Abstract
This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre. When connected with polymediation, this may present an opportunity that has not yet been fully exploited by successful Spanish YouTubers.
Highlights
The research on YouTubers, as a recent sociocultural and technological phenomenon, does not have a long tradition
We propose a methodology to analyze how the YouTuber phenomenon might be a new audio-visual paradigm that sheds some light on the tendency of audio-visual entertainment in the coming decades
The main hypothesis (H1) that we address is that the consumption, creation, and distribution of audio-visual content generated by users (UGC or user-generated content) on the Internet, mainly on YouTube—popularly known as “YouTubers”—will not substantially change the context of the consumption, creation, and distribution of audio-visual content of the traditional broadcasters or on-line content platforms (OTT) services in the short term
Summary
The research on YouTubers, as a recent sociocultural and technological phenomenon, does not have a long tradition This was the main reason for developing this research, which should be urgently completed because YouTube is a phenomenon that is decisively influencing contemporary audiovisual consumption and causing a series of dysfunctions in understanding audiovisual processing, production, distribution, and consumption. These dysfunctions are not necessarily negative, but I propose some ideas for more fluid short-term development.
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