Youtube

A vlog is a personal video diary in which the vlogger addresses an online audience. This master thesis deals with the vlogger’s discourse in order to understand what it means to express an embodied self in an online environment. It presents theoretical frameworks to analyze the act of vlogging and offers case studies to explore these practices.
The practice of vlogging transcends domains that we have traditionally learned to keep apart, such as private and public, real and fake, self and other, body and virtuality. This thesis argues that vlogging is a transboundary practice in which vloggers easily cross the rigid borders between domains that have traditionally been kept apart. It creates new relations between ourselves and the world around us, causing us to rethink our ideas about identity and ourselves. The vlogger’s discourse is a new domain in which hybrid bodies emerge that are able to find new unities within these transboundary practices.

Como se recoge en el título del trabajo, su finalidad es la de especificar los estudios relacionados con el periodismo en Internet además de los elementos que configuran y determinan la comunicación de estos nuevos medios. Las investigaciones sobre periodismo en Internet y Nuevas Tecnologías aplicadas a la comunicación versan sobre diferentes temas, aunque no todos han sido investigados con la misma profundidad. Una situación que provoca la existencia de cuestiones especialmente analizadas, frente a otras que no lo son.

Por ello se hacía necesario realizar una investigación básica que definiese las áreas temáticas que poseen más estudios, así como aquellos aspectos sobre las nuevas tecnologías y el periodismo que aún no han sido examinados. De esta forma se pueden presentar nuevas y futuras investigaciones, evaluando sus debilidades y fortalezas. Además, para ofrecer una visión más completa del estudio inicial en cuestión, no sólo se han recogido las publicaciones que hasta el momento hay sobre esta temática, sino que se ha ampliado el objetivo del trabajo. Por ello, he procedido a la lectura de algunas de las publicaciones encontradas, para conocer los datos más relevantes y las características que configuran el periodismo en Internet, así como sus consecuencias.

Comments section on YouTube is one of the most characteristic features of the platform. In fact, users share reactions of all nature in this section, and there is even space for conflicts among commentators. When conflicts emerge, comments allow comprehending the relationship between video-bloggers and their audience by means of linguistic supportive resources such as compliments. Complimenting enhances the value of the video-blogger and of the community as well. Thus, this case study examines explicit and implicit compliments produced by YouTube commentators on a specific video. It focuses on the analysis of the different syntactic formulae which are commonly utilised in a conflict. As a result, the study demonstrates the strategic use of formulae in compliments to show support. Also, it explains the variability of the functions of compliments according to the formulae and topic.

The article engages with trans male video blogs on YouTube, framing them as living archives that offer unique opportunities to access and share embodied trans knowledges—which have previously been limited or inaccessible—such as information about and visual accounts of medical transitioning processes. It is argued that archiving one's transition works through a kind of performative documentation, partly documenting and partly instantiating the transformation by tracking and tracing the bodily changes. Testosterone figures as the transformative technology, while the upper body becomes the privileged site of self-fashioning. YouTube hereby offers an alternative and empowering archive of how trans male bodies could look, while its cumulative effects also play a significant role in determining how they should look.

Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.

‘Becoming on YouTube: Exploring the Automedial Identities and Narratives of Australian Mummy Vlogging’ examines 37 Australian mummy vloggers on YouTube and explores how these women construct and present their automedial identities and narratives in the participatory, networked digital space. Using a method of virtual ethnography, consisting of long-term observation and participation in the space, the thesis tracks how these women use vlogging to negotiate their social role as mothers, and construct their own performance of the role, in dialogue with all participants in the network including viewers, vloggers, technology, media, products and brands. Situating the automedial practice of vlogging as an intimate yet public process of ‘becoming’ that resembles the published diary online, this thesis finds that the automedial identities and narratives of Australian mummy vloggers are shaped and managed by community, reliant upon authenticity, include intimate and vulnerable others (children), and are ephemeral, always changing, appearing and disappearing. ‘Becoming on YouTube: Exploring the Automedial Identities and Narratives of Australian Mummy Vlogging’ contributes to scholarship in Communication and Media Studies, including Internet Research, particularly in the areas of Networked Digital Media and Identity, and to scholarship in Life Writing Studies, including Auto/Biography Studies, particularly in the area of contemporary digital life writing practices, and the emerging field of Automediality.

– Due to its video sharing policy which freely allows users to communicate all over the world, YouTube has become one of the preferred Web platforms used by the digital community of makeup lovers. As a matter of fact, YouTube seems particularly suited to host announcements of new makeup collections, products' reviews as well as video tutorials. Both cosmetic brands and single users have opened channels on the platform, but makeup discourse on YouTube is arguably dominated by the latter. Differentiating between unaffiliated amateurs and YouTubers who more or less openly work for makeup companies as digital influencers is difficult. Recent studies on communicative practices on YouTube, however, stress that in order to understand the complex nature of the famous video sharing website, the professional/non-professional dichotomy is not particularly relevant, whereas other dynamics are more research worthy. One of them is the " guru " phenomenon. " Gurus " are content creators who are particularly authoritative in a specific field, have a considerable follower base thanks to their expertise and are often paid by brands in order to promote their products. The makeup domain too has witnessed the emergence of a group of popular and influential users who are typically referred to as " makeup gurus ". Their ability to stand out from the multiplicity of similar channels arguably depends not only on their knowledge of the field, but also on their communication skills and specifically on their successful use of the makeup video genre. Against this backdrop, this study sets out to codify the relatively new genre of the makeup tutorial providing it with adequate categories which at the moment appear to be lacking. Adopting the analytical framework provided by discourse analysis, it examines the generic, rhetorical and linguistic practices of makeup gurus and sheds light on the ways gurus discursively construct their identity as well as represent the idea of beauty and makeup.

Through a combination of political economy and radical mediation theory, this dissertation argues that current ‘YouTube Stars’ can be understood as a particularly virulent strain of ‘homo æconomicus’, who are produced and commodified through the techno-capitalist structures of the platform. YouTube culture has transformed since its inception in 2005 to increasingly become a conduit for commercial interests, and successful vloggers are nodes in this capitalist flow: absorbing, transforming and spreading the neoliberal political rationality of the platform. I analyse how mainstream vloggers are emerging through and are entangled with the neoliberal rationality of the complex commercial interests, structures and technological affordances of the platform. I conclude by considering the ethical ramifications of, and possible solutions to, the commodification of the self on YouTube vlogs.

Concurrently with the expansion of communication and transport facilities, growing number of users every day a little more social media, as well as all over the world, it has become part of everyday life in Turkey. Social media is also causing new business areas such as many social institutions and habits to be deeply influenced and transformed. One of the new business areas that emerged with the widespread use of social media was the preparation of content for video sharing sites, which are referred to as "YouTuber". The young content creators who have the opportunity to earn money and fame with the videos they upload to Youtube have opened their way to become a business line of their work. YouTube since May 2013 with the YouTube Partnership Program to also implement in Turkey, Turkish youth have rapidly increased interest in Youtubers and gained fame and reputation as well as by many young youtubers in a short time. This study clarifies the general view youtuber in Turkey has been making predictions about the future.

The massacre of almost 50 Maidan protesters on February 20, 2014 was a turning point in Ukrainian politics and a tipping point in the conflict between the West and Russia over Ukraine. This mass killing of the protesters and the mass shooting of the police that preceded it led to the overthrow of the pro-Russian government of Viktor Yanukovych and gave a start to a civil war in Donbas in Eastern Ukraine, Russian military intervention in Crimea and Donbas, and an international conflict between the West and Russia over Ukraine. A conclusion promoted by the post-Yanukovych governments and the media in Ukraine that the massacre was perpetrated by government snipers and special police units on a Yanukovych order has been nearly universally accepted by the Western governments, the media, and many scholars. The Ukrainian government investigation identified members of the special company of Berkut as responsible for killings of the absolute majority of the protesters, but did not release any evidence in support, with the exception of videos of the massacre.
              The question is which side organized the “snipers’ massacre.” This paper is the first academic study of this crucial case of the mass killing. It uses a theory of rational choice and a Weberian theory of instrumental rationality to examine actions of major actors both from the Yanukovych government, specifically various police and security forces, and the Maidan opposition, specifically its far right and oligarchic elements, during the massacre.
          The paper analyzes a large amount of evidence from different publicly available sources concerning this massacre and killings of specifics protesters. Qualitative content analysis includes the following data: about 1,500 videos and recordings of live internet and TV broadcasts from mass media and social media in different countries(some 150 gigabytes), news reports and social media posts by more than 100 journalists covering the massacre from Kyiv, some 5,000 photos, and nearly 30 gigabytes of publicly available radio intercepts of snipers and commanders from the special Alfa unit of the Security Service of Ukraine and Internal Troops, and Maidan massacre trial recordings. This study also employs field research on site of the massacre, eyewitness reports by both Maidan protesters and government special units commanders, statements by both former and current government officials, estimates of approximate ballistic trajectories, bullets and weapons used, and types of wounds among both protesters and the police. This study establishes a precise timeline for various events of the massacre, the locations of both the shooters and the government snipers, and the specific timeline and locations of nearly 50 protesters’ deaths. It also briefly analyzes other major cases of violence during and after the “Euromaidan.” This study includes two video appendixes.
            This academic investigation concludes that the massacre was a false flag operation, which was rationally planned and carried out with a goal of the overthrow of the government and seizure of power. It found various evidence of the involvement of an alliance of the far right organizations, specifically the Right Sector and Svoboda, and oligarchic parties, such as Fatherland. Concealed shooters and spotters were located in at least 20 Maidan-controlled buildings or areas. The various evidence that the protesters were killed from these locations include some 70 testimonies, primarily by Maidan protesters, several videos of “snipers” targeting protesters from these buildings, comparisons of positions of the specific protesters at the time of their killing and their entry wounds, and bullet impact signs. The study uncovered various videos and photos of armed Maidan “snipers” and spotters in many of these buildings. The paper presents implications of these findings for understanding the nature of the change of the government in Ukraine, the civil war in Donbas, Russian military intervention in Crimea and Donbas, and an international conflict between the West and Russia over Ukraine.

The cuteness of cats, and people’s devotion to appreciating that cuteness has established cat videos’ value in the digital marketplace. As such, cat videos are emblematic of the shifts and transformations brought to cinematic production, distribution, and exhibition in the Internet age. This paper unpacks the cat video phenomenon investigating the ways that the cat video formula reflects and revises forms and aesthetics that have been characteristic of amateur cinematic practice throughout film history and links that history to recent scholarship on the superflat. A close reading of two cat videos suggests the cat video’s adoption of the cinema of attractions model suggests that online video spectators are oriented toward affective connections with commercial interfaces.

Prezentacja została wyświetlona podczas międzynarodowej konferencji naukowej "SLAVICA IUVENUM" w Ostrawie (2019). Towarzyszył jej referat o takim samym tytule.

Celem przeprowadzonych badań jest zilustrowanie problemu globalizacji językowej. W wyniku rozwoju nowych mediów, treści anglojęzyczne stają się treściami międzynarodowymi. Widać to szczególnie na przykładzie serwisu YouTube. Modne i popularne filmy zyskują uznanie nie tylko w krajach anglosaskich, ale także na całym świecie, co wyraźnie ilustruje liczba wyświetleń oraz ogólnodostępne statystyki.
To prowadzi do adaptowania anglojęzycznych formatów do polskiej rzeczywistości kulturowo-językowej oraz do próby „niezamierzonego tłumaczenia”. Wraz z przechodzeniem treści, następuje równoległe przechodzenie języka. Schematy lingwistyczne, które narodziły się w przestrzeni anglojęzycznej przeszły niemal naturalnie do języka polskiego za sprawą polskich twórców na YouTube. Przykłady powitań i podziękowań, prośby o subskrybowanie kanału, przeprosiny i inne akty komunikacyjne są tłumaczone w sposób dosłowny, na zasadzie kalki językowej. Może to świadczyć o tym, że mamy do czynienia nie tylko z globalizacją treści, ale także z globalizacją formy. To ważny wniosek, który stanowi kolejny element na ścieżce do udowodnienia tezy o tworzeniu się nowego typu języka polskiego.

... of meanings between both worlds through visual properties that creates new sub-culture, which is Real life “virtual” sub-culture. ... [3] Hall, Stuart, 1997. ... Bahasa Rupa; Prasejarah, Newton sampai Einstein dan Relevansinya pada Kebudayaan Kontemporer, Bandung, Indonesia. ...

The onset of a global pandemic has put contemporary social life on a stand still. People’s movements have been constrained due to border closures, travel restrictions, and lockdowns. As a result, many people have increasingly relied on digital communication technologies to forge and maintain ties. Notably, navigating an indefinite period of physical separation through digital media use is a familiar scenario among migrants and their left-behind family members. Even before the advent of the COVID-19 pandemic, they were already heavily relying on communication technologies to sustain long-distance relationships. The expansive literature on the intersections of migration and digital media shows how digital practices facilitate a sense...

A proposta deste artigo é problematizar os conteúdos produzidos pelo médico Dráuzio Varella no seu canal do YouTube envolvendo as polêmicas em torno da pandemia da Covid-19 que atravessaram os campos político e científico no Brasil em 2020. Analisamos os três vídeos mais acessados do influenciador digital com base nos
conceitos de mediação, de Orozco-Gómez (2006); de intermídia, de Alzamora e Tárcia (2012) e D‟Andrea (2015); de fontes de informação, de Lage (2005); de infodemia e desinformação, de Opas (2020); e de cena de enunciação, de Mainguenau (2013). A metodologia contemplou aspectos quantitativos, pelo Social Blade, e qualitativos, pela análise do discurso. As estratégias adotadas enfatizaram o lugar de fala de Dráuzio, contribuindo para consolidar a sua credibilidade e indicando a importância dos conteúdos do youtuber frente ao desconhecimento sobre o novo coronavírus.

This research analyzes how children from 0 to 12 years are developing their practices in the network, focusing on the analysis of the production of videos for YouTube, from the case study of the channel Planeta das Gêmeas. The article articulates the changes of the practices from the convergences of Jenkins (2009) and Espinosa (2016), taking in to account the notion of digital natives of Prensky (2001) and Castro (2002) of current childhood. A study that infers a performance analysis under professional aspects

El vídeo en el aula no es un recurso obsoleto. Con los avances de las tecnologías y el surgimiento de nuevas metodologías, el vídeo propicia una mejora en el proceso de enseñanza aprendizaje de nuestros alumnos de Educación Secundaria, estamos ante un recurso que les motiva y apasiona, y más cuando son ellos los creadores de dichos vídeos. A partir de una serie de experiencias sobre la integración del vídeo en el aula de alumnos de ESO demostramos como su buen uso propicia en el aula de nuestros días un extra de motivación, interés y creatividad de nuestros alumnos.

Although much has been written regarding Internet theory, there is still work to be done exploring the nature of lived experience online to assess the validity of such theoretical discussion. This ethnographic research explores the relationship between online and offline experience, the process of online community creation, and tensions between self-promotion and community endeavour, focusing on a group of Hip-Hop musicians on the website Soundcloud. 

Being disembodied from those day-to-day activities that have long created community cohesion and powered the process of enculturation means that online community formation differs from its offline counterpart. Websites such as Soundcloud provide an important locus for musicians to create knowledge-exchange networks, collaborate on musical ventures, and by the sharing of compositions involve themselves in collective musical exploration. However, a key question is whether such connections lead to the creation of social bonds. This research sought to evaluate the extent of communal processes on Soundcloud through ethnographic research and extended discussions with twenty users, aiming to discover whether their actions are driven commercially by the desire for promotion or by shared, communal goals.

The findings reveal a surprising depth of community and local identity online, with users regular meeting offline to compose and organizing concerts to create live performance opportunities. Musicians are also coming together to create independent labels to help promote their music as collectives, and developing music deeply rooted in local sounds. This combination of high levels of online communication, and an ongoing process of organization and performance offline initiates a move from connections to the formation of social bonds and the building of offline friendships and communities based around Soundcloud as an online hub.

While previous digital ethnomusicology has focused on online experience, this preliminary research illustrates the importance of an integrative approach that considers both the online and the offline worlds.

Background Institutions, government departments, and healthcare professionals engage in social media because it facilitates reaching a large number of people simultaneously. YouTube provides a platform whereby anyone can upload videos and gain feedback on their content from other users. There are many YouTube videos related to health and science, and many people search YouTube for health-related information. YouTube has been acknowledged as a key public information source in recent crises caused by Zika, H1N1, swine flu, and most recently, COVID-19. Methods YouTube videos were collected from the YouTube Application Programming Interface (API) using the search terms COVID-19, coronavirus, COVID19, and corona. The search was conducted on April 4 and 5, 2020.The initial search found a total of 1084 videos. The second step involved identifying and verifying the videos for their relationship to COVID-19 information and excluding videos that did not relate to COVID-19 or were in a languag...

On 13 January 2019, Gillette launched a short film on YouTube entitled We Believe as part of a campaign addressing negative behaviour among men that perpetuates toxic masculinity. However, the video was subject to a large backlash with over one million downvotes on YouTube and thousands of critical comments accusing Gillette of playing into the 'feminist agenda'. This paper examines the configuration of the backlash, specifically examining the networked properties, structure and key actors of the backlash represented in the comments below the YouTube video to understand how masculinities are (co)produced and reproduced in a post-#MeToo digital sphere. The analysis incorporates social network and thematic analyses of the comments posted under the Gillette YouTube video. The study contributes insight into the structure and configuration of a digitally networked backlash public and identifies how digital tactics are employed by a masculine public to achieve digital hegemony in the networked sphere.

Abstrak Dimasa sekarang hampir tidak mkungkin orang beraktifitas tanpa adanya akses internet. Segala informasi sekarang banyak yang terekam di internet, dari tutorial hingga film sekarang dapat diakses dengan mudah karena adanya akses internet. Youtube adalah salah satu web yang dapat menampung postingan-postingan dari siapa saja yang ingin share video agar dapat dilihat publik. Dari situ dapat dimanfaatkan adanya google adsense yang dapat menguntungkan bagi mereka yang hobi memposting video dan mendapat banya like akan mendapat imbalan dari pengiklan yang beriklan di bagian depan video itu.

Investing on Facebook and Google online advertising is essential to increase sales and the organization brand awareness. However, sometimes, it’s difficult to decide which is the right budget for each platform, because there are so many variables that can impact in the correct resources allocation.
That's why, it's important to know if Facebook can get more results than Google, and the impact of each platform on other traffic sources. But also, which of the ecosystems allows to get more brand awareness at a lower cost.
The online store www.vascomarques.digital was analysed, and data collected for a period of nine months through Google Analytics, in order to confirm which platform generated more sales and more brand awareness.
The results show that Facebook ecosystem brought more sales and more brand awareness than Google, especially if compared to Google search ads. The data collected also indicate that Facebook is an important factor on sales through other traffic sources.

YouTube has been implicated in the transformation of users into extremists and conspiracy theorists. The alleged mechanism for this radicalizing process is YouTube's recommender system, which is optimized to amplify and promote clips that users are likely to watch through to the end. YouTube optimizes for watch-through for economic reasons: people who watch a video through to the end are likely to then watch the next recommended video as well, which means that more advertisements can be served to them. This is a seemingly innocuous design choice, but it has a troubling side-effect. Critics of YouTube have alleged that the recommender system tends to recommend extremist content and conspiracy theories, as such videos are especially likely to capture and keep users' attention. To date, the problem of radicalization via the YouTube recommender system has been a matter of speculation. The current study represents the first systematic, pre-registered attempt to establish whether and to what extent the recommender system tends to promote such content. We begin by contextualizing our study in the framework of technological seduction. Next, we explain our methodology. After that, we present our results, which are consistent with the radicalization hypothesis. Finally, we discuss our findings, as well as directions for future research and recommendations for users, industry, and policy-makers.

The article decribes a few of the channels to learn Polish as a foreign language on YouTube. It displays how YouTube videos can impact the human brain and how they can help students in the learning process. Moreover, the article shows both advantages and disadvantages of using the particular videos. A part of them can help e.g. to do a dictation excersise or to extend lexical resources. On the other hand, there is a few videos which can confuse students by an unclear or vulgar content.

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

The values that underpin good journalism, the need of citizens for reliable and abundant information, and the importance of such information for a healthy society and a robust democracy: these are perennial, and provide compass-bearings for anyone trying to make sense of current changes across the media landscape.

In this paper, I explore the concept of multitude according to the writings of Toni Negri, Michael Hardt and Paolo Virno and in opposition to the concept of mass, developed by the French thinker Gustave Le Bon.
Multitude appears as a kind of political subject, which is based on plurality, difference and cooperation. In addition, I claim that, though multitude effectively contributed to modify the current politics in
many countries, it has been more significant in the field of economics. The multitude has become a productive agent in the context of the cognitive capitalism (and what we have called the capitalism of the commons) that is more convenient for the economical goals than the mass. In this space we can see the emergence of a depoliticised face of the multitude.

Un mayor desarrollo de esta cuestión puede ser leído aquí:

https://www.academia.edu/22660452/Senderos_nuevos_del_capital_trabajo_consumo_y_producci%C3%B3n_de_subjetividad_2016_

http://www.thepress.purdue.edu/titles/format/9781612490298

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What is entailed in the cultural practice of screening, in both senses of the verb, Shakespeare in transnational audio-visual idioms in the modern times? The past decades have witnessed diverse incarnations and bold sequences of screen and stage Shakespeares that gave rise to productive encounters between the ideas of Asia and of Shakespeare. Kurosawa's Throne of Blood (Macbeth, 1957) and Ran (Lear, 1985) are far from the earliest or the only Shakespeare films from Asia; around the time Asta Nielsen's cross-dressed Hamlet (1921) was filmed, gender-bender silent film adaptations of The Merchant of Venice and Two Gentlemen of Verona were being made in Shanghai. In the other direction, Hollywood and the global economy in general have brought Asian cultures forcefully into the Western cultural register, as evidenced by the mediation and reception of Shakespeare and world cultures on screens big and small, including silent film, television, feature film, documentary, and such media as online games, anime, and YouTube. Two prominent examples are Kenneth Branagh's As You Like It (2006), set in Japan, and the appropriation of eastern spirituality in Thich Nah Han's scene in Michael Almereyda's Hamlet (2000). In both directions of the intercultural traffic, Asian audio-visual idioms have been appropriated along with Shakespeare's text on stage and on screen. Therefore, we need to ask: On what terms do transnational Shakespeares animate and redirect the traffic between different geo-cultural or virtual localities? In turn, how do the collaborative processes of signification operate as local stagings of Shakespeare and global locales?

This paper reports on an investigation into the online visibility of work undertaken in South Africa in the field of poverty alleviation. An experiment with
Google searches was undertaken, motivated by concerns about the visibility of South African research and development work, particularly in a context where social
inequality is extreme and poverty such a critical issue. Aware that much attention – through research and the practice of development work – is being paid to
poverty alleviation1
, the authors set out to examine whether that work could be found easily, and what the nature of the search results would be. Significant sums
of public money are invested in research, which should result in the production and dissemination of locally generated knowledge as a public good grounded in
local realities. A great deal of national and international funding is also spent. Thus, research published online should inform and reflect on national and regional
development practice, while contributing perspectives from the South to the global corpus of poverty research. Research to understand poverty and inform the design
and targeting of poverty alleviation programmes needs to be freely available and actively shared in order for it to accumulate value. In this regard it is argued that
there are exponentially beneficial linkages between research, scholarly publication and social development, which originate with local knowledge production and
are amplified by the availability and discoverability of that research. Availability and discoverability add breadth and depth to the potential use, value and impact
of the knowledge produced