Leveraging Social Media and Multimedia Services for QoE Enhancement in Cultural Industries

2013 ◽  
Author(s):  
Kleopatra Konstanteli ◽  
Athanasios Voulodimos ◽  
Konstantinos Psychas ◽  
Dimitri Nicolopoulos ◽  
Anthousis Andreadis ◽  
...  
Keyword(s):  
Social Media ◽  
Cultural Industries ◽  
Multimedia Services

scholarly journals The Nested Precarities of Creative Labor on Social Media

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
Social Media Platforms ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.

scholarly journals Commodification of Religion and Pop Culture on Social Media: Netnographic Studies

2018 ◽  
pp. 89
Author(s):  
Naili Ni'matul Illiyyun
Keyword(s):  
Qualitative Research ◽  
Social Media ◽  
Content Analysis ◽  
Data Collection ◽  
Religious Identity ◽  
Islamic Law ◽  
Pop Culture ◽  
Cultural Industries ◽  
Cultural Industry ◽  
Muslim Communities

Instagram accounts owned by cultural industry have been followed by millions of followers and are not limited to a group of people in a country because cyberspace creates unlimited communities. Cultural industries that use Instagram place halal (allowed in Islam) and syar'i (based on Islamic law) labels as important elements in promoting their commodities. The following article tries to look at the commodification of several posts on Instagram that are related to religious identity and the implications that are formed by the cultural industry in Muslim communities. The following qualitative research is analyzed by content analysis based on data collection - neographic studies - from several Instagram accounts, such as travel, fashion, and cosmetics agent acoounts which utilize Islamic attributes. The results of this study indicate that the cultural industry always introduces new trends of pop culture through Instagram by using religious attributes, such as using the terms halal, syar'i, or Muslim. Religion as an agency is widely used by the cultural industry in advertising its commodities. In addition, the agency is a tool to persuade consumers to buy commodities and at the same time it is able to identify consumers as pious and modern Muslims.

scholarly journals In/visibility in Social Media Work: The Hidden Labor Behind the Brands

2021 ◽  
Author(s):  
Brooke Erin Duffy ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Emotional Labor ◽  
Technical Communication ◽  
Cultural Industries ◽  
The Media ◽  
Marginal Status ◽  
Media Professionals ◽  
Media Work ◽  
Depth Interviews

Despite the staggering uptick in social media employment over the last decade, this nascent category of cultural labor remains comparatively under-theorized. In this paper, we contend that social media work is configured by a visibility paradox: while workers are tasked with elevating the presence—or visibility—of their employers’ brands across Facebook, Twitter, Instagram, and more, their identities—and much of their labor—remains hidden behind branded social media accounts. To illuminate how this ostensible paradox impacts laborers’ conditions and experiences of work, we present data from in-depth interviews with more than 40 social media professionals. Their accounts make clear that social media work is not just materially concealed, but rendered socially invisible through its lack of crediting, marginal status, and incessant demands for un/under-compensated emotional labor. This patterned devaluation of social media employment can, we show, be situated along two gender-coded axes that have long structured the value of labor in the media and cultural industries: 1). technical-communication and 2). creation-circulation. After detailing these in/visibility mechanisms, we conclude by addressing the implications of our findings for the politics and subjectivities of work in an increasingly digital media economy.

scholarly journals Understanding Transmedia Music on YouTube through Disney Storytelling

2021 ◽  
Vol 13 (7) ◽  
pp. 3667
Author(s):  
Arantxa Vizcaíno-Verdú ◽  
Ignacio Aguaded ◽  
Paloma Contreras-Pulido
Keyword(s):  
Social Media ◽  
Statistical Test ◽  
Human Interaction ◽  
Cultural Industries ◽  
Contemporary Society ◽  
Transmedia Storytelling ◽  
Great Relevance ◽  
Three Stages ◽  
Original Story ◽  
The Impact

Transmedia storytelling has been integrated into contemporary society through social media, where influencers have enabled the building of worlds. Within this environment of human-interaction, fiction and converging social realities have become an essential tool to tell stories. On YouTube, storytelling has expanded to music, where cover videos take on great relevance. The aim of this study is to understand the transmedia music phenomenon due to the impact of music on the platform. To this end, we applied a methodology that stemmed from Grounded Theory principles in the analysis of 300 Disney animation song covers in three stages: (1) deductive and inductive codebook development; (2) social network analysis; and (3) statistical test. The results showed that youtubers highlight specific audiovisual codes from the film and cultural industries. Furthermore, we observed these productions often display configurations that expand the original story through performance, location, costumes, make-up, among others. We argue that, on the digital sphere, a sustainable transmedia music paradigm is developing, where performers construct more meaningful and valuable stories.

scholarly journals From Visuality to Visibility: Regime, Capital, Media

2020 ◽  
Vol 16 (1) ◽  
pp. 125-131
Author(s):  
Žilvinė Gaižutytė-Filipavičienė
Keyword(s):  
Social Media ◽  
Visual Culture ◽  
Social Stratification ◽  
Social Structures ◽  
Western Society ◽  
Cultural Industries ◽  
Intellectual Life ◽  
Social Sphere ◽  
Social Fact ◽  
Material Capital

SummaryVisibility is a capacity to be seen by others directly or through images and can be defined as a total social fact, which includes different domains of collective life. As Italian sociologist Andrea Mubi Brighenti argues, visibility is a form of “visuality at large” and the visible entails more than the visual, more than the sensorially perceptible, which becomes clear when we consider the fact that the visual itself needs to be visibilised, and examine the ways in which this happens. In the last decades visibility in a social sphere and media was largely “capitalised”. According to French sociologist Nathalie Heinich, the visibility capitalis firmly entrenched within Western society, culture and media. Non-material capital of visibility differs from other non-material symbolical or cultural capitals in Bourdieusian sense. This new phenomenon includes all features of classical material capital. The capital of visibility is measurable, accumulated, transmissible, earning interest and convertible. It can be measured by number of fans, showing results in Google search, number of views in YouTube, number of followers in social media Instagram, Facebook or number of images in other mass media.The cult of celebrity, the aspiration for visibility, and widespread practices of seeing within contemporary visual culture touched on many important social, political, cultural and intellectual spheres. Celebrity culture that arose out of the cinema industry underwent significant transformations, penetrated into existing social structures, fields and institutions. Visibility deeply changes cultural and intellectual life, influences our values and attitudes. The regime of visibility transforms social stratification by creating celebrities as a new social category called media elite. These persons are isolated from their original environment and placed in a context with its own logic and rules. These issues will be analysed using examples from the sphere of creative and cultural industries.

scholarly journals The Nested Precarities of Platformized Creative Labor

2021 ◽  
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of visibility—likes, favorites, subscribers, and shares—are indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators—including Instagrammers, YouTubers, TikTok creators, and those seeking monetization through Pinterest and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, most especially the guiding logic of platform capitalism.

scholarly journals SoundCloud and Bandcamp as Alternative Music Platforms

2019 ◽  
Vol 5 (4) ◽  
pp. 205630511988342 ◽  
Author(s):  
David Hesmondhalgh ◽  
Ellis Jones ◽  
Andreas Rauh
Keyword(s):  
Social Media ◽  
Intellectual Property ◽  
Digital Technologies ◽  
Cultural Industries ◽  
Bottom Up ◽  
Alternative Music ◽  
The Social ◽  
Key Features ◽  
Media Systems ◽  
Key Aspects

We examine two “producer-oriented” audio distribution platforms, SoundCloud and Bandcamp, which have been important repositories for the hopes of musicians, commentators, and audiences that digital technologies and cultural platforms might promote democratization of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud’s bottom-up abundance are compromised by two elements that underpin the platform: the problematic “culture of connectivity” of the social media systems to which it must remain integrally linked and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of “platformization,” and we explore the possibility that some of the platform’s apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue that even while in some respects Bandcamp acts more effectively as a cultural alternative than does SoundCloud, Bandcamp is also congruent economically and discursively with how platforms capitalize on the activity of self-managing, self-auditing, specialist, worker-users.

scholarly journals Algorithmic Experts: Selling Algorithmic Lore on YouTube

2020 ◽  
Vol 6 (1) ◽  
pp. 205630511989732 ◽  
Author(s):  
Sophie Bishop
Keyword(s):  
Social Media ◽  
New Media ◽  
Business Models ◽  
Cultural Industries ◽  
Organizational Strategies ◽  
Research Strategies ◽  
Misleading Information ◽  
Social Media Platforms ◽  
Symbolic Production ◽  
Management Of Risk

This article considers the growing influence of self-styled algorithmic “experts.” Experts build valuable brands, accumulate notoriety, and piece together careers by selling theorizations of algorithmic visibility on YouTube to aspiring and established creators. They function as intermediaries between sanctioned YouTube industries and the agency of cultural producers. Expertise is developed through research, strategies, and theories to help content creators mitigate platform-specific risks, particularly the risk of algorithmic invisibility. Experts develop entrepreneurial self-brands and position themselves as YouTube’s adversaries, performing “experiments” ostensibly to reveal or translate hidden algorithmic signals or correct “misleading” information. However, ultimately, they teach creators to be complicit with YouTube’s organizational strategies and business models. Studying algorithmic experts reveals insights into how new media producers negotiate platform visibility, but also speaks to long-standing questions about how the management of risk in cultural industries shapes symbolic production. I draw on a 3-year ethnography of YouTube industries to illustrate how experts interpret and instruct in how to become algorithmically (and advertiser) compliant on YouTube. In addition, I highlight their broader role as de facto producers and gatekeepers for aspiring and existing content producers. Meritocratic logic flows through experts’ outputs—meaning expertise is limited to individualized and patchwork solutions that do not address the significant socio-economic inequalities that are still inherent on social media platforms.

Where Social Media Meets AAC

ASHA Leader ◽  
2015 ◽  
Vol 20 (7) ◽  
Author(s):  
Vicki Clarke
Keyword(s):  
Social Media
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