Hasil Final _Jurnal Analisis Rasio Youtube 5 Vendor Brand Perhiasan Terkenal Di Dunia.pdf

Youtube is a video sharing website created by three former PayPal employees in February 2005. The company is headquartered in San Bruno, California. Youtube allows users to create videos of minimum duration from 10 minutes to 8 minutes, accompanied by a variety of user/creator-generated video content, including movie clips, TV clips, and music videos. In addition, amateur content such as video blogs, and several other creative features. In Indonesia, there are 93.8 percent of the 170 million active users, making Indonesia the country with the largest Youtube users in the world. The number of active Youtube users in Indonesia can certainly provide an opportunity for brands to make the Youtube platform a social media marketing platform. There are 5 world-famous jewelry brand vendors that use Youtube as a marketing platform, namely: Dior, Tiffany & Co, Mikimoto, Cartier, and Buccellati. The purpose of this study is to calculate the credibility of the Youtube account performance of the Top 5 Famous Jewelry Brand Vendors in the World. The method used in this study is an exploratory quantitative method. The results of this study indicate that the vendor of a well-known jewelry brand in the world. Indonesia is ranked first and has good account performance credibility.

Looking for Shakespeare: The global and the local in Mauritian Shakespeare adaptation and classroom practice

This article considers manifestations of both global and local Shakespeares in Mauritius. It starts with Dev Virahsawmy’s Shakespeare adaptations – Toufann (1991) in particular – as a well-known point of reference, placing the globalisation of Shakespeare in a localised (Mauritian) space into perspective via a discussion of language and context. The authors then reflect on the use of YouTube in the teaching of Shakespeare in undergraduate classes at the University of Mauritius, with selected adverts and music videos exemplifying a new ‘mash-up’ form of Shakespeare. Both Shakespeare and YouTube are carriers/channels of culture; while Shakespeare remains an emblematic figure, however, tertiary level classroom practice challenges the notion that his works are ‘timeless’ and ‘universal’.

Self-Objectificationas Representation of Postfeminist Women Empowerment in Fifth Harmony’s Music Videos.

<p> This research attempts to describe the portrayal of postfeminism empowerment that is represented by Fifth Harmony’s self-objectification image in their four music videos; <em>Work from Home, Boss, Worth It </em>and <em>That’s My Girl. </em>This research is descriptive qualitative. The method is employed by watching, classifying and analyzing the data that are collected by selecting the scenes, lyrics and other elements of music video representing the image of self-objectification and postfeminism. The supporting data consist of reviews, interviews and information taken from books, journals, articles, online sources and researches. Since the research is in the scope of American Studies which is an interdisciplinary study, it involves some disciplines that are applied in the form of theory including objectification theory, postfeminism theory, semiotic theory and theory of music video. From the analysis, Fifth Harmony in their music videos use their self-objectification image to portray the values of women empowerment in post-feminism era. The music videos are portraying the issues of domesticity (femininity and sexuality) as women’s choice and source of power, confident and successful independent women as a symbol of Girl Power and sisterhood as source ofwomen’s power in the era of post-feminism.</p><p><strong> </strong></p>

Poetyka wideoklipu muzycznego

Music video as a specific genre of audiovisual arts, deriving directly from tradition of film, television and music programs, became massive promotion and visual communication tool for artists at the turn of 70’s/80’s. Mentioned many times in articles about music videos, its dependence on other art fields, such as film, musical, theater arts, plastic arts etc., only strengthens us in belief that music video is an enormous hybrid form, being heir to aforementioned forms. At this intertextual base, music video has developed its own language. Cognizance and description of its components, understanding of connection rules and the essence of its individual elements is the main aim of this article. By pointing to coexistence and correlations of components such as rhythm, tempo, tone, editing etc., the text also emphasizes similarity of the music video language to the language of literature and other arts which use the same tools.

Dangerous and (In)Vulnerable

The chapter investigates how The Weeknd’s aestheticization of sex, drug use, and violence contributes to positioning him as a credible outsider within the pop mainstream. Presenting analyses of three of his music videos—Pretty (2013), Heartless (2019), and Blinding Lights (2020)—the chapter revolves around two questions that emerge from this part of his oeuvre. First, in what ways do graphic displays of violence shape a representation of masculinity that panders to a broad cultural fascination with violent men? Then, how does The Weeknd’s embrace of vulnerability simultaneously place his masculinity at risk and affirm it? In an attempt to provide answers to such questions, the chapter addresses issues pertaining to the cultural disarmament of women; how notions of place frame performances of gender; the anti-hero trope of masculinity; the gendered, sexual, and racialized connotations of dance; and the blurred boundaries between pop artists’ public personae and private lives.

Beyond Bieber Fever

The chapter inquires into Justin Bieber’s 2020 comeback, which followed a hiatus in his career in the late 2010s. After detailing some of the central themes and events in Bieber’s early career, it presents analyses of two music videos: Yummy (2020) and Holy (2020). Yummy is characterized by camp elements that fuel Bieber’s exhibition of a puerile playfulness, whereas Holy presents an earnest portrayal of a down-on-his-luck oil worker who finds solace in religious faith and romantic commitment. Addressing the flexibility with which Bieber adopts contrasting gender expressions in these videos, the author contemplates a number of questions related to the continual reinvention that characterizes the careers of many pop artists. The chapter also discusses how issues related to the sexualization of food, the gendering of work, and the social constraints associated with marriage are navigated within a pop context. If both Yummy and Holy seem to expand the boundaries of masculinity, they are simultaneously characterized by heteronormative elements that undermine such an effort. It is therefore concluded that Bieber’s strategic borrowing from the cultures and practices of black, queer, and working-class men increases his masculine capital without challenging existing relations of privilege and marginalization.

Analisis Video Comments to Followers Ratio Tiktok Pada 5 Artis Indonesia dengan Tarif Endorse Termahal

The TikTok app is a Chinese social network and music video platform that was launched in September 2016. The app allows users to create short music videos. In Indonesia, there are 30.7 million active users, making Indonesia the country with the largest TikTok users in the world. The large number of active TikTok users in Indonesia can certainly provide opportunities for artists in Indonesia to get endorsements and this has caused these 5 artists to be named the artists who have the most expensive endorsements including: Raditya Dika, Raffi Ahmad, Luna Maya, Ayu Ting Ting, and Princess Syahrini. The purpose of this study is to calculate the credibility of the Tiktok account performance on 5 Indonesian Artists with the Most Expensive Endorse Rates. The method used for this research is quantitative exploratory method. The results of this study indicate that the artist Princess Syahrini gets the first rank and has good account performance credibility.

Warez: The Infrastructure and Aesthetics of Piracy

When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age.

Poetic Operations

In Poetic Operations artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monáe's music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.