube ................. 5 1.1 Language and science ....................................................................................................... 5 1.1.1 Translation as a decision-making process .................................................................................. 6 1.1.2 Remarkable adaptations and imprecise renditions ..................................................................... 7 1.1.3 The perception of language ...................................................................................................... 10 1.2 Communication through popularisation: an overview ................................................ 11 1.2.1 What is scholarly communication? .......................................................................................... 11 1.2.2 Learned societies as a catalyst for scholarly communication ................................................... 13 1.2.3 Citations -
More Movies to See
More movies to see: Audience polls Casablanca (1942) was voted the greatest film by readers of the Los Angeles Daily News in 1997.[9] It is also regarded the "best Hollywood movie of all time" by the influential Leonard Maltin's Movie Guide.[10] On April 7, 2006, the Writers' Guild of America declared Casablanca's screenplay the best ever written.[11] Gone with the Wind (1939) was voted the favorite film of Americans in a poll undertaken by Harris Interactive in 2008, and again in a follow-up poll in 2014. In both instances Star Wars was ranked in second place.[12][13] Gone with the Wind was also picked as the best film for Best in Film: The Greatest Movies of Our Time.[14] Himala (Miracle) (1982) by Ishmael Bernal won the 2008 CNN Asia Pacific Screen Awards Viewers Choice as "Best Asia-Pacific Film of All Time" (voted for by thousands of film fans around the world).[15][16][17][18] Raise the Red Lantern (1991) was voted the best Asian film in another audience poll conducted by MovieMail in 2000. It was followed by The Apu Trilogy (1955–1959) at second place.[19] Schindler's List (1993) was voted the best film ever made by the German film magazine Cinema.[20] Seven Samurai (1954) was voted #1 in an audience poll conducted by MovieMail in 2000. It was followed by The Third Man (1949) in second place.[19] Star Wars (1977) and its sequel The Empire Strikes Back (1980) were chosen as the greatest films by readers of Empire magazine in November 2001 and by voters in a Channel 4 (Film4) poll.[21] Star Wars is also the highest ranking sci-fi film in both versions of the American Film Institute's list of the 100 greatest movies of all time (ranked #15 in the original list, and #13 in the updated list). -
(Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age
The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Bogna Kazur aus Lodz, Polen Göttingen 2018 Contents 1 Introduction ......................................................................................................................... 3 2 The Question of Medium Specificity in the Digital Age .................................................. 29 3 House of Leaves (2000) and the Uncanny Dawn of the Digital........................................ 39 3.1 Digital Paranoia: Arriving on Ash Tree Lane ........................................................... 39 3.2 Writing about House of Leaves ................................................................................. 43 3.3 Intermedial Overabundance: Taming House of Leaves ............................................. 49 3.4 An “Explicit” Approach to the Digital Age ............................................................... 54 3.5 What Kind of Movie is THE NAVIDSON RECORD? ..................................................... 68 4 In the Midst of the Post-Cinematic Age: Marisha Pessl’s Night Film (2013) .................. 88 4.1 Meant for Adaptation: Night Film and the Fallacy of First Impressions ................... 88 4.2 The Post-Cinematic Reception of Film ..................................................................... 96 4.3 The Last Enigma: Cordova’s Underworld ..............................................................