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Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
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. -
Youtube Yrityksen Markkinoinnin Välineenä
Lassi Tuomikoski Youtube yrityksen markkinoinnin välineenä Metropolia Ammattikorkeakoulu Tradenomi Liiketalouden koulutusohjelma Opinnäytetyö Lokakuu 2014 Tiivistelmä Tekijä Lassi Tuomikoski Otsikko Youtube yrityksen markkinoinnin välineenä Sivumäärä 47 sivua + 2 liitettä Aika 9.11.2014 Tutkinto Tradenomi Koulutusohjelma Liiketalous Suuntautumisvaihtoehto Markkinointi Ohjaaja lehtori Raisa Varsta Tämän opinnäytetyön tarkoituksena oli luoda ohjeistus oman sisällön luomiseen Youtubessa aloittelevalle yritykselle. Työn toisena tavoitteena on osoittaa, miten yritys pystyy hyödyntämään videonjakopalvelu Youtubea omassa liiketoiminnassaan muiden markkinoinnin keinojen avulla. Työn viitekehyksessä käydään läpi keskeisimmät käsitteet ja termit ja esitellään Youtube yrityksenä sekä videonjakopalveluna. Työssä kerrotaan, millä eri tavoin yritys voi näkyä Youtubessa ja Youtube yrityksen markkinoinnissa. Toiminnallisena osana työtä tuotettiin konkreettisten esimerkkien pohjalta ohjeistus Youtuben parissa aloittelevalle yritykselle siitä, kuinka päästä alkuun tehokkaassa ja yritykselle lisäarvoa tuottavassa sisällöntuottamisessa. Mitä asiota oman sisällön luomisessa täytyy ottaa huomioon ja millä keinoilla Youtubessa voidaan menestyä. Opinnäytetyön johtopäätöksenä todettiin, että ennen oman sisällön luomista on yrityksen sisältöstrategian oltava kunnossa. Sisällön tärkeyttä ei voi oman sisällön luomisessa tarpeeksi korostaa. Sisällön on oltava merkityksellistä asiakkaan kannalta. Avainsanat youtube, sisältömarkkinointi, sosiaalinen media Abstract -
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. -
Black Women's Youtube Channels in Brazil As Fortalecimento
Black Faces in White Spaces: Black Women’s YouTube Channels in Brazil as Fortalecimento ALIDA PERRINE University of Texas, Austin Abstract: A large and growing network of black women YouTubers in Brazil mobilize strategies of fortalecimento, a term used by some women to refer to how they prepare themselves to face the barriers created by the gendered racial hierarchy of Brazilian society. In this article, I examine these YouTube channels and the tactics black women use to increase their own visibility, to value black aesthetics, and to denounce racist and sexist acts or representations. Furthermore, I consider the importance of physical spaces, such as production studios, for YouTube success, and how black women negotiate material spaces as well as the video sharing platform to maximize their visibility and encroach on predominantly white spaces of cultural production. Using theories of intersectionality, representation, and subjecthood, I examine how these women use (virtual) communities to re-signify and pluralize black womanhood in Brazil. Keywords: Racism, sexism, social media, representation, cultural resistance When Nátaly Neri, a 21-year-old black college student, started her YouTube channel in 2015, it was one among thousands of other channels containing do-it- yourself videos about sewing and hairstyles. Scrolling through her videos, one finds showcases of thrift-store finds transformed into the unique fashion that defines Neri’s style, as well as detailed documentation of her transitions from braids to dreads and beyond. For many young black women like Neri with channels on YouTube, not just in Brazil but throughout the diaspora, haircare and styling is a common entry point to the practice of self-vlogging. -
Pewdiepie, Popularity, and Profitability
Pepperdine Journal of Communication Research Volume 8 Article 4 2020 The 3 P's: Pewdiepie, Popularity, and Profitability Lea Medina Pepperdine University, [email protected] Eric Reed Pepperdine University, [email protected] Cameron Davis Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr Part of the Communication Commons Recommended Citation Medina, Lea; Reed, Eric; and Davis, Cameron (2020) "The 3 P's: Pewdiepie, Popularity, and Profitability," Pepperdine Journal of Communication Research: Vol. 8 , Article 4. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/4 This Article is brought to you for free and open access by the Communication at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. 21 The 3 P’s: Pewdiepie, Popularity, & Popularity Lea Medina Written for COM 300: Media Research (Dr. Klive Oh) Introduction Channel is an online prole created on the Felix Arvid Ul Kjellberg—more website YouTube where users can upload their aectionately referred to as Pewdiepie—is original video content to the site. e factors statistically the most successful YouTuber, o his channel that will be explored are his with a net worth o over $15 million and over relationships with the viewers, his personality, 100 million subscribers. With a channel that relationship with his wife, and behavioral has uploaded over 4,000 videos, it becomes patterns. natural to uestion how one person can gain Horton and Wohl’s Parasocial such popularity and prot just by sitting in Interaction eory states that interacting front o a camera. -
The 2Nd International Conference on Internet Pragmatics - Netpra2
THE 2ND INTERNATIONAL CONFERENCE ON INTERNET PRAGMATICS - NETPRA2 INTERACTIONS, IDENTITIES, INTENTIONS 22–24 October 2020 BOOK OF ABSTRACTS Table of Contents Keynotes ............................................................................................................................................ 6 Anita Fetzer (University of Augsburg) ................................................................................................. 6 “It’s a very good thing to bring democracy erm directly to everybody at home”: Participation and discursive action in mediated political discourse ............................................................................ 6 Tuomo Hiippala (University of Helsinki) ............................................................................................ 7 Communicative situations on social media – a multimodal perspective ........................................ 7 Sirpa Leppänen (University of Jyväskylä) ........................................................................................... 8 Intentional identifications in digital interaction: how semiotization serves in fashioning selves and others ......................................................................................................................................... 8 Julien Longhi (University Cergy-Pontoise) ......................................................................................... 9 Building, exploring and analysing CMC corpora: a pragmatic tool-based approach to political discourse on the internet ................................................................................................................. -
Youtube Kids: Parent’S Guide
YouTube Kids: parent’s guide YouTube Kids launched in the UK in November 2015 as a service suitable for younger children with age-appropriate content. As of April 2018, it has gone under some major changes. What do you need to know about YouTube Kids? What is YouTube Kids? YouTube Kids is an app developed by YouTube aimed at delivering age-appropriate content to young children. The app is available on Android, iOS and some Smart TVs. Until recently, the content that appeared on the app was predominantly curated by computer-algorithms and essentially the app was a filtered version of the regular body of videos available on YouTube. However, the app will now have some human curation, by the YouTube Kids team, and allow for greater parental control. What type of content can you expect to find on YouTube Kids? YouTube Kids offers free-to-watch content. This content is made freely available by having advertisements run before videos. Content on YouTube Kids ranges from cartoons to nursery rhymes and from toys reviews to music videos. Currently, the channel with the greatest number of subscribers, 16.8 million, on YouTube Kids is “ChuChu TV Nursery Rhymes and Kids Songs” which produces animated versions of popular children’s rhymes as well as its own songs and educational videos. The second most subscribed channel, with 15 million subscribers, is LittleBabyBum which is another channel centered on animated nursery rhymes. YouTube Kids also offers a paid for service called YouTube Red. This allows children to watch original content produced by YouTube as well as seasons of cartoon favourites such as Postman Pat. -
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues Jesús Muñoz Morcillo1*, Klemens Czurda*, Andrea Geipel**, Caroline Y. Robertson-von Trotha* ABSTRACT: This article provides an overview of the web video production context related to science communication, based on a quantitative analysis of 190 YouTube videos. The authors explore the main characteristics and ongoing strategies of producers, focusing on three topics: professionalism, producer’s gender and age profile, and community building. In the discussion, the authors compare the quantitative results with recently published qualitative research on producers of popular science web videos. This complementary approach gives further evidence on the main characteristics of most popular science communicators on YouTube, it shows a new type of professionalism that surpasses the hitherto existing distinction between User Generated Content (UGC) and Professional Generated Content (PGC), raises gender issues, and questions the participatory culture of science communicators on YouTube. Keywords: Producers of Popular Science Web Videos, Commodification of Science, Gender in Science Communication, Community Building, Professionalism on YouTube Introduction Not very long ago YouTube was introduced as a platform for sharing videos without commodity logic. However, shortly after Google acquired YouTube in 2006, the free exchange of videos gradually shifted to an attention economy ruled by manifold and omnipresent advertising (cf. Jenkins, 2009: 120). YouTube has meanwhile become part of our everyday experience, of our “being in the world” (Merleau Ponty) with all our senses, as an active and constitutive dimension of our understanding of life, knowledge, and communication. However, because of the increasing exploitation of private data, some critical voices have arisen arguing against the production and distribution of free content and warning of the negative consequences for content quality and privacy (e.g., Keen, 2007; Welzer, 2016). -
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. -
Vlogging the Museum: Youtube As a Tool for Audience Engagement
Vlogging the Museum: YouTube as a tool for audience engagement Amanda Dearolph A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2014 Committee: Kris Morrissey Scott Magelssen Program Authorized to Offer Degree: Museology ©Copyright 2014 Amanda Dearolph Abstract Vlogging the Museum: YouTube as a tool for audience engagement Amanda Dearolph Chair of the Supervisory Committee: Kris Morrissey, Director Museology Each month more than a billion individual users visit YouTube watching over 6 billion hours of video, giving this platform access to more people than most cable networks. The goal of this study is to describe how museums are taking advantage of YouTube as a tool for audience engagement. Three museum YouTube channels were chosen for analysis: the San Francisco Zoo, the Metropolitan Museum of Art, and the Field Museum of Natural History. To be included the channel had to create content specifically for YouTube and they were chosen to represent a variety of institutions. Using these three case studies this research focuses on describing the content in terms of its subject matter and alignment with the common practices of YouTube as well as analyzing the level of engagement of these channels achieved based on a series of key performance indicators. This was accomplished with a statistical and content analysis of each channels’ five most viewed videos. The research suggests that content that follows the characteristics and culture of YouTube results in a higher number of views, subscriptions, likes, and comments indicating a higher level of engagement. This also results in a more stable and consistent viewership. -
FOR IMMEDIATE RELEASE Youtube Channel
CONTACT Brian Stemmler 323.401.6416 [email protected] https://youtube.com/makeeverythingtv FOR IMMEDIATE RELEASE YouTube Channel “How to Make Everything” marks 1,000,000 Subscriber milestone by attempting to make a YouTube Play Button from scratch. https://youtu.be/M43lSCeQ8dU It started out as a personal challenge. Then it turned into a documentary. Then a local TV Series...Now, seven years later, “How to Make Everything” seems to have found its niche on YouTube. Since launching on the platform in 2015, the Channel recently passed the 1 million Subscriber mark. The show follows Andy George, Creator and Host of "How to Make Everything", as he makes everything from a sandwich to a suit, tools and even a root beer float from scratch...literally. "This is not a 'How To' show. The show is meant to reveal how complicated it is to make every day items we take for granted, once you strip away the manufacturing and distribution networks which are the backbone of our modern lifestyle" Andy says about his show. "I am by no means an expert in any of the activities I pursue in the series, so the entertainment factor comes in seeing me struggle and sometimes epically fail at my tasks". For example, the premiere episode covers Andy making a sandwich from scratch. This involved growing the wheat to make the bread, sunflowers to make oil for mayonnaise, cucumbers for pickles, lettuce and tomatoes. For salt, Andy had to travel to the Pacific Ocean to gather sea water, which he boiled down. He collected eggs and milk from a farm for mayonnaise and cheese.