Convergence, Ahead of Print.
The COVID-19 pandemic disrupted the U.S. film industry, prompting major studios to release blockbuster films on streaming platforms. This study examines the impact of pandemic-related changes on the film industry by analyzing social media conversations on Twitter as a proxy for success. We introduce a novel metric to measure social word-of-mouth (sWOM) longevity for 40 movies released across different genres and franchises. Results indicate that pandemic-era films experienced shorter sWOM lifespans than pre-pandemic counterparts, and streaming releases generated shorter sWOM conversations than theatrical releases. This suggests that streaming releases risk quicker cultural obsolescence due to limited social media discussion time. This study offers valuable insights for industry practitioners navigating the evolving cinematic landscape.
Category Archives: SAGE Publications Ltd: Convergence:
Book Reviews
Convergence, Ahead of Print.
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Convergence, Ahead of Print.
Screenness in Google Maps navigation: An agential realist analysis
Convergence, Ahead of Print.
This article articulates screenness to comprehend the agency of screens in the postmedia condition. Being a common element in different kinds of media, screens contribute towards medial collaboration and relationality in postmedia where they do much more than display. Screenness, understood in Karen Barad’s agential realist framework, is performative and contingent upon the relations of the postmedia assemblage, considered here as an arrangement of technical, medial and human components brought together by the transferability and exchange across different media. The unstable, ever-changing relations in postmedia assemblages help in understanding the various operations of screens in image-making, display and dissemination practices. If screens can be understood in and through practices in which they emerge then their agency too is not static but changes as per the relations screens are in. To demonstrate the performative agency of screens – screenness – I will discuss intra-actions that can be gleaned via the activity of navigation using Google Maps application on a smartphone.
This article articulates screenness to comprehend the agency of screens in the postmedia condition. Being a common element in different kinds of media, screens contribute towards medial collaboration and relationality in postmedia where they do much more than display. Screenness, understood in Karen Barad’s agential realist framework, is performative and contingent upon the relations of the postmedia assemblage, considered here as an arrangement of technical, medial and human components brought together by the transferability and exchange across different media. The unstable, ever-changing relations in postmedia assemblages help in understanding the various operations of screens in image-making, display and dissemination practices. If screens can be understood in and through practices in which they emerge then their agency too is not static but changes as per the relations screens are in. To demonstrate the performative agency of screens – screenness – I will discuss intra-actions that can be gleaned via the activity of navigation using Google Maps application on a smartphone.
Social media and platform work: Stories, practices, and workers’ organisation
Convergence, Ahead of Print.
This article introduces the special issue, ‘Social Media and Platform Work: Stories, Practices, and Workers’ Organisation’. In recent years, platform labour studies have increasingly focused on how the growing platformisation of labour has changed work activities, labour processes, work organising, identities, and collectivities. The literature has highlighted the role of media, communication, and social media in platform labour, but more research is needed on these interrelationships. Precisely, the analysis of platform work is necessary due to its complexity and interest in political, economic, social, cultural, and health terms. Throughout the special issue, different contributions are presented that analyse how the emergence of these new jobs brings a set of inequalities that complexify the notion of ‘work’ and dilute workers’ rights, leading to a precarious situation. The use of social media plays a crucial role in the platformisation of labour as it enables the creation of social relationships between workers but also opens the door to communicating, disseminating their work, and even learning informally and about their work. However, the use of social media can also lead to a precarious combination of platform work and content creation – or cultural production. In this regard, it is worth noting to analyse and approach the relationship between platform work and social networks precisely by addressing both perspectives, considering possible vulnerabilities derived from these situations and situations of precariousness.
This article introduces the special issue, ‘Social Media and Platform Work: Stories, Practices, and Workers’ Organisation’. In recent years, platform labour studies have increasingly focused on how the growing platformisation of labour has changed work activities, labour processes, work organising, identities, and collectivities. The literature has highlighted the role of media, communication, and social media in platform labour, but more research is needed on these interrelationships. Precisely, the analysis of platform work is necessary due to its complexity and interest in political, economic, social, cultural, and health terms. Throughout the special issue, different contributions are presented that analyse how the emergence of these new jobs brings a set of inequalities that complexify the notion of ‘work’ and dilute workers’ rights, leading to a precarious situation. The use of social media plays a crucial role in the platformisation of labour as it enables the creation of social relationships between workers but also opens the door to communicating, disseminating their work, and even learning informally and about their work. However, the use of social media can also lead to a precarious combination of platform work and content creation – or cultural production. In this regard, it is worth noting to analyse and approach the relationship between platform work and social networks precisely by addressing both perspectives, considering possible vulnerabilities derived from these situations and situations of precariousness.
Digital methods for sensory media research: Toolmaking as a critical technical practice
Convergence, Ahead of Print.
‘Digital methods’ turn to medium-specific and online avenues for social and cultural research. While these approaches foster empirical media studies, it has become increasingly challenging to ‘follow the medium’ and ‘repurpose’ its methods. The prominence of sensory media such as ‘smart’ networked devices (e.g. mobile phones) in mundane practices and their infrastructural dependencies confront media scholars with highly contingent objects of study. Yet, studying such sensor-based devices is crucial, for they enable continuous and unnoticed monitoring of everyday (inter)activity. The article suggests that developing digital methods for sensory media can be understood as specific ‘critical technical practice’ (CTP) by engaging with two toolmaking stories. It draws on and emphasises the fundamental similarity between CTP and digital methods which both aim at conjoining technical engagement and understanding with methodological reflection. The toolmaking stories explicate the making of and the limitations to developing digital methods for increasingly obfuscated mobile sensory media, exploring the possibilities of repurposing their functionality and data. They include building tools for app code analysis focused on apps’ capacity to track sensor data, as well as for ‘sensing’ and analysing network traffic of mobile devices in use. The featured toolmaking then unravels distinctive research affordances, that is, action possibilities for ‘static’ and ‘dynamic’ modes of analysis grappling with the technicity of mobile sensory media and their data. We argue that toolmaking as CTP for sensory media studies implies engaging with these media as entangled infrastructures, examining not just their social, but also their technical ‘multi-situatedness’. This involves investigating the ‘liveliness’ of their data, or how it is generated, processed and made sense of. In conclusion, we discuss implications for ‘doing digital methods’ in sensory media research. Toolmaking itself becomes an inevitable form of media research and critique, inviting and challenging researchers to deploy the media’s situatedness for their investigations.
‘Digital methods’ turn to medium-specific and online avenues for social and cultural research. While these approaches foster empirical media studies, it has become increasingly challenging to ‘follow the medium’ and ‘repurpose’ its methods. The prominence of sensory media such as ‘smart’ networked devices (e.g. mobile phones) in mundane practices and their infrastructural dependencies confront media scholars with highly contingent objects of study. Yet, studying such sensor-based devices is crucial, for they enable continuous and unnoticed monitoring of everyday (inter)activity. The article suggests that developing digital methods for sensory media can be understood as specific ‘critical technical practice’ (CTP) by engaging with two toolmaking stories. It draws on and emphasises the fundamental similarity between CTP and digital methods which both aim at conjoining technical engagement and understanding with methodological reflection. The toolmaking stories explicate the making of and the limitations to developing digital methods for increasingly obfuscated mobile sensory media, exploring the possibilities of repurposing their functionality and data. They include building tools for app code analysis focused on apps’ capacity to track sensor data, as well as for ‘sensing’ and analysing network traffic of mobile devices in use. The featured toolmaking then unravels distinctive research affordances, that is, action possibilities for ‘static’ and ‘dynamic’ modes of analysis grappling with the technicity of mobile sensory media and their data. We argue that toolmaking as CTP for sensory media studies implies engaging with these media as entangled infrastructures, examining not just their social, but also their technical ‘multi-situatedness’. This involves investigating the ‘liveliness’ of their data, or how it is generated, processed and made sense of. In conclusion, we discuss implications for ‘doing digital methods’ in sensory media research. Toolmaking itself becomes an inevitable form of media research and critique, inviting and challenging researchers to deploy the media’s situatedness for their investigations.
The making of critical data center studies
Convergence, Ahead of Print.
In this article, the authors demonstrate how the data center has become a key site, object, and metaphor for interdisciplinary scholarship of the internet. While the data center is a fabrication of engineering, computer science, and cognate fields, it has been the critical gaze of scholars outside of those industries. Together, this scholarship has established the field of Critical Data Center Studies. Critiques of the data center – often thought of more generally as ‘internet infrastructure’, and more evocatively as ‘the cloud’ – have emerged from the social sciences, humanities, journalism, and the arts. The authors do this by answering questions about the current social, cultural, political, and environmental landscapes of the data center. Scrutiny of the foundational imaginaries of the internet, real estate deals by Big Tech, the industry’s enabling policies, their connections to energy and other public infrastructure – among many other factors – serves, at the very least, to situate the data center as a media object, as more than simply a material infrastructure, as more than data warehouse, and as more than ‘the cloud’. Further to this, the authors reflect on how the data center has been and continues to be studied, and why critical interventions have been so fruitful within a vast array of disciplines – from history and anthropology, to media studies, information studies, and science & technology studies – for shifting the focus from questions of infrastructural visibility to questions that weave together concerns of efficiency, policy, popular culture, and planetary devastation.
In this article, the authors demonstrate how the data center has become a key site, object, and metaphor for interdisciplinary scholarship of the internet. While the data center is a fabrication of engineering, computer science, and cognate fields, it has been the critical gaze of scholars outside of those industries. Together, this scholarship has established the field of Critical Data Center Studies. Critiques of the data center – often thought of more generally as ‘internet infrastructure’, and more evocatively as ‘the cloud’ – have emerged from the social sciences, humanities, journalism, and the arts. The authors do this by answering questions about the current social, cultural, political, and environmental landscapes of the data center. Scrutiny of the foundational imaginaries of the internet, real estate deals by Big Tech, the industry’s enabling policies, their connections to energy and other public infrastructure – among many other factors – serves, at the very least, to situate the data center as a media object, as more than simply a material infrastructure, as more than data warehouse, and as more than ‘the cloud’. Further to this, the authors reflect on how the data center has been and continues to be studied, and why critical interventions have been so fruitful within a vast array of disciplines – from history and anthropology, to media studies, information studies, and science & technology studies – for shifting the focus from questions of infrastructural visibility to questions that weave together concerns of efficiency, policy, popular culture, and planetary devastation.
Slantwise disengagement: Explaining Facebook users’ acts beyond resistance/internalization of domination binary
Convergence, Ahead of Print.
This theoretical and empirical investigation builds upon the concept of ‘slantwise behavior’ to further complicate notions of the ‘digital disengagement’ of subjects within technological infrastructures such as Facebook. It has been previously suggested that the ubiquity of the data privacy paradox is the most common reason for disengagement practices. Our study contributes to this discussion by examining subjects’ disengagement on Social Network Sites (SNS). While numerous concepts concerning disconnection and disengagement from SNS have been conceptualized by media theorists, largely based on a binary construct of resistance or domination, our work proposes an alternative conceptualization of subjects’ disengagement. By employing a qualitative methodological approach and using 30 semi-structured interviews to capture subjects’ discursive patterns, we illustrate that disengagement on Facebook can be seen as a hybrid reaction and a complex phenomenon in which certain disconnection practices cannot be easily classified as resistance practices or as indications of the internalization of domination but rather are best understood as slantwise behaviors, that is, actions that may unintentionally lead to obfuscation.
This theoretical and empirical investigation builds upon the concept of ‘slantwise behavior’ to further complicate notions of the ‘digital disengagement’ of subjects within technological infrastructures such as Facebook. It has been previously suggested that the ubiquity of the data privacy paradox is the most common reason for disengagement practices. Our study contributes to this discussion by examining subjects’ disengagement on Social Network Sites (SNS). While numerous concepts concerning disconnection and disengagement from SNS have been conceptualized by media theorists, largely based on a binary construct of resistance or domination, our work proposes an alternative conceptualization of subjects’ disengagement. By employing a qualitative methodological approach and using 30 semi-structured interviews to capture subjects’ discursive patterns, we illustrate that disengagement on Facebook can be seen as a hybrid reaction and a complex phenomenon in which certain disconnection practices cannot be easily classified as resistance practices or as indications of the internalization of domination but rather are best understood as slantwise behaviors, that is, actions that may unintentionally lead to obfuscation.
‘People don’t buy art, they buy artists’: Robot artists – work, identity, and expertise
Convergence, Ahead of Print.
This article critically examines the construction of the artistic identity and career of Ai-Da, ‘the world's first ultra-realistic humanoid robot artist’. Engaging with scholarship on posthumanism and creative assemblages, and creative work, identity and expertise, this article conceptualises Ai-Da's distinctive positioning and focuses on the practices used to construct a creative worker identity and career. The article uses qualitative content analysis to examine journalistic coverage, promotional and presentation activities, exhibitions and performances, and social media postings over a four-year period from Ai-Da’s first launch to international visibility. The analysis shows how Ai-Da is positioned as a high-profile, border crossing artist, engaging in debates about Artificial Intelligence (AI), art, and the environment. It considers the creative assemblage of Ai-Da as a humanoid robot artist, the creator Aidan Meller and the team working with him, and the wider contextual factors of aesthetic expertise, networks and knowledge of art worlds which have shaped Ai-Da's artistic identity and career trajectory. The focus on how Ai-Da signals expertise on social media helps to frame the specific techniques used to speak about and for Ai-Da on social media platforms and wider media coverage. This includes articulating inspiration, showcasing artistic processes and cultivating audience relationships. In concluding, the implications of connecting critical perspectives on creative work with developments in art, AI and robot artists are explored: firstly, for understanding how the practices for constructing an artistic identity shape the development of robot artists; secondly, for understanding how developments in art and AI can frame reflections on artistic identity and careers.
This article critically examines the construction of the artistic identity and career of Ai-Da, ‘the world's first ultra-realistic humanoid robot artist’. Engaging with scholarship on posthumanism and creative assemblages, and creative work, identity and expertise, this article conceptualises Ai-Da's distinctive positioning and focuses on the practices used to construct a creative worker identity and career. The article uses qualitative content analysis to examine journalistic coverage, promotional and presentation activities, exhibitions and performances, and social media postings over a four-year period from Ai-Da’s first launch to international visibility. The analysis shows how Ai-Da is positioned as a high-profile, border crossing artist, engaging in debates about Artificial Intelligence (AI), art, and the environment. It considers the creative assemblage of Ai-Da as a humanoid robot artist, the creator Aidan Meller and the team working with him, and the wider contextual factors of aesthetic expertise, networks and knowledge of art worlds which have shaped Ai-Da's artistic identity and career trajectory. The focus on how Ai-Da signals expertise on social media helps to frame the specific techniques used to speak about and for Ai-Da on social media platforms and wider media coverage. This includes articulating inspiration, showcasing artistic processes and cultivating audience relationships. In concluding, the implications of connecting critical perspectives on creative work with developments in art, AI and robot artists are explored: firstly, for understanding how the practices for constructing an artistic identity shape the development of robot artists; secondly, for understanding how developments in art and AI can frame reflections on artistic identity and careers.
Sociohistorical development of sim racing in European and Asia-Pacific esports: A cross-cultural qualitative study
Convergence, Ahead of Print.
With the accelerated growth of the sim racing industry over the last few years, research on the phenomenon has started to emerge. Nonetheless, the history of sim racing remains unmapped. This study aims to fill the gap by investigating the development in sim racing in Europe and in Asia-Pacific between 1997 and 2021. Twenty four semi-structured interviews were carried out with experts representing sim racing associations, event organizers, and teams from Europe and Asia-Pacific. Data were analyzed using an inductive-deductive codebook approach. The results show the evolution of sim racing throughout five sociohistorical stages, which demonstrate how sim racing emerged as a hybrid of esports and motorsports and has kept evolving since ‘in-between’ their respective actors until today. The findings suggest that the slow evolution of sim racing has been particularly dependent on networked sociocultural actors, while positively affected by uncontrollable events like the COVID-19 pandemic. As a key implication, we find that the history of sim racing differs from that of esports by its multifaceted dependence on the motorsports ecosystem.
With the accelerated growth of the sim racing industry over the last few years, research on the phenomenon has started to emerge. Nonetheless, the history of sim racing remains unmapped. This study aims to fill the gap by investigating the development in sim racing in Europe and in Asia-Pacific between 1997 and 2021. Twenty four semi-structured interviews were carried out with experts representing sim racing associations, event organizers, and teams from Europe and Asia-Pacific. Data were analyzed using an inductive-deductive codebook approach. The results show the evolution of sim racing throughout five sociohistorical stages, which demonstrate how sim racing emerged as a hybrid of esports and motorsports and has kept evolving since ‘in-between’ their respective actors until today. The findings suggest that the slow evolution of sim racing has been particularly dependent on networked sociocultural actors, while positively affected by uncontrollable events like the COVID-19 pandemic. As a key implication, we find that the history of sim racing differs from that of esports by its multifaceted dependence on the motorsports ecosystem.