Between broadcast yourself and broadcast whateverThe YouTube’s homepage as a synthesis of its business strategy empresarial
- Miguel De-Aguilera-Moyano 1
- Antonio Castro-Higueras 1
- José-Patricio Pérez-Rufí 1
- 1 Universidad de Málaga (Departamento de Comunicación Audiovisual y Publicidad)
ISSN: 1386-6710, 1699-2407
Año de publicación: 2019
Título del ejemplar: Información y comunicación biomédica
Volumen: 28
Número: 2
Tipo: Artículo
Otras publicaciones en: El profesional de la información
Resumen
YouTube is a company representative of its original context, Web 2.0, that originally positioned itself as an open and collaborative platform to broadcast videos created by all kinds of users; their slogan was, and remains, Broadcast yourself. The acquisition of YouTube by Google introduced it in the search for profit in the framework of OTT (over the top) communication. The YouTube homepage reveals the successive business policies followed by the platform. In this work we analyze the evolution of the unlogged homepage of YouTube Spain between 2009 and 2018. We observe the gradual disappearance of the videos produced by private users and its replacement by those made by professional users (youtubers) and cultural industries. There is a remarkable parallelism between the implementation of business models and the greater or lesser recommendation of video from one kind of user or another.
Referencias bibliográficas
- Alexa (2018). The top 500 sites on the web. https://www.alexa.com/topsites
- Arthurs, Jane; Drakopoulou, Sophia; Gandini, Alessandro (2018). “Researching YouTube”. Convergence, v. 24, n. 1, pp. 3-15. https://doi.org/10.1177/1354856517737222
- Bärtl, Mathias (2018). “YouTube channels, uploads and views: A statistical analysis of the past 10 years”. Convergence: The international journal of research into new media technologies, v. 24, n. 1, pp. 16-32. https://doi.org/10.1177/1354856517736979
- Burgess, Jean; Green, Joshua (2009). YouTube: online video and participatory culture. Cambridge, Medford: Polity Press. ISBN: 978 0 745644790
- Burgess, Jean; Green, Joshua (2018). YouTube: online video and participatory culture, 2nd ed. Cambridge, Medford: Polity Press. ISBN: 978 0 745 66018 9
- Cunningham, Stuart; Craig, David (2017). “Being ‘really real’ on YouTube: authenticity, community and brand culture in social media entertainment”. Media international Australia, v. 164, n. 1, pp. 71-81. https://doi.org/10.1177/1329878X17709098
- Cunningham, Stuart; Craig, David; Silver, Jon (2016). “YouTube, multichannel networks and the accelerated evolution of the new screen ecology”. Convergence, v. 22, n. 4, pp. 376-391. https://eprints.qut.edu.au/98716 https://doi.org/10.1177/1354856516641620
- De-Aguilera-Gamoneda, Joaquín; De-Aguilera-Moyano, Miguel (1989). Nueva dimensión de los medios audiovisuales. Barcelona: Mitre. ISBN: 978 84 7652 041 3
- Elías, Carlos (2015). El selfie de Galileo. Software social, político e intelectual del siglo XXI. Barcelona: Península. ISBN: 978 84 9942 424 8
- Gehl, Robert (2009). “YouTube as archive. Who will curate this digital Wunderkammer?”. International journal of cultural studies, v. 12, n. 1, pp. 43-60. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.495.3864&rep=rep1&type=pdf https://doi.org/10.1177/1367877908098854
- Holland, Margaret (2016). “How YouTube developed into a successful platform for user-generated content”. Elon journal of undergraduate research in communications, v. 7, n. 1, pp. 52-59. https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2017/06/06_Margaret_ Holland.pdf
- Internet Archive (2018). Wayback Machine. https://archive.org/web
- Kim, Jin (2012). “The institutionalization of YouTube: From user generated content to professionally generated content”. Media, culture & society, v. 34, n. 1, pp. 53-67. https://doi.org/10.1177/01634437114271
- Kitchin, Rob (2018). “Thinking critically about and researching algorithms”. In: Beer, David (ed.). The social power of algorithms. New York: Sage, pp. 14-29. ISBN: 978 0 81539 183 8
- Leadbeater, Charles; Miller, Paul (2004). The pro-am revolution: How enthusiasts are changing our society and economy. London: Demos. ISBN: 978 1 84180 136 0
- Lobato, Ramón (2016). “The cultural logic of digital intermediaries: YouTube multichannel networks”. Convergence: The international journal of research into new media technologies, v. 22, n. 4, pp. 348-360. https://doi.org/10.1177/1354856516641628
- Park, Minsu; Park, Jaram; Baek, Young-Min; Macy, Michael (2017). “Cultural values and crosscultural video consumption on YouTube”. PLoS one, v. 12, n. 5, e0177865. https://doi.org/10.1371/journal.pone.0177865
- Patel, Sahil (2017). “Inside Disney’s troubled $675 mil. Maker Studios acquisition”. Digiday UK, 22 February. https://digiday.com/media/disney-maker-studios
- Poel, Thomas; Nieborg, David B.; Duffy, Brooke-Erin; Prey, Robert (2017). “The platformization of cultural production”. In: 18th Annual conference of the Association of Internet Research, Tartu, Estonia, 18-21 October. http://platformization.net/wp-content/uploads/2018/09/AoIR2017-Platformization-of-Cultural-Production.pdf
- Postigo, Hector (2014). “The socio-technical architecture of digital labor: Converting play into YouTube money”. New media & society, v. 18, n. 2, pp. 332-349. https://doi.org/10.1177/1461444814541527
- Prado, Emili (2017). “El audiovisual on line over the top. El futuro del audiovisual europeo y español”. In: Bustamante, Enrique (coord.). Informe sobre el estado de la cultura en España. Igualdad y diversidad en la era digital. Madrid: Fundación Alternativas, pp. 127-144. ISBN: 987 84 15860 66 2
- Prey, Robert (2016). “Musica analytica: The datafication of listening”. In: Nowak, Raphaël; Whelan, Andrew (eds.). Networked music cultures. London: Palgrave Macmillan UK, pp. 31-48. ISBN: 978 1 137 58290 4 https://doi.org/10.1057/978-1-137-58290-4_3
- Rieder, Bernhard; Matamoros-Fernández, Ariadna; Coromina, Òscar (2018). “From ranking algorithms to ‘ranking cultures’: Investigating the modulation of visibility in YouTube search results”. Convergence: The international journal of research into new media technologies, v. 24, n. 1, pp. 50-68. https://doi.org/10.1177/1354856517736982
- Rogers, Richard (2015). Digital methods. MIT Press: Cambridge (MA). ISBN: 978 0 26252 824 5
- Silver, David (2008). “History, hype and hope”. First Monday, v. 13, n. 3. http://firstmonday.org/article/view/2143/1950
- Singleton, Micah (2016). “YouTube is still having trouble getting people to pay for YouTube”. The verge, 2 November. https://www.theverge.com/2016/11/2/13498470/youtube-red-subscribers-video-content-music
- Thrift, Nigel (2006). Knowing capitalism. London: Sage. ISBN: 978 1 41290 059 1
- Winkler, Rolfe (2015). “YouTube: 1 billion viewers, no profit”. The Wall Street Journal, 25 February. https://www.wsj.com/articles/viewers-dont-add-up-to-profit-for-youtube-1424897967
- YouTube (2018). Ayuda de YouTube. https://support.google.com/youtube/answer/2579942?hl=en-419