martes, 25 de febrero de 2020

Case Study: Online Media 2 (Attitude)

Social media in the online age

General analysis

Identify target audience

Attitude clearly targets its audience, gay older males, with a comfortable income level. As a British magazine, who seeks the mainstream, the ethnicity of the audience will be mostly white.
The magazine's representation links with its audience.
The 'Boys' section is composed of white males, nevertheless diversity is transmitted in terms of age, as the celebrities featured range from their 20s to 40s. Hence, Attitude attempts to appeal to a wide-ranging demographic (20s-50s). Elements of younger LGBT culture such as RuPaul's Drag Race and NikkieTutorials are featured. This, along with the social media presence will appeal to the younger part of the demographic. In contrast, the usual retro culture stories that abound in 90s references along with the celebrity-led stories that reflect the mass media focus of the late 20th century appeal to the older part of the demographic.
The high socioeconomic status of the target audience is conveyed through the sponsored content and partnerships, with products like Calvin Klein, Jaguar, etc. The relatable activities of this demographic is incorporated into the narratives (theatre, arts and cultural events, five-star holidays, premium restaurants) to create a connection. The educated aspect of this audience is appealed to with the formal language and political news stories.
Producers construct and position audiences:
Attitude constructs its audience through choice of stories, how stories are mediated (e.g. ideology), mode of address (a mixture of formal (e.g. news & politics stories) and informal (e.g. boys, entertainment, opinion; direct to create relationships between audience & producers). Whilst this constructed audience may not agree with all of the points of view shown, they can negotiate their readings (Hall) and pick’n’mix the representations they wish to (Gauntlett).
The preferred reading of Attitude’s website (probably by a gay man) would be it is informative, entertaining and fun, and makes them want to buy the magazine. They would be interested in many of the topics and probably agree with the ideologies expressed within. They would probably share or like on social media. It would give them a sense of personal identity and make them feel
less marginalised.
A negotiated reading (possibly as an older gay man, or ethnic minority gay man) may include agreeing with the overall ideology and finding some articles interesting, but finding Attitude offers a narrow range of experiences and representations of homosexuality and therefore being frustrated as it doesn’t offer a sense of personal identity.
An oppositional reading (e.g. a homophobic straight man) would reject the ideas as they find the images of semi-naked men offensive and the idea of promoting a homosexual lifestyle as normal wrong. They may find political articles such as the article criticising a woman on TV who called homosexuality ‘a choice’ offensive as they may hold that view as well. Overall, due to their own personal ideologies they would not be able to accept the messages contained in Attitude’s website.
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Representation

How is masculinity and sexuality represented in the website? Are certain stereotypes or elements foregrounded or given higher priority and focused upon more than others for the benefit of target audience? If so, why?
Representations of masculinity and sexuality are very present throughout the website given the target audience are gay males. Attitude plays with the 90s and arguably remaining stereotype of gay males being solely interested in sex, as there's a whole section dedicated to 'boys'. The connotations of the word 'boys' itself is somewhat demeaning, although Attitude seeks to empower its male audience. The celebrities featured, not always homosexual, are sexualised.
Stereotypes around gay males abound, as Attitude attempts to appeal its audience. The separate website for its 'theatre' section conveys the belief of gay men as 'flamboyant' and flashy, depicted through its 'style' section too. Hence, their interests are put in a box.

How closely linked is the website to the Attitude magazine in terms of ownership, content and style?

The website's format reflects the magazine's style. As Britain's leading gay magazine and the owner of many successful international versions, Attitude conveys sophistication through its masthead (no capitals: informal) and lettering, extended with the website's interface (professional, not flashy layout; categories, newest stories at the top, picture slideshow). So audience recognition is created.
In terms of content, the website reflects Attitude magazine's aim to feature stories that directly affect the LGBT community, with a constant up-to-date news section. 
There's no possibility for audience feedback, without a comments section, leaving little possibility for the audience to interact with the producers, mirroring the magazine as it represents a more traditional form of media. Still, Attitude's social media presence (10.2k YT 171.1k Twitter 211.1k IG 750k FB) together with the 'get in touch' link facilitate some interaction and advancement with modern technology. [Shirky's end of audience]

lunes, 24 de febrero de 2020

Paper 2: Identity Q. Social Media

How far can aspects of identity be seen to affect the way in which audiences use online media? Discuss with reference to Zoella [15 marks]

Response

Aspects of identity affect the ways in which audiences use online media, and they contribute to how audiences are constructed and audiences construct. Gauntlett’s Identity theory exemplifies the relevance behind audience construction; media adds a layer of construction to our identity, and so, Zoella’s audience will feel represented with her personality and the content of her videos. YouTube channels usually have popular series, for Zoella it is her Primark hauls, which plays on affordability and relatability. Even prior to her success, she seems to have carefully targeted a wide demographic. The fact she represents the dominant groups in terms of social class, ethnicity, etc, means it’s easy for the viewer to have a positive engaging response given she’s a ‘safe bet’ in terms of representation. Doubtlessly, her mainstream success in the traditional media with her WH Smith book club collaboration and her own Girl Online trilogy confirms it. The widely-held stereotype of the ‘girly girl’ is relevant throughout her channel. As a female fashion and makeup guru, a teenage to young adult female who enjoys the two will feel identified with her. Additionally, the self-identifying audience can go further, feeling inspired to create their own channels, which to an extent, Zoella caused. She inspired the surge and trend of fashion channels following her success. Hence, audiences themselves construct too, affecting the ways in which they interact with online media, and YouTube channels/ Internet celebrities like Zoella.

Audiences are active or passive depending on who they are in terms of demographics. Shirky’s End of Audience and Jenkins’ Participatory Culture theories outline the audience interaction and the broken barrier between audience and producer. Technically, fans are very engaged, and people like Zoella experience this, with millions of subscribers on YouTube and followers on her social media platforms, as well as dedicated fan accounts and fan art. However, it could be argued that they are passive, as they are the target audience and respond like the producer (Zoella) has intended them to. Through a friendly, accessible mode of address and body language along with cheery music and audio codes, viewers of Zoella will feel involved with her, affecting their interactions, which as evidenced will be high. Still, those outside of Zoella’s targeted audience, of teenage to young adult females, will construct oppositional readings, and interact with her differently. For instance, her £50 advent calendar scandal will have provoked more of a reaction from people who aren’t supporters and are not biased towards her. Therefore, aspects of identity influence audience interaction.

As previously outlined, identity is relevant to how audiences interact online. However, there are other ways audiences’ use is affected. The role of the producer is a crucial factor too. Zoella’s brand identity is the ‘girl next door’, ‘girly girl’. Hence, her pastel and pink-dominated Instagram and colourful YouTube thumbnails establish her targeted young audience. When contrasted with the Instagram colour palette of ‘Zoe Sugg’, full of black and whites and more mature tones one can see she’s appealing to a more adult audience. The contextual situation, given the audience has grown with her since 2009, leads her to seek to develop and maintain her audience. Hence, her two creations, Zoe Sugg and Zoella complete this purpose. Hail’s reception theory is at play, as Zoella/ Zoe Sugg’s constructions cause an oppositional reading that recognises a different flaw and negative reaction each time. Zoella’s old YouTube videos had a simple mise-en-scene and minimalist presentation, eventually growing more sophisticated, a common trope as YouTubers get more recognition. This is also demonstrated through her thumbnails, which were simpler and became fancier in terms of lettering and overall layout. Now, with her current videos under the ‘Zoe Sugg’ channel she’s found a compromise, doubtlessly, her thumbnails and mise-en-scene are lavish, but there’s a minimalist layout (and again, a more mature colour scheme) symbolising a different time in her life as Zoe Sugg, and thus, a different demographic, away from Zoella’s initial one.

Notes

Audiences are constructed & Audiences construct ("aspects of identity ... affect [how] online media [is used by audiences]")

Theory: IDENTITY (media adds a layer of construction to our identity) + RECEPTION
Demographics (age/ gender/ ethnicity) + what they're consuming affects their identity
Zoella— represents the dominant group (white, middle to upper class, heterosexual) + 'girly girl' stereotype
Evidence (text):
  • Wider context: links to success (sponsorship, traditional place in the media aka a safe bet: books)
  • Content: makeup and fashion- advice; Primark haul vids- affordable, relatability- LINK to how she inspired a surge of fashion channels following her success
Self-identifying audience

Audiences are active/passive, by who they are in terms of demographics ("aspects of identity", "how far")

Theory: SHIRKY&JENKINS END OF AUDIENCE&FANDOM (expand- no separation between text and audience), HAIL RECEPTION (name drop)

  • Technically fans are very engaged- subscriber count, Insta followers, fan art+ fan accounts
Parasocial interaction: friendly, accessible mode of address, body language; cheerful audio codes and music
  • But they are passive (?), as they are the target audience, only those outside target audience construct oppositional readings

Role of producer ("how far" ie there are other ways audiences' use is affected)

Theory: HAIL RECEPTION
(Expand on it)
Zoella— producer
Brand identity 'girl next door'

  • Targets audience (Insta for Zoe Sugg and Zoella's technical codes- b&w, pink)
  • The audience has grown with her- developing and maintaining audiences (YT/ Insta vs Blog channels; 13-29) + old to new vids from simple mise-en-scene and minimalist presentation to a sophisticated background- common with you-tubers