# data[].attributes.headline
The rise of online influencer economies seems to have challenged the centralised model of culture production, circulation, and consumption in the era of mass media. Does the phenomenon indicate the beginning of a new phase of the culture industry? Critically respond to this question by analyzing one or two case studies of online influencers of your choice.

# data[].attributes.subject
The rise of online influencer economies seems to have challenged the centralised model of culture production, circulation, and consumption in the era of mass media. Does the phenomenon indicate the beginning of a new phase of the culture industry? Critically respond to this question by analyzing one or two case studies of online influencers of your choice.

# data[].attributes.body
Adorno and Horkheimer: Culture Industry

Not becoming new phase of the culture industry： it is still the same model as the era of mass media essentially.

“Platformization”of cultural industry

China’s livestreaming industry ：“The mass production of the sexual automatically achieves its repression.”（ Adorno and Horkheimer）& ‘an entire industry of virtual girlfriends’ Cunningham, S., Craig, D., & Lv, J. (2019). China’s livestreaming industry:

& MCN e.g. Machinima

“Contrary to claims that increased participation in new media is necessarily disruptive of the capitalistic mode of media consumption, the results of this research show that the data produced from active audiences on YouTube channels are utilized by the MCN to develop its content and explore new monetization propositions.

”

“while participation in the aspirational model does provide partners a pathway to a career in the media industry, opportunities for transcending the perceived amateur-professional divide, to work on higher quality productions, are less common.”

Case Study:

Student He

Ziqi Li

Even with the exception of those who strive to innovate and become personalized influencers, it is still difficult to break the environment controlled by capital “work on higher quality productions”.

# data[].attributes.headline
5. While developments like virtual reality and artificial intelligence are heralded as the future, these innovations are also grounded in long histories of the relationship between technology and society. Choosing one recent ‘innovation’ in media as a case study, explain how it is both tied to earlier traditions of media and how it represents something new or distinctive.

# data[].attributes.subject
5. While developments like virtual reality and artificial intelligence are heralded as the future, these innovations are also grounded in long histories of the relationship between technology and society. Choosing one recent ‘innovation’ in media as a case study, explain how it is both tied to earlier traditions of media and how it represents something new or distinctive.

# data[].attributes.body
1) Relevant Theories

Gratification Theory

Berlyn’s Theory

Horizontal integration

Media public

2) Narrow down a contention in response to the essay prompt

Music streaming, specifically platforms such as Spotify, changed the way people consume music. Modern music streaming differs from traditional forms of music consumption such as CD’s and records by making music sharing and searching much more accessible. Each form has its own positives and negatives but each presents the way of listing very differently.

3) Essay Plan:

I’g going to start by covering gratification theory/berlyns theory in terms of how people seek out certain forms of music consumption and the music they listen to. I’m also going to talk about horizontal integration and media public in relation to the music industry and how they advertise new music. Some things I plan on discussion in relation to the theories is how music streaming changed live music, chronological listening habits, digital consumptions vs physical consumption, algorithms for new music and music streaming as social media/communication.

# data[].attributes.headline
Henry Jenkins claims that we live in an era of media convergence, which shapes the new media environment throughout technological, corporate and cultural levels. Has media convergence increased social or political participation? Answer through an analysis of a contemporary media platform and discuss in relation to the differing types of convergence.

# data[].attributes.subject
Henry Jenkins claims that we live in an era of media convergence, which shapes the new media environment throughout technological, corporate and cultural levels. Has media convergence increased social or political participation? Answer through an analysis of a contemporary media platform and discuss in relation to the differing types of convergence.

# data[].attributes.body
I plan on discussing this question by first establishing Jenkin's ideas on media convergence and its contribution to participatory culture. I will analyse Facebook's interface and its different levels of convergence in light of this. I argue technological media convergence and a rise of digital media results in increased social participation of users however, convergence ultimately results in reduced user freedoms and their choices in how they participate.

The ideas relevant:
- media convergence and participatory culture (Jenkins)
- the walkthrough method of application interface analysis
- algorithm bias and extremism
- surveillance capitalism

Plan:
P1:
- outline Jenkin's notion of media convergence
- discuss Facebook's technological convergences and analyse the interface via walkthrough method (affordances, symbolism, etc.)
- these technological convergences and affordances grant users increased agency to engage socially

P2:
- I argue technological convergences and affordances of social media platforms like facebook function to hide their true 'vision' (purpose) as a company- to make a profit through the accumulation of user data
- each affordance functions to survey user behaviour
- vertical corporate convergence of Meta, their ownership of IG, Whatsapp, etc. takes advantage of cultural convergence and current shift in user behaviour that is occuring- capitalising off of the cross-platform nature media flow today- a monopoly on content even though it seems decentralised control
- algorithmic control of platforms takes participatory power away from the user- the algorithm "decides" what users are shown and predict how they react (participate)e.g. Facebook facilitates extremism

P3: Media convergence is increasingly being driven by 'surveillance capitalism,' where corporations such as Meta ultimately gain economic and social power, and as a result increased audience participation with content does not equate to increased user power- I argue as long as there is a lack of user power and agency in platform usage it cannot be said that media convegences in digital media increase social participation.
- referring to Zuboff and Van Dijck
- ethics of 'free labour'?

# data[].attributes.headline
The rise of online influencer economies seems to have challenged the centralised model ofculture production, circulation, and consumption in the era of mass media. Does thephenomenon indicate the beginning of a new phase of the culture industry? Critically respondto this question by analysing one or two case studies of online influencers of your choice.

# data[].attributes.subject
The rise of online influencer economies seems to have challenged the centralised model ofculture production, circulation, and consumption in the era of mass media. Does thephenomenon indicate the beginning of a new phase of the culture industry? Critically respondto this question by analysing one or two case studies of online influencers of your choice.

# data[].attributes.body
Analysing Alix Earle (new influencer model). Referencing Adorno and Horkheimer -  cultural industry, celebrity culture under mass consumption, Microcelebrities and influencer culture, and participatory culture.

# data[].attributes.headline
Q3: The rise of online influencer economies seems to have challenged the centralised model of culture production, circulation, and consumption in the era of mass media. Does the phenomenon indicates the beginning of a new phase of the culture industry? Critically respond to this question by analysing one or two case studies of online influencers of your choice

# data[].attributes.subject
Q3: The rise of online influencer economies seems to have challenged the centralised model of culture production, circulation, and consumption in the era of mass media. Does the phenomenon indicates the beginning of a new phase of the culture industry? Critically respond to this question by analysing one or two case studies of online influencers of your choice

# data[].attributes.body
INTRO:

→Adorno and Horkheimer: definition of the culture industry

→contention: i believe influencer culture signifies a new phase but is bound to the ideologies before it.

PART I
-->web 1.0-2.0 (brief) and how the culture industry applied to broadcasting context

--> Change in influencer definition (static def to content creator)
→shift from celebrity to influencer advertising: why? PARTICIPATORY CULTURE
-->How do influencers stay relevant and attain user attention? MAINTAINING AUTHENTICITY
-->Social media platforms; the emergence of tik tok...

POINT 1: AUTHENTICITY as SOCIAL CURRENCY

Adorno and Horkhemeier contend that all output of the culture consists of “sameness” and only seeks to reinforce the status quo. (...) As this ceases to be true, it can be said that the influencer model confines the influencer to a set of norms and processes to garner an engaging audience that perceives their content as “authentic.”

→Mikayla Noguiera case study: was “exposed” for faking her boston accent which resulted in a loss in followers and brand deals (authenticity as social currency that can affect economic stability for influencers)

(Potentially)

→influencing has become self-aware;

→humanising of brands

→de-influencing

POINT 2: Branding-self

Emma Chamberlain coffee brand

→” Realness”

→ she has been able to earn celebrity status.