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.
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):
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
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'
(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
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