Tag Archives: ITeam

Digital Gaming Culture

Digital gaming culture: As implied by its title, digital gaming culture is the alternate reality that exists within the realm of digitized video games. In the context of this article, the author asserts that this culture shifts power relations to put women in a vulnerable position in comparison to men. Digital gaming culture refers not only to the hypersexualization of victimization of women within video games, but also the existence of the trend/belief that men are better than women at actually playing video games. This culture emphasizes gender stereotypes by portraying women largely as objects of sexual desire with little focus on positive skills that women maintain. However, it is not all negative. Digital gaming culture, on the flip side, can also create realities in which men and women can assume any identity they want through the creation of custom characters, etc. The “Women and Games” article also cites an interview recording in which many women state that gender-neutral games allow for a space where equality is achieved through competition and skill, i.e. if women are better than men at certain video games they feel more powerful than they do outside of virtual realities and inside of the reality of human society.

Taken from “Women and games: technologies of the gendered self”

Aesthetic Arrest

This term was first introduced by James Joyce to describe the state of not only seeing art but being in a higher state of awareness while appreciating it. The mind is ‘arrested’ and all desires and loathing become irrelevant to the spectator. M. Wesch, however, uses this term in the context of YouTube. Viewers do not just simply watch YouTube videos, they rather form a deep connection with the ‘vlogger’. The possibility to watch a video over and over again, to ‘stare’ without any inhibitions and to experience people. One gets the sense that the viewers are ‘overwhelmed by the beauty of the human in front of them’.

Wesch explains in his lecture why people feel this way: in the process of how we express ourselves as individuals and what we wish for, a cultural tension develops. This individualism, at the same time, marks us as a lonely individual that craves a deeper connection. But similarly the wished for connection is often seen as a constraint, as there are usually certain responsibilities involved which just come along naturally when having deeper connections to other human beings. In that respect however, YouTube is able to “offer” deep connections with “no strings attached”.

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Websites used: http://mediatedcultures.net/smatterings/aesthetic-arrest/

Humor, Spectacle and Self-Referentiality

According to Alexandra Juhasz, there are three main qualities of any popular or viral YouTube video that make it entertaining.  These are humor, spectacle, and self-referentiality.  Juhasz claims that a video’s ability to be humorous stems from its ability to be “self-mocking” and “ironic”.  Whether or not a video can be considered a “spectacle” refers to how authentic that video feels to the viewer.  Self-referentiality simply points to a more meta quality of YouTube videos–that is, talking about YouTube within a YouTube video (i.e. – My YouTube Story videos, general YouTube commentary or criticism).

The main idea behind these three qualities of YouTube videos, Juhasz claims, come from methods practiced in earlier media which can be attributed to a sense of convenience and speed.  In other words, videos are easy to get to (if you know what you’re looking for), and easy to understand.  This also speaks to how recognizable a video is in terms of its main focus–Juhasz uses examples like a “big booty” or a “car crash”.  While a big booty or a car crash might not seem like authentic central focuses for a YouTube video, it is the authenticity of that specific big booty or car crash that ultimately makes an audience want to watch it.

Context Collapse

How we present ourselves relies on context, who we are with and where we may be. Talking into a webcam, especially for the first time, can be awkward as “vloggers” often spend several hours at a loss for words. As Michael Wesch pointedly stated, “That’s there. That’s somewhere else. That’s everybody. On the other side of that little glass lens is almost everyone you love, everyone you know, everyone you have ever heard of, and even those you have never heard of. In more specific terms, it is everyone who has or will have access to the internet – billions of potential viewers, and your future self among them.”[i] Like a “black hole sucking all of time and space,” looking into a web camera can result in vloggers being unable to size up their audience.


[i] Wesch, Michael. “Context Collapse.” Digital Ethnography. N.p., n.d. Web. 03 Mar. 2014.

 

YouTube Partner Program

Per the YouTube website, the YouTube Partner Program is described as a program that allows creators to monetize content on YouTube through a variety of ways including advertisements, paid subscriptions, and merchandise. In addition to joining the Partner Program, Creators can take advantage of the variety of resources, features, and programs that YouTube provides to help you build your channel(s) and your audience.

Basically, to make money off of YouTube, you have to be a part of this partner program.

Not just anyone can join, however. Criteria to be admitted to the partnership program is as follows:

“Your YouTube channel may be eligible for the YouTube Partner Program if it meets the following criteria:

  • The program has launched in your country.
  • Your account is in good standing and hasn’t previously been disabled for monetization.
  • You upload original, quality content that is advertiser-friendly.
  • Your video content complies with our Terms of Service and Community Guidelines.
  • You have reviewed our copyright education materials.”

There are also some stipulations regarding what kind of content one can post when using the program, as to avoid copyright issues. Examples are listed below:

  • Music (including cover songs, lyrics, and background music)
  • Graphics and pictures (including photographs and artwork)
  • Movie or TV visuals
  • Video game or software visuals
  • Live performances (including concerts, sporting events, and shows)

Additionally, through the article we read for class today entitled “How Much Money Do YouTube Stars Make?” we learned how much one can realistically make off a “YouTube career.” YouTube gives its content partners, that is those that participate in the program, 55% of the ad revenue that they bring in (while YouTube gets 45% of the profits.) The types of ads that are used to sponsor their videos are a factor in how much money they earn. Pre-roll ads (ads that lead into the beginning of the video) bring in an average of $5 for every 1,000 views. Banner ads bring in an estimate $.80 cents per 1,000 views. 1,000 views is a lot, so clearly to make money off this partnership, the user’s content must have to attract a huge number of viewers.

#YouTube #Media #NewMedia #Advertising

Websites used for information:
http://www.youtube.com/yt/creators/creator-benefits.html
https://support.google.com/youtube/answer/72851?hl=en