Heritage child stars on Disney+: the liquidities of child stardom in the SVOD era

Baker, Djoymi; Balanzategui, Jessica

doi:10.1080/19392397.2022.2109307

Cited by 3 publications

(1 citation statement)

References 25 publications

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“…Transitioning from the examination of kidfluencers and the influence of family dynamics, it is imperative to broaden our perspective by delving into the historical challenges faced by child stars within the entertainment industry. Shirley Temple (Hatch, 2015; Kasson, 2014), Macaulay Culkin (Chard, 2017), Lindsay Lohan (Baker & Balanzategui, 2023), Corey Haim (Duncan, 2013), and many other child stars (O'Connor, 2008) who have been exposed to the negative effects of child labor, have had to struggle with the issues such as pressure, abuse, exploitation, trauma, addiction, depression, anxiety, fame, media, fans, family, friends, laws, competition, money, image, identity, sexuality, adolescence and adulthood, that working in the entertainment industry brings. That these individuals have grappled with such an array of issues can be attributed to early exposure to the entertainment world.…”

Section: Emotional Labor and The Shifting Landscape Of Digital Childhoodmentioning

confidence: 99%

Digital Capitalism and Child Labor Exploitation on YouTube

Bakioğlu

2024

Sociology Lens

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This article examines the issue of child labor exploitation on YouTube through the phenomenon of “kidfluencers” ‐ children who create video content and gain a large following on the platform. It discusses kidfluencing within the framework of digital capitalism and platform capitalism, where companies monetize users' data. While kidfluencing can allow children to be creative and gain income, it also risks exploiting their labor and compromising their privacy and well‐being. The article analyzes several popular kidfluencer YouTube channels and finds that some children are producing content in a way that resembles intense work. It highlights how digital capitalism leads to the commodification and alienation of digital labor. While kidfluencers benefit platforms and brands through promotion, they may not receive fair compensation for their efforts. The involvement of parents also raises issues about children's autonomy and protection. Overall, the article argues that while kidfluencing seems like casual play, in some cases it amounts to a hidden form of child labor that fails to uphold children's rights. It calls for stronger regulations to ensure kidfluencers are not subject to exploitation of their immaterial labor.

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Section: Emotional Labor and The Shifting Landscape Of Digital Childhoodmentioning

confidence: 99%

Digital Capitalism and Child Labor Exploitation on YouTube

Bakioğlu

2024

Sociology Lens

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Disney boys to men: erotic gaze and masculine gender capital of former Disney boy actors

Dashiell

2023

Journal for Cultural Research

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What is ‘children’s television’ in the streaming era?: Assessing content discoverability through Australian children’s streaming platform fluencies

Balanzategui,

Baker,

Clift

2024

Convergence: The International Journal of Research into New Med

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In line with international trends, increasing numbers of children in Australia use streaming video platforms to watch television on-demand from extensive catalogues. Child viewers thus tend to negotiate platform interfaces organised by algorithmic curation to select content, rather than accessing content via scheduled linear TV. The deeper implications of this substantial shift in child audience habits around television have yet to be robustly reckoned with across scholarly and national policy approaches. Indeed, policy settings in Australia have not kept pace with these transformations, one result of which has been that 84% less Australian content was aired on free-to-air commercial broadcasters in 2022 compared to 2019. Key producer bodies fear the sector is in serious peril and may not withstand the current instability. Given that local children’s television meets Australian children’s best interests by situating them within their own socio-cultural context, the issue has become a site of significant policy, industry, and cultural concern. At this precarious time for the Australian children’s television sector, this article outlines key findings of a mixed method study with Australian children aged 7–9 ( n = 37) and their adult guardians to illustrate how children understand, identify, and discover ‘local’ and ‘children’s’ content on streaming platforms. This child audience research contributes to current policy and scholarly debates around the ‘routes to content’ audiences develop in the streaming era. A focus of our analysis is how and if children find Australian content. Our aim is to shed light on how ‘discoverability’ issues compound the current state of turmoil for the sector. We elucidate children’s digital fluencies with platform interfaces but highlight their limited cultural literacies with the content itself, which poses significant implications for industry and policy strategy around local content discoverability for child audiences on streaming platforms.

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Heritage child stars on Disney+: the liquidities of child stardom in the SVOD era

Cited by 3 publications

References 25 publications

Digital Capitalism and Child Labor Exploitation on YouTube

Digital Capitalism and Child Labor Exploitation on YouTube

Disney boys to men: erotic gaze and masculine gender capital of former Disney boy actors

What is ‘children’s television’ in the streaming era?: Assessing content discoverability through Australian children’s streaming platform fluencies

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