BAB II GAMBARAN UMUM YOUTUBE A. Youtube 1. Sejarah Youtube
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Youtube Comments As Media Heritage
YouTube comments as media heritage Acquisition, preservation and use cases for YouTube comments as media heritage records at The Netherlands Institute for Sound and Vision Archival studies (UvA) internship report by Jack O’Carroll YOUTUBE COMMENTS AS MEDIA HERITAGE Contents Introduction 4 Overview 4 Research question 4 Methods 4 Approach 5 Scope 5 Significance of this project 6 Chapter 1: Background 7 The Netherlands Institute for Sound and Vision 7 Web video collection at Sound and Vision 8 YouTube 9 YouTube comments 9 Comments as archival records 10 Chapter 2: Comments as audience reception 12 Audience reception theory 12 Literature review: Audience reception and social media 13 Conclusion 15 Chapter 3: Acquisition of comments via the YouTube API 16 YouTube’s Data API 16 Acquisition of comments via the YouTube API 17 YouTube API quotas 17 Calculating quota for full web video collection 18 Updating comments collection 19 Distributed archiving with YouTube API case study 19 Collecting 1.4 billion YouTube annotations 19 Conclusions 20 Chapter 4: YouTube comments within FRBR-style Sound and Vision information model 21 FRBR at Sound and Vision 21 YouTube comments 25 YouTube comments as derivative and aggregate works 25 Alternative approaches 26 Option 1: Collect comments and treat them as analogue for the time being 26 Option 2: CLARIAH Media Suite 27 Option 3: Host using an open third party 28 Chapter 5: Discussion 29 Conclusions summary 29 Discussion: Issue of use cases 29 Possible use cases 30 Audience reception use case 30 2 YOUTUBE -
Youtube 1 Youtube
YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc. -
Transatlantic Technology Law Forum a Joint Initiative of Stanford Law School and the University of Vienna School of Law
Stanford – Vienna Transatlantic Technology Law Forum A joint initiative of Stanford Law School and the University of Vienna School of Law TTLF Working Papers No. 38 How Technology Disrupts Private Law: An Exploratory Study of California and Switzerland as Innovative Jurisdictions Catalina Goanta 2018 TTLF Working Papers Editors: Siegfried Fina, Mark Lemley, and Roland Vogl About the TTLF Working Papers TTLF’s Working Paper Series presents original research on technology-related and business-related law and policy issues of the European Union and the US. The objective of TTLF’s Working Paper Series is to share “work in progress”. The authors of the papers are solely responsible for the content of their contributions and may use the citation standards of their home country. The TTLF Working Papers can be found at http://ttlf.stanford.edu. Please also visit this website to learn more about TTLF’s mission and activities. If you should have any questions regarding the TTLF’s Working Paper Series, please contact Vienna Law Professor Siegfried Fina, Stanford Law Professor Mark Lemley or Stanford LST Executive Director Roland Vogl at the Stanford-Vienna Transatlantic Technology Law Forum http://ttlf.stanford.edu Stanford Law School University of Vienna School of Law Crown Quadrangle Department of Business Law 559 Nathan Abbott Way Schottenbastei 10-16 Stanford, CA 94305-8610 1010 Vienna, Austria About the Author Catalina Goanta is an Assistant Professor of Law and Technology at the Faculty of Law of Maastricht University, and a Niels Stensen visiting fellow (2018-2019) at the Faculty of Law of the University of St. -
Dave Lougee, President and CEO, TEGNA, Inc
Participant Biographies Ty Ahmad-Taylor, Vice President, Business Product Marketing, Facebook, Inc. As Vice President of Business Product Marketing, Ty leads Facebook’s monetization strategy and global go-to- market efforts for products that connect people and businesses on the platform. Prior to Facebook, Ty served as CEO of THX Ltd., a global media and entertainment company. Ty brings to Facebook 25+ years of information design, 20+ years of consumer-facing software and product development leadership, along with interactive television services development experience. Ty has a diverse portfolio of technology and hardware patents, and has held roles at several startups and large media and consumer electronic companies, including Viacom, Comcast, The New York Times, and Samsung. Kevin Arrix, Senior Vice President, DISH Media Kevin Arrix, Senior Vice President of DISH Media Sales, is responsible for DISH TV’s and Sling TV’s advertising sales, analytics and operations. He leads the team spearheading the company’s advanced advertising initiatives, which include cross-platform addressable, programmatic sales and dynamic ad insertion. Arrix is a seasoned revenue executive with 20+ years of experience leading Sales, Operations, Client Services and Strategy teams. He is a recognized thought-leader fluent in the various disciplines of digital and mobile advertising and marketing. Prior to joining DISH in 2018, Arrix served as Chief Revenue Officer of Verve, leading the mobile marketing platform’s Direct and Enterprise sales, customer success and advertising operations teams. Prior to Verve, Arrix served as Chief Revenue Officer at mobile rewards entertainment platform Viggle, where he arrived prior to product launch to build out the sales team, the operational infrastructure and revenue foundation. -
70Th Annual Tech & Engineering Brand Opportunities
PROPRIETARY & CONFIDENTIAL BRAND OPPORTUNITIES APRIL 7, 2019 PROPRIETARY & CONFIDENTIAL 2 Program Book Advertising Rates Trimmed Size (in inches) 2019 Net Rate Format Width Height 4-Color CMYK Black & White Rear Cover 8⅛ 10⅞ $11,000 — 2-Page Spread 16¼ 10⅞ $9,500 — Center Spread Add $750 Inside Cover(s) Add $500 Full Page 8⅛ 10⅞ $6,500 $5,500 Inside Cover(s) Add $500 ⅔ Page 4½ 10 $4,750 $3,850 ½ Page Horizontal 7 4⅞ $4,000 $3,000 ⅓ Page Horizontal 4½ 4⅞ $3,000 $2,250 ⅓ Page Vertical 2¼ 8⅞ $3,000 $2,250 ¼ Page Corner 3⅜ 4⅞ $2,500 $1,750 ¼ Page Horizontal Strip 7 2½ $2,500 $1,750 Specific Editorial Adjacency (All Formats) Add 10% Custom formats and packages, including wraps and inserts, are available upon request. PROPRIETARY & CONFIDENTIAL 3 Ticket and Sponsorship Options Individual Gold Pedestal Atom Wings Presenting $750 $6,500 $7,500 $10,000 $20,000 $50,000 Single Ticket Standard Premium Premium 2x Premium 3x Premium Tickets General Seating Table of 10 Table of 12 Table of 12 Tables of 12 Tables of 12 Featured Logo in Name in Logo in Sponsor Listings + Logo Above Sponsor Recognition — — Sponsor Listings Sponsor LIstings Sole Sponsorship Show Title in of Reception Bar All Displays Logo in Featured Logo in Logo on Front Name in Sponsor Listings Cover + Ad on Print Program — — Sponsor Listings Sponsor Listings + Rear Cover, Wrap, + ½ Page Ad Full Page Ad or Center Spread Featured on Show Page Featured on Event Page Name in Logo in 2 Image/Link Posts + Digital / Social — — Sponsor Listings + 2 Image/Link Posts + Hosted Videos on Each Sponsor Listings Hosted Videos on Each Social Network Image/Link Post Social Network Branding on all Show Clips Step & Repeat — — — — Featured Logo Featured Logo “Emmy Showcase” Featured Pedestal Gallery of featured honorees, with — — — Featured Pedestal + Exclusive prime placement in NAB show lobby. -
WILL Youtube SAIL INTO the DMCA's SAFE HARBOR OR SINK for INTERNET PIRACY?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL ABSTRACT Is YouTube, the popular video sharing website, a new revolution in information sharing or a profitable clearing-house for unauthorized distribution of copyrighted material? YouTube's critics claim that it falls within the latter category, in line with Napster and Grokster. This comment, however, determines that YouTube is fundamentally different from past infringers in that it complies with statutory provisions concerning the removal of copyrighted materials. Furthermore, YouTube's central server architecture distinguishes it from peer-to-peer file sharing websites. This comment concludes that any comparison to Napster or Grokster is superficial, and overlooks the potential benefits of YouTube to copyright owners and to society at large. Copyright © 2007 The John Marshall Law School Cite as Michael Driscoll, Will YouTube Sail into the DMCA's Safe Harboror Sink for Internet Piracy?, 6 J. MARSHALL REV. INTELL. PROP. L. 550 (2007). WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL* 'A sorry agreement is better than a good suit in law." English Proverb1 INTRODUCTION The year 2006 proved a banner year for YouTube, Inc. ("YouTube"), a well- known Internet video sharing service, so much so that Time Magazine credited YouTube for making "You" the Person of the Year. 2 Despite this seemingly positive development for such a young company, the possibility of massive copyright 3 infringement litigation looms over YouTube's future. For months, YouTube was walking a virtual tightrope by obtaining licensing agreements with major copyright owners, yet increasingly gaining popularity through its endless video selection, both legal and otherwise. -
Case 1:07-Cv-02103-LLS Document 214-41 Filed 03/18/10 Page 6 of 7
Viacom International, Inc. v. Youtube, Inc. Doc. 122 Att. 1 A-101 Case 1:07-cv-02103-LLS Document 214-41 Filed 03/18/10 Page 6 of 7 class="send"><span class="timestamp"> 12: 14:53 PM</span> <span class="sender">maryrosedunton: </span><pre class="message">oh so can we do a saved search wI alerts for the copyright cop stuff? I'm thinking we can be pretty ghetto about it and basically use the same stuff we use for subscriptions and repackage it. the only difference they can sign up for email alerts<lpre><ldiv> <div class="receive"><span claSS="timestamp"> 12: 14:54 PM<lspan> <span class="sender">mattadoor: </span><pre class="message">u wear guy jeans?<lpre><ldiv> <div class="send"><span class="timestamp"> 12: 15:04 PM</span> <span claSS="sender">maryrosedunton: </span><pre class="message">hah. both actually<lpre></div> <div class="send"><span class="timestamp"> 12: 15:08 PM<lspan> <span claSS="sender">maryrosedunton: </span><pre class=lmessage">1 have guys and girls<lpre><ldiv> <div claSS="receive"><span class="timestamp">12:15:36 PM<lspan> <span class="sender">mattadoor: </span><pre class="message">shame the cut isn't universal<lpre><ldiv> <div class="send"><span class="timestamp"> 12: 15:56 PM<lspan> <span claSS="sender">maryrosedunton: </span><pre class="message">llike some guys jeans because they're cut straighk/pre></div> <div claSS="receive"><span class="timestamp"> 12: 16:20 PM<lspan> <span class="sender">mattadoor: </span><pre class="message">you can have whatever you want, but it is just how much time do you guys want to give to these fucking assholes<lpre><ldiv> <div claSS="receive"><span claSS="timestamp">12:16:30 PM<lspan> <span class="sender">mattadoor: <lspan><pre class="message">""<lpre><ldiv> <div class="send"><span class="timestamp"> 12: 16:55 PM<lspan> <span class="sender">maryrosedunton: <lspan><pre class='message">hah. -
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. -
Oral History of Steve Chen, Part 2 of 2
Oral History of Steve Chen, part 2 of 2 Interviewed by: Marguerite Gong Hancock Marc Weber Recorded May 16, 2019 Mountain View, CA CHM Reference number: X8933.2019 © 2019 Computer History Museum Oral History of Steve Chen, part 2 Hancock: All right. Today is May 16th, 2019. Thanks, Steve Chen, for coming to continue your oral history. I'm Marguerite Hancock with Mark Weber interviewing you on behalf of the Computer History Museum. Chen: Great. Hancock: We had such a great conversation last time. We'd like to continue where we left off, and we were just talking about pitching to Sequoia-- Chen: Right. Hancock: And there was a lot of strong interest in you and you were thinking about who you would like to work with as an investor. And I had asked you whether you knew about, or if you still had your pitch deck and you said you knew it was out there somewhere, so we found it. Chen: Yeah. Hancock: And for people really trying to understand the essence of YouTube. Chen: Yeah, yeah. Hancock: I would like to ask you if you would be willing to walk through those initial pages and tell us what you were thinking about as you made the pitch. Chen: Sure. Hancock: And then also any comments now in retrospect. Has your vision changed? Chen: Right. Hancock: Reflecting back, would you have pitched it any differently? You know and I'll just hand this if you want to refer to it along the way. Chen: Well, it was great that you found this because this kind of a Flashback to what is it, 14 years ago? As I was reading this last night and the email attachment, just about every page was almost a chapter in a new novel. -
Patriot Press April May 2019
@LibertyPublicat @libertyhspublications www.pinterest.com/tyearbook April/May 2019 Patriot Press News Team Volume 25: Issue 5 Liberty High School Talon Yearbook and Patriot Press Newspaper 6300 Independence Avenue, Bealeton, Virginia 22712 The Quinceañera Endures as a Meaningful Rite of Passage her brothers, sisters, cousins,and by Melissa Reyes that the Quinceañera is officially all the special people in her life ~Staff Reporter a young woman and that the doll and the people who she wants is officially her last toy. Another to share her special day with. very special ceremony is the coro- “I didn’t have have a nation. It’s when the Quinceañera Court of Honor because I just is given a crown and officially wanted a small party with just declared a princess to everybody my family. I wanted to be able that is present. The shoe ceremo- to talk to everyone in my family ny is where the Quinceañera’s and not just focus on dances,” father presents her with a pair said sophomore Katie Castro. of heels, officially meaning “I chose my Court with she is not a little girl anymore. family and friends I am close with,” The dances are a very said senior Wendy Velasquez. important part of Quinceañeras. “I was surprised I got They are not a requirement for picked to be a Chambelan of every party but they do make Elizabeth Padilla-Delgado poses for Honor because I wasn’t His- the night more fun and special. a fabulous photo session before panic,” said junior Khai Pham. There are many dances that a her Quinceañera. -
Youtube: Theater for Gen Z's Hyperreality
Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 Youtube: Theater for Gen Z’s Hyperreality Marina E. Laprade Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Laprade, Marina E., "Youtube: Theater for Gen Z’s Hyperreality" (2020). Senior Projects Spring 2020. 161. https://digitalcommons.bard.edu/senproj_s2020/161 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Youtube: Theater for Gen Z’s Hyperreality Senior Project Submitted to The Division of the Art of Bard College by Marina Laprade Annandale-on-Hudson, New York May 2020 2 Acknowledgements Thank you to Susan and to everyone else who supported me while writing this. Thank you Cayce Pollard and your jetlagged mirror world. 3 Table of Contents Introduction Thesis……………………………………………………………………………………………...4 Context The Vlogging Influencer……………………………………………………………….. -
Can We Save Video Game Journalism? Can Grass Roots Media Contribute with a More Critical Perspective to Contemporary Video Game Coverage?
Fall 08 Can We Save Video Game Journalism? Can grass roots media contribute with a more critical perspective to contemporary video game coverage? Author: Alejandro Soler Supervisor: Patrick Prax MASTERS THESIS: TWO YEARS MASTERS THESIS | DEPARTMENT OF INFORMATICS AND MEDIA | MEDIA & COMMUNICATION STUDIES UPPSALA UNIVERSITY | SPRING 2014 Abstract Video game journalism has been accused for lack in journalistic legitimacy for decades. The historical relation between video game journalists and video game publishers has always been problematic from an objective point of view, as publishers have the power to govern and dictate journalistic coverage by withdrawing financial funding and review material. This has consequently lead to lack in journalistic legitimacy when it comes to video game coverage. However, as the grass roots media movement gained popularity and attention in the mid 2000s, a new more direct and personal way of coverage became evident. Nowadays, grass roots media producers operate within the same field of practice as traditional journalists and the difference between entertainment and journalism has become harder than ever to distinguish. The aim of this master thesis is to discover if grass roots media is more critical than traditional video game journalism regarding industry coverage. The study combines Communication Power theory, Web 2.0 and Convergence Culture, as well as Alternative Media and Participatory Journalistic theory, to create an interdisciplinary theoretical framework. The theoretical framework also guides our choice in methodology as a grounded theory study, where the aim of analysis is to present or discover a new theory or present propositions grounded in our analysis. To reach this methodological goal, 10 different grass roots media producers were interviewed at 6 different occasions.