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In today’s digital world our social interactions often take place in the form of written comments. We chat, disagree, worship, vent, confess, and even attack in written form in public digital spaces. Drawing on scholarly literature from media and cultural studies, psychology and sociology, Uncovering Commenting Culture charts this commenting territory and outlines why we behave in these ways online. In this timely book, Renee Barnes provides a participatory model for understanding commenting culture that is based on the premise that our behaviours online–including those that cause us most the concern–are not so much an internet problem as a social problem. By looking at a wide variety of online commenting habitats, from the comment threads following news stories, through to specialist forums and social media platforms, the volume provides a comprehensive understanding of the role of online commenting in society and provides suggestions for how we might mitigate bad behaviours.
This edited volume examines cultural criticism in the digital age. It provides new insights into how critical authority and expertise in a cultural context are being reconfigured in digital media and by means of digital media, as the boundaries of cultural criticism and who may perform as a cultural critic are redefined or even dissolved. The book applies cross-media and cross-disciplinary perspectives to advance cultural criticism as a wide-ranging and multi-facetted object of study in the 21st century. Presenting a broad collection of case studies, including global cases such as the Golden Globe, the Intellectual Dark Web, YouTube, Rotten Tomatoes and Artsy and particular national contexts such as Britain, the Czech Republic, Denmark and the Netherlands, the book showcases the many theoretical and methodological approaches that may serve as useful frameworks for studying new critical voices in the digital age. It will be of interest to media, communication and journalism scholars as well as scholars from a range of aesthetic disciplines.
Research Perspectives on Social Media Influencers and Brand Communication examines the myriad ways in which social media and the unique characteristics of the internet have changed brand communication for both brands and consumers, focusing on the social media influencer as a brand communicator. As brands have noticed the rise of social media influencers as tastemakers and leaders in public opinion, they have increasingly begun to incorporate social media influencers into their brand communication strategies. Each chapter of this book represents a unique theoretical and methodological approach to examining the emergence and growing legitimacy of the social media influencer as a brand communicator from a variety of perspectives and contexts, discussing challenges and opportunities afforded to brands by social media influencers and providing an overview of the current research on the use of these branding approaches. Scholars of media studies, communication, and marketing will find this book particularly useful.
This book takes an innovative fan studies approach to investigating one of the most pressing issues of contemporary times: polarization. Drawing on three years of observational data from Facebook political discussions, as well as interviews and survey responses from those heavily engaged in online political debate, Barnes argues a fan-like investment in a political perspective initiates and drives polarization. She calls on us to move beyond the traditional Habermasian approach to political discussion, which privileges the rational and deliberative, and instead focus on how we perform the self. How we behave in these online debates is part of a performance, a performance of self, in which an affective investment in a particular political perspective drives a need to contribute, refute and ‘other’ those opposing. Because this performance stems from an emotional basis, judgments and contributions are often not rational or factual, but rather a form of establishing and defending an identity.
The rise of digitisation and social media over the past decade has fostered the rise of participatory and DIY digital culture. Likewise, the archival community leveraged these new technologies, aiming to engage users and expand access to collections. This book examines the creation and development of participatory archives, its impact on archival theory, and present case studies of its real world application. Participatory Archives is divided into four sections with each focused on a particular aspect of participatory archives: social tagging and commenting; transcription; crowdfunding; and outreach & activist communities. Each section includes chapters summarizing the existing literature, a discussion of theoretical challenges and benefits, and a series of case studies. The case studies are written by a range of international practitioners and provide a wide range of examples in practice, whilst the remaining chapters are supplied by leading scholars from Australia, Canada, Denmark, the Netherlands, Norway, the United Kingdom, and the United States. This book will be useful for students on archival studies programs, scholarly researchers in archival studies who could use the book to frame their own research projects, and practitioners who might be most interested in the case studies to see how participatory archives function in practice. The book may also be of interest to other library and information science students, and similar audiences within the broader cultural heritage institution fields of museums, libraries, and galleries.
Providing a concise toolbox for publishing professionals and students of publishing, this book explores the skills needed to master the key elements of social media marketing and therefore stay relevant in this ever-competitive industry. Taking a hands-on, practical approach, Social Media Marketing for Book Publishers covers topics including researching and identifying actionable insights, developing a strategy, producing content, promotion types, community building, working with influencers, and how to measure success. Pulling from years of industry experience, the authors’ main focus is on adult fiction publishing, but they also address other areas of the industry including children’s, young adult (YA), academic, and non-fiction. The book additionally brings in valuable voices from the wider digital marketing industries, featuring excerpts from interviews with experts across search engine optimisation (SEO), AdWords, social platforms, community management, influencer management, and content strategists. Social Media Marketing for Book Publishers is a key text for any publishing courses covering how to market books, and should find a place on every publishers' bookshelf.
This book explores visual political engagement online – how citizens participate in the dynamism of life in society by expressing their opinions and emotions on various issues of democratic life in image-based social media posts, independently of collective actions. Looking beyond large digital social movements to focus on the everyday, the book provides a well-documented and comprehensive framework of key notions, concrete methods and examples of empirical insights into everyday visual citizenship on social media. It shows how the visual has become ubiquitous in citizens’ communication on social media, focusing on how citizens use visual content to express their emotions and opinions on social media platforms when they discuss politics in a large sense. With this book, every reader interested in political communication, visual communication and/or new media is fully equipped to analyse everyday visual citizenship on social media platforms. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
In this book, Spracklen and Spracklen use the idea of collective memory to explore the controversies and boundary-making surrounding the genesis and progression of the modern gothic alternative culture. They suggest that the only way for goth culture to survive is if it becomes transgressive and radical again.
How has the Internet changed literary culture? 2nd Place, N. Katherine Hayles Award for Criticism of Electronic Literature by The Electronic Literature Organization Reports of the book’s death have been greatly exaggerated. Books are flourishing in the Internet era—widely discussed and reviewed in online readers’ forums and publicized through book trailers and author blog tours. But over the past twenty-five years, digital media platforms have undeniably transformed book culture. Since Amazon’s founding in 1994, the whole way in which books are created, marketed, publicized, sold, reviewed, showcased, consumed, and commented upon has changed dramatically. The digital literary sphere is no mere appendage to the world of print—it is where literary reputations are made, movements are born, and readers passionately engage with their favorite works and authors. In The Digital Literary Sphere, Simone Murray considers the contemporary book world from multiple viewpoints. By examining reader engagement with the online personas of Margaret Atwood, John Green, Gary Shteyngart, David Foster Wallace, Karl Ove Knausgaard, and even Jonathan Franzen, among others, Murray reveals the dynamic interrelationship of print and digital technologies. Drawing on approaches from literary studies, media and cultural studies, book history, cultural policy, and the digital humanities, this book asks: What is the significance of authors communicating directly to readers via social media? How does digital media reframe the “live” author-reader encounter? And does the growing army of reader-reviewers signal an overdue democratizing of literary culture or the atomizing of cultural authority? In exploring these questions, The Digital Literary Sphere takes stock of epochal changes in the book industry while probing books’ and digital media’s complex contemporary coexistence.