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window.loswp.shouldDetectTimezone = true; window.loswp.shouldShowBulkDownload = true; window.loswp.showSignupCaptcha = false window.loswp.willEdgeCache = false; window.loswp.work = {"work":{"id":74681979,"created_at":"2022-03-27T04:08:22.066-07:00","from_world_paper_id":199661423,"updated_at":"2024-11-24T19:09:01.323-08:00","_data":{"grobid_abstract":"This paper discusses the changing relationship between texts, producers and audiences and tries to understand user-generated audiovisual content or to be more precise, intertextuality in user-generated videos in relation to distribution formats, cultural form and genres. Continuing on from the work of John Fiske and the notion of vertical and horizontal intertextuality this paper tries to develop Fiske's original ideas so that his model incorporates the changing relationship between producers and their audiences, the text generated by mainstream media and the text generated by ordinary people, in particular user-generated videos uploaded and shared in social media networks online. Finally we are informed by Paul Ricoeur's work on hermeneutics and self as another, we explore the role of user-generated content as a specific kind of mediated sociability we suggest that user-generated content may be seen as a collaborative effort to navigate the meaning of life. Hence we address questions of mediated sociability, offering a critical perspective on textual self-expression and self-identity.","publication_date":"2009,,","grobid_abstract_attachment_id":"82745800"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"User-Generated Video and Intertextuality","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [52072006]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":82745800,"attachmentType":"pdf"}"><img alt="First page of “User-Generated Video and Intertextuality”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/82745800/mini_magick20220327-15004-19yzqze.png?1648379372" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/single_work_splash/adobe.icon-574afd46eb6b03a77a153a647fb47e30546f9215c0ee6a25df597a779717f9ef.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">User-Generated Video and Intertextuality</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="52072006" href="https://southerndenmark.academia.edu/LarsHolmgaardChristensen"><img alt="Profile image of Lars Holmgaard Christensen" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/52072006/77035063/65567171/s65_lars_holmgaard.christensen.jpeg" />Lars Holmgaard Christensen</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2009</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">16 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 74681979; 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June 2009</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1224279" href="https://dieangewandte.academia.edu/Ram%C3%B3nReichert">Ramón Reichert</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Individuals on the web are therefore subject to permanent mutual observation and grading. Social network sites involve a set of cybernetic practices, such as assessment, evaluation, supervision, coaching, monitoring, feedback systems, matching or efficiency/effectiveness measuring. Control, regulation and governance of the self have always formed a key approach in educational practice. With the rise of cybernetic processes of symbolic control and the bottom-up methods of evaluative feedbacks, complex, non-linear processes are becoming central, which combine the contingency, openness and interconnectedness of web 2.0 media culture into powerful communities and variable systems. Against this backdrop, the ‘lifelong learning’ of individuals and organisations, people and governments, enterprises and administrations, represents a kind of continuous feedback itself. Accordingly, a new kind of dynamic of informatisation of self-practices begins to emerge against the backdrop of global distribution of web-based applications and of administrative institutions strategically opening up towards systems of open knowledge. Not unlike scientific evaluation, everyday evaluation presupposes the option of changing and controlling the behaviour of the subjects involved. Response systems and feedback loops suggest that the subjects be shaped to a certain extent in order to become socially effective. Their technological scheme aims to assert knowledge on the level of everyday practices. Response systems will turn ‘general everyday perception’ into ‘structural monitoring’ used to systematically observe, score, judge and successfully change a certain kind of behaviour. Feedback systems can substantially help activate practices of evaluative self-observation. However, manifold codes of observatory knowledge based on ‘objectifying’ and ‘neutralising’ knowledge technologies cannot belie the fact that every kind of knowledge has inherent social and normative concepts and is fundamentally dependent on political and economic contexts. In the following, we will discuss three central processes of evaluation and self-evaluation on the online video platform YouTube in connection with the following social technologies of networking: (1) The discussion of moving images on YouTube will centre about what performative role the initiators of video uploads play. Social network sites, currently booming on the web, have produced a new regime of subjectification, with proactive self-optimisers as the ruling characters. They are expected to master the art of smart self-governance and to hold their ground even when facing the forces of flexibilisation. They have to prove their permanent state of mobilisation by their digital showcase portfolio (in our exemplary case, the YouTube channel for make-up tutorials), which they are expected to update regularly and maintain open for feedback. Against this background, what status do collective framing processes on online portals have when it comes to production of meaning, negotiation and distribution of moving images? (2) The tendency to resignify and reiterate existing content (mash-up, remix) points to an aspect of the performative closely connected to collective and collaborative framing processes. Again, performative practice is mainly shown as something that creates an excess, which can no longer be attributed to any intersubjectively controllable field of discourse. In that sense, the productive power of the performative presents itself not simply by creating something but by dealing with what we have not created ourselves. Looked at that way, the performance can be understood as an excess of meaning that not only implements a new performative framing but in retrospect modifies existing content. (3) Performative processes on the internet are the result of technological enablement. Specifically, it is computer-assisted information and communication technologies that regulate the modes, the validity and the distribution of content generated by users. As a consequence, web media and the technologically completed actions therein are essential parts of the production of meaning and significance and need to be included in the methodology of examining performative processes. This issue, in addition to having a heuristic meaning within the theoretical discursive practice, opens up critical questions beyond the dichotomy of technological determinism vs. technological euphoria – questions concerning the scope of action of performative enablement in technological environments.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Governing the Hybrid Self: Designing the Self on YouTube, NECS Conference 2009, NECS – European Network for Cinema and Network Studies Lund, Sweden, 25.-28. June 2009","attachmentId":35299582,"attachmentType":"pdf","work_url":"https://www.academia.edu/8986232/Governing_the_Hybrid_Self_Designing_the_Self_on_YouTube_NECS_Conference_2009_NECS_European_Network_for_Cinema_and_Network_Studies_Lund_Sweden_25_28_June_2009","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/8986232/Governing_the_Hybrid_Self_Designing_the_Self_on_YouTube_NECS_Conference_2009_NECS_European_Network_for_Cinema_and_Network_Studies_Lund_Sweden_25_28_June_2009"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="7220918" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/7220918/The_Ragged_Manifold_of_the_Subject_Databaseness_and_the_Generic_in_Curating_YouTube">The Ragged Manifold of the Subject: Databaseness and the Generic in Curating YouTube</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2758806" href="https://royalholloway.academia.edu/OlgaGoriunova">Olga Goriunova</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Media After Kittler, eds. Eleni Ikoniadou and Scott Wilson, London: Rowan & Littlefield, 2015.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Ragged Manifold of the Subject: Databaseness and the Generic in Curating YouTube","attachmentId":33843248,"attachmentType":"doc","work_url":"https://www.academia.edu/7220918/The_Ragged_Manifold_of_the_Subject_Databaseness_and_the_Generic_in_Curating_YouTube","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/7220918/The_Ragged_Manifold_of_the_Subject_Databaseness_and_the_Generic_in_Curating_YouTube"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="40481736" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40481736/Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices_Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices">Contemporary Subjects, Mediatization And Multimodality in Socialcultural Practices Contemporary Subjects, Mediatization And Multimodality in Socialcultural Practices</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="530950" href="https://puccampinas.academia.edu/ElianeAzzari">Eliane F . Azzari</a></div><p class="ds-related-work--metadata ds2-5-body-xs">International Journal for Innovation Education and Research, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">This paper relies on digital ethnography as a methodological frame and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of "Know your meme", a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator's page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discussion highlights that the cultural products created by subjects in discursive interactions both shape and are shaped by axiological positions. It also caters for the idea that the mediatized practices analyzed show that the boundaries between online and offline universes have being increasingly blurred in the current society. Abstract This paper relies on digital ethnography as a methodological frame and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of "Know your meme", a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator's page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discussion highlights that the cultural products created by subjects in discursive interactions both shape and are shaped by axiological positions. It also caters for the idea that the mediatized practices analyzed show that the boundaries between online and offline universes have being increasingly blurred in the current society.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Contemporary Subjects, Mediatization And Multimodality in Socialcultural Practices Contemporary Subjects, Mediatization And Multimodality in Socialcultural Practices","attachmentId":60748603,"attachmentType":"pdf","work_url":"https://www.academia.edu/40481736/Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices_Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40481736/Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices_Contemporary_Subjects_Mediatization_And_Multimodality_in_Socialcultural_Practices"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="190765" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/190765/_Broadcast_Yourself_Internet_and_playful_media_practices_">“Broadcast Yourself! Internet and playful media practices” </a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="25353" href="https://uoc.academia.edu/GemmaSanCornelio">Gemma San Cornelio</a></div><p class="ds-related-work--abstract ds2-5-body-sm">"In this paper we want to present a work- in-progress research about video self production on the Internet that is part of a broader research project which explores the ways current media practices convey a ‘playful’ relationship with digital technologies in popular culture. The increasing relevance of video on the Internet as a cultural phenomenon can be traced through a set of related practices around viewing, searching, producing, mixing, sharing and distributing short video productions – generally of low technical quality through web sites of enormous popularity like YouTube, Revver or Blip TV. These practices allow us to understand media consumption from a transformative point of view that, allegedly, breaks down the division between production and consumption of cultural products redefining the role of the audience. Through these pages we will try to demonstrate that in many of these self productions, play has a crucial role in shaping the relationship between its producers, their audiovisual products and their expected audiences. In order to empirically explore different kinds of playful appropriations in self producing practices we have chosen to centre our analysis to a limited set of videos uploaded to YouTube, and specifically, we will examine in depth two productions related to a single object of representation, Madrid’s subway, as a comparative case study. Through a detailed study of these videos, their context of production and exhibition, we expect to show that there is a playful element involved in all the processes of production, distribution, consumption, and reception, concluding that the practice of producing videos for the Internet challenges some established theoretical frameworks of cultural production introducing new configurations of audiences."</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"“Broadcast Yourself! Internet and playful media practices” ","attachmentId":31259316,"attachmentType":"pdf","work_url":"https://www.academia.edu/190765/_Broadcast_Yourself_Internet_and_playful_media_practices_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/190765/_Broadcast_Yourself_Internet_and_playful_media_practices_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="105746211" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/105746211/Vlogging_and_the_discursive_co_construction_of_ethnicity_and_beauty">Vlogging and the discursive co‐construction of ethnicity and beauty</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="218829844" href="https://independent.academia.edu/AditiBhatia22">Aditi Bhatia</a></div><p class="ds-related-work--metadata ds2-5-body-xs">World Englishes, 2019</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Vlogging and the discursive co‐construction of ethnicity and beauty","attachmentId":105128467,"attachmentType":"pdf","work_url":"https://www.academia.edu/105746211/Vlogging_and_the_discursive_co_construction_of_ethnicity_and_beauty","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/105746211/Vlogging_and_the_discursive_co_construction_of_ethnicity_and_beauty"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="1800767" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/1800767/Video_and_Participatory_Cultures_Writing_Rhetoric_Performance_and_the_Tube">Video and Participatory Cultures: Writing, Rhetoric, Performance, and the Tube</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2159065" href="https://svsu.academia.edu/GeoffreyCarter">Geoffrey V. Carter</a></div><p class="ds-related-work--abstract ds2-5-body-sm">In this special issue of Enculturation, we invited scholars to explore the ubiquity of video and participatory cultures. We started our own investigation into this theme in a panel presentation, “YouTube U.: Home Video Goes to College” at the Conference on College Composition and Communication in New Orleans in 2008. In our work, we considered the limitations of viewing YouTube merely as a broadcasting platform and argued that YouTube should be regarded within the context of an ever-changing and growing networked ecology. We decided our questions and conclusions might be best extended in an on-line journal setting like Enculturation, especially as possible contributors could link to and engage with examples of video directly. Our initial CFP drew inspiration from a series of propositions about video culture forwarded by Henry Jenkins, and as the project unfolded, we looked for ways for our authors to respond to emerging scholarship, such as John Burgess and Joshua Green’s YouTube: Online Video and Participatory Culture, Michael Strangelove’s Watching YouTube: Extraordinary Videos by Ordinary People, and Pelle Snickars and Patrick Vonderau’s The YouTube Reader. We see our collection as speaking to these recent works while also forging new connections and drawing sometimes conflicting conclusions about video and participatory cultures. http://enculturation.gmu.edu/Video-and-Participatory-Cultures</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Video and Participatory Cultures: Writing, Rhetoric, Performance, and the Tube","attachmentId":25211884,"attachmentType":"pdf","work_url":"https://www.academia.edu/1800767/Video_and_Participatory_Cultures_Writing_Rhetoric_Performance_and_the_Tube","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1800767/Video_and_Participatory_Cultures_Writing_Rhetoric_Performance_and_the_Tube"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="38210500" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_">Call for papers - La Valle dell'Eden, n. 35 (June–December 2019) - Monographic issue: Self Media Studies (ed. by Federica Villa)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5249910" href="https://unige-it.academia.edu/LucaMalavasi">Luca Malavasi</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Call for papers - La Valle dell'Eden, n. 35 (June–December 2019) - Monographic issue: Self Media Studies (ed. by Federica Villa)","attachmentId":58249361,"attachmentType":"pdf","work_url":"https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="113587890" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/113587890/Contemporary_subjects_mediatization_and_socio_cultural_practices">Contemporary subjects, mediatization and socio-cultural practices</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="530950" href="https://puccampinas.academia.edu/ElianeAzzari">Eliane F . Azzari</a></div><p class="ds-related-work--metadata ds2-5-body-xs">International Journal for Innovation Education and Research, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">This paper relies on digital ethnography as a methodological frame and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of “Know your meme”, a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator’s page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discuss...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Contemporary subjects, mediatization and socio-cultural practices","attachmentId":110509039,"attachmentType":"pdf","work_url":"https://www.academia.edu/113587890/Contemporary_subjects_mediatization_and_socio_cultural_practices","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/113587890/Contemporary_subjects_mediatization_and_socio_cultural_practices"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="25584397" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/25584397/Self_Production_through_the_Banal_and_the_Fictive_Self_and_the_Relationship_with_the_Screen">Self-Production through the Banal and the Fictive: Self and the Relationship with the Screen</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="75989" href="https://qmul.academia.edu/yasminibrahim">yasmin ibrahim</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The self is performed through the banal of the everyday on social media. The banality of the everyday constitutes an integral part of our communication on digital platforms. Taking this as part of our performative lives in the digital economy, the paper looks at ways in which we co-produce the self through the banality of the everyday as well as a wider imagination and engagement with the world. These wider engagements are termed as 'fictive' not because they are unreal but through a conceptual notion of how the self is performed and imagined through wider world events in digital platforms and screen cultures where convergence of technologies allow us to be constantly consumed through the screen as we live out our daily lives. The narration of our lives through the banal and the fictive constantly co-produces the self through a situated domesticity of the everyday and equally through the eventful. In the process it reveals our ongoing relationship with the screen as an orifice for the production of self and the construction of a social reality beyond our immediate domesticity.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Self-Production through the Banal and the Fictive: Self and the Relationship with the Screen","attachmentId":45913239,"attachmentType":"pdf","work_url":"https://www.academia.edu/25584397/Self_Production_through_the_Banal_and_the_Fictive_Self_and_the_Relationship_with_the_Screen","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/25584397/Self_Production_through_the_Banal_and_the_Fictive_Self_and_the_Relationship_with_the_Screen"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="19965586" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/19965586/The_Digital_Paratext_What_we_can_learn_from_online_video">The Digital Paratext: What we can learn from online video</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3641" href="https://jyu.academia.edu/Lutav">Sérgio L Tavares, PhD. [Lutav]</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The object of this article is to map correspondences between the literacy of books and the literacy of online video platforms, in order to create common ground between both media and assist transmedia storytellers in the task of exploring video platforms with in-depth knowledge of each textual element surrounding video content. The article proposes a comprehensive categorization and typification of surrounding information in the standard video pages of YouTube and Vimeo, using Gerard Genette’s theory of paratexts as a basic framework. The analysis found that the interplay between paratextual elements, the audience feedback, the replication and embedding culture and the absence of endorsement from authors to paratexts created by third parties constitutes a scenario of intense paratextual relevance in a culture radically different from print media. Furthermore, in the given scenario, the reader has an interesting new role: his/her activity log produces a new intertextuality, making the social media user himself/herself a new text that binds other texts together.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Digital Paratext: What we can learn from online video","attachmentId":40936055,"attachmentType":"pdf","work_url":"https://www.academia.edu/19965586/The_Digital_Paratext_What_we_can_learn_from_online_video","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/19965586/The_Digital_Paratext_What_we_can_learn_from_online_video"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":82745800,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":82745800,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_82745800" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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