MedieKultur: Journal of media and communication research https://tidsskrift.dk/mediekultur Journal of media and communication research SMID - Society of Media researchers In Denmark en-US MedieKultur: Journal of media and communication research 0900-9671 <p>Articles submitted to MedieKultur should not be submitted to or published in other journals. Articles published in MedieKultur may be used (downloaded) and reused (distributed, copied, cited) for non-commercial purposes with reference to the authors and publication host.</p> <p>The authors and MedieKultur own the copyright to the published articles and reviews.</p> Mindeord til Kjetil Sandvik https://tidsskrift.dk/mediekultur/article/view/111266 Anne Mette Thorhauge ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 Mindeord Mindeord 10.7146/mediekultur.v34i65.111266 Cultural Critique: Re-negotiating cultural authority in digital media culture https://tidsskrift.dk/mediekultur/article/view/111265 Nete Nørgaard Kristensen Helle Kannik Haastrup Nanna Holdgaard ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 3 9 10.7146/mediekultur.v34i65.111265 Vernacular reviews as a form of co-consumption: The user-generated review videos on YouTube https://tidsskrift.dk/mediekultur/article/view/104485 <p>Reviews of arts and culture are typically focused on legitimate forms of art rather than popular and consumer culture. Looking beyond such institutionalized reviews, this article inquires into the online-native, bottom-up forms of reviewing. The aim is to identify user-generated reviews of popular cultural objects, defined through the user reviewers’ position as cultural consumers and the size of their audiences. The objects of study are YouTube channels that include a regular output of review videos. First, the 5,000 most-subscribed channels are analysed to identify content creators who establish a relationship to cultural objects. Second, types of reviewing are identified, and the methods and boundaries of ‘vernacular reviewing’ are discussed. User-generated reviewing on YouTube presents a meta-practice related to cultural objects for young audiences that is marked by the use of hybrid genres, humour, irony and the idea of co-consuming, reflected in the concept of intramediation</p> Maarit Jaakkola ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 10 30 10.7146/mediekultur.v34i65.104485 PewDiePie som kulturkritisk aktør – metakritik og konstruktionen af ’indie’ https://tidsskrift.dk/mediekultur/article/view/104552 <p>The most popular youtuber of all times, PewDiePie, has repeatedly criticized YouTube and mainstream news outlets, though both have contributed to position PewDiePie as a highly successful youtuber. This paper examines how PewDiePie manages his role as a youtuber: How he emerges as a credible youtuber creating an authentic relationship with his audience, while his commercial success depends on the transformation of these authentic relationships into monetary profit. Drawing on the ideology of indie culture, the article explores how the dialectic relation between indie culture and mainstream culture is central for PewDiePie’s criticism of YouTube and mainstream news outlets. In addition, the article draws on the concept of the microcelebrity to fully grasp the internet culture that has produced PewDiePie’s massive popularity. It is concluded that, while PewDiePie draws on indie discourses in the production of video content, the criticism is also a stylistic element in PewDiePie’s brand.</p> Louise Yung Nielsen ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 31 53 10.7146/mediekultur.v34i65.104552 Danske intellektuelle på Facebook - eksemplificeret ved Svend Brinkmann og Carsten Jensen https://tidsskrift.dk/mediekultur/article/view/104886 <p>The article analyses how two unique Danish intellectual voices, Professor Svend Brinkmann and writer Carsten Jensen, use Facebook as a platform. It argues, on the one hand, that Facebook offers direct access to the two intellectuals’ followers and readers but on the other hand also creates communicative challenges. The article asks in particular whether the Brinkmann and Jensen follow or depart form the communicative practices afforded by the platform. After an initial review of the literature about the public intellectual, the analysis of Brinkmann’s and Jensen’s use of Facebook shows how Brinkman manages to invent new short forms which grant him extended public impact, whereas Jensen uses Facebook to extend his work as a polemist. Moreover, the analysis argues that both intellectuals perform a private self and position themselves vertically and authoritatively in relation to their followers. In addition, like most other Facebook users, they also promote themselves and their activities. Habermas once pointed to social media’s ambivalences vis à vis the intellectual. The article’s analysis substantiates this claim.</p> <p><em>&nbsp;</em></p> Erik Svendsen ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 54 75 10.7146/mediekultur.v34i65.104886 Cultural journalists on social media https://tidsskrift.dk/mediekultur/article/view/104488 <p><em>This article investigates the use of social media among a particular group of journalists: </em>cultural journalists<em>. </em><em>Combining research on social media journalism with research on cultural journalism and applying </em><em>a mix-method approach, the study shows t</em><em>hat </em><em>use of social media is still a fairly random practice in cultural newsrooms. It</em><em> also shows that </em><em>cultural journalists use their Twitter and Facebook accounts interchangeably as tools for professional communication in their daily work and for personal communication in their daily lives. In other words, their social media practices </em><em>blur the boundaries between institutional interests and professional identities, and more private interests and personal identities. While this may be a challenge to most journalists, it </em><em>resonates well with the professional logics of cultural journalists. They have long practiced their work in a grey-zone between the public and the private, and the objective and subjective. </em><em>Through their social media practices, </em><em>they</em><em> promote the media institution they work for and their own ‘personalised’ professional brand.</em></p> Nete Nørgaard Kristensen Unni From ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 76 97 10.7146/mediekultur.v34i65.104488 Hermione’s feminist book club: celebrity activism and cultural critique https://tidsskrift.dk/mediekultur/article/view/104842 <p>In this article, I analyse how a celebrity can perform cultural critique and feminist activism using her Instagram account and online book club. The celebrity in question is British film star Emma Watson, famous for playing Hermione Granger in the <em>Harry Potter</em> franchise. Watson is performing her activism on gender equality and cultural critique by recommending feminist literature. This study undertakes an analysis of Watson’s presentations of self on Instagram and in her letters in the Our Shared Shelf book club. The analysis takes its point of departure from theories of social media and celebrity culture and film studies as well as investigations of celebrity book clubs and celebrity activism. This case study of Emma Watson’s performance of cultural critique and activism on specific media platforms demonstrates that Watson’s authority is based on her star image as well as the fact that her book club letters and Instagram posts mutually reinforce one another’s written personal arguments and visual documentation.</p> Helle Kannik Haastrup ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 98 116 10.7146/mediekultur.v34i65.104842 #walkouton77: football fan activism in Premier League https://tidsskrift.dk/mediekultur/article/view/104550 <p>This article provides an analysis and a discussion of a protest over ticket prices among fans of the English football club, Liverpool FC. The protest was organized with the hashtag #walkouton77 and combined social media activity with a massive walkout during a globally televised football match. I explore the #walkouton77 protest from two perspectives: Firstly, how fan-activity transformed a franchised TV football match into a transmedia event. Secondly, how fan activism combines cultural and political dimensions as well as offline and online dimensions. It is suggested that football fan activism holds distinguished fan activism potentials demonstrated by the #walkouton77 movement influencing the LFC owners’ club-as-commodity discourses by promoting a club-as-culture discourse. It is concluded the football fans are able to function as collective cultural critics thereby obtaining a position as co-authors of the club as a cultural institution.</p> <p><em>&nbsp;</em></p> Mogens Olesen ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 117 137 10.7146/mediekultur.v34i65.104550 DR3 på flow og streaming – en todelt kanalanalyse https://tidsskrift.dk/mediekultur/article/view/105461 <p>This article conducts a two-tiered analysis of DR3’s development within the last five years and finds big differences in the DR3 programmes that dominate the respective ratings for flow TV and streaming: Sports, big music events and a spin-off show are among the most watched on the flow channel while fiction (primarily <em>SKAM</em>) dominates the streaming numbers. This underlines the difficulties in having what the article calls the two-tiered distribution strategy and in having to produce for two different platforms and viewer groups who can have very different genre preferences, which is almost like managing two different TV channels at once. The article’s qualitative contribution shows two trends in the channel’s many factual programmes – respectively the journalistic experiments and the intimate documentary portraits – which support the DR3 brand’s core values concerning brutal honesty, experiments on one’s own body and absurdities in society. Compared to the channel’s recent fiction strategy, the conclusion points to a channel that can have the potential to be a sandbox channel for DR by testing new programming concepts and time formats. The article also contributes with a discussion of the problems in the measurement of Danish TV ratings, which shows two incompatible measurement paradigms and discusses the inconsistency between flow and streaming in both measurement methods and channel branding.</p> Mads Møller Tommerup Andersen ##submission.copyrightStatement## 2018-12-07 2018-12-07 34 65 138 157 10.7146/mediekultur.v34i65.105461 Michael Curtin, Jennifer Holt & Kevin Sanson (Eds): Distribution Revolution. Conversations about the Digital Future of Film and Television https://tidsskrift.dk/mediekultur/article/view/106694 Ayodeji Olalekan Awobamise ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 158 161 10.7146/mediekultur.v34i65.106694 Jonatan Leer: Madskulinitet. Kønskamp i TV-Køkkenet https://tidsskrift.dk/mediekultur/article/view/111145 Janne Bang ##submission.copyrightStatement## 2018-12-21 2018-12-21 34 65 162 164 10.7146/mediekultur.v34i65.111145