La tecnologĂa tambiĂŠn nos brinda algo positivo. Existen apps que apoyan el feminismo y el sexismo.Â
1. HollabackÂ
Una aplicaciĂłn que nos ayuda a denunciar un lugar de abuso o acoso online o en calles. De tal manera, que se genere un espacio de confianza para las mujeres y que a su vez apoye el cuidado.Â
Una aplicaciĂłn que surge en contra de la publicidad sexista. Puedes denunciar y filtrar contenido para que las personas no compren a marcas que incitan comportamientos asĂ.Â
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La red nos ha ayudado a demostrar el gran impacto que podemos tener por medio de un sĂłlo mensaje. Mujeres cambiaron fotos, mujeres desaparecieron de las redes sociales y tambiĂŠn del espacio fĂsico. Este paro se hizo con la idea de entender el mundo sin nosotras. Un ejemplo de que la web puede ser un espacio de comunidades que generan un cambio y una nueva cultura.Â
In the final chapter of Spreadable Media (Jenkins et al., 2013), Jenkins goes into detail about transnational media and its spreadability in terms of mass and niche content. According to Global Media Journal, transnational media is described as communication, information or entertainment that crosses international borders without the regulatory constrains normally associated with electronic media.
An example of transnational media is the company BuzzFeed (I didnât want to use this example but my other examples were American as well). BuzzFeed was founded in 2006 and had quickly gained national and global popularity. Itâs headquarters is located in New York, NY but the company has 15 offices in 11 countries including but not limited to Japan, Mexico and India.
BuzzFeed has gained trust as a news source, recipe site, entertainment hub and much more. Its bread and butter is with the various videos that are output by its employees featuring pop cultural phenomena. BuzzFeed content is output by its various channels. Each channel has a target audience that benefits from the specific material published.
For example, BuzzFeedâs channel Pero Like focuses on video content tailored to the Latinx community. However, thatâs not to say other communities canât also enjoy the material.
âSome people describe these shifts as a crisis in copyright and others a crisis in fair use. Fans defend perceived rights and practices that have been taken for granted for many years, such as the longstanding practice of creating âmix tapesâ or other compilations of quoted material. Corporations, on the other hand, want to constrain behaviors they see as damaging and having a much larger impact in the digital era. Both sides accuse the other of exploiting the instability created by shifts in technology and media infrastructureâ (Jenkins, Ford, and Green 71).
As a YouTube connoisseur, this is a fight Iâve been hearing about for YEARS. When I say years, I mean probably since 2009, the time this book continues to reference. YouTube creators are constantly complaining and ranting about the frustration of being called on copyright infringement despite attempting to be vigilant and catching anything that might get them flagged during editing. They also complain about being demonetized about the smallest of things â but thatâs possibly an argument for another day, or maybe just a separate facet of this ongoing fight.
Iâm a lover of the average Joe and the underdog, a glutton for pain and suffering and absolute idiocy, a consumer of sh*tty content as well as high quality. I live for people who for the most part are, or were, just like me, and do things similar to me. I would never think about the music playing on my phone in the background while I rant about how the Grammyâs and the Oscars are a scam in front of my garbage webcam. I would never consider that playing Christina Perriâs âJar of Heartsâ as a scene-setter between my takes would be an issue. These things wouldnât cross my mind naturally because theyâre just songs and theyâre constantly playing all the time.
Half the time when Iâm watching YouTube videos I donât even notice when the music the creator is playing in the downtime isnât royalty free.99! The content they make is typically reviewing or reacting, or just having the song play absent mindedly, and therefore the song is incredibly important to the video or nonconsequential. Either way, more observant people than me hear or see these clips and seek out the source â often legally. YouTube creators, the ones attempting to make a profit and not genuinely pirate corporationsâ materials, typically donât put enough of the materials into their videos to get satiate viewers curious minds.
But, I get it, mostly. Corporations want credit and to earn money. They feel ripped off and threatened. I get it. However, an option: make you ish more accessible! Stop taking peopleâs videos down! Thatâs their income! Nobody is worried about your tunes and no one is stopping your bag! Collaborate with YouTubers, make everybody happy! Declare your comfort: limit length of clips (both audio and visual), and define whatâs off limits and what is public domain. Suing people who have no chance in hell in besting or beating you because they donât have and often canât afford a giant team of big corporate leaders is unfair and cruel â and OVERREACTING!
Also, for the love of all that is good and holy, pay content creators better, and make it easier to get paid. I know a lot of creators who are making dust if anything at all from their content because their following and views are too low despite the quality, time, and effort put into it. Itâs not fair. Make it a bigger, better, and stronger industry.
I do know these changes are unlikely to happen because content creators will want to fully own their things, and corporations want more than half. Theyâre both interested in floating and surviving on their own and the split will continue. Digital media: the hellfire.
Yet new communication platforms do not determine some inevitable "end," whether that be democratization or destabilization. What people collectively and individually decide to do with those technologies as professional and as audiences, and what kinds of culture people produce and spread in and around these tools, is still being determined.
Spreadable Media, Henry Jenkins, Joshua Green, and Sam FordÂ
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Taco Bell road trip, anyone? Here are 12 beautiful Taco Bells we bet you never knew existed. https://www.tacobell.com/feed/coolesttacobells
Taco Bell is probably my favorite brand to follow on social media. Theyâre hilarious, irreverent, and constantly parodying themselves. This is a recent post they created, linking to their blog. Iâm going to analyze it using the tenants of spreadability introduced in Chapter 5 of Spreadable Media.
Available when and where audiences want it? I would certainly say so. This post is a parody of other posts that are widely spread on Facebook, and thatâs just where they posted it. I looked at it for a minute, thinking it was out of place on Taco Bellâs page being that it was just another elitedaily travel article until I realized the joke.
Portable? Yes, thanks to Facebook! Sharing posts is incredibly easy, and as I mentioned before, this type of post is frequently shared on on Facebook.
Easily reusable in a variety of ways? I think so, to a degree. The cool thing about this post is that Iâm reading it as a stab at the millennial travel article that my generation so adores. But someone else who actually really likes Taco Bell may not read it that way, and genuinely look at it to learn about different interesting Taco Bell locations. Taco Bell never explicitly says itâs parody.Â
Relevant to multiple audiences? This one Iâm not so sure about. Maybe Taco Bell is a big enough brand that they donât need to make each content relevant to more than their target audience for that material. It seems to be focused on millennials more than anyone else.
Part of a steady stream of material? Taco Bell, as a large brand with a big social media team no doubt, is very consistent in posting. Thereâs a lot of content there, and theyâre always poised to hop on the latest news or event and make a post about it.Â
For the French premiere of Teen Wolfâs third season, MTV France (@MTVFR) hacked Twitterâs standard design to appear shredded by werewolf claws. Due to its innovative nature, fans were shocked and delighted - once it was clear the damage was an intentional hack rather than a side effect of their smartphones being damaged, the claw mark infected Twitter, generating 10,000 retweets in one week. As seen in the link above, the campaign is now up for the prestigious Shorty Award recognizing excellence in advertising.Â
This campaign might have been made more spreadable by linking fans to a resource where they can create their own visual hacks of Twitter - but that would detach the shred hack from the advertising campaign entirely. The shred hack was successfully spreadable due to its unique impact and to the convention of retweeting built into Twitter as a platform. Fans even started retweeting the shred without the #TeenWolfFr hashtag, folding the hackvertisement into their digital language.
The Nielsen Rating System does an excellent job measuring the amount of engaged audience members television shows have. But, their model does not measure un-engaged audience members (or, members who watch said tv shows through different platforms or at different times i.e. torrenting). However, the industry does seem to be adapting and changing to this need as mentioned by Henry Jenkins in chapter 3 of Spreadable Media.Â
