The Negotiation between Dual Roles of New Media Audiences in Online Video Sharing Sites

The Negotiation between Dual Roles of New Media Audiences in Online Video-Sharing Sites Johnny Jie Gu 16 October 2008

Introduction ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

New Role, New Practice, New Question ,[object Object],prosumer (Toffler 1980) user (Livingstone 2002) viewser (Harries 2002) player (Marshall 2004) you-user (Van Dijck 2007) produser (Bruns 2006)

[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Research Questions ,[object Object],[object Object],[object Object],[object Object]

Theoretical Foundations ,[object Object],[object Object],[object Object],[object Object],consumer producer meanings media practices media texts media qua objects media qua texts

[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],— impliation: position the acquisition of roles in particular contexts

[object Object],[object Object],[object Object],[object Object],[object Object],— impliation: examine key elements behind production and consumption practices — impliation: identify the ‘anchoring practice’ among YouTube users’ overall practices

[object Object],[object Object],Consumption and Production Practices on YouTube ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Case and Methods ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

http://www.youtube.com/user/aubreykins31

Intentional Consumption and Accidental Production ‘ Since I’m going to school for Radio/Television production, it’s interesting for me to see what kind of techniques people use … it’s interesting to see how the general public takes advantage of it, and how that is going to affect my career.’ ,[object Object],[object Object],[object Object],‘ I had fallen in love with the idea behind a video community…I wanted in on the fun as well.’ ‘ It’s a weekday, and today is awesome because it’s a weekday. And I mean the Fiveawesomegirls’s video.’ Results

[object Object],‘ So I made this video in about 5 minutes. And I don't even know why. … But it has become a recent addiction that I am not too terrible proud of.’ (quotes from video information)

stratification model of agent (Giddens 1984) motivation of action (unconscious video making) Reflexive monitoring of action (reflexive monitoring of her consumer role) rationalization of routinisation (routinised consumption) unintended consequences of action (her first video)

Consuming and Producing a Real Self ‘ Most of the people I subscribe to or favourite seem a lot like me as well as the kind of people I would get along with.’ ‘ It allowed me to communicate with other people who had similar interests and interact with them in a way very different from the real world.’ ‘ The people on YouTube should present themselves as who they really are rather than morph themselves until they think they should be.’ (quotes from ‘FiveAwesomeGirls Are Awesome’) ,[object Object]

‘ I try and keep the number of people I’m subscribed to down because it makes it easier to stay up to date with all of them. I refuse to take any “sub 4 sub” Offers… I’m not what you could call (for lack of a better term), a subscriber whore…I only subscribe if I truly like a channel.’ ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

[object Object],‘ Some day, something I do may catch on and I’ll become more popular. And if that happens, than that’s fantastic! But it’s not necessarily a goal of mine.’ ‘ sorry for the shaky camera work!’, ‘except for the crappy music editing’, ‘the video quality sucks’… ‘ So obviously, when making a video, I’m very conscious of ensuring that it is entertaining...But other than that, I simply try to be myself (even though I sometimes feel ridiculous talking to a camera).’ (quotes from her video information)

[object Object],aubreykins31 cutmanfilms

‘ The original videos struck me as funny in the first place, despite being quite vulgar which I am not typically drawn to’ ‘ In writing my own script, I was particularly careful to maintain that irony. You’ll notice that both the Most Awkard Boy and the Most Awkward Girl never do anything “awkward” themselves… They are simply the victims of other peoples’ constantly awkward behavior.’ ,[object Object],[object Object],[object Object],[object Object],[object Object]

From Production back to Consumption ,[object Object],‘ I have never really thought about how my audience effects me before.’ ‘ I have never really done any kind of research into the kinds of people who have already subscribed to or commented on my videos.’ ‘… is rather similar to the way you would handle yourself in a room full of people you do not know.’

‘ But I do search by tags when I’m looking for something specific, or checking to see if something has been done before.’ ,[object Object],[object Object],‘ I wanted to let viewers know that it was not my idea. I also wanted to put a link to the original videos in my description so that people who enjoyed mine could easily find the originals (which, in my opinion, are still infinitely better).’ ,[object Object],[object Object],How to consume What to consume

‘ And I only did that because I wanted to get a lot of feedback on it since I had worked so hard.’ ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Conclusion ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Thank you for your attention! Johnny Jie Gu Ph.D Candidate School of Humanities Australian National University Canberra ACT 0200 [email_address] Lecturer Faculty of Television Communication University of China Beijing 100024 [email_address]

Cited References Livingstone, Sonia. 2002. Introduction. In Handbook of new media: social shaping and consequences of ICTs, edited by L. A. Lievrouw and S. Livingstone. London: Sage. Harries, Dan. 2002. Watching the Internet. In The new media book, edited by D. Harries. London: British Film Institute. Dijck, José Van. 2007. Television 2.0: YouTube and the emergence of homecasting. Paper read at Media In Transition 5, April 27-29, at Cambridge, Massachusetts. Bruns, Axel. 2006. Towards produsage: Futures for user-led content production. In Proceedings Cultural Attitudes towards Communication and Technology 2006, edited by F. Sudweeks, H. Hrachovec and C. Ess. Perth: Murdoch University. Giddens, Anthony. 1984. The constitution of society : Outline of the theory of structuration. Cambridge: Polity. Marshall, P. David. 2004. New media cultures. New York: Oxford University Press. Hall, Stuart. 1980. Encoding/decoding In Culture, media, language: working papers in cultural studies, 1972-79, edited by S. Hall. London: University of Birmingham.

Toffler, Alvin. 1980. The third wave. New York: Morrow. YouTube Blog. 2008 http:// www.youtube.com/blog?month =6&year=2008 . Retrieved by July 5, 2008. Swidler, Ann. 2001. What anchors cultural practices. In The practice turn in contemporary theory, edited by T. R. Schatzki, K. K. Cetina and E. v. Savigny. London: Routledge. Press, Andrea, and Sonia Livingstone. 2006. Taking audience research into the age of new media: Old problems and new challenges. In Questions of method in cultural studies, edited by M. White and J. Schwoch. Victoria: Blackwell. Schatzki, Theodore R. 1996. Social practices: a wittgensteinian approach to human activity and the social. Cambridge: Cambridge University Press. Sandvoss, Cornel. 2005. Fans: the mirror of consumption. Oxford: Polity Press.

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