A multimodal analysis of the representation of voter disillusionment in social media memes distributed on Twitter in the lead up to the 2019 South African general election
- Authors: Jeftha, Courtney Alexandra
- Date: 2022-10-14
- Subjects: Elections South Africa 21st century , Culture Study and teaching South Africa , Mass media Study and teaching South Africa , Social media South Africa , Memes South Africa , Visual sociology , Textual Analysis , Critical discourse analysis , Modality (Linguistics)
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/405930 , vital:70220
- Description: This study is situated in the context of the 2019 South African general election, which saw the lowest voter turnout since its first democratic election in 1994. Many have questioned the capabilities of the African National Congress (ANC) since they came into power in 1994, due to allegations of corruption, maladministration and poor leadership. The concerns about the party’s ability to manage the country’s various social issues have led to a drop in voter turnout. There was much discussion in the media about the lack of voter turnout amongst young people in South Africa. This topic became a trending topic on social media under the #iwanttovotebut hashtag. The sentiments expressed by South African Twitter users in the #iwanttovotebut memes are explored in this study. The analysis of the memes draws on the works of Kress and van Leeuwen’s (1996; 2006) visual social semiotics, Fairclough’s (1989) approach to Critical discourse analysis (CDA), and Thompson’s operation of ideologies. VSS allows for the description of the various semiotic resources that memers use to construct their meaning from multimodal texts. The tools provided by CDA go beyond the description of VSS and develop a more detailed analysis of how the memers construct their discourses of democracy/governance. Thompson’s (1991) approach to understanding how ideology operates in language enables the deepening of the understanding of the dominant and naturalised notions of democracy/governance. The findings indicate that memers have a limited understanding of democracy. They also have a limited understanding of how political parties operate and their responsibilities in the form of government and various agencies. In addition, it is not surprising that young people are not voting in the 2019 general election. This is a phenomenon that the media has characterized as “apathy.” However, this research indicates that it would be more accurate to describe it as “disillusionment.” , Thesis (MA) -- Faculty of Humanities, School of Journalism and Media Studies, 2022
- Full Text:
- Authors: Jeftha, Courtney Alexandra
- Date: 2022-10-14
- Subjects: Elections South Africa 21st century , Culture Study and teaching South Africa , Mass media Study and teaching South Africa , Social media South Africa , Memes South Africa , Visual sociology , Textual Analysis , Critical discourse analysis , Modality (Linguistics)
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/405930 , vital:70220
- Description: This study is situated in the context of the 2019 South African general election, which saw the lowest voter turnout since its first democratic election in 1994. Many have questioned the capabilities of the African National Congress (ANC) since they came into power in 1994, due to allegations of corruption, maladministration and poor leadership. The concerns about the party’s ability to manage the country’s various social issues have led to a drop in voter turnout. There was much discussion in the media about the lack of voter turnout amongst young people in South Africa. This topic became a trending topic on social media under the #iwanttovotebut hashtag. The sentiments expressed by South African Twitter users in the #iwanttovotebut memes are explored in this study. The analysis of the memes draws on the works of Kress and van Leeuwen’s (1996; 2006) visual social semiotics, Fairclough’s (1989) approach to Critical discourse analysis (CDA), and Thompson’s operation of ideologies. VSS allows for the description of the various semiotic resources that memers use to construct their meaning from multimodal texts. The tools provided by CDA go beyond the description of VSS and develop a more detailed analysis of how the memers construct their discourses of democracy/governance. Thompson’s (1991) approach to understanding how ideology operates in language enables the deepening of the understanding of the dominant and naturalised notions of democracy/governance. The findings indicate that memers have a limited understanding of democracy. They also have a limited understanding of how political parties operate and their responsibilities in the form of government and various agencies. In addition, it is not surprising that young people are not voting in the 2019 general election. This is a phenomenon that the media has characterized as “apathy.” However, this research indicates that it would be more accurate to describe it as “disillusionment.” , Thesis (MA) -- Faculty of Humanities, School of Journalism and Media Studies, 2022
- Full Text:
An investigation of language choice on Twitter: the case of isiXhosa-speaking users and the o jewa ke eng? Trend
- Authors: Nkunzi, Zindzi
- Date: 2022-10-14
- Subjects: Twitter , Social media South Africa , Social media and society South Africa , Xhosa language Usage , Mass media and language South Africa , Language choice , Language shift , Language attitude
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406331 , vital:70259
- Description: The study critically examines and discusses language choice on twitter, a social media platform that has a vast number of people from different language groups. This diverse platform allows people to tweet, communicate, and share information online. There are tweets that trend and attract more engagement across different language groups. O jewa ke eng? which translates to ‘what’s bothering you?’ is one of those tweets, and it is communicated in Sesotho. (More discussion about the tweet in the introduction section that follows). According to Eisenstein, O’ Connor, Smith & Xing (2010) & Eisenstein (2016), “the popularity and ubiquity of social media allows access to a wide variety of spontaneous language enabling researchers to study language variation across space and time at large scale”, (Preotiuc-Pietro & Ungar, 2018: 1534). The introduction to the internet and socially mediated platforms such as Twitter and others has changed how information is produced and consumed. Social media allow people to communicate and engage in languages they are comfortable and familiar with. The study discusses language choice at three levels: language choice between isiXhosa verses English; isiXhosa verses other African languages and isiXhosa verses other varieties. The study is pursued with the overarching aim to investigate the possibility of African languages such as isiXhosa being used as dominant languages on social media. Thus, the study explores language use by isiXhosa speaking users on twitter that engaged with the tweet. Moreover, the study investigated why they choose to use one language over the other or multiple languages. To give a broader perspective on the study, language choice, language shift and language attitude are discussed and critically evaluated. Theoretically, the concept of code-switching and code-mixing is used when looking at bilingualism and multilingualism. It is imperative to look at multilingualism because the prevalent use of English is no longer a barrier to communication, social media platforms have created a space where African language users are able to engage in their native languages. Moreover, the study explores the use of standard and non-standard isiXhosa languages. There are varieties of languages such as tsotsitaal, slang and others, and these language varieties are not recognised as standard, used in educational settings and so on. In doing so, language attitude is used as the concept to investigate what propels isiXhosa users to or not to use these language varieties in the online communities. The study is explored with the aim to investigate whether social media either grows and preserves African languages online or these platforms are detrimental to these languages, as the language utilised on them is casual and vague, in terms of both spoken and written speech. , Olu phando luvavanya kwaye luxoxa nzulu ngokhetho lolwimi kuTwitter, ikhasi lonxibelelwano elinenani elikhulu labantu abavela kumaqela eelwimi ezahlukeneyo. Eli khasi labantu abohlukeneyo libavumela ukuba babhale, banxibelelane, kwaye babelane ngolwazi kwi-intanethi. Kukho ii-tweets (imibhalwana emifutshane) ezihamba phambili kwaye zitsala uthethathethwano phakathi kumaqela eelwimi ezahlukeneyo. O jewa ke eng? ethetha ukuthi, ‘ukhathazwa yintoni?’ yenye yezo tweets (yalo mibhalwana mifutshane), kwaye idluliselwe ngesiSuthu. (Ingxoxo engakumbi malunga ne-tweet (nombhalwana omfutshane) ifumaneka kwicandelo lentshayelelo elilandelayo). Ngokutsho kukaEisenstein, O’ Connor, Smith & Xing (2010) kunye noEisenstein (2016), “ukuduma kunye nobuninzi beendaba zoluntu kubangela ezo ndaba ukuba zinwenwele kwiindidi ezininzi zeelwimi nezivumela abaphandi ukuba bafunde ngokwahlukana kolwimi kwindawo kunye nexesha…”, (Preotiuc-Pietro & Ungar, 2008: 1534). Ulwaziso kwi-intanethi kunye namakhasi onxibelelwano oluntu afana ne-Twitter kunye namanye, luyitshintshile indlela ulwazi oluveliswa ngayo kunye nendlela olusetyenziswa ngayo. Amakhasi onxibelelwano oluntu avumela abantu ukuba banxibelelane kwaye bazibandakanye ngeelwimi abakhululekileyo ukuzisebenzisa nabaqhelene nazo Olu phando luxoxa ngokukhethwa kolwimi kumanqanaba amathathu: ukukhethwa kolwimi phakathi kwesiXhosa kunye nesiNgesi, isiXhosa kunye nezinye iilwimi ziseNtu, kwakunye nesiXhosa kunye nezinye iindidi zolwimi. Olu phando luqhutywa ngeyona njongo iphambili yokuphanda ukuba ngaba iilwimi zesiNtu ezifana nesiXhosa zingasetyenziswa njengeelwimi eziphambili kamakhasi onxibelelwano na. Kungoko, uphando luphonononga ukusetyenziswa kolwimi ngabo bantetho isisiXhosa kuTwitter abanxibelelana ne-tweet (nombhalo omfutshane). Olu phando, lukwaphanda ukuba kutheni bekhetha ukusebenzisa ulwimi oluthile kunolunye okanye iilwimi ezininzi. Ukunika umbono ngokuthe gabalala ngolu phando, ukukhethwa kolwimi, utshintsho lolwimi, kunye nesimo sengqondo solwimi ziyaxoxwa kwaye zihlolwa ngokunzulu. Ngokwethiyori, ingqikelelo yokutshintshatshintsha iilwimi kunye nokuxuba iilwimi (ukusebenzisa iilwimi ezahlukeneyo kumgca okanye umbhalo omnye) ziyasetyenziswa xa kujongwa ukusetyenziswa kweelwimi ezimbini kunye neelwimi ezininzi. Kunyanzelekile ukuba kujongwe ukusetyenziswa kweelwimi ezininzi kuba ukuxhaphaka kokusetyenziswa kwesiNgesi akusengomqobo kunxibelelwano, amakhasi onxibelelwano (amaqonga osasazo) oluntu avule indawo apho abasebenzisi beelwimi zesiNtu bakwaziyo ukuthetha ngeelwimi zabo zomthonyama. Ngaphezu koko, olu phando luphonononga ukusetyenziswa kweelwimi zesiXhosa ezisemgangathweni nezingekho mgangathweni. Kukho iintlobo ngeentlobo zeelwimi ezifana neTsotsitaal, ulwimi lwe-slang nezinye, kwaye ezi ntlobo zeelwimi aziqatshelwa njengeelwimi ezisemgangathweni, ezisetyenziswa kumajelo emfundo njalo njalo. Ngokwenza oko, isimo sengqondo solwimi sisetyenziswa njengengcamango yokuphanda ukuba yintoni eyenza abasebenzisi besiXhosa basebenzise okanye bangasebenzisi ezi ntlobo zeelwimi kwi-intanethi. Olu phononongo luphononongwa ngeenjongo zokuphanda apho amaqonga onxibelelwano akhula kwaye agcine khona iilwimi zesiNtu kwi-intanethi okanye lamaqonga onxibelelwano abubungozi kwezilwimi, njengoko ulwimi olusetyenziswa kula maqonga luqhelekile kwaye alucacanga, ngokwentetho ethethwayo nebhaliweyo. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Authors: Nkunzi, Zindzi
- Date: 2022-10-14
- Subjects: Twitter , Social media South Africa , Social media and society South Africa , Xhosa language Usage , Mass media and language South Africa , Language choice , Language shift , Language attitude
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406331 , vital:70259
- Description: The study critically examines and discusses language choice on twitter, a social media platform that has a vast number of people from different language groups. This diverse platform allows people to tweet, communicate, and share information online. There are tweets that trend and attract more engagement across different language groups. O jewa ke eng? which translates to ‘what’s bothering you?’ is one of those tweets, and it is communicated in Sesotho. (More discussion about the tweet in the introduction section that follows). According to Eisenstein, O’ Connor, Smith & Xing (2010) & Eisenstein (2016), “the popularity and ubiquity of social media allows access to a wide variety of spontaneous language enabling researchers to study language variation across space and time at large scale”, (Preotiuc-Pietro & Ungar, 2018: 1534). The introduction to the internet and socially mediated platforms such as Twitter and others has changed how information is produced and consumed. Social media allow people to communicate and engage in languages they are comfortable and familiar with. The study discusses language choice at three levels: language choice between isiXhosa verses English; isiXhosa verses other African languages and isiXhosa verses other varieties. The study is pursued with the overarching aim to investigate the possibility of African languages such as isiXhosa being used as dominant languages on social media. Thus, the study explores language use by isiXhosa speaking users on twitter that engaged with the tweet. Moreover, the study investigated why they choose to use one language over the other or multiple languages. To give a broader perspective on the study, language choice, language shift and language attitude are discussed and critically evaluated. Theoretically, the concept of code-switching and code-mixing is used when looking at bilingualism and multilingualism. It is imperative to look at multilingualism because the prevalent use of English is no longer a barrier to communication, social media platforms have created a space where African language users are able to engage in their native languages. Moreover, the study explores the use of standard and non-standard isiXhosa languages. There are varieties of languages such as tsotsitaal, slang and others, and these language varieties are not recognised as standard, used in educational settings and so on. In doing so, language attitude is used as the concept to investigate what propels isiXhosa users to or not to use these language varieties in the online communities. The study is explored with the aim to investigate whether social media either grows and preserves African languages online or these platforms are detrimental to these languages, as the language utilised on them is casual and vague, in terms of both spoken and written speech. , Olu phando luvavanya kwaye luxoxa nzulu ngokhetho lolwimi kuTwitter, ikhasi lonxibelelwano elinenani elikhulu labantu abavela kumaqela eelwimi ezahlukeneyo. Eli khasi labantu abohlukeneyo libavumela ukuba babhale, banxibelelane, kwaye babelane ngolwazi kwi-intanethi. Kukho ii-tweets (imibhalwana emifutshane) ezihamba phambili kwaye zitsala uthethathethwano phakathi kumaqela eelwimi ezahlukeneyo. O jewa ke eng? ethetha ukuthi, ‘ukhathazwa yintoni?’ yenye yezo tweets (yalo mibhalwana mifutshane), kwaye idluliselwe ngesiSuthu. (Ingxoxo engakumbi malunga ne-tweet (nombhalwana omfutshane) ifumaneka kwicandelo lentshayelelo elilandelayo). Ngokutsho kukaEisenstein, O’ Connor, Smith & Xing (2010) kunye noEisenstein (2016), “ukuduma kunye nobuninzi beendaba zoluntu kubangela ezo ndaba ukuba zinwenwele kwiindidi ezininzi zeelwimi nezivumela abaphandi ukuba bafunde ngokwahlukana kolwimi kwindawo kunye nexesha…”, (Preotiuc-Pietro & Ungar, 2008: 1534). Ulwaziso kwi-intanethi kunye namakhasi onxibelelwano oluntu afana ne-Twitter kunye namanye, luyitshintshile indlela ulwazi oluveliswa ngayo kunye nendlela olusetyenziswa ngayo. Amakhasi onxibelelwano oluntu avumela abantu ukuba banxibelelane kwaye bazibandakanye ngeelwimi abakhululekileyo ukuzisebenzisa nabaqhelene nazo Olu phando luxoxa ngokukhethwa kolwimi kumanqanaba amathathu: ukukhethwa kolwimi phakathi kwesiXhosa kunye nesiNgesi, isiXhosa kunye nezinye iilwimi ziseNtu, kwakunye nesiXhosa kunye nezinye iindidi zolwimi. Olu phando luqhutywa ngeyona njongo iphambili yokuphanda ukuba ngaba iilwimi zesiNtu ezifana nesiXhosa zingasetyenziswa njengeelwimi eziphambili kamakhasi onxibelelwano na. Kungoko, uphando luphonononga ukusetyenziswa kolwimi ngabo bantetho isisiXhosa kuTwitter abanxibelelana ne-tweet (nombhalo omfutshane). Olu phando, lukwaphanda ukuba kutheni bekhetha ukusebenzisa ulwimi oluthile kunolunye okanye iilwimi ezininzi. Ukunika umbono ngokuthe gabalala ngolu phando, ukukhethwa kolwimi, utshintsho lolwimi, kunye nesimo sengqondo solwimi ziyaxoxwa kwaye zihlolwa ngokunzulu. Ngokwethiyori, ingqikelelo yokutshintshatshintsha iilwimi kunye nokuxuba iilwimi (ukusebenzisa iilwimi ezahlukeneyo kumgca okanye umbhalo omnye) ziyasetyenziswa xa kujongwa ukusetyenziswa kweelwimi ezimbini kunye neelwimi ezininzi. Kunyanzelekile ukuba kujongwe ukusetyenziswa kweelwimi ezininzi kuba ukuxhaphaka kokusetyenziswa kwesiNgesi akusengomqobo kunxibelelwano, amakhasi onxibelelwano (amaqonga osasazo) oluntu avule indawo apho abasebenzisi beelwimi zesiNtu bakwaziyo ukuthetha ngeelwimi zabo zomthonyama. Ngaphezu koko, olu phando luphonononga ukusetyenziswa kweelwimi zesiXhosa ezisemgangathweni nezingekho mgangathweni. Kukho iintlobo ngeentlobo zeelwimi ezifana neTsotsitaal, ulwimi lwe-slang nezinye, kwaye ezi ntlobo zeelwimi aziqatshelwa njengeelwimi ezisemgangathweni, ezisetyenziswa kumajelo emfundo njalo njalo. Ngokwenza oko, isimo sengqondo solwimi sisetyenziswa njengengcamango yokuphanda ukuba yintoni eyenza abasebenzisi besiXhosa basebenzise okanye bangasebenzisi ezi ntlobo zeelwimi kwi-intanethi. Olu phononongo luphononongwa ngeenjongo zokuphanda apho amaqonga onxibelelwano akhula kwaye agcine khona iilwimi zesiNtu kwi-intanethi okanye lamaqonga onxibelelwano abubungozi kwezilwimi, njengoko ulwimi olusetyenziswa kula maqonga luqhelekile kwaye alucacanga, ngokwentetho ethethwayo nebhaliweyo. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
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The rise of virtual influencers Lil Miquela and Kim Zulu: an exploratory study of Instagram's platform capitalism from an African context
- Authors: Oosthuizen, Mikaela
- Date: 2022-10-14
- Subjects: Virtual influencer , Platform capitalism , Instagram (Firm) , Lil Miquela (Fictitious character) , Neoliberalism , Social media South Africa , Application software
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/478548 , vital:78196 , DOI 10.21504/10962/478548
- Description: We have never been more dependent on the platforms that connect us. As we increasingly conduct our social interactions and economic transactions online, our reality has stepped into the virtual and as a result the virtual has stepped into our reality. It is at this time, when the boundaries between reality and fiction are at their most destabilised, that a new type of online profile has emerged, namely virtual influencers. Virtual influencers, also known as computer-generated imagery (CGI) influencers, are neither humans nor robots but are visual creations that mimic the online profiles of human influencers and whose creation by brands and agencies is driven by explicit commercial intent. This research documents the incremental societal shifts that have facilitated an acceptance of virtual influencer profiles on platforms such as Instagram. I outline how years of social media use have altered perceptions of the nature of social media endorsement, expectations of online performance in adherence to platform capitalism logic and impressions of visuals as no longer grounded in reality. As a result, I highlight that the modern visual is no longer necessarily a means to capture reality but can actively construct that reality, while humans’ increasing synthetic portrayals online through hyper-editing have meant that virtual influencers’ human realistic portrayals are increasingly accepted and celebrated. The emergence of these virtual influencers necessitates a renewed investigation into the kinds of self that are deemed necessary to thrive in today’s cyber attention economy. I emphasise how two virtual influencers, in particular Lil Miquela and Kim Zulu, naturalise consumer identities through embodying an aspirational identity that appeals to Western and Southern audiences respectively. They also simultaneously enact an idealised version of the modern consumer that serves the commercial interests of the agencies that create them, and the Instagram platform they exist on. I therefore argue that the supply of virtual influencers is on the rise (given the advanced technical capabilities of creative agencies to execute the creation of human realistic visuals) as well as the demand for these virtual influencers (as brands increasingly see virtual influencers as able to generate higher returns with lower risks than their human influencer counterparts). Furthermore, the market acceptance is on the rise as we have become accustomed to the blurring of the authentic and the commercial on platforms such as Instagram. The consumer identities promoted in the constructed personas of these virtual influencers illustrate Instagram’s broader alignment with platform capitalism. I suggest that although Instagram positions itself as a free app, the true cost of the personal data we share and the labour we are expected to perform in creating, reacting to, and circulating content on the app, is often subverted. In the context of the global South, and Africa in particular, the naturalisation of these opulent consumer identities, as manifested in vehicles such as the virtual influencer Kim Zulu, takes on greater significance as the acquisition of possessions and the documentation of the attainment of a privileged lifestyle are a means of enacting a citizen identity previously denied to many in South Africa. My empirical research investigates the Instagram platform as an artefact from the three contexts in which meaning is constructed. Firstly, I present the site(s) of the production of an artefact where I conduct an app-walkthrough of Instagram in Phase One to demonstrate the architectural features that guide user behaviour towards sharing data, creating and consuming content and spending money on the app. Secondly, I present the site of the Instagram artefact itself in Phase Two where I conduct a multimodal discourse analysis of purposively selected virtual influencer content (18 Lil Miquela and 12 Kim Zulu Instagram visuals). I demonstrate how the mediated authenticity principles of predictability, spontaneity, immediacy, confessions, ordinariness, imperfection, and ambivalence are weaponised by virtual influencers to construct 1) an identity as relatable to followers; 2) a persona in keeping with expected celebrity/influencer behaviours, and 3) a posting pattern in line with Instagram’s platform-specific content creation genre. Lastly, I present the site of consumption in Phase Three, where I present the findings from semi-structured interviews conducted with Instagram users. Participants included one representative from the Kim Zulu team (the Representative) as well as 12 South African Instagram users split into three use-case groups namely the Privates; the Influencers and the Creatives. The boundaries between identity, commerce and commodification are blurring. This research explores how Instagram user behaviours are deliberately shaped to cater to platform interests. Virtual influencer personas thus project a consumer identity that benefits the profile and platform creators to the detriment of users. I furthermore present recommendations on researching virtual influencers in the academic space, and present guidelines for co-existing with virtual influencers in the online space. , Thesis (PhD) -- Faculty of Humanities, Journalism and Media Studies, 2022
- Full Text:
- Authors: Oosthuizen, Mikaela
- Date: 2022-10-14
- Subjects: Virtual influencer , Platform capitalism , Instagram (Firm) , Lil Miquela (Fictitious character) , Neoliberalism , Social media South Africa , Application software
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/478548 , vital:78196 , DOI 10.21504/10962/478548
- Description: We have never been more dependent on the platforms that connect us. As we increasingly conduct our social interactions and economic transactions online, our reality has stepped into the virtual and as a result the virtual has stepped into our reality. It is at this time, when the boundaries between reality and fiction are at their most destabilised, that a new type of online profile has emerged, namely virtual influencers. Virtual influencers, also known as computer-generated imagery (CGI) influencers, are neither humans nor robots but are visual creations that mimic the online profiles of human influencers and whose creation by brands and agencies is driven by explicit commercial intent. This research documents the incremental societal shifts that have facilitated an acceptance of virtual influencer profiles on platforms such as Instagram. I outline how years of social media use have altered perceptions of the nature of social media endorsement, expectations of online performance in adherence to platform capitalism logic and impressions of visuals as no longer grounded in reality. As a result, I highlight that the modern visual is no longer necessarily a means to capture reality but can actively construct that reality, while humans’ increasing synthetic portrayals online through hyper-editing have meant that virtual influencers’ human realistic portrayals are increasingly accepted and celebrated. The emergence of these virtual influencers necessitates a renewed investigation into the kinds of self that are deemed necessary to thrive in today’s cyber attention economy. I emphasise how two virtual influencers, in particular Lil Miquela and Kim Zulu, naturalise consumer identities through embodying an aspirational identity that appeals to Western and Southern audiences respectively. They also simultaneously enact an idealised version of the modern consumer that serves the commercial interests of the agencies that create them, and the Instagram platform they exist on. I therefore argue that the supply of virtual influencers is on the rise (given the advanced technical capabilities of creative agencies to execute the creation of human realistic visuals) as well as the demand for these virtual influencers (as brands increasingly see virtual influencers as able to generate higher returns with lower risks than their human influencer counterparts). Furthermore, the market acceptance is on the rise as we have become accustomed to the blurring of the authentic and the commercial on platforms such as Instagram. The consumer identities promoted in the constructed personas of these virtual influencers illustrate Instagram’s broader alignment with platform capitalism. I suggest that although Instagram positions itself as a free app, the true cost of the personal data we share and the labour we are expected to perform in creating, reacting to, and circulating content on the app, is often subverted. In the context of the global South, and Africa in particular, the naturalisation of these opulent consumer identities, as manifested in vehicles such as the virtual influencer Kim Zulu, takes on greater significance as the acquisition of possessions and the documentation of the attainment of a privileged lifestyle are a means of enacting a citizen identity previously denied to many in South Africa. My empirical research investigates the Instagram platform as an artefact from the three contexts in which meaning is constructed. Firstly, I present the site(s) of the production of an artefact where I conduct an app-walkthrough of Instagram in Phase One to demonstrate the architectural features that guide user behaviour towards sharing data, creating and consuming content and spending money on the app. Secondly, I present the site of the Instagram artefact itself in Phase Two where I conduct a multimodal discourse analysis of purposively selected virtual influencer content (18 Lil Miquela and 12 Kim Zulu Instagram visuals). I demonstrate how the mediated authenticity principles of predictability, spontaneity, immediacy, confessions, ordinariness, imperfection, and ambivalence are weaponised by virtual influencers to construct 1) an identity as relatable to followers; 2) a persona in keeping with expected celebrity/influencer behaviours, and 3) a posting pattern in line with Instagram’s platform-specific content creation genre. Lastly, I present the site of consumption in Phase Three, where I present the findings from semi-structured interviews conducted with Instagram users. Participants included one representative from the Kim Zulu team (the Representative) as well as 12 South African Instagram users split into three use-case groups namely the Privates; the Influencers and the Creatives. The boundaries between identity, commerce and commodification are blurring. This research explores how Instagram user behaviours are deliberately shaped to cater to platform interests. Virtual influencer personas thus project a consumer identity that benefits the profile and platform creators to the detriment of users. I furthermore present recommendations on researching virtual influencers in the academic space, and present guidelines for co-existing with virtual influencers in the online space. , Thesis (PhD) -- Faculty of Humanities, Journalism and Media Studies, 2022
- Full Text:
Exploring socialities on Black Twitter: an ethnographic study of everyday concerns of South African users in 2018 and 2019
- Authors: Adebayo, Binwe
- Date: 2020
- Subjects: Twitter (Firm) , Social media South Africa , Social media and society South Africa , Black people and mass media South Africa , Language and the Internet South Africa , Mass media and culture South Africa , Race in mass media , Ethnicity in mass media , Mass media and minorities South Africa , Mass media Social aspects South Africa , Sex differences in mass media , Social media Political aspects South Africa , South Africa Social conditions , Finance In mass media , Intersectionality (Sociology) South Africa , Black Twitter
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/140575 , vital:37900
- Description: In this thesis, I examine the phenomenon of Black Twitter, as it exists in South Africa. Drawing on its socio-cultural and linguistic elements, I analyse the kinds of socialities which are constituted on the platform. In the study, I do this by focusing on the key issues which drive the space by evaluating the key everyday concerns as expressed by its users. As such, the overarching lens focuses on three elements: Firstly, the idea of socialities and the way in which they manifest in online spaces; a focus on the everyday as an important site for social inquiry; and lastly the issue of ‘blackness’, in terms of the way it is used and understood in the South African Black Twitter context. Historically, the Black Twitter space has been linked almost exclusively to its broad base of African American users, who are significant both in terms of their numbers, and their impact on online social culture. However, in this study I engage with the ways in which Black Twitter has been adopted, co-opted and used by young South Africans. As a bona fide ‘member’ of South African Black Twitter, my approach to the study was cyberethnographic. Drawing on my access to the space, my knowledge of many of its members and dynamics, I engaged in participant observation as my primary methodology. My discussion focuses on three areas of everyday concerns, namely: gender and sexuality; race and politics; finances and the economy. These three areas emerge both as prominent sites of discussion, but also give the best insight into the ways in which young South Africans are grappling with these issues. My analysis focuses on how everyday concerns are handled on the platform, and I focus on the deployment of solidarity, formal language, platform-based language and the invocation of blackness. I argue in my conclusion that while the structure of the broad Black Twitter space reflects a leaning towards a digital public sphere, that the process and construction of Black Twitter’s ideas and content are approached via an incomplete, fluid convivial approach.
- Full Text:
- Authors: Adebayo, Binwe
- Date: 2020
- Subjects: Twitter (Firm) , Social media South Africa , Social media and society South Africa , Black people and mass media South Africa , Language and the Internet South Africa , Mass media and culture South Africa , Race in mass media , Ethnicity in mass media , Mass media and minorities South Africa , Mass media Social aspects South Africa , Sex differences in mass media , Social media Political aspects South Africa , South Africa Social conditions , Finance In mass media , Intersectionality (Sociology) South Africa , Black Twitter
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/140575 , vital:37900
- Description: In this thesis, I examine the phenomenon of Black Twitter, as it exists in South Africa. Drawing on its socio-cultural and linguistic elements, I analyse the kinds of socialities which are constituted on the platform. In the study, I do this by focusing on the key issues which drive the space by evaluating the key everyday concerns as expressed by its users. As such, the overarching lens focuses on three elements: Firstly, the idea of socialities and the way in which they manifest in online spaces; a focus on the everyday as an important site for social inquiry; and lastly the issue of ‘blackness’, in terms of the way it is used and understood in the South African Black Twitter context. Historically, the Black Twitter space has been linked almost exclusively to its broad base of African American users, who are significant both in terms of their numbers, and their impact on online social culture. However, in this study I engage with the ways in which Black Twitter has been adopted, co-opted and used by young South Africans. As a bona fide ‘member’ of South African Black Twitter, my approach to the study was cyberethnographic. Drawing on my access to the space, my knowledge of many of its members and dynamics, I engaged in participant observation as my primary methodology. My discussion focuses on three areas of everyday concerns, namely: gender and sexuality; race and politics; finances and the economy. These three areas emerge both as prominent sites of discussion, but also give the best insight into the ways in which young South Africans are grappling with these issues. My analysis focuses on how everyday concerns are handled on the platform, and I focus on the deployment of solidarity, formal language, platform-based language and the invocation of blackness. I argue in my conclusion that while the structure of the broad Black Twitter space reflects a leaning towards a digital public sphere, that the process and construction of Black Twitter’s ideas and content are approached via an incomplete, fluid convivial approach.
- Full Text:
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