Matching Items (17)
Description
"YouTube Shakespeares" is a study of Shakespeare online videos and the people who create, upload, and view them on YouTube. Employing an interdisciplinary approach, this work is a remix of theories and methodologies from literary, performance, (social) media, fan, and Internet studies that expands the field of Shakespeare studies. This dissertation explores the role of YouTube users and their activities, the expansion of literary research methods onto digital media venues, YouTube as site of Shakespeare performance, and YouTube Shakespeares' fan communities. It analyzes a broad array of Shakespeare visual performances including professional and user-generated mashups, remixes, film clips, auditions, and high school performances. A rich avenue for the study of people's viewing and reception of Shakespeare, YouTube tests the (un)limitations of Shakespeare adaptation. This work explores the ethical implications of researching performances that include human subjects, arguing that their presence frequently complicates common concepts of public and private identities. Although YouTube is a "published" forum for social interactivity and video repository, this work urges digital humanities scholars to recognize and honor the human users entailed in the videos not as text, but as human subjects. Shifting the study focus to human subjects demands a revision of research methods and publications protocols as the researcher repositions herself into the role of virtual ethnographer. "YouTube Shakespeares" develops its own ethics-based, online research method, which includes seeking Institutional Board Review approval and online interviews. The second half of the dissertation shifts from methodology to theorizing YouTube Shakespeares' performance spaces as analogs to the interactive and imaginary areas of Shakespeare's early modern theatre. Additionally, this work argues that YouTube Shakespeares' creators and commentators are fans. "YouTube Shakespeares" is one of the first Shakespeare-centric studies to employ fan studies as a critical lens to explore the cultural significance and etiquette of people's online Shakespeare performance activities. The work ends with a conversation about the issues of ephemerality, obsolescence, and concerns about the instability of digital and online materials, noting the risk of evidentiary loss of research materials is far outweighed by a scholarly critical registration of YouTube in the genealogy of Shakespeare performance.
ContributorsFazel, Valerie Margaret (Author) / Thompson, Ayanna (Thesis advisor) / Ryner, Bradley (Committee member) / Fox, Cora (Committee member) / Arizona State University (Publisher)
Created2013
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Vulnerability research is a fairly new field of study and has yet to be applied to fields such as improvisation or online content creation. Making vulnerability public in a way that necessitates improvisation is fundamental to YouTube content creation. This Creative Project focuses on drawing connections between Vulnerability and Improvisation as it relates to creating content for YouTube. I did this through creating my own content which consisted of four YouTube videos centering around the theme of embracing fear. I found that in order to create content, I had to practice vulnerability myself and embrace improvisation if I wished to communicate those same themes to my audience. This project revealed that there are many ways which this powerful vulnerability research is yet to be applied, specifically in the realm of vastly public arenas such as YouTube. This research shows that vulnerability is not only applicable to interpersonal relationships, but has the potential to influenced thousands when used in public spheres.
ContributorsEckert, Rebecca Hope (Author) / Branch, Boyd (Thesis director) / Hughes, Erika (Committee member) / Barrett, The Honors College (Contributor) / T. Denny Sanford School of Social and Family Dynamics (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor)
Created2015-05
Description
The Undoing Project is an ongoing educational feminist YouTube channel that serves as an introduction to feminism and feminist theory. The objective for this project is to present feminist theory and feminist ideology in an accessible and entertaining way. Through this project I sought to accomplish three goals: to challenge the negative image of feminism, bridge the gap between the language of academia and the public, and to acknowledge and unlearn ingrained prejudices. The videos focus on theory, history, legislation, current events, and pop culture. The initial project consists of ten videos addressing the feminist wave models, a brief history of the feminist movement, and discussions of concepts like hegemony, intersectionality, masculinity, femininity, and race.
ContributorsBuchholtz, Kaylee Marie (Author) / Brian, Jennifer (Thesis director) / Grzanka, Patrick (Committee member) / Brouwer, Dan (Committee member) / Barrett, The Honors College (Contributor) / College of Public Service and Community Solutions (Contributor) / School of Social Transformation (Contributor) / Department of English (Contributor)
Created2015-05
Description
YouTube video bots have been constantly generating bot videos and posting them on the YouTube platform. While these bot-generated videos negatively influence the YouTube audience, they cost YouTube extra resources to host. The goal for this project is to build a classifier that identifies bot-generated channels based on a deep learning-based framework. We designed the framework to take text, audio, and video features into account. For the purpose of this thesis project, we will be focusing on text classification work.
ContributorsSai, Lun (Author) / Benjamin, Victor (Thesis director) / Lin, Elva S.Y. (Committee member) / Department of Information Systems (Contributor, Contributor) / School of Accountancy (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The YouTube Celebrity examines some of the top YouTube channels and their common methods of creation and communication. In this project I created and posted several videos and blogs discussing some common factors of success, using real world examples and the theory behind the medium and the people. I argue that successful YouTubers use a deliberate presentation as an amateur creator in order to gain authenticity. I use my experimental creation of videos and digital discussion of these ideas to develop my argument as well as applicable literature from relevant fields.
ContributorsRiley, Megan Nicole (Author) / Halavais, Alexander (Thesis director) / Scott, Suzanne (Committee member) / Barrett, The Honors College (Contributor) / School of Letters and Sciences (Contributor) / School of Politics and Global Studies (Contributor)
Created2014-05
Description
You Are Here: A choreographic memoir exploring anxiety in the YouTube generation is an evening-length performance which began as an interdisciplinary exploration of the therapeutic properties of creative writing and creative movement. Throughout the creation of this performance, the choreographer engaged in self-reflection from which arose the themes of anxiety, the Internet, and identity. As a result of this experience, she reached conclusions regarding her personal voice and agency, interdisciplinary art as therapy, the importance of dance as a coping mechanism in digital cultures, and a definition of the therapeutic process of choreographic memoir.
ContributorsDorn, Katherine (Author) / Dyer, Becky (Thesis advisor) / Mitchell, John D. (Committee member) / Reyes, Guillermo (Committee member) / Arizona State University (Publisher)
Created2017
Description
A visual investigation surrounding the societal problem of parasocial relationships, stemming from the advent of viewers' interactions with content creators on platforms like Youtube. My goal was to research my chosen topic in order to provide a basis for a physical exhibit embodying and explaining the dangers and potential solutions for the problem, as well as formulate a written and printed book documenting my process throughout the course of my senior year.
ContributorsVan Camp, Emily (Author) / Sanft, Al (Thesis director) / Montgomery, Eric (Committee member) / Barrett, The Honors College (Contributor) / Department of Information Systems (Contributor) / The Design School (Contributor)
Created2022-05
Description
In an effort to create an exemplar for what brands, “Swipe Stories” is a video series that displays how brands can connect with consumers in a way that is engaging and additive to their life. The paper outlines the ideation, creation and extrapolation of the creative project as well as results that were found. Each step of the process is outlined with detail and notes to benefit both consumers and marketing professionals to understand the ways that longford content can be utilized for the shared value of the consumer and the brand.
ContributorsHuwald, Carter (Author) / Giles, Charles Bret (Thesis director) / Schlacter, John (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor)
Created2023-05
Description
Content creation, or the process of creating and then publishing pieces of creative work, is an increasingly popular way in which individuals can earn income. In fact, one area of content creation, video development, allows many creators to build a full-time career through content they release online through video distribution platforms like YouTube and TikTok. By building their platform and growing their follower base, creators are able to earn money simply by viewers watching their videos. Creators cultivate a brand around their personal image and how they want to be perceived, and they base their content around this brand which they tailor to a specific audience. Content creators often build profitable businesses based off of their personal brand in order to create a career that can potentially outlast fleeting fame and fortune. These businesses founded by content creators are uniquely positioned compared to a traditional business, due to the lasting relationships that creators nurture with their audiences. They create a deep-rooted connection based on authenticity and trust that the creator instills in their followers. Compared to influencer marketing, where creators are paid by a company to sell their products, products that creators personally create are able to make a larger impact on their audience since their product is rooted in the brand they have fostered and is specifically targeted toward their follower base. This paper focuses on exploring the background of YouTube, TikTok, and other methods creators can utilize to build their personal brand, and how they can leverage success on their platform to create businesses and strategically position themselves in the market. By considering individual success stories of content creators, this paper examines the factors that contributed to the growth of each of their platforms and the success of their businesses. Through these examples it becomes apparent that gaining popularity on YouTube and then converting that popularity to a successful business lacks a direct path for success and is not guaranteed for each person by following a specific formula.
ContributorsNance, Elizabeth (Author) / White, Victoria (Co-author) / Swarup, Ava (Co-author) / Giles, Charles (Thesis director) / Schlacter, John (Committee member) / Barrett, The Honors College (Contributor) / Department of Finance (Contributor)
Created2024-05