Abstract

Young people spend an increasing amount of time in front of a screen, developing new forms of content consumption and production. In this context, the so-called YouTubers emerge. They are the new actors of the information society, who acquire prominence specially in the creation of audiovisual content. This article studies the narrative of YouTubers and the media competition behind the process. To accomplish this task we have selected the 10 most relevant young YouTubers in the Andean Community (Bolivia, Colombia, Ecuador, and Peru), ranked by number of followers. Their products were analyzed with the following criteria: the narrative that they use, the impact that they generate, and the media competence that they demonstrate. The research we have made is descriptive and uses a mixed-methods approach, which employs technical datasheets that collect general information on the channels studied and the impact of their accounts. In general terms, we have observed that the videos contemplate new standards, which are not related to the contents of traditional media; the narrative is self-referential and through it, YouTubers manage to identify with niches of younger audiences, that can see in them similar life experiences. An interesting aspect is that a good part of the language used is violent and even foul, considering that young people are a vulnerable population group on the internet. Finally, the use and mastery of technological tools is evident on YouTubers, as well as the interest in self-training in content production processes.

Highlights

  • In the last decade, YouTubers have become subjects of studies related to audiovisual content management

  • This research aims to observe the processes of audio‐ visual creation, that is, the narrative of YouTubers in the Andean Community, in addition to the impact that they generate, and the levels of media competence reflected by their creators

  • The topics addressed by the 10 most prolific young YouTubers of the Andean Community, whose channels are in the category “People & Blogs” predominate (4 out of 10 channels); their videos show the lifestyle of the cre‐ ators in an apparent natural style

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Summary

Introduction

YouTubers have become subjects of studies related to audiovisual content management. YouTubers have been given the role of “internet celebrities” and cultural models for their followers (Jerslev, 2016; Marwick, 2013), due to the influence they have on the audiences way of thinking and their behaviors (Jerslev, 2016). As Usher (2018) writes on the concept of internet celebrity, it is nothing more than the perpetuation of the com‐ ponents, techniques, and tools for the spectaculariza‐ tion of content, already shaped in traditional media. This kind of staged authenticity proposed in the language of YouTubers, contrary to its generalized conception of

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