Social media work: reshaping organisational communications, extracting digital value

2017 ◽  
Vol 163 (1) ◽  
pp. 122-136 ◽  
Author(s):  
Anthony McCosker

Social media platforms are associated with significant digital transformations but also carry some uncertainty for organisations seeking to capitalise on their affordances while developing new professional roles. This article explores the characteristics and contexts of social media work and the different approaches of organisations as they enter a second wave of application, moving beyond participation to data extraction within conditions of continuous connectivity and community management. The article uses hybrid methods: analysing job market data and in-depth interviews with 18 social media strategists and workers from 13 different organisations. The analysis is informed by critical accounts of digital labour, and emphasises organisations’ strategic search for new affordances such as analytics that extract additional value from carefully managed communities. The findings reveal how social media work has become diffused across industries, and is understood ‘ecologically’, as a capability that operates right across organisations within a dynamic and changing media environment.

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey

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.


2021 ◽  
pp. 1326365X2110037
Author(s):  
D. Guna Graciyal ◽  
Deepa Viswam

Virtual engagement of lives has been made possible with the advent of social media. Almost 80% of the day are spent virtually on Facebook, Instagram, Twitter, YouTube, Snapchat, etc. Usage of social media to connect to and communicate with the ones we care about is always healthy, termed as social networking. Social dysfunction occurs when the constant communication leads to the point where our real or offline life gets replaced by virtual or online life. There is a slight boundary between social networking and social dysfunction. When social networking is advantageous, social dysfunction affects emotional well-being. When emotional well-being is affected, many users experience a compulsion to dissociate from the real world as they find virtual world, full of fantasy and enjoyment. When the Internet was created, perhaps no one was aware of its potential. More than the convenience for sharing of information it has brought the world so close to crumbling the geographical boundaries. The more people-to-people communication is, the more is the strengthening of relationships, bonds grow stronger with ‘more’ social media platforms. Being on ‘more’ social media platforms has become a benchmark for living amidst the younger generation. Either as an activity of happiness or as an activity of pleasure, users tend to use social media at varying levels. This paper aims to conceptualize the the intricacies of social media in young lives and to discern whether their association is happiness or pleasure activity. The research method of this paper has a mixed-methods research design combining data from structured survey with information outputs from in-depth interviews.


SAGE Open ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 215824402110145
Author(s):  
Zhengwei Huang ◽  
Jing Ouyang ◽  
Xiaohong Huang ◽  
Yanni Yang ◽  
Ling Lin

Medical crowdfunding in social media is growing to be a convenient, accessible, and secure manner to cover medical expenses. It differs from traditional donation initiatives and medical crowdfunding on non-social media platforms in that projects are disseminated via social media network and among acquaintances. Through semi-structured in-depth interviews on donation behaviors of 52 respondents, this study uses grounded theory to extract seven main categories that affect medical crowdfunding donation behavior in social media, namely interpersonal relationship, reciprocity of helping, attitude toward donation, perceived behavior control, perceived trust, project information, and characteristics of patients. In the spirit of Elaboration Likelihood Model, we develop a theoretical framework that the seven factors influence donation behavior in medical crowdfunding in social media via a central and a peripheral route.


2018 ◽  
Vol 34 (1) ◽  
pp. 74-87
Author(s):  
Jenni Hokka

With the advent of popular social media platforms, news journalism has been forced to re-evaluate its relation to its audience. This applies also for public service media that increasingly have to prove its utility through audience ratings. This ethnographic study explores a particular project, the development of ‘concept bible’ for the Finnish Broadcasting Company YLE’s online news; it is an attempt to solve these challenges through new journalistic practices. The study introduces the concept of ‘nuanced universality’, which means that audience groups’ different kinds of needs are taken into account on news production in order to strengthen all people’s ability to be part of society. On a more general level, the article claims that despite its commercial origins, audience segmentation can be transformed into a method that helps revise public service media principles into practices suitable for the digital media environment.


2021 ◽  
Vol 2 (4) ◽  
pp. 529-544
Author(s):  
Daniel Zomeño ◽  
Rocío Blay-Arráez

Media convergence and the incorporation of new narratives typical of the consumption habits of younger audiences in the social media environment have led to the proliferation of a wide variety of formats and types of content in the media ecosystem through which the editorial content offered to brands is being distributed. This qualitative research, using in-depth interviews with a qualified sample of branded content managers from the main Spanish media, allows us to determine the main characteristics of the native advertising demanded by advertisers. The results corroborate observations that content channelled through more sophisticated consumption experiences, using both multimedia and interactivity with a clear transmedia approach, tends to be better received by the audience and, therefore, in greater demand by brands. It also confirms that both video and social media formats have grown exponentially when it comes to providing an outlet for branded content. Based on the results obtained, a proposed classification of these products, including definitions, has been drawn up so they can be publicised to the professional world, offering the reflection and precision that their rapid development has not allowed until now.


2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Harsandaldeep Kaur ◽  
Kanwal Roop Kaur

Purpose Although the prominence of social media for companies is widely acknowledged, a close examination of the literature reveals a lack of empirical research pertaining to the effect of consistency specifically on social media. Therefore, the purpose of this paper is to fill the gap in social media communication concerning the effect of consistent visual identity on social media users. Design/methodology/approach The study executed an experiment 2 (corporate visual identity condition) × 2 (organization type) between subjects design to map the effects of consistent visual identity on social media users appreciation of the visual identity, attitude toward the company, reputation and intention to commit to a company on social media. Findings The results of the study indicated the significant effects of consistent visual identity on social media users over the inconsistent conditions of visual identity on all dependent variables. Furthermore, there were insignificant main effects of organization type on general judgment, credibility, distinctiveness and reputation of the company. Practical implications This study presents the effects of consistent visual identity on social media platforms. The research will help marketing academicians, graphic designers and social media practitioners in online marketing by using its practical implications to strategically positioning their corporate brand in a social media environment. Originality/value This study provides novel insights on the impact of consistency on social media users. This is the first study to determine the role of consistent visual identity in the social media environment. It thereby adds to the literature of visual identity by developing the sphere of influence of consistency and its effects toward the user’s attitude.


2020 ◽  
Vol 17 (167) ◽  
pp. 20200020
Author(s):  
Michele Coscia ◽  
Luca Rossi

Many people view news on social media, yet the production of news items online has come under fire because of the common spreading of misinformation. Social media platforms police their content in various ways. Primarily they rely on crowdsourced ‘flags’: users signal to the platform that a specific news item might be misleading and, if they raise enough of them, the item will be fact-checked. However, real-world data show that the most flagged news sources are also the most popular and—supposedly—reliable ones. In this paper, we show that this phenomenon can be explained by the unreasonable assumptions that current content policing strategies make about how the online social media environment is shaped. The most realistic assumption is that confirmation bias will prevent a user from flagging a news item if they share the same political bias as the news source producing it. We show, via agent-based simulations, that a model reproducing our current understanding of the social media environment will necessarily result in the most neutral and accurate sources receiving most flags.


2021 ◽  
Author(s):  
Brooke Erin Duffy ◽  
Megan Sawey

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.


2018 ◽  
Vol 36 (5) ◽  
pp. 558-571 ◽  
Author(s):  
Zahy Ramadan ◽  
Maya F. Farah ◽  
Armig Dukenjian

Purpose Luxury brands tend to be hesitant in adopting social media. This matter has created an imminent need to understand the different types of online luxury followers so as to help luxury brands communicate effectively with their consumers, while maintaining the “luxe” image and experience. Accordingly, the purpose of this paper is to provide luxury brands with a deeper understanding of their online audience and the strategies needed to engage with them through the different social media platforms. Design/methodology/approach A qualitative approach was utilized in which 24 in-depth interviews were conducted with Lebanese followers of an online luxury brand’s social media pages. Findings The study identifies the presence of six main categories of online luxury followers: pragmatists, bystanders, trend hunters, image seekers, passionate owners, and prime consumers. Each group has a specific engagement and propensity to buy levels. Research limitations/implications Understanding the different segments of luxury brand followers provides a framework for marketing managers that allows them to correctly target their marketing and communication strategies in order to maximize consumer engagement and purchasing behaviors. Originality/value A significant gap exists in the extant literature which offers no understanding of the different luxury brand followers and their different characteristics. This study is the first to offer an exploratory typology of the various luxury brand followers on social media platforms.


2021 ◽  
pp. 019685992110411
Author(s):  
Brant Burkey

Cultural heritage institutions, such as museums, libraries, archives, and historical societies, are increasingly using digital heritage initiatives and social media platforms to connect and interact with their heritage communities. This creates a new memory ecosystem whereby heritage communities are invited to contribute, participate with, and share more of what they are interested in collectively remembering, rather than simply accepting the authoritative narratives of heritage institutions, which raises questions about what this means for cultural heritage writ large and whose versions of the past these heritage communities will hold onto as their digital inheritance. The primary contributions of this article are to provide both an extended view of the issue by building on several qualitative studies involving in-depth interviews and digital observations with eight cultural heritage communities over a five-year period and to better understand how their digital heritage initiatives are creating a new ecosystem for cultural heritage and collective remembering.


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