‘The More Accuracy the Better’?: Analysing Adaptation Reception in Reaction Videos

Rowe, Rebecca

doi:10.1093/adaptation/apx026

Cited by 5 publications

(3 citation statements)

References 8 publications

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“…For example, focusing on their textual content, Warren-Crow argued that vocality, youthfulness and themes of consumption are key to the reaction video as a genre (Warren-Crow 2016). Rowe (2018) alternatively focused on how reaction videos can be a measure of fidelity in interpretation and useful for audience reception studies as they offer a window into real-time audience interpretation. McDaniel (2021) and Kim (2015) have focused more specifically on reactions to music videos, arguing they are a form of audience labor and a commodification of music culture, generating profit for social media platforms.…”

Section: Background and Literaturementioning

confidence: 99%

Reaction Media: Archeology of an Intermedium

Bliss

Nansen

2022

Television & New Media

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This paper unearths the archeology of reaction media across cinema, television and the Internet. We show how reaction content exists in high and low modes, tracing their reoccurrence and remediation from art-house and horror in cinema, to television soap opera, to animated GIFS, and YouTube compilations. Because reactions can be readily repackaged and resourced, we argue that they are a form of inter-media; operating in-between media text and media reception; in-between narrative and sensation; in-between authenticity and performativity; and in-between entertainment and resource. Reaction media are a form of sensory media with material properties. The textual and aesthetic richness of reaction content informs their persistent function, allowing for generative repurposing by internet users as a form of cultural expression and also operating as a rich resource of content able to be repackaged by professional content creators for producing economic value.

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Section: Background and Literaturementioning

confidence: 99%

Reaction Media: Archeology of an Intermedium

Bliss

Nansen

2022

Television & New Media

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“…In light of the following it is worth noting that when talking about literary film adaptations, as opposed to adaptation in general, laypeople have adopted this translational view (see, e.g., Hermansson, 2015;Johnson, 2017;Rowe, 2018). In doing so, they use the word "adaptation" in an inconsistent way.…”

Section: Definitions Of "Translation" and "Adaptation"mentioning

confidence: 99%

Translation and Adaptation Studies: More Interdisciplinary Reflections on Theories of Definition and Categorization

Cattrysse

2020

ttr

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This paper discusses how theories of definition and probabilistic theories of categorization could help distinguish between translation and (literary film) adaptation, and eventually between translation (TS) and (literary film) adaptation studies (LFAS). Part I suggests readopting the common parlance definition of "translation" as the accurate rendition of the meaning of a verbal expression in another natural language, and "adaptation" as change that leads to better fit. Readopting these common parlance definitions entails categorical implications. The author discusses three parameters: whereas "translation" represents an invariance-oriented, semiotically invested, cross-lingual phenomenon, "adaptation" refers to a variance-oriented phenomenon, which is not semiotically invested, and entails better fit. Part II discusses how theories of categorization could help distinguish between TS and LFAS. The study of the disciplinarization of knowledge involves epistemic and socio-political conditioners. This section concludes that medium specificity, i.e., the linguistic versus lit-film paradigm, plays a major role in separating TS from LFAS. Another player that deserves more attention is the Romantic as opposed to the Classicist value system.

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“…Reaction video is a new type of video that has become popular on the internet in recent years, which is described as a genre of user‐generated content dependent on the perceived authenticity of a highly charged emotional response (Warren‐Crow, 2016). Since this type of video epitomizes emotional rather than logical descriptions (Rowe, 2018), they are not scientific but have more hedonic properties. Because of its emotional characteristic, it could significantly stimulate the viewers’ affects.…”

Section: Introductionmentioning

confidence: 99%

Exploring the Information Cues of Danmaku Comments to Stimulate Users' Affective Generation in Reaction Videos

Ye,

Zhao,

et al. 2023

Proceedings of the Association for Information Science and Tech

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Reaction video, a new form of online video that records users' instant reactions to a particular thing, has emerged on social media in recent years. Its unique content composition and hedonic and emotional characteristics make the information cues that influence the affective generation in danmaku comments quite different from those in traditional videos. To explore the information cues of danmaku comments to stimulate users’ affective generation in reaction videos, we conduct thematic coding using the content analysis method by selecting the danmaku resources, video content, and reactors’ responses from 11 popular videos in different categories as samples to identify information cues that influence user affects in danmaku comments. The preliminary findings show that there are three main types of information cues in the reaction videos: the content of the original video, reactors’ reaction and danmaku comments, which could trigger danmaku users’ affect in reaction videos from the perspective of orientation type, parasocial interaction, and peer influence, respectively.

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‘The More Accuracy the Better’?: Analysing Adaptation Reception in Reaction Videos

Cited by 5 publications

References 8 publications

Reaction Media: Archeology of an Intermedium

Reaction Media: Archeology of an Intermedium

Translation and Adaptation Studies: More Interdisciplinary Reflections on Theories of Definition and Categorization

Exploring the Information Cues of Danmaku Comments to Stimulate Users' Affective Generation in Reaction Videos

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