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- All Subjects: Social Media
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
This is an exploratory study that describes the activities of the Chive community as a popular religion. Using utilize Shan Suttons' framework from The Deadhead Community (2000) and Howard Beckers Jazz Places, I use categories of Community, Cultus, Creed, and Code as ways to explore describe the Chive community's activities and how they are similar to the popular religion, the Deadheads. Chive people maintain a sense of community that operates online with social media sites like Facebook and Twitter where they began to connect with one another, offline in the form of Meet-ups, and charity drives, and in the fabric between these events of the shared consciousness that takes place among Chivers and Chivettes. Through participant observations, interviews with Chive chapter administrators, and survey responses, I set out to answer, or get closer to, what it is that leads someone to Chive On.
ContributorsHarrick, Travis Christopher (Author) / Renshaw, Scott (Thesis director) / Keahey, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2015-05
Description
Social media has quickly become a dominant tool for businesses across all sectors due to its two-way communication capabilities. Previous research has suggested that companies, particularly the hospitality and travel industry, should be engaging in authentic dialogue with its audience members, be using vibrant imagery and be monitoring and promoting user-generated content and electronic-word-of-mouth. These elements were observed for six luxury hotels and resorts in the Southwestern United States over the course of a month on Facebook, Twitter and TripAdvisor. In addition, three two-part electronic-questionnaires were administered to three of the six luxury hotels and resorts to determine industry perspectives on these subjects and to serve as a comparison of social media tactics in this sector. There were social media differences and similarities based on the location and size of the hotel. Facebook was comprised of 42 percent advertising and used large amounts of imagery to promote the properties. There was very little user-generated content and word-of-mouth. Twitter was comprised of 31 percent dialogue and 22 percent user-generated content. Five of the six properties responded to reviews on TripAdvisor. Three crisis responses via social media were also observed. Later research may choose to include more analytic-based research and examine other social media platforms.
ContributorsWininger, Emily Renee (Author) / Wu, Xu (Thesis director) / Ostrom, Amy (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Social Transformation (Contributor)
Created2014-05
Description
This research explores how to best communicate positive body images to women. This project was intended to improve a blog I created my freshmen year in college called You're Not A Potato where I used original illustrations to tell a narrative about body image issues. The thesis begins with an historical overview of body image issues and finds that women have been dealing with high levels of body dissatisfaction since the Victorian era. The thesis then recaps the role of traditional media as well as contemporary social media and the role they play in imposing rigid beauty ideals on women's bodies. After an analysis of social media culture, it becomes evident women still communicate about their bodies in a negative manner, not only towards themselves, but towards others. To address this issue, I define the Body Positive movement and explore how public figures are using social media to implement Body Positivity. To conclude this project, I utilize my new-found knowledge in body positive communication by impacting my university campus community. I started a "You're Not a Potato" Campaign for Body Pride week with the help of the ASU Wellness Team and designed and facilitated several engaging programs that reflected the values of the Body Positive movement to our students. Through this research, I discovered how our appearance-based culture has stolen self-confidence from young women today, but by the end of this project, I explain how we can attempt to rebuild our culture by effectively communicating self-love and body acceptance in our online and physical communities.
ContributorsMouton, Brianna Anais (Author) / Gruber, Diane (Thesis director) / Taylor, Jameien (Committee member) / Manninen, Bertha (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This thesis explores the current relationship between high fashion and the advancements and changes in technology that have catapulted the industry into a potentially dangerous level. It is simple for one to identify fashion as a booming industry; however, upon further inquiry, it becomes clear that the pace of the fashion industry is unsustainable as the demands and expectations that the current consumer has for high fashion brands grow unproportional with the standard rate of the industry. In 2016, the fashion industry reached $2.4 trillion in total value, placing it as the seventh largest economy in the world (Amed, 2016), but these numbers are as fickle as a fashion trend. The fear and talk of the current state of fashion is that this will stagnate and even drop off, due to multiple factors. The shift to the "see now/buy now" platform (CFDA, 2016), a marked reliance on social media "influencers" in order to determine success (Friedman, 2016), and the commercialization of creative directors attributing to the high turnover rate at brands (Prigent, 2016) may lead one to conclude the technology is positively affecting the fashion industry. However, these factors ought lead one to conclude that high fashion is moving at an unsustainable pace, one which will result in long-term detriments to the seemingly unshakable industry and remove high fashion off its current pedestal. Over the past few years, a larger consumer base motivated growth in sales numbers, but in 2016, sales growth was at 2-3% with predictions of stagnation to come for the upcoming years (Amed, 2016). This thesis will look at if the high fashion industry itself has become "trendy" and where the current peak of the industry will lead for the future.
ContributorsGur-Arie, Hannah Esther (Author) / Gray, Nancy (Thesis director) / Ostrom, Amy (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Abstract
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
ContributorsBosmeny, Mackenzie Lauren (Author) / Ostrom, Amy (Thesis director) / Montoya, Detra (Committee member) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This study derives from a developmental psychology viewpoint. The main research question is, "What are the effects of social media on children?" Aspects such as bullying, personality changes, and academic performances are considered. This topic is important because it has yet to be explored extensively. Given the ever changing nature of social media, it is a challenge to keep up with research on how this technology is changing the direction of society. Studying children involved with social media allows a direct glimpse into what one aspect of the future of child social development holds. The main problem explored in this thesis is whether or not social media is currently affecting children negatively. Correlations will be examined to determine who is most likely to utilize social media, as well as who is most likely to be affected positively or negatively by networking sites. Motivations behind social media usage and time spent online will also be studied. This research is important in understanding today's youth, and once understood, parents and teachers can learn to guide children in using social media for beneficial reasons rather than potentially detrimental ones. I have conducted my research by means of a survey, one in which the entire fifth-grade class at Copper Creek Elementary School partook. Results showed that nearly all surveyed students used social media. Differences in social media usage between classmates based on gender and presence of older siblings were found. It was concluded that social media is affecting fifth-grade females more negatively than fifth-grade males. Also, it was found that children with older siblings may be at risk for using mature social media sites too soon. The long term effects of these findings were not explored, and further research on this subject is encouraged.
ContributorsWilkey, Brooke Nicole (Author) / Lewis, Stephen (Thesis director) / Gaffney, Cynthia (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Young voters are the future of the country, yet are disengaged and disinterested in politics, leading to low turnout rates. This paper focuses on the Millennial generation, which consists of adults ages 18 to 33, and at times, narrowly focuses on the subset of college students. Since individuals should learn about the presidential candidates and the election before casting a vote, I analyze the similarities and differences between receiving election content through television news, a traditional source, compared to social media. Next, I examine the importance of political expression and political discussion, along with how millennials engaging in such activity on social media allows for a deeper level of engagement in elections than what was possible before the birth of social media. Thus, as opposed to focusing on the reasons milllennials shy away from politics, the purpose of the first three chapters is to highlight the potential benefits for using social media during presidential elections. Lastly, I analyze millennials' voting behaviors, particularly the generation's preference for liberal social values. Since we are currently in the 2016 U.S. presidential election season, the purpose of this chapter is to highlight current research regarding millennials' voting patterns, which should then be compared to the future 2016 general election studies. By analyzing consistent and divergent trends, researchers can further add to the discussion of millennials' political behavior. Although I dedicate a brief part to the 2016 presidential election in Chapters 2 through 4 to discuss how trends are similar or different from current research, the overall purpose of this paper is to inform readers about how millennials learn, engage, and participate in presidential elections.
ContributorsLarson, Dakota Alexis Ok-Ran (Author) / Ackroyd, William (Thesis director) / Cisler, Sherry (Committee member) / Department of Management (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
In 2010, social media, being made available in Arabic, made a large impact in the Middle-East, and social movements throughout several countries exploded from those regions, using the power of social media to their advantage and creating new discussions which were not able to be spoken prior to the introduction of social media in Arabic. Besides creating new social movements, social media has resulted in the transformation and evolution of socialization and how people communicate in their daily lives.
Social media changed the system of networks and connectivity, making communication more tenacious, adaptable, and efficient than ever. Social media is often criticized as a reason for why social movements have not met desired results; however, this is not the fault of social media, rather the fault of the disorganization of people. In this essay, these ideas will be explored, and the many criticisms and misconceptions of social media will be addressed and challenged, creating a more realistic image of social movements with the added power of the new technology called social media.
Social media changed the system of networks and connectivity, making communication more tenacious, adaptable, and efficient than ever. Social media is often criticized as a reason for why social movements have not met desired results; however, this is not the fault of social media, rather the fault of the disorganization of people. In this essay, these ideas will be explored, and the many criticisms and misconceptions of social media will be addressed and challenged, creating a more realistic image of social movements with the added power of the new technology called social media.
ContributorsMoen, Anders Jacob (Author) / Ackroyd, William (Thesis director) / Keahey, Jennifer (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This paper analyzes the r/fakedisordercringe subreddit to better understand the purpose of the server as it relates to socially gatekeeping disability, or determining who is legitimately disabled. A mixed-methods analysis is employed using communications, sociology, and psychology theoretical frameworks. Implications discuss disability visibility and other conditions affecting treatment of people with disabilities.
ContributorsSpencer, Abigail (Author) / Cotton, Cassandra (Thesis director) / Symonds, Adam (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2022-05
Description
The goal of this research study is to examine the nature and effects of social media marketing and the role it has played towards driving Gen Z into the luxury fashion industry. In addition, qualitative exploration focused on uncovering the reason behind why this market chooses to purchase luxury products and investigated the relationship between social media influencers, luxury brands, and their consumers.
Through 12 qualitative research interviews, five key insights were suggested from the results of the study: people buy luxury to fit in or stand out in social groups, social media marketing portrays a false reality, social media has contributed to the rise of Gen Z consumers in luxury fashion, social media has normalized owning luxury products, and social media has caused lowered self esteem and social pressure amongst Gen Z. These insights can be explained through a triangular framework, making up a marketing ecosystem involving the brand, the social media influencer, and the consumer. These three roles work together to buy and sell goods from one another. If one of the players fails to do their role, the relationships fall apart.
Given phones and apps are highly personal items often only used by one individual, understanding and comparing the ads and images one user is exposed to versus another can be very tricky. Recently, the Federal Trade Commission has increased regulations over native advertisements when viewers became unable to decipher ad from reality. Gen Z’s may inadvertently compare themselves to influencers, ultimately causing lowered self esteem when they cannot possess or achieve the lifestyle of these individuals. These insights are important to help understand how to negate the negative effects of social media marketing and propel companies to be more transparent in their marketing initiatives to reduce social pressure and poor mental health amongst Gen Z. Luxury brands could utilize more explicit differentiators on paid advertisements compared to editorial material to make audiences more knowledgeable of the type of content they are viewing. In addition, society should change the way people perceive online content and have more open discussions surrounding the ethics of native advertising and decipection social media posts may cause. The way young users interact and process social media posts is very complex. Investigating this topic is important to prevent the possible underlying repercussions of social media and help marketers best cater toward this market in an open, ethical fashion.
This study concludes with managerial applications and directions for further research. Businesses should prepare to face increasing guidelines regarding native advertising. These guidelines may include requirements to have explicit markings on branded content and binding contracts with social media influencers. To work around these restrictions, the future of luxury fashion indicates that direct to consumer strategies are on the rise. Video livestream retail and social commerce are already taking the Chinese market by storm and it's only a matter of time before American brands will be forced to adapt to keep up with changing trends in the marketplace. DTC brands benefit from having a direct channel to the consumer without interpretation or the need for intermediaries. Given this research primarily focuses on the links between the brand to influencer and influencer to consumer, future exploration could focus on the channel between the brand and consumer through direct selling. Going forward, brands may prefer to interact with their customers directly, without the use of an influencer, to help establish a close relationship with their audience through a seamless customer journey.
ContributorsElton, Eila (Author) / Ostrom, Amy (Thesis director) / Gray, Nancy (Committee member) / Bush, Leslie (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / The Design School (Contributor)
Created2022-05