scholarly journals East Asian pop music idol production and the emergence of data fandom in China

2020 ◽  
Vol 23 (4) ◽  
pp. 493-511
Author(s):  
Qian Zhang ◽  
Keith Negus
Keyword(s):  
Social Media ◽  
Popular Music ◽  
Cultural Production ◽  
Semantic Information ◽  
East Asian ◽  
Chain Model ◽  
Pop Music ◽  
Digital Platforms ◽  
Supply Chain Model ◽  
Social Media Platforms

This article traces the formation of popular music idol industries in China and the emergence of data fandom. It charts the growth of digital platforms and historicizes the commercial and geopolitical itinerations linking cultural production in Japan, South Korea, and China. It locates data fandom as an integral part of the popular music industries reconfigured by digital social media platforms; a structural change from the production-to-consumption ‘supply chain’ model of the recording era towards emergent circuits of content that integrate industries and audiences. Data fans understand how their online activities are tracked, and adopt individual and collective strategies to influence metric and semantic information reported on digital platforms and social media. This article analyses how the practices of data fans impact upon charts, media and content traffic, illustrating how this activity benefits the idols they are following, and enhances a fan’s sense of achievement and agency.

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.

The platform beat: Algorithmic watchdogs in the disinformation age

2021 ◽  
pp. 026732312110283
Author(s):  
Philip M Napoli
Keyword(s):  
Social Media ◽  
Search Engines ◽  
Complex Dynamics ◽  
Conflicts Of Interest ◽  
Public Trust ◽  
Digital Platforms ◽  
Social Media Platforms

As digital platforms have come to play a central role in the news and information ecosystem, a new realm of watchdog journalism has emerged – the platform beat. Journalists on the platform beat report on the operation, use and misuse of social media platforms and search engines. The platform beat can serve as an important mechanism for increasing the accountability of digital platforms, in ways that can affect public trust in the platforms, but that can also, hopefully, lead to the development of stronger, more reliable, and ultimately more trustworthy, platforms. However, there are a number of tensions, vulnerabilities and potential conflicts of interest that characterize the platform beat. This article explores these complex dynamics of the platform beat in an effort assess the capacity of those on the platform beat to enhance the accountability and trustworthiness of digital platforms.

Engaging Destination Stakeholders in the Digital Era: The Best Practice of Italian Regional DMOs

2018 ◽  
Vol 43 (3) ◽  
pp. 349-373 ◽  
Author(s):  
Mariapina Trunfio ◽  
Maria Della Lucia
Keyword(s):  
Social Media ◽  
Stakeholder Engagement ◽  
Best Practice ◽  
Destination Marketing ◽  
Digital Platforms ◽  
Quantitative And Qualitative Research ◽  
Digital Era ◽  
Managerial Implications ◽  
Social Media Platforms ◽  
Media Index

This article examines the underinvestigated topic of how destination marketing organizations (DMOs) engage stakeholders in destination management and marketing through leverage on off-line tools, official destination websites, and social media platforms. Building on a significant body of literature and advances in quantitative and qualitative research, we provide three methodological tools: two scales assessing DMO stakeholder engagement off-line and online and a social media index measuring tourist engagement. Our results confirm that in Italy regional DMOs are capitalizing on the digital platforms and off-line participatory tools to enhance stakeholder engagement in destinations’ decision making. Theoretical and managerial implications for destination management in the digital era are suggested.

scholarly journals A GOOD LIFE? CRITICAL FEMINIST APPROACHES TO INFLUENCER ECOLOGIES

2020 ◽  
Author(s):  
Zoë Glatt ◽  
Sarah Banet-Weiser ◽  
Sophie Bishop ◽  
Francesca Sobande ◽  
Elizabeth Wissinger ◽  
...  
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Good Life ◽  
Social Economic ◽  
Creative Industries ◽  
The Good Life ◽  
Barriers To Entry ◽  
High Profile ◽  
Social Media Platforms

Social media platforms are widely lauded as bastions for entrepreneurial self-actualisation and creative autonomy, offering an answer to historically exclusive and hierarchical creative industries as routes to employability and success. Social media influencers are envied by audiences as having achieved ‘the good life’, one in which they are able to ‘do what they love’ for a living (Duffy 2017). Despite this ostensive accessibility and relatability, today’s high-profile influencer culture continues to be shaped by ‘preexisting gendered and racial scripts and their attendant grammars of exclusion’ as Sarah Banet-Weiser (2012) argued in the early days of socially mediated entrepreneurship (p. 89; see also Bishop, 2017). In Western contexts only a narrow subset of white, cis-gender, and heterosexual YouTubers, Instagrammers, TikTokers, and Twitch streamers tend to achieve visibility as social media star-creators, and celebratory discourses of diversity and fairness mask problematic structures that exclude marginalized identities from opportunities to attain success. A key aim of this panel is thus to draw attention to marginalized creator communities and subjectivities, including women, non-white, and queer creators, all of whom face higher barriers to entry and success. More broadly, by taking seriously both the practices and discourses of social media influencers, the panellists aim to challenge popular denigrations of influencers as vapid, frivolous, or eager to freeload. We locate such critiques in longstanding dismissals of feminized cultural production (Levine, 2013) and argue, instead, that we need to take seriously the role of influencers in various social, economic, and political configurations.

Public Service Media and Social TV: Bridging or Expanding Gaps in Participation?

2015 ◽  
Vol 154 (1) ◽  
pp. 89-100 ◽  
Author(s):  
Jonathon Hutchinson
Keyword(s):  
Social Media ◽  
National Culture ◽  
Public Service ◽  
Cultural Production ◽  
The Public ◽  
Social Tv ◽  
Content Consumption ◽  
Social Media Platforms ◽  
Cultural Intermediaries ◽  
The Public Sphere

The public service media (PSM) remit requires the Australian Broadcasting Corporation (ABC) to provide for minorities while fostering national culture and the public sphere. Social media platforms and projects – specifically ‘social TV’ – have enabled greater participation in ABC content consumption and creation; they provide opportunities for social participation in collaborative cultural production. However it can be argued that, instead of deconstructing boundaries, social media platforms may in fact reconstruct participation barriers within PSM production processes. This article explores ABC co-creation between Twitter and the # 7DaysLater television program, a narrative-based comedy program that engaged its audience through social media to produce its weekly program. The article demonstrates why the ABC should engage with social media platforms to collaboratively produce content, with # 7DaysLater providing an innovative example, but suggests skilled cultural intermediaries with experience in community facilitation should carry out the process.

Consumer Interest in Major League Baseball: An Analytical Modeling of Twitter

2016 ◽  
Vol 30 (2) ◽  
pp. 207-220 ◽  
Author(s):  
Nicholas M. Watanabe ◽  
Grace Yan ◽  
Brian P. Soebbing
Keyword(s):  
Social Media ◽  
Consumer Behavior ◽  
Major League Baseball ◽  
Generalized Least Squares ◽  
Least Squares Regression ◽  
Digital Platforms ◽  
Consumer Interest ◽  
Major League ◽  
Sport Industry ◽  
Social Media Platforms

Understanding how consumers interact with sport brands on digital platforms is of increasing importance to the sport industry. In this study, through a nexus of consumer behavior and economic literatures, the examination focuses on consumer interest in major league baseball teams on social media platforms from July 2013 to June 2014. Specifically, two generalized least squares regression models were used that considered a variety of factors, including market characteristics, scheduling, and social media use and management. The findings display varying results of short- and long-term consumer interest in teams on Twitter. From this, important theoretical and practical understanding can be derived by considering consumer behavior in the automated “like economy” of social media.

scholarly journals Annual review article: Relying on the engagement of others: A review of the governance choices facing social media platform start-ups

2021 ◽  
pp. 026624262110505
Author(s):  
A Rebecca Reuber ◽  
Eileen Fischer
Keyword(s):  
Social Media ◽  
User Participation ◽  
Review Article ◽  
Future Research ◽  
Annual Review ◽  
Digital Platforms ◽  
Social Media Platforms ◽  
Prior Literature ◽  
Entrepreneurial Activities ◽  
Governance Choices

We are grateful to Professors Rebecca Reuber and Eileen Fischer for contributing our 2022 annual review article. This insightful review explores an issue of great contemporary importance regarding the relationship between entrepreneurial activities and social media platforms. Whilst there is much popular and media commentary regarding the opportunities such platforms offer for entrepreneurship, we lack informed, academic reflection upon the role and influence of such platforms for both good and ill. Hence, this review article is timely in identifying current practices and raising important issues for future research. Our thanks to the authors for their valuable contribution to the ISBJ. Entrepreneurs create digital platforms which, in turn, facilitate entrepreneurial behaviours of others, the platform users. An important start-up activity is developing the mechanisms to govern user participation. While prior literature has provided insights on the governance of innovation platforms and exchange platforms, it has shed little light on the governance of social media platforms. In this review, we synthesize the emerging literature on diverse social media platforms, focussing on four types of governance mechanisms: those that regulate user behaviour, those related to user identification and stature, those that structure relationships among users and those that direct user attention. We highlight the implications of this body of literature for entrepreneurship scholars.

scholarly journals Streamer-Interface-Viewer Entanglement

2021 ◽  
Vol 37 (70) ◽  
pp. 131-150
Author(s):  
Zhen Ye
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Interface Design ◽  
Live Streaming ◽  
Power Relationship ◽  
Emotional Labour ◽  
The Everyday ◽  
Social Media Platforms ◽  
Two Stages ◽  
The Ideal

In China, the live-streaming industry has a distinctive model of cultural production: showroom live-streaming. It is often adopted by social media platforms to complement other social networking activities. This study reveals the ways in which social media platforms (specifically, Douyin and Momo) design their showroom livestreaming interfaces and aff ordances to normalise and commodify the aff ective interactions between female streamers and their male viewers and to establish a gendered power relationship. Using the walkthrough method during two stages of the apps (entry to live-streaming chatrooms and the everyday use of live-streaming chatrooms), this study analyses various aff ordances regarding their functional, sensory, and cognitive impacts on users. This research thereby demonstrates that the live-streaming interface design constructs two types of subject positions. The ideal user is constructed as a heterosexual male, who is empowered through the consumption of virtual gifts; in contrast, the interface nudges the female streamers to conduct emotional labour and deliver implicitly sexualised performances to maintain an aff ective relationship with viewers.

scholarly journals Digitized narratives of sexual violence: Making sexual violence felt and known through digital disclosures

2018 ◽  
Vol 21 (6) ◽  
pp. 1290-1310 ◽  
Author(s):  
Kaitlynn Mendes ◽  
Jessalynn Keller ◽  
Jessica Ringrose
Keyword(s):  
Social Media ◽  
Discourse Analysis ◽  
Sexual Violence ◽  
Critical Discourse Analysis ◽  
Critical Discourse ◽  
Digital Networks ◽  
Digital Platforms ◽  
Social Media Platforms

In this article, we argue that social media platforms like Tumblr and Twitter have facilitated an emergence of “digitized narratives” of sexual violence. These narratives are rooted in historical ways in which feminists have discursively articulated sexual violence, yet are shaped by distinctive “platform vernacular” or the conventions, affordances, and restrictions of the platforms in which they appear. Drawing on a qualitative content and critical discourse analysis of 450 texts from the Tumblr site Who Needs Feminism? and the hashtag #BeenRapedNeverReported, we argue that digital platforms such as Tumblr and Twitter produce new vernacular practices which shape how “digitized narratives” of sexual violence are not only disclosed and known, but felt and experienced across digital networks.

Charging Fandom in the Digital Age

2018 ◽  
pp. 147-162 ◽  
Author(s):  
Shuojia Guo
Keyword(s):  
Social Media ◽  
Information And Communication Technologies ◽  
Cultural Production ◽  
Communication Technologies ◽  
Digital Age ◽  
Dynamic Interaction ◽  
Fan Culture ◽  
Fan Communities ◽  
Social Media Platforms ◽  
Information And Communication

In the digital age, the proliferation of fan-generated content on social media platforms is making the fan culture transitioning from the “static” online consumption to “dynamic” interaction. This is not only a result of the advancement of Information and Communication Technologies (ICTs), but also a cultural phenomenon driving by participatory fandom in cyberspace. The rise of social media has dramatically altered the dynamics of fan practices and spectatorship hence increased vocality and visibility within the fan community as well as the formation and facilitation of fan roles. In this chapter, we will explore why social media have such a profound impact upon fandom. In particular, what is new with these fan communities that social media has done so much to enable. Why there is a blurring in the lines between fandom producers and consumers in the participatory fandom. Given the new forms of cultural production, how fan culture enabled by social media is more powerful than it was ever before.

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