Youtubers: análisis de las principales figuras en España y su contenido audiovisual

YouTube está convirtiéndose en una amenaza real para la televisión tradicional, respecto al público mas juvenil, y ellos son los culpables: los youtubers. Jóvenes autónomos que se ganan la vida gracias a la monetización de los vídeos que comparten a través de esta la plataforma on-line. Los más exitosos en España, se dedican principalmente a los video blogs, humor y videojuegos, una temática que la televisión había olvidado. Su contenido único y sin filtros, la cercanía con la que tratan a sus fans y que gracias a los youtubers sus seguidores se sienten parte de algo más grande, son una de las claves de su éxito. Este trabajo analiza la influencia de estos nuevos protagonistas del mundo audiovisual y su método de trabajo, por qué tienen tanto éxito y cuál es su modus operandi.

Os youtubers e a representação do certo, errado, adequado e inadequado no trabalho com a variação linguística em sala de aula

Some of the current discussions in the teaching of Portuguese Language (LP) pertain to how the school should deal with the phenomenon of language variation in the classroom. In 2010, for example, an explosion of talk took over the academic corridors: a book, entitled "Por uma vida melhor", the collection "Viver, Aprender", published by the MEC (Ministry of Education and Culture) to students EJA (Youth and Adults) brought notions regarding linguistic variation, even in their first chapter. In it is clear the notion that it is possible to make use of structures as "pretty boy", instead of "pretty boys", depending on the context in which such use is insert. Therefore, the discussions focused around the notions of variety cultivated, standard and popular measuring them to the possibilities of linguistic appropriateness. The community was surprised by the defense of the "power" to use, since it would be the school space to teach a standard "default", and not the possibility of legitimate use of grammatical patterns that clashed with those recommended in traditional grammars. The television media has been responsible for a major blaze that MEC had endorsed the use in schools of a book that legitimized such linguistic patterns. The quarrel was released on Youtube and in that space, netizens expressed themselves for or against the proposal of LD often directing the discussion to questions of a purely political. We observed that, on one side, loomed arguments related to Sociolinguistics (BAGNO , 2002, 2003, 2007, 2009; BAGNO, M.; STUBBS, M., Gagne, G., 2006; Bortoni - RICARDO, S.M., 2008; Tarallo, F., 1982; U. Weinreich, MARVIN I. HERZOG, Labov, W., 1968, Labov 1972, etc.); another, arguments concentrated on defending the school is the area of language teaching standard, and not fit to bring certain discussions within an LD. It was from these words, that this research was born. Interested in the particular way that the community media, which seemed to have no training in linguistics, understand the concepts of right, wrong, appropriate and inappropriate, so intimate in academic circles. Our thoughts take as reference the theoretical studies on the question of sociolinguistic variation and education, official documents that guide the "work" with the Portuguese language in the classroom, like the NCP (National Curriculum) and Curriculum Proposal for Education Youth and Adult (PCEJA). In our analysis, we found that LD" For a better life "makes no apology for teaching the "error", but it raises discussions about the possibility of "change", linked to factors and different order. We realize how significant it is to observe how speakers of a language are positioned in relation to language teaching which they are not speakers and scholars. Our study showed that certain issues regarding the teaching of the Portuguese language, as is the case of linguistic variation, points are far from being resolved, either for linguists and/or grammarians, whether for language speakers.

Audiencing through social media : a brief overview

Notwithstanding the problems with identifying audiences (c.f. Hartley, 1987), nor with sampling them (c.f. Turner, 2005), we contend that by using social media, it is at least possible to gain an understanding of the habits of those who chose to engage with content through social media. In this chapter, we will broadly outline the ways in which networks such as Twitter and Facebook can stand as proxies for audiences in a number of scenarios, and enable content creators, networks and researchers to understand the ways in which audiences come into existence, change over time, and engage with content. Beginning with the classic audience – television – we will consider the evolution of metrics from baseline volume metrics to the more sophisticated ‘telemetrics’ that are the focus of our current work. We discuss the evolution of these metrics, from principles developed in the field of ‘sabermetrics’, and highlight their effectiveness as both a predictor and a baseline for producers and networks to measure the success of their social media campaigns. Moving beyond the evaluation of the audiences engagement, we then move to consider the ‘audiences’ themselves. Building on Hartley’s argument that audiences are “imagined” constructs (1987, p. 125), we demonstrate the continual shift of Australian television audiences, from episode to episode and series to series, demonstrating through our map of the Australian Twittersphere (Bruns, Burgess & Highfield, 2014) both the variation amongst those who directly engage with television content, and those who are exposed to it through their social media networks. Finally, by exploring overlaps between sporting events (such as the NRL and AFL Grand Finals), reality TV (such as Big Brother, My Kitchen Rules & Biggest Loser), soaps (e.g. Bold & The Beautiful, Home & Away), and current affairs programming (e.g. Morning Television & A Current Affair), we discuss to what extent it is possible to profile and categorize Australian television audiences. Finally, we move beyond television audiences to consider audiences around social media platforms themselves. Building on our map of the Australian Twittersphere (Bruns, Burgess & Highfield, 2014), and a pool of 5000 active Australian accounts, we discuss the interconnectedness of audiences around particular subjects, and how specific topics spread throughout the Twitter Userbase. Also, by using Twitter as a proxy, we consider the career of a number of popular YouTuber’s, utilizing a method we refer to as Twitter Accession charts (Bruns & Woodford, 2014) to identify the growth curves, and relate them to specific events in the YouTubers career, be that ‘viral’ videos or collaborations, to discuss how audiences form around specific content creators.