Looping out loud: A multimodal analysis of humour on Vine

Social media-based visual humour use in tourism marketing: a semiotic perspective

“…The beneficial aspects of humour (see section 2.2) suggest that humour lends itself well to social media marketing. Previous studies have given much more focus to script and verbal humour than visual humourthis gap deserves scholarly attention due to the prevalence of social mediabased visual humour (Marone 2016;Shifman 2007). This study is a response.…”

“…This study is a response. Given the limited research on the semiotics of humour (Gluscevskij 2017;Marone 2016;Tsakona 2009), this study focuses on the semiotic use of social media-based visual humour by treating it as a signit constitutes a signifier or an observable object and a signified meaning (Chandler 2007). For example, a photograph showing a facial expression (i.e.…”

“…Social media-based visual humouran essential element for fostering a participatory culture in the digital space (Laineste & Voolaid 2016;Marone 2016;Shifman 2012)lends itself well to visual social media marketing. The marketing literature consistently shows that firm-initiated amusing videos, photographs and pictures are more likely to generate consumer comments, likes and reposts (e.g., Bergh, et al 2011;Brown, Bhadury & Pope 2010).…”

“…It is well recognised that Chinese DMOs are adept at using social media-based humour for consumer engagement (Ge & Gretzel 2018). The expressive and visual affordances of social media encourage humour use as an intricate and creative way of self-expression and meaning-making, and a reflection of the sociocultural realities (Filani 2016;Laineste & Voolaid 2016;Marone 2016). In this context, humour is well recognised as a symbol of emotional nourishment (Thomson 2010)it allows for building a long-lived and authentic firm-consumer relationship.…”

Identity modulation in networked publics: Queer women's participation and representation on Tinder, Instagram, and Vine

“…Creating videos for the purpose of entertainment, such as through humorous stories or antics, was a prominent practice across Vine hashtags. Vines' looping rhythm was congruent with humour (Marone, 2017), accentuating punch lines and spurring users to like and share if they identified with the video. When queer women used these techniques, their videos called out to users through their shared experiences of navigating queer sexual identity within heterosexual culture.…”