Amongst the most prominent uses of Twitter is its role in the discussion of widely televised events: Twitter's own statistics for 2011, for example, list major entertainment spectacles (the MTV Music Awards and the BET Awards) and sports matches (the UEFA Champions League final and the FIFA Women's World Cup final) amongst the events generating the most tweets per second during the year. During such major media events, Twitter is used most predominantly as a technology of fandom: it serves as a backchannel to television and other streaming audiovisual media, enabling users offer their own running commentary on the universally shared media text of the event as it unfolds live. This article examines the use of Twitter as a technology for the expression of shared fandom in the context of a major, internationally televised annual media event: the Eurovision Song Contest. Our analysis draws on comprehensive data sets for the 'official' event hashtags, #eurovision, #esc, and #sbseurovision. Using innovative methods that combine qualitative and quantitative approaches to the analysis of Twitter data sets containing several hundreds of thousands, overall patterns of participation to discover how audiences express their fandom throughout the event are examined. Such analysis is able to provide a unique insight into the use of Twitter as a technology for fandom and for what in cultural studies research is called 'audiencing': the public performance of belonging to the distributed audience for a shared media event. The work points to Twitter as an important new medium facilitating the connection and communion of fans.
While social media research has provided detailed cumulative analyses of selected social media platforms and content, especially Twitter, newer platforms, apps, and visual content have been less extensively studied so far. This paper proposes a methodology for studying Instagram activity, building on established methods for Twitter research by initially examining hashtags, as common structural features to both platforms. In doing so, we outline methodological challenges to studying Instagram, especially in comparison to Twitter. Finally, we address critical questions around ethics and privacy for social media users and researchers alike, setting out key considerations for future social media research.
The animated Graphics Interchange Format (GIF) is a digital file format with a long history within internet cultures and digital content. Emblematic of the early Web, the GIF fell from favor in the late 1990s before experiencing a resurgence that has seen the format become ubiquitous within digital communication. While the GIF has certain technical affordances that make it highly versatile, this is not the sole reason for its ubiquity. Instead, GIFs have become a key communication tool in contemporary digital cultures thanks to a combination of their features, constraints, and affordances. GIFs are polysemic, largely because they are isolated snippets of larger texts. This, combined with their endless, looping repetition, allows them to relay multiple levels of meaning in a single GIF. This symbolic complexity makes them an ideal tool for enhancing two core aspects of digital communication: the performance of affect and the demonstration of cultural knowledge. The combined impact of these capabilities imbues the GIF with resistant potential, but it has also made it ripe for commodification. In this article, we outline and articulate the GIF’s features and affordances, investigate their implications, and discuss their broader significance for digital culture and communication.
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