The Hogwarts Express Is Cancelled. Exploration in Cancel Culture, JK
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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. -
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. -
Why Cancel Culture Is
_________________________________________________________________________________________________________________ Why cancel culture is ‘obscene’ Attacked and falsely accused of transphobia, award-winning author Chimamanda Ngozi Adichie is hitting back, excoriating her critics and their sanctimonious hypocrisy. Nigerian author Chimamanda Ngozi Adichie is calling out social media hypocrisy and ‘sanctimony’. By Rosemary Neill July 9, 2021 When the Nigerian literary star Chimamanda Ngozi Adichie was accused of being transphobic on social media, her initial default position was to remain silent. The winner of the Orange and PEN Pinter prizes is famous — her TED talk calling for more diversity in storytelling attracted almost nine million views — so she figured that people posting false or distorted claims about her “comes with the territory’’. As the online abuse continued, Adichie became concerned that “in this age of social media, where a story travels the world in minutes, silence sometimes means that other people can hijack your story and soon their false version becomes the defining story about you”. Last month, the author of celebrated fiction works Purple Hibiscus, Half of a Yellow Sun and Americanah, decided she had had enough. In an eloquent yet ferocious essay 2 titled It is Obscene, she called out social media militancy and accused two of her former writing students of “insulting” or trying to cancel her, and engaging in “ugly opportunism” after she remarked that “trans women are trans women” in a 2017 television interview. Recently, she was attacked online again — and even accused of trying to “kill children” — after she described an essay that Harry Potter author JK Rowling penned on sex and gender as “a perfectly reasonable piece”. -
Youtube, Multichannel Networks and the Accelerated Evolution of the New Screen Ecology
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Cunningham, Stuart, Craig, David, & Silver, Jon (2016) YouTube, multichannel networks and the accelerated evolution of the new screen ecology. Convergence, 22(4), pp. 376-391. This file was downloaded from: https://eprints.qut.edu.au/98716/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1177/1354856516641620 YouTube, Multichannel Networks and the accelerated evolution of the new screen ecology The concept of ‘connected viewing’ encapsulates deep changes in consumer habit and expectation relating ‘to a larger trend across the media industries to integrate digital technology and socially networked communication with traditional screen media practices’ (Holt & Sanson, 2013: 1). -
How's It Going Bros: Pewdiepie's Memeing in Tertiary Orality
HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN (Under the Direction of Shira Chess) ABSTRACT PewDiePie, the most subscribed YouTuber with 61 million subscribers, became a controversial figure in 2017 after cases of hate speech in his videos. While his hate speech has obvious room for exploration, it is impossible to examine his hate speech without first analyzing the creation of his memetic language within the broader digital culture in which he exists and how users within that digital culture adopt his language. This thesis explores the development of orality in digital culture, placing PewDiePie in the middle of the tertiary orality and meme culture. Upon analysis of PewDiePie’s videos and the language adopted by his audience, I conclude PewDiePie’s intent for his speech does not matter, as propagators of hate speech interpellated that they are the subject of his speech. INDEX WORDS: orality; tertiary orality; digital culture; participatory culture; memetics; internet memes; ambivalent internet; interpellation; YouTube; PewDiePie HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN A.B.J., The University of Georgia, 2016 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2018 © 2018 Travis Brown All Rights Reserved HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN Major Professor: Shira Chess Committee: Itai Himelboim Jay Hamilton Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2018 DEDICATION To Mom, for instilling in me my love for learning; And Elizabeth, for keeping me sane while I do so. -
View Publication
Social Media in Asia Co-editors: Cui Litang Xiamen University, Tan Kha Kee College Michael H. Prosser University of Virginia and Shanghai International Studies University Dignity Press World Dignity University Press Copyright © 2014 Michael H. Prosser, except for the parts indicated otherwise. Tis work is licensed under the Creative Commons Attribution-Share-Alike 3.0 Unported License. Please note: Tis license allows free use of the material with the restrictions that authors and editors have to be mentioned as the originators and that works making use of it have to stay open under the same license. For details see: http://creativecommons .org/licenses/by-sa/3.0/. Published by Dignity Press 16 Northview Court Lake Oswego, OR 97035, USA www.dignitypress.org Book design by Uli Spalthof Front cover map from http://commons.wikimedia.org/wiki/File:Map_of_Asia.svg by Cacahuate. Printed on paper from environmentally managed forestry: http://www.lightningsource.com/chainofcustody Book website: www.dignitypress.org/social-media-in-asia ISBN 978-1-937570-36-1 Also available as EPUB: ISBN 978-1-937570-43-9 and Kindle eBook: ISBN 978-1-937570-44-6 589 XVIII. Australian Social Media Trends John Harrison School of Journalism and Communication, The University of Queensland, Brisbane, Australia [email protected] Sean Rintel School of Journalism and Communication, The University of Queensland, Brisbane, Australia [email protected] Elizabeth Mitchell School of Journalism and Communication, The University of Queensland, Brisbane, Australia Corresponding author: [email protected] Abstract Te vast distances Australians must negotiate to connect their small, highly urbanized population both nationally and internationally have long created the incentive for invention, innovation and the early adoption of communication technologies. -
Subscription-Based Crowdfunding: an Emerging Alternative Crowdfunding Model for Content Creators
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Waseda University <MBA Degree Thesis> AY 2018 SUBSCRIPTION-BASED CROWDFUNDING: AN EMERGING ALTERNATIVE CROWDFUNDING MODEL FOR CONTENT CREATORS 57160512-0 NG RUEY AUN MARKETING STRATEGY C.E. PROF. NAGAI, TAKESHI D.E. PROF. MANO, YOSHIKI D.E. PROF. KIM, PILJOONG Summary This master thesis is a study of the burgeoning subscription-based crowdfunding model. Currently, this model of crowdfunding had been relegated as a subcategory of reward-based crowdfunding. However, one of the main purposes of this paper is to propose that subscription-based crowdfunding is functionally different from reward-based crowdfunding and thus deserving its own categorization alongside other community crowdfunding (reward-based crowdfunding and donation crowdfunding). The other purpose of this paper is to study the circumstances which fostered the growth of subscription-based crowdfunding. Unlike reward-based crowdfunding where backers contribute to fundraisers in a singular transaction, subscription-based crowdfunding allows backers (Patrons) to contribute to fundraisers (Creator) in an ongoing basis. This slight change in mechanism fundamentally changed the function of subscription-based crowdfunding and sets this model apart from the others. This form of crowdfunding is also based on the traditional pay membership or subscription services such as newspapers and magazines. However, by combining traditional subscription payment with the crowdfunding model, it became something more than a simple subscription service. The current online media was powered financially by advertising. Due to the abundance of information on the internet, advertisers were able to attain higher negotiation power. -
How Earned and Owned Social Media Impact Shareholder Value Through Consumer Mindset Metrics
Marketing Science Institute Working Paper Series 2016 Report No. 16-115 How Earned and Owned Social Media Impact Shareholder Value Through Consumer Mindset Metrics Anatoli Colicev, Ashwin Malshe, Koen Pauwels, and Peter O’Connor “How Earned and Owned Social Media Impact Shareholder Value Through Consumer Mindset Metrics” © 2016 Anatoli Colicev, Ashwin Malshe, Koen Pauwels, and Peter O’Connor; Report Summary © 2016 Marketing Science Institute MSI working papers are distributed for the benefit of MSI corporate and academic members and the general public. Reports are not to be reproduced or published in any form or by any means, electronic or mechanical, without written permission. Report Summary Although recent studies have shown strong effects of social media metrics on sales and business outcomes, it is unclear why and how these effects occur. In this study, Anatoli Colicev, Ashwin Malshe, Koen Pauwels, and Peter O’Connor propose and study a chain of effects from social media to shareholder value through consumer mindset metrics. They test their proposed paths in a unique data set that captures information on daily earned and owned media from social networking websites, consumer mindset metrics (salience, purchase intent, and advocacy), and stock market returns for 45 brands in 11 industries. They merge these data with data on advertising, firm size, and announcements of new products, dividends, earnings, and M&A to derive a final dataset. Findings Owned social media (i.e., brand posts, tweets, replies to users, and retweets) drive brand salience and advocacy but not purchase intent. Owned social media also drive earned social media brand community size and engagement (i.e., likes and “people talking about that,” user retweets, and YouTube video views), which both in turn drive salience and purchase intent. -
4 1 100K 1.3M
Social Blade believes that the keys to growing a successful online presence are data, support, and community. SOCIAL BLADE Social Blade was founded in 2008. We began tracking YouTube statistics in 2010, Social Blade is an online analytics 2008 Twitch statistics in 2013, and company that provides and interprets Instagram statistics in 2014 data about YouTube, Twitch, and Instagram. Social Blade tracks over 4M 4,000,000 YouTube Socialblade provides the support and channels and counting. community to turn that data into usable information to successfully grow an Social Blade tracks over online presence. 1M 1,000,000 Twitch Channels. SUPPORT Social Blade just began Social Blade provides support free of charge. tracking Instagram Statistics We accept and answer support tickets about 100K in 2014, and already tracks more than just Social Blade; if you have a 100,000 channels! YouTube question, we’re happy to help! We have a team of experts ready to help you Socialblade.com receives with any questions or issues that may rise! over 1,300,000 unique 1.3M visitors each month. The value of having numbers - data - is that they aren’t subject to someone else’s interpretation. [ They are just numbers. You can decide what they mean for you. - Emily Oster ] DATA COMMUNITY Social Blade tracks statistics for Social Blade believes that the best way YouTube, Twitch, and Instagram that to learn and grow is through can be used to help grow your channel. collaborations with other YouTubers. The data can tell you how your actions We provide opportunities for aect your views and subscribers. -
Biography J.K. Rowling Is Best-Known As the Author of the Bestselling Harry Potter Series of Seven Books, Published Between
Biography J.K. Rowling is best-known as the author of the bestselling Harry Potter series of seven books, published between 1997 and 2007. The enduringly popular adventures of Harry, Ron and Hermione have gone on to sell over 500 million copies worldwide, be translated into over 80 languages, and made into eight blockbuster films. Alongside the Harry Potter series, J.K. Rowling also wrote three short companion volumes for charity: Quidditch Through the Ages and Fantastic Beasts and Where to Find Them in aid of Comic Relief; and The Tales of Beedle the Bard in aid of her non-profit children’s organisation Lumos. In 2016, J.K. Rowling collaborated with playwright Jack Thorne and director John Tiffany to continue Harry’s story in a stage play, Harry Potter and the Cursed Child, which opened in London and is now playing in the USA and Australia. In the same year, she made her debut as a screenwriter with the film Fantastic Beasts and Where to Find Them. Inspired by the original companion volume, it was the first in a series of new adventures featuring wizarding world magizoologist Newt Scamander. The second film, Fantastic Beasts: The Crimes of Grindelwald, was released in 2018. Her fairy tale for younger children, The Ickabog, was serialised for free online for children during the Covid-19 pandemic in the summer of 2020, and is now published as a book illustrated by children, with her royalties going to charities supporting vulnerable groups affected by the pandemic. J.K. Rowling also writes novels for adults. The Casual Vacancy was published in 2012 and adapted for television by the BBC in 2015. -
The Relationship of Comment Sentiment and Subscriber Growth Rate
Volume 10 Issue 2 (2021) AP Research August Gaming Sentiment: The Relationship of Comment Sentiment and Subscriber Growth Rate Anirudh Danda1 and Patricia Talarczyk1# 1Mentor High School, Mentor, OH, USA #Advisor ABSTRACT The following research paper explores the potential relationship between comment sentiment and subscriber growth rate on YouTube gaming channels. This study aims to discover if the effect that YouTube comments have on users’ perceptiveness of video content extends to their decision in subscribing to those channels. A sentiment analysis was utilized using Python programming in order to derive the data from various YouTube comment sections. This was compared with the monthly subscriber growth of each channel studied. Results indicate that there is no correlation between comment sentiment and subscriber growth rate for YouTube gaming channels. This implies that gaming content creators should not be wary of the positive or negative comments within their video comment threads and should focus on other areas to grow their channel. However, further research is required in order to verify the results of this study. Introduction YouTube is one of the most famous video sharing platforms of this era. With over two billion active users, the website has managed to captivate one-third of the entire Internet with its content (YouTube, 2020). This immense audience has attracted even more content creators who hope to make a name for themselves. Not only do those successful on YouTube gain fame, they also gain careers. Taking advantage of its enormous user base, YouTube exposes users to ads on content creators’ videos. While the company does still take a portion of the money paid by advertisers, content creators can still make money off of these ads. -
Biography J.K
Biography J.K. Rowling is best-known as the author of the bestselling Harry Potter series of seven books, published between 1997 and 2007. The enduringly popular adventures of Harry, Ron and Hermione have gone on to sell over 500 million copies worldwide, be translated into over 80 languages, and made into eight blockbuster films. Alongside the Harry Potter series, J.K. Rowling also wrote three short companion volumes for charity: Quidditch Through the Ages and Fantastic Beasts and Where to Find Them in aid of Comic Relief; and The Tales of Beedle the Bard in aid of her non-profit children’s organisation Lumos. In 2016 J.K. Rowling collaborated with playwright Jack Thorne and director John Tiffany to continue Harry’s story in a stage play, Harry Potter and the Cursed Child, which opened in London and is now playing in the USA and Australia. In the same year, she made her debut as a screenwriter with the film Fantastic Beasts and Where to Find Them. Inspired by the original companion volume, it was the first in a series of new adventures featuring wizarding world magizoologist Newt Scamander. The second, Fantastic Beasts: The Crimes of Grindelwald, was released in 2018, and the third instalment is due out in November 2021. J.K. Rowling also writes novels for adults. The Casual Vacancy was published in September 2012 and adapted for television by the BBC in 2015. Under the pseudonym Robert Galbraith, she is also the author of the highly acclaimed ‘Strike’ crime series, featuring private detective Cormoran Strike and his assistant Robin Ellacott.