Podcast review and criticism: A forum

Hilmes, Michele; Lindgren, Mia

doi:10.1386/rjao.14.1.83_7

“…A podcast network is the grouping of radio format audio content by a larger media company in order to share resources, attract advertisers, and engage audiences (Bonini, 2015;Hilmes & Lindgren, 2016;Quirk, 2015;Spinelli & Dann, 2019). Networked podcasts are independent productions that may already have an established audience or level of success but agree to group under a collective brand.…”

Section: Podcast Networkmentioning

confidence: 99%

Networked Podcasts: How Users Interact with Two Podcast Shows on Twitter

Pratt¹

2022

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In the past 15 years, the podcast industry continues to evolve as media companies assemble podcast shows into networks characterized by advertising business models, while other shows remain independently produced. In both cases, audiences can connect to the shows directly via social media. Studies on the phenomenon of podcasting (McClung & Johnson, 2010; Perks & Turner, 2018) found that podcast users continue to seek interaction and gratification from their favourite podcasts online. Nevertheless, it is unclear whether differences in business models have an impact on the level of users' gratification and their interaction with the content. A thematic analysis of Twitter data compares the networked storytelling podcast, Criminal, a show from the network Radiotopia, and the independently produced audio storytelling podcast, Lore, to determine the similarities and differences in interaction that occur in Twitter. Observed themes suggest that Twitter audiences support host-led narratives and the promotional activities of a podcast network, though interactions are limited to discussion of the podcast episodes and result in fewer reciprocated interactions with the host. Twitter audiences of the independently produced podcast seek a strong sense of community when interacting with the host and contributed praise and critique to the creative process of the podcast. These key distinctions provide new insights for the podcast industry as the integration for podcast networks and social media both benefit and limit the potential of meaningful engagement between podcasters and their audiences.

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“…Perks and Turner's study (2018) found identification to be a PSI theme in their uses and gratifications (U&G) study on podcasts. Not only are listeners more interested in the host than the actual content (Piper, 2015;McHugh, 2016), they also found that listeners perceive the host to be "just like them" because of their similar interests (Berry, 2006;Hilmes & Lindgren, 2016;Lindgren, 2016). Furthermore, Lindgren (2016) specifies in her study that podcasts cater to niches because it takes a specific type of listener to stay engaged, critically think, and make connections-all while following the flow of content.…”

Section: Identificationmentioning

confidence: 99%

“…The "de-professionalization" (Berry, 2016, p. 14) of podcast production allows for podcast hosts to "have more freedom to be casual, creative, and experimental" (McHugh, 2016, p. 70), because they are in control of their content and understand what their listeners want from them. Although podcasting is not controlled by corporations the way radio stations are, they are starting to be grouped or owned by podcast networks (Hilmes & Lindgren, 2016). Many podcasts, however, are not financed by these networks.…”

Section: Functionality and Technical Traits Of Podcastsmentioning

confidence: 99%

“…801)." Not only is it the host's tone of voice, but also their personable, unfiltered language and contemplative self-examination that makes it easier for their listeners to relate to them (Meserko, 2014;Hilmes & Lindgren, 2016)-or at least the version of themselves they want to share. In the initial examination of PSI, Horton and Wohl (1956) noted that personae have contrived public and private images, selecting only parts of each to share with the audience.…”

Section: Authenticitymentioning

confidence: 99%

“…When hosts share personal topics, as discussed above, it is considered a sign of intimacy (Perks & Turner, 2018). With earphones, the host's voice is literally in the listener's ear and speaking only to them (Hilmes & Lindgren, 2016). For example, an interviewee of MacDougall's study (2011) I gathered five episodes to draw evidence from-a total of almost three hours of content.…”

Section: Intimacymentioning

confidence: 99%

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Parasocial Relationships with Podcast Hosts

Nadora¹

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This study is a deductive thematic analysis of podcast hosts' attributes that explores how parasocial relationships (PSR) might be cultivated with listeners. I analyze five episodes of one podcast, Stuff You Should Know and use its transcriptions to code for themes of identification, conversation practices, and authenticity to suggest ways PSR is developed by the podcast's hosts.Results found host behaviors suggest how listeners may react to them. The combination of the effect of social deixis while describing personal characteristics suggest listeners may feel physically and emotionally closer to the hosts. Listeners may also see them as more trustworthy because the hosts care for listeners' wellbeing. Lastly, when hosts respond to the parasocial conversation, listeners may feel their effort to the PSR is reciprocated. In all, this study suggests that podcast hosts' behaviors contribute to listeners' PSR.There are now ways to personalize our viewing and listening experiences to cater to our interests. Because of this, relationships with media figures may become stronger than ever. If this is the case, we must continue to research the links between media, media technology, and media consumers, in order to adapt to this new media landscape. Podcasts are especially applicable to these circumstances.

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Networked Podcasts: How Users Interact with Two Podcast Shows on Twitter

Pratt¹

2022

Preprint

0

View full text Add to dashboard Cite

In the past 15 years, the podcast industry continues to evolve as media companies assemble podcast shows into networks characterized by advertising business models, while other shows remain independently produced. In both cases, audiences can connect to the shows directly via social media. Studies on the phenomenon of podcasting (McClung & Johnson, 2010; Perks & Turner, 2018) found that podcast users continue to seek interaction and gratification from their favourite podcasts online. Nevertheless, it is unclear whether differences in business models have an impact on the level of users' gratification and their interaction with the content. A thematic analysis of Twitter data compares the networked storytelling podcast, Criminal, a show from the network Radiotopia, and the independently produced audio storytelling podcast, Lore, to determine the similarities and differences in interaction that occur in Twitter. Observed themes suggest that Twitter audiences support host-led narratives and the promotional activities of a podcast network, though interactions are limited to discussion of the podcast episodes and result in fewer reciprocated interactions with the host. Twitter audiences of the independently produced podcast seek a strong sense of community when interacting with the host and contributed praise and critique to the creative process of the podcast. These key distinctions provide new insights for the podcast industry as the integration for podcast networks and social media both benefit and limit the potential of meaningful engagement between podcasters and their audiences.

show abstract

Podcast review and criticism: A forum

Abstract: Abstract

Cited by 4 publications

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Networked Podcasts: How Users Interact with Two Podcast Shows on Twitter

Networked Podcasts: How Users Interact with Two Podcast Shows on Twitter

Parasocial Relationships with Podcast Hosts

Networked Podcasts: How Users Interact with Two Podcast Shows on Twitter

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