International Journal of Cultural Studies, Ahead of Print.
Transmedia storytelling is a strategy adopted by media franchises and brands to create participatory story-worlds for their consumers; it incorporates a range of forms, actors, and texts, all of which have varying degrees of narrative authority in determining the events that occur. This article focuses on tabletop role-playing game Dungeons & Dragons to show how play cultures in Singapore are shaped by transmedia storytelling techniques. In doing so, it makes two contributions to existing research: first, it shifts scholarly focus from game texts to player practice, showing how communities of play are created through players’ emergent usage of transmedia storytelling techniques. Second, it describes a player practice of soft canon, which I theorise as an approach to shared world-making that prioritises the emotional resonance of narrative details over a positivist accounting of narrative events. The concept of soft canon reveals a new perspective on how communities create and sustain intersubjectively imagined worlds.
Category Archives: SAGE Publications Ltd: International Journal of Cultural Studies:
A global approach to studying platforms and cultural production
International Journal of Cultural Studies, Ahead of Print.
There is a major blindspot regarding our understanding of different structural models of platformization beyond the dominant Anglo-American markets. This article develops a typology of political economic models of platformization by using the case of music platformization. In order to generate such a typology, the article proposes that we start by identifying variables present in any music market around the world. Three different variables are proposed: (1) platform dependence; (2) dominance of ‘global’ platforms; and (3) the degree of platform and recording industry integration. To illustrate how these variables result in structurally distinct models of platformization, the article briefly discusses the cases of South Korea, the Netherlands and Nigeria. In doing so, a framework is provided through which to interpret the experiences and conditions of musicians, and other cultural producers, in diverse platform ecosystems.
There is a major blindspot regarding our understanding of different structural models of platformization beyond the dominant Anglo-American markets. This article develops a typology of political economic models of platformization by using the case of music platformization. In order to generate such a typology, the article proposes that we start by identifying variables present in any music market around the world. Three different variables are proposed: (1) platform dependence; (2) dominance of ‘global’ platforms; and (3) the degree of platform and recording industry integration. To illustrate how these variables result in structurally distinct models of platformization, the article briefly discusses the cases of South Korea, the Netherlands and Nigeria. In doing so, a framework is provided through which to interpret the experiences and conditions of musicians, and other cultural producers, in diverse platform ecosystems.
Selling Otherness on YouTube: Digital inter-Asian Orientalism and YouTube monetization system
International Journal of Cultural Studies, Ahead of Print.
This article investigates the influence of YouTube's monetization metrics on content creation practices and their reflection of geopolitical and economic factors. Using the case study of “Team Azimkiya,” a Bangladeshi YouTube channel primarily targeting South Korean viewers, the study introduces the concept of “global CPM arbitrage.” CPM, or cost per 1000 impressions, estimates advertising revenue for channels. Global CPM arbitrage characterizes content creators’ strategic approach to leverage varying CPM rates across geographic regions, optimizing their advertising revenue within the YouTube ecosystem. While CPM is often seen as an objective metric, the analysis of Team Azimkiya's strategies reveals its role in constructing audiences and directing higher-revenue viewers. In a platform that exhibits a preference for content from more affluent regions, self-Orientalization emerges as an effective content creation approach. This article argues that this approach can perpetuate the inter-Asian dynamic and the Orientalist gaze.
This article investigates the influence of YouTube's monetization metrics on content creation practices and their reflection of geopolitical and economic factors. Using the case study of “Team Azimkiya,” a Bangladeshi YouTube channel primarily targeting South Korean viewers, the study introduces the concept of “global CPM arbitrage.” CPM, or cost per 1000 impressions, estimates advertising revenue for channels. Global CPM arbitrage characterizes content creators’ strategic approach to leverage varying CPM rates across geographic regions, optimizing their advertising revenue within the YouTube ecosystem. While CPM is often seen as an objective metric, the analysis of Team Azimkiya's strategies reveals its role in constructing audiences and directing higher-revenue viewers. In a platform that exhibits a preference for content from more affluent regions, self-Orientalization emerges as an effective content creation approach. This article argues that this approach can perpetuate the inter-Asian dynamic and the Orientalist gaze.
Cooptation, hijacking, or normalization? The discursive concession of body politics on Douyin
International Journal of Cultural Studies, Ahead of Print.
The short-video platform TikTok/Douyin becomes a space not only for individuals to express and articulate their interests, but also for the authorities to negotiate with the public on various ideological boundaries. This article specifically examines a Douyin campaign in which the platform attempts to prescribe a standard of body exposure that falls within the tolerance level of the authorities and, meanwhile, favours users’ interests to gain support. To conceptualize such discursive negotiations and the relevant tactics, we propose the term ‘discursive concession’ to describe the process of compromise by temporarily challenging, obscuring, and rearticulating the discursive boundary, eventually legitimizing the subordinated discourse by aligning it with the dominant ideological logic. By analysing discourses of representative short videos and comments, we identified three tactics of discursive concession: cooptation, hijacking, and normalization. They respectively describe how dominant, subordinated, and middle powers leverage each other to push the discursive boundary forward.
The short-video platform TikTok/Douyin becomes a space not only for individuals to express and articulate their interests, but also for the authorities to negotiate with the public on various ideological boundaries. This article specifically examines a Douyin campaign in which the platform attempts to prescribe a standard of body exposure that falls within the tolerance level of the authorities and, meanwhile, favours users’ interests to gain support. To conceptualize such discursive negotiations and the relevant tactics, we propose the term ‘discursive concession’ to describe the process of compromise by temporarily challenging, obscuring, and rearticulating the discursive boundary, eventually legitimizing the subordinated discourse by aligning it with the dominant ideological logic. By analysing discourses of representative short videos and comments, we identified three tactics of discursive concession: cooptation, hijacking, and normalization. They respectively describe how dominant, subordinated, and middle powers leverage each other to push the discursive boundary forward.
‘Diversity’ as multidisciplinary keyword for the politics of cultural recommender systems in global digital media platforms
International Journal of Cultural Studies, Ahead of Print.
‘Diversity’ is a heavily freighted and multivalent keyword in the global digital media environment. The recommender systems used by platforms are particularly acute sites of development and debate around the political, cultural and technical issues ‘diversity’ signifies. Drawing on a review of computer science publications on recommender systems in media and entertainment as well as a survey of recent advances in media and cultural policy scholarship, this short article performs a pragmatic close reading of diversity in these intersecting fields. We note that attention must be paid to the specific challenges and politics of diversity not only in particular cultural fields but also in local cultural contexts, drawing on examples from music and SVOD platforms to flesh out these questions and the practical possibilities that arise from them.
‘Diversity’ is a heavily freighted and multivalent keyword in the global digital media environment. The recommender systems used by platforms are particularly acute sites of development and debate around the political, cultural and technical issues ‘diversity’ signifies. Drawing on a review of computer science publications on recommender systems in media and entertainment as well as a survey of recent advances in media and cultural policy scholarship, this short article performs a pragmatic close reading of diversity in these intersecting fields. We note that attention must be paid to the specific challenges and politics of diversity not only in particular cultural fields but also in local cultural contexts, drawing on examples from music and SVOD platforms to flesh out these questions and the practical possibilities that arise from them.
Making virtual celebrity: Platformization and intermediation in digital cultural production
International Journal of Cultural Studies, Ahead of Print.
Focusing on intermediation in cultural production in a digital ecology consisting of multiple platforms mediating simultaneously converging and diverging industries, this study critically engages with the thesis that platforms act primarily as a disintermediation vector in a linear value chain within a single industry. With two empirical cases of intermediation in the emerging virtual celebrity sector – one organizing the recursive loop of prosumption, the other articulating authenticity against technological standardization and overproduction, the study shifts the focus away from questions of labor and agency of individual creators and unpacks the conditions of intermediation in the context of new industrial models of value creation, commodification, and division of labor. The empirical cases demonstrate that the implications of platforms for digital cultural production are paradoxical – while their business models lead to a centralized process of value capture, their flexible organizational forms may afford new distributed patterns of value creation.
Focusing on intermediation in cultural production in a digital ecology consisting of multiple platforms mediating simultaneously converging and diverging industries, this study critically engages with the thesis that platforms act primarily as a disintermediation vector in a linear value chain within a single industry. With two empirical cases of intermediation in the emerging virtual celebrity sector – one organizing the recursive loop of prosumption, the other articulating authenticity against technological standardization and overproduction, the study shifts the focus away from questions of labor and agency of individual creators and unpacks the conditions of intermediation in the context of new industrial models of value creation, commodification, and division of labor. The empirical cases demonstrate that the implications of platforms for digital cultural production are paradoxical – while their business models lead to a centralized process of value capture, their flexible organizational forms may afford new distributed patterns of value creation.
Memetic commenting: Armenian curses and the Twitter theatre of Trump’s deselection
International Journal of Cultural Studies, Ahead of Print.
On 7 November 2020, strange things were happening in the comments to @realDonaldTrump's tweet erroneously arguing that he had won the US presidential election, ‘BY A LOT’. Posting quote tweets and replies in Armenian in tandem with ‘cursed images’, memes, and creepypasta, users engaged in a spam-like trollish intervention, even as Twitter kept removing the said content in real time. Exploring this online incident through various analytical techniques, this article first attends to absurdity and ephemerality within the polarized social media event. Second, it makes an argument for the productivity of digital methods in cultural studies inquiry aiming to understand the temporal, contextual, and infrastructural aspects of memetic commenting. Third, by focusing on the social (media) theatre of Armenian curses, we make a case for the analytical importance of studying materials deemed niche and anomalous in networked exchanges.
On 7 November 2020, strange things were happening in the comments to @realDonaldTrump's tweet erroneously arguing that he had won the US presidential election, ‘BY A LOT’. Posting quote tweets and replies in Armenian in tandem with ‘cursed images’, memes, and creepypasta, users engaged in a spam-like trollish intervention, even as Twitter kept removing the said content in real time. Exploring this online incident through various analytical techniques, this article first attends to absurdity and ephemerality within the polarized social media event. Second, it makes an argument for the productivity of digital methods in cultural studies inquiry aiming to understand the temporal, contextual, and infrastructural aspects of memetic commenting. Third, by focusing on the social (media) theatre of Armenian curses, we make a case for the analytical importance of studying materials deemed niche and anomalous in networked exchanges.
Exploring cultural hybridity, questioning cultural appropriation: Peruvian fans’ responses to Latin tropes in K-pop
International Journal of Cultural Studies, Ahead of Print.
Drawing on qualitative interviews with K-pop fans in Lima, Peru, this study explores how Latin fans think about and negotiate K-pop industries’ citations of Latin pop music tropes. It addresses the ways in which K-pop's practices of citing other cultures are perceived by the audience whose culture is cited. The Peruvian fans in this study suggest that the citations of other cultures observed in K-pop offer versatile entry points for them to easily engage in the cultural genre. For them, K-pop is a novel cultural genre that has become an alternative yet intimate cultural resource, especially compared to hegemonic American pop music. By providing an analysis of Latin K-pop fans’ lived experiences through the lens of cultural hybridity and appropriation, this audience study contributes to the field of transcultural media research.
Drawing on qualitative interviews with K-pop fans in Lima, Peru, this study explores how Latin fans think about and negotiate K-pop industries’ citations of Latin pop music tropes. It addresses the ways in which K-pop's practices of citing other cultures are perceived by the audience whose culture is cited. The Peruvian fans in this study suggest that the citations of other cultures observed in K-pop offer versatile entry points for them to easily engage in the cultural genre. For them, K-pop is a novel cultural genre that has become an alternative yet intimate cultural resource, especially compared to hegemonic American pop music. By providing an analysis of Latin K-pop fans’ lived experiences through the lens of cultural hybridity and appropriation, this audience study contributes to the field of transcultural media research.
Decolonizing bodies and the ethics of care: On the significance of embodied vulnerability as the future of cultural studies
International Journal of Cultural Studies, Ahead of Print.
In the contemporary moment, systemic failures – from climate change to pandemics to political repression – have created embodied vulnerabilities worldwide. I argue here that the increasing precaritization of individual bodies is an index of the political formations that create and condition vulnerabilities among certain populations. Recognizing this, analyses of the conditions of embodied vulnerability are crucial to cultural studies in that they contribute to understanding and challenging neocolonial and patriarchal power and injustice. Feminist materialism and theories of post- and neo-colonialism reveal the processes of embodiment as complex modes of epistemic violence. To reorient cultural studies theoretically and methodologically, I propose the feminist ethics of care as a working framework for mapping, challenging, and changing the processes of materialization at work in unjust and asymmetric embodied vulnerabilities.
In the contemporary moment, systemic failures – from climate change to pandemics to political repression – have created embodied vulnerabilities worldwide. I argue here that the increasing precaritization of individual bodies is an index of the political formations that create and condition vulnerabilities among certain populations. Recognizing this, analyses of the conditions of embodied vulnerability are crucial to cultural studies in that they contribute to understanding and challenging neocolonial and patriarchal power and injustice. Feminist materialism and theories of post- and neo-colonialism reveal the processes of embodiment as complex modes of epistemic violence. To reorient cultural studies theoretically and methodologically, I propose the feminist ethics of care as a working framework for mapping, challenging, and changing the processes of materialization at work in unjust and asymmetric embodied vulnerabilities.
Global visions for a metaverse
International Journal of Cultural Studies, Ahead of Print.
There is a growing effort to locate metaverse developments within the purview of platform research. However, the majority of English-language studies take Horizon Worlds, Meta's US-centric prototype of a metaverse, as the starting point. This critical reflection argues that since the fate of the metaverse is far from settled, and its building blocks exist in a colorful array of global visions, we need to divorce discourses of the metaverse from Meta's hype cycle and multiply our frames of reference by engaging with international developments. In turn, this article proceeds by scoping out metaverse visions emanating from different parts of the world and drawing out common themes as entry points for future research. This article contributes to a re-orientation of metaverse studies toward critical and embodied global perspectives of socio-cultural production, while simultaneously reconsidering the very notion of the metaverse as a platform.
There is a growing effort to locate metaverse developments within the purview of platform research. However, the majority of English-language studies take Horizon Worlds, Meta's US-centric prototype of a metaverse, as the starting point. This critical reflection argues that since the fate of the metaverse is far from settled, and its building blocks exist in a colorful array of global visions, we need to divorce discourses of the metaverse from Meta's hype cycle and multiply our frames of reference by engaging with international developments. In turn, this article proceeds by scoping out metaverse visions emanating from different parts of the world and drawing out common themes as entry points for future research. This article contributes to a re-orientation of metaverse studies toward critical and embodied global perspectives of socio-cultural production, while simultaneously reconsidering the very notion of the metaverse as a platform.