YOUTUBING DIFFERENCE: PERFORMING IDENTITY IN ONLINE DO-IT-YOURSELF COMMUNITIES Samara Anarbaeva A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements of the degree of DOCTOR OF PHILOSOPHY August 2011 Committee: Radhika Gajjala, Advisor Lynda D. Dixon Mark A. Earley Graduate Faculty Representative Lara Lengel ii © 2011 Samara Anarbaeva All Rights Reserved iii ABSTRACT Radhika Gajjala, Advisor This study examines women’s performance of gender, ethnicity, and race in a “How-to & Style” YouTube community. Studying visual communities like YouTube helps us understand culturally constituted discourses as well as meaning-making practices of everyday life. Today, users actively participate and create content online, such as blogs and YouTube videos. Through textual and visual analysis, I examine a specific community of women who participate in the Beauty tips section under “How-to & Style” category on YouTube. I look at these women’s YouTube profiles, videos, and comments from their subscribers in order to reveal a deeper sense of what meaning users derive through creating videos on YouTube. I ask the following question: How do women in the YouTube Beauty community perform their identity (gender, ethnicity, and race) and ‘difference’ in their videos? In order to textually and visually analyze YouTube, I look at YouTube videos produced by a community of ordinary women. After analyzing the videos and the dialogues, three themes have emerged in this project: a sense of belonging and connectedness, identity performance at the interface, and globalized fashion cultures. Underrepresented women go to YouTube to relate to others who are like them, which gives them a sense of belonging and connects them to millions of others who are craving the same connection. Through video blogs, these women perform their gender, race, and ethnicity. Finally, through creating fashion and makeup tutorials according to their different facial features and differences, I see the formation of a globalized fashion culture. iv This dissertation is dedicated in loving memory of my dear father, Dr. Mamat Anarbaev, who was an inspiration to many. v ACKNOWLEDGMENTS This dissertation would not have been possible without the help and guidance of many people. I would like to thank the committee members, colleagues, family members, and friends for working together with me on this dissertation and supporting me during this process. I owe my deepest gratitude to my dissertation advisor, Dr. Radhika Gajjala, a gracious mentor who demonstrates rigorous scholarship, caring, and patience. During my years in the graduate program, Dr. Gajjala was not only involved in the dissertation project, but also supervised my teaching, research, and assistantship. We co-authored papers and presentations, and participated in various projects together. Dr. Gajjala’s infectious enthusiasm and unlimited energy has been a major driving force throughout my graduate career at Bowling Green State University. Dr. Lynda Dixon’s role is highlighted by the highest standard of professionalism and ethics she that projects by her scholarship, service, and teaching. Working with Dr. Dixon during my Doctoral program enriched my experience as a student and scholar. I would also like to thank Dr. Lara Lengel for her service as a dissertation committee member. Dr. Lengel’s support and challenging questions pushed me to be a better scholar. I am also grateful to Dr. Mark Earley, who served on the dissertation committee as the graduate faculty representative. Dr. Earley’s suggestions and guidance, especially with the methods section during the defense meetings, have made this dissertation better. I would also like to thank Bowling Green State University and the School of Communication Studies. I am forever appreciative of the assistantship and fellowship funding as well as the educational and professional opportunities I have enjoyed here. vi I am grateful for all of my friends in graduate school who have helped me and supported me through the years. I would especially like to thank Dr. Natalia Rybas, Cynthia Nicole, Dr. Bridget Long, Dr. Precious Yamaguchi, and Megan Learman. I am also grateful to my grandmother, Evelyn Travis, for her support and encouragement ever since I entered this country. I wish to thank my godmother, Graciela Rubalcava, who has kept me sane throughout the dissertation process. Graciela has been enthusiastic and supportive of my scholarly work and has been a great Zumba partner. I also wish to thank my mother, who is the reason I am here today. Her words of wisdom and unlimited encouragement have empowered me since I was a child. I thank my brothers and sisters for their blessings and love. Finally, I would like to express my deep appreciation and thanks to my fervent husband, Ross Rashkov. I am grateful for his love and friendship, and for all the countless ways he supports and encourages me. vii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION .......................................................................................... 1 Entering the Country .................................................................................................. 1 Introduction to my Study ........................................................................................... 4 Cyberspace and Women ............................................................................................ 8 Born to Second Life – a Personal Narrative .............................................................. 10 Registering on Second Life ............................................................................ 12 Ethnicity, Gender, and Race Online .......................................................................... 16 CHAPTER II. DO-IT-YOURSELF CULTURE: THEN AND NOW ................................. 29 YouTube as a Place for Women to Practice DIY ...................................................... 31 CHAPTER III. A METHODOLOGY FOR STUDYING YOUTUBE ................................ 38 Textual Analysis ........................................................................................................ 43 Visual Analysis .......................................................................................................... 46 CHAPTER IV. ANALYSIS OF YOUTUBE VIDEOS: MAKING MEANING OF INTERACTIONS IN DIY COMMUNITIES ................................. 53 Meet the Gurus: Performing Identity at the Interface ................................................ 54 Formation of a Beauty Community: Sense of Belonging and Connectedness ................................................................................... 79 Identity at the Interface: Ethnicity, Geography, and Race ......................................... 89 Producing Global Beauty Communities .................................................................... 105 CHAPTER V. CONCLUSIONS .......................................................................................... 118 Summary and Implications ........................................................................................ 118 viii Unanswered and Emergent Issues ............................................................................. 124 What is at Stake? ........................................................................................................ 126 GLOSSARY .......................................................................................................................... 128 REFERENCES ...................................................................................................................... 129 APPENDIX A. VIDEO DESCRIPTIONS AND COMMENT LOGS ................................. 137 ix LIST OF FIGURES/TABLES Figure/Table Page 1 Figure 1. Most Subscribed “How-to & Style” Channels (March 7, 2011) ................ 5 2 Figure 2. YouTube Account Registration Page (December 7, 2009) ........................ 40 3 Figure 3. Adding YouTube to Google Account Page (December 7, 2009) ............... 41 4 Figure 4. Top How-to & Style YouTube Channels Worldwide Page (March 8, 2011) .............................................................................. 48 5 Figure 5. Accessing My Subscriptions Page (February 5, 2011) .............................. 49 6 Figure 6. My Subscriptions Page (February 3, 2011) ................................................ 50 7 Figure 7. Bubzbeauty’s Profile Page (January 3, 2011) ............................................ 55 8 Figure 8. DulceCandy87’s Profile Page (January 3, 2011) ....................................... 58 9 Figure 9. Hollyannaeree’s Profile Page (January 3, 2011) ........................................ 60 10 Figure 10. Hollyannaeree’s FAQ Page (August 8, 2010) .......................................... 61 11 Figure 11. MakeupAdikt’s FAQ Page (January 5, 2011) .......................................... 64 12 Figure 12. MakeupAdikt’s Profile Page (January 5, 2011) ....................................... 64 13 Figure 13. MichellePhan’s Profile Page (January 5, 2011) ....................................... 66 14 Figure 14. Panacea81’s Profile Page (January 6, 2011) ............................................ 70 15 Figure 15. Poynterr’s Profile Page (January 6, 2011) ................................................ 74 16 Figure 16. Xteeener’s Profile Page (January 6, 2011) ............................................... 76 1 CHAPTER I. INTRODUCTION Entering the Country It was July 1998, I was only sixteen and on my way to