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 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 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 Native Advertising—The Formats and Types of Content Most Demanded by Brands in the Spanish Media

2021 ◽  
Vol 2 (4) ◽  
pp. 529-544
Author(s):  
Daniel Zomeño ◽  
Rocío Blay-Arráez
Keyword(s):  
Social Media ◽  
Rapid Development ◽  
Editorial Content ◽  
Media Environment ◽  
The Social ◽  
Media Ecosystem ◽  
The Media ◽  
Media Formats ◽  
Depth Interviews

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.

Resisting subalternity: Palestinian mimicry and passing in the Israeli cultural industries

2020 ◽  
Vol 42 (7-8) ◽  
pp. 1293-1308
Author(s):  
Amal Jamal ◽  
Noa Lavie
Keyword(s):  
Cultural Production ◽  
Cultural Industries ◽  
Media Industry ◽  
Full Compliance ◽  
Subaltern Agency ◽  
Common Notion ◽  
Creative Workers ◽  
The Media ◽  
The Common

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries.

scholarly journals SOSIAL MEDIA SARANA PROMOSI PADA PEDAGANG PAKAIAN DI PASAR SUDIMAMPIR BANJARMASIN

TRANSFORMATIF ◽  
2019 ◽  
Vol 3 (1) ◽  
pp. 117-130
Author(s):  
Ariyadi Ariyadi
Keyword(s):  
Social Media ◽  
Positive Impact ◽  
Field Research ◽  
The Media ◽  
Negative Impacts ◽  
Use Of Social Media ◽  
Depth Interviews ◽  
Positive Impacts ◽  
Descriptive Qualitative

The rise of promotions and buying-selling through internet where social media has become one of the media, it has many positive impacts, such as buying-selling transactions have become easier. Meanwhile, it has negative impacts too, such as fraud and others, this makes researchers interested in researching how clothing traders on the Sudimampir market, Banjarmasin utilizes media as a promotion in order to be able to compete and increase their sales. This research aims to find out how the use of social media in clothing in Sudimampir market, as well as the obstacles that faced when using social media as a means of promotion.The researcher used field research, which is descriptive qualitative by conducting in-depth interviews and then the results can be summarized. The informants in this study were 15 people, all of whom were clothing traders who were selling in the Sudimampir market.The results of this study indicate that the use of social media as a promotion of clothing Sudimampir market using several social media such as: WA (Whatsapp), BBM (Blackberry Messenger), FB (Facebook). Those social media used as a means for ordering, Facebook and Instagram used for uploading photos of the items they sell. Those social media give a positive impact, namely their sales have increased which is in accordance with the function of social media in trading, which can increase sales.

scholarly journals Media Ecosystem in Malaysia: From Natural Mind to Digital Mind

2017 ◽  
Vol 19 (2) ◽  
pp. 1-30
Author(s):  
Azizah Hamzah ◽  
Rosmani Omar
Keyword(s):  
South Korea ◽  
Business Models ◽  
Creative Economy ◽  
Creative Industry ◽  
Cultural Industries ◽  
The World ◽  
Media Ecosystem ◽  
The Media

This article describes the latest developments in the creative industry in South Korea and Malaysia. This article begins with the facts and figures of the global creative economy, followed by a specific discussion of experiences and stories in an effort to develop the creative industry between Malaysia and South Korea. To achieve that goal, this article discusses various business models that have been used that can serve as a guideline in managing the media and cultural industries around the world.

scholarly journals Countering Fake News in Media: A Study on Journalists Based in Mardan and Nowshera

2020 ◽  
Vol V (II) ◽  
pp. 50-58
Author(s):  
Muhammad Shahid ◽  
Muhammad Ibrahim ◽  
Ibrar Ullah
Keyword(s):  
Social Media ◽  
Fake News ◽  
Purposive Sampling ◽  
The Media ◽  
Media Organizations ◽  
The Government ◽  
Depth Interviews

This research focuses on fake news and how journalists understand and counter fake news. The researchers used purposive sampling and collected data through in-depth interviews. Members of Mardan and Nowshera press clubs were interviewed regarding how they counter fake news. All the respondents agreed that fake news must be discouraged and that not only the media persons but the government should also take action against media organizations that publish or onair fake news. Most of them said that social media is the main source of fake news and that there should be some kind of regulations on social media to discourage fake news. Some called for training for journalists on how to counter fake news.

scholarly journals Tourism branding Komunikasi Pemasaran Ekonomi Kreatif sebagai Upaya Peningkatan Kesejahteraan Masyarakat Desa Wisata Budaya Plunturan, Kecamatan Pulung, Ponorogo

REPRESENTAMEN ◽  
2021 ◽  
Vol 7 (01) ◽  
Author(s):  
Widiyatmo Ekoputro ◽  
Mulyanto Nugroho Nugroho
Keyword(s):  
Small And Medium Enterprises ◽  
Creative Economy ◽  
Marketing Communication ◽  
Media Technology ◽  
Tourist Destination ◽  
The Media ◽  
Use Of Social Media ◽  
Medium Enterprises ◽  
The Village ◽  
Depth Interviews

Plunturan Village, Pulung Subdistrict, Ponorogo Regency as a research location wants joint efforts in all matters, especially efforts to mobilize all potential optimally so that the village economy can increase, hoping that the results will be directly proportional to the welfare of the community. The purpose of this research is to find out the communication built internally in the Plunturan village community through groups of small and medium enterprises and groups of actors and cultural observers has been running well, so that in the future there is a need for a breakthrough in the media to further empower the community's abilities, one of which is using the media. social society which so far is still loved by the general public, especially millennials. The method used in this study to achieve the target to be achieved using qualitative methods, with observation techniques and in-depth interviews with informants. The results of this research can then be developed and used by the community. The use of social media technology is an effort to build an image so that the wider community knows more about the potential that exists in Plunturan village as a tourist destination that has characteristics with local wisdom that must be visited by domestic and foreign tourists.Keywords: Tourism Brading, Marketing Communication, Creative Economy

Algorithmic precarity in cultural work

2020 ◽  
Vol 5 (3-4) ◽  
pp. 103-107
Author(s):  
Brooke Erin Duffy
Keyword(s):  
Cultural Work ◽  
Digital Culture ◽  
Creative Economy ◽  
Cultural Industries ◽  
Cross Platform ◽  
The Media ◽  
Cultural Content

While work in the media and cultural industries has long been considered precarious, the processes and logics of platformization have injected new sources of instability into the creative labor economy. Among the sources of such insecurity are platforms’ algorithms, which structure the production, circulation, and consumption of cultural content in capricious, enigmatic, even biased ways. Accordingly, cultural producers’ conditions and experiences are increasingly wrought by their understandings—and moreover their anticipation—of platforms’ ever-evolving algorithmic systems. Against this backdrop, I urge fellow researchers of digital culture and society to consider how this mode of “algorithmic precarity” exacerbates the instability of cultural work in the platform era. Considering the volatility of algorithms and the wider cross-platform ecology can help us to develop critical interventions into a creative economy marked by a profoundly uneven allocation of power between platforms and the laborers who populate—and increasingly—power them.

Conflict and interest between journalists and politicians in Iraq in the age of media entrepreneurship

2020 ◽  
Author(s):  
Ahmed Omar Bali
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Qualitative Method ◽  
Freedom Of Expression ◽  
Dark Side ◽  
Smartphone Applications ◽  
Traditional Media ◽  
Media Space ◽  
The Media ◽  
Depth Interviews

This study examines the ethical conflict of interest that exists in this sphere between journalists and politicians in an age of media entrepreneurship in Iraq, which theoretically would enable journalists to express their own voices and hold a greater stake in the media market. A qualitative method was adopted for this study using open, in-depth interviews with 36 participants. The study found that relative freedom, smartphone applications and social media helped innovative Iraqi journalists to become media entrepreneurs and own media enterprises themselves. These media enterprises are characterized by activities such as publishing material that is critical in tone and satirical in content and accompanied by short videos that are broadcast on social media. This is then easily accessible for media consumers using their smartphones. Media enterprises appear to offer journalists an opportunity for professional and financial independence, but their operation in the Iraqi media space tends to reflect the propagandistic function of traditional media outlets instead of fulfilling this emancipatory role. The findings also showed that there is a dark side to Iraqi digital media enterprise, which involves politicians exploiting journalists to troll and attack activists through anonymous digital media. This in turn harms the freedom of expression and suppresses critical views voice against the political establishment.

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