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The Youtube Reader Eds The YouTube Reader eds. Pelle Snickars Patrick Vonderau Table of Contents Pelle Snickars and Patrick Vonderau 9 Introduction Part I: Mediality 22 William Uricchio 24 The Future of a Medium Once Known as Television Bernard Stiegler 40 The Carnival of the New Screen: From Hegemony to Isonomy Richard Grusin 60 YouTube at the End of New Media Part II: Usage 68 Imprint: National Library of Sweden, P.O. Box 5039, 10241 Stockholm, Sweden Patricia G. Lange 70 Pelle Snickars / Patrick Vonderau & National Library of Sweden Videos of Affinity on YouTube Designed by Ivy Kunze Copy editor: Steve Wilder Jean Burgess and Joshua Green 89 Printed in Lithuania by Logotipas, 2009 The Entrepreneurial Vlogger: Participatory Culture Beyond the Professional-Amateur Divide ISSN: 1654-6601 ISBN: 978-9-188468-11-6 Patrick Vonderau 108 Writers Becoming Users: YouTube Hype and the Writer’s Strike 5 Eggo Müller 126 Part IV: Storage 266 Where Quality Matters: Discourses on the Art of Making a YouTube Video Rick Prelinger 268 The Appearance of Archives Bjørn Sørenssen 140 Breaking the Age Barrier in the Internet Age: Frank Kessler and Mirko Tobias Schäfer 275 The Story of Geriatric1927 Navigating YouTube: Constituting a Hybrid Information Management System Pelle Snickars 292 Part III: Form 152 The Archival Cloud Joost Broeren 154 Trond Lundemo 314 Digital Attractions: Reloading In the Kingdom of Shadows: Early Cinema in Online Video Collections Cinematic Movement and Its Digital Ghost Thomas Elsaesser 166 Jens Schröter 330 Tales of Epiphany and Entropy: On the Logic of the Digital Archive Around the Worlds in Eighty Clicks Gunnar Iversen 347 Kathrin Peters and Andrea Seier 187 An Ocean of Sound and Image: Home Dance: YouTube in the Context of Supermodernity Mediacy and Aesthetics of the Self on YouTube Christian Christensen 204 “Hey Man, Nice Shot”: Part V: Industry 358 Setting the Iraq War to Music on YouTube Joëlle Farchy 360 Malin Wahlberg 218 Economics of Sharing Platforms: YouTube Commemoration: What’s Wrong with Cultural Industries? Private Grief and Communal Consolation Janet Wasko and Mary Erickson 372 Markus Stauff 236 The Political Economy of YouTube Sports on YouTube Paul McDonald 387 Vinzenz Hediger 252 Digital Discords in the Online Media Economy: YouTube and the Aesthetics Advertising versus Content versus Copyright of Political Accountability 6 7 Mark Andrejevic 406 Pelle Snickars and Patrick Vonderau Exploiting YouTube: Contradictions of User-Generated Labor Toby Miller 424 Introduction Cybertarians of the World Unite: You Have Nothing to Lose but Your Tubes! On October 9, 2006, an intriguing video was uploaded on YouTube. A little more than a minute and a half long, the clip had a gritty, low- Andrei Gornyk 441 resolution look, marked by jerky camera movements and sloppy fram- From YouTube to RuTube, or, How I Learned ing. Apparently shot near a highly frequented street, the two persons to Stop Worrying and Love All Tubes appearing in it had to move into position to address the camera. “Hi YouTube, this is Chad and Steve. We’re the co-founders of the site, and we just wanted to say thank you. Today we have some exciting news. We’ve been acquired by Google.”1 Part VI: Curatorship 456 The short clip, entitled “A Message from Chad and Steve,” formed part of YouTube’s official statement declaring that the deal with Google Giovanna Fossati 458 finally had been settled, making the two young Web entrepreneurs Chad YouTube as a Mirror Maze Hurley and Steve Chen billionaires. In one of the most talked-about Web acquisitions to date, Google paid $1.65 billion in stock for YouTube, a company that had begun as a venture-funded technology startup only a year earlier. As a matter of fact, the Hurley and Chen clip bears some General Bibliography 466 resemblance to the very first video uploaded on YouTube in April 2005 — Contributors 486 “Me at the Zoo,” featuring the third co-founder Jawed Karim — and not List of Illustrations 493 only in its seemingly coincidental recording of what would later prove Index 497 to be a turning point in YouTube’s history. In retrospect, Jawed even seems to have had some foreboding about the heavyweight corporation allegedly sucking the YouTube community dry. Speaking in front of two elephants, and partly covering them up, he tersely commented on their “really, really, really long trunks.” “And that’s pretty much all there is to say,” he noted before the camera was turned off.2 Posting the clip “A Message from Chad and Steve” in many ways became a performative Web 2.0 act. Since then, more than three million users have watched the video, and almost ten thousand people have left comments. The apparently coincidental recording demonstrated how video could be used as an unobtrusive channel of communication to address the community that had built up YouTube as a proprietary platform in the first place. But it also contributed to the hype around the platform and its many ways of creating business opportunities. For 8 9 Introduction Snickars & Vonderau a while YouTube grew at an inconceivable rate of 75 percent a week, fact are “increasingly going after each other’s turf, including jockeying for and by the summer of 2006 the site had 13 million unique visitors video programming that could generate the most advertising dollars.”10 every day that watched more than a hundred million video clips.3 You- But as the fastest-growing site in the history of the Web, YouTube Tube quickly outperformed rivals, including previous competitor Google also remains the default site for video and the prototype for all simi- Video, in its ability to attract and distribute content. At the same time, lar sites to come. In March 2009, for example, the site had more than YouTube’s management continued to promote the site via Web videos, 90 million visitors — in terms of traffic ten times as many users as its press releases, interviews and the company blog as being co-created, closest competitor.11 And it is YouTube, and none of its rivals, that has as a more or less “empty” platform to be filled by the YouTube commu- been making the news constantly, not least because of the democra- nity with originally produced content of various kinds. In addressing tizing potential the platform still holds for nations worldwide. Speak- amateurs, advertisers and professional producers alike, YouTube in fact ing of Hurley and Chen’s subtly patronizing address to the community, made the term “platform” what it has become: a sales pitch that skips one therefore should not forget how often YouTube has challenged all over tensions in services to be sold, as well as a claim that downplays forms of outspoken paternalism, especially in the political domain. In the way YouTube as a cultural intermediary has fundamentally shaped our globalized, corporate-controlled mediascape, it is also liberating to public discourse over the past few years.4 “A platform enables. It helps see a madly laughing toddler attracting more viewers than Harry Potter others build value,” as Jeff Jarvis has stated.5 It was hardly surprising and Pirates of the Caribbean together.12 YouTube has become the very that Steve Chen made a similar claim in the Google acquisition video: epitome of digital culture not only by promising endless opportunities “Thanks to all and everyone of you guys who has been contributing to for viral marketing or format development, but also by allowing “you” YouTube and the community. We wouldn’t be anywhere close to where to post a video which might incidentally change the course of histo- we are without the help of this community.” ry. Establishing a clip culture that outpaces cinema and television, the The promotion of YouTube as a community-driven platform certainly brand-named video-distribution platform holds the broadest repository strikes one as odd at second glance, not least because of the Google of moving-image culture to date. subsidiary’s current attempts to increase profits by prompting its users The peculiarity of YouTube, then, lies in the way the platform has to deliver “better content.”6 After all, monetization is said to be the “no. been negotiating and navigating between community and commerce. If 1 priority in 2009.”7 Certainly, partnership programs and individual deals YouTube is anything, it is both industry and user driven. Consider music with media companies have already allowed YouTube to place ads along- videos, which dominate categories like “most popular” and “most side videos for some time, splitting revenue with its partners. Because viewed,” while still being marginal to the site’s overall content in terms of the unpredictable nature of amateur content, however, an estimated of clips uploaded. Then again, the long tail of content generated by less than five percent of the clips on YouTube still carry advertisements, amateurs seems almost infinite, and that sort of material often appears hence the need to find ways “for people to engage in new ways with to be the “most discussed.” “A Message from Chad and Steve” testi- video,” as the YouTube Fact Sheet states. fies to this very same dialectic. The video promoted YouTube as being Turning from an interpersonal video-sharing service into “the community driven, although the company’s founders had, prior to the world’s leading video community on the Internet,”8 YouTube has trans- Google buyout, been in talks with media corporations with the inten- formed not only the very notion of “platform,” but also the character of tion of increasing their services’ value. Arguably, YouTube’s manage- its “community,” and will continue to do so in a neat competition for ment knew that the platform’s “community value” derived from the industrializing “usage.” As of this writing, Hulu.com has only a sliver of exponentially growing number of videos generated by amateurs, but it YouTube’s traffic volume, but was predicted to bring in the same amount also knew that professionally produced entertainment would increase of advertisement revenue, precisely by virtue of providing “better,” that traffic and solidify the binary rule that on the Web, money tends to fol- is professionally produced, content for advertisers.9 Hulu and YouTube in low users.
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