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LeftTube – a loosely connected community of left-leaning content creators on YouTube – includes a subsection of video essayists that conduct scholarly work seemingly adjacent to critical research. Exploring this digital community of critical scholars may precipate opportunities for collaboration and reciprocal learning to better academic qualitative research approaches. Therefore, the purpose of this exploratory study is to (1) examine if and how this digital community engages in critical scholarship, and (2) initiate a call for academic qualitative scholars to watch this digital space as a potential source of collaboration, an opportunity for co-learning and consideration for inclusion in the qualitative “big tent”.

Using an algorithm-based sampling procedure, 143 videos were sampled across 23 Black women content creators. Videos were analyzed for characteristics of critical research using multimodal-ethnographic semiotic analysis.

Findings suggest that 11 strategies of critical scholarship were used with themes of knowledge production and ethical framework. Such results indicate that this subsection of LeftTube video essayists are conducting critical scholarship.

The most significant implication is the expansion of the qualitative “big tent” to include international social media content creators who conduct social science research. This would have many benefits to academic qualitative researchers, including learning how the studied community (1) makes critical scholarship impactful and influential in civil discourse, (2) mobilizes critical language, and (3) resists neoliberal and capitalist systems attempting to marginalize critical research.

Since its launch in 2005, YouTube has provided a unique platform for users worldwide to share and engage with content, leading to a rise in user-generated content (UGC), especially among youth. One of the most prevalent, yet under-explored, subgenres of UGC is the user-generated music video, where users integrate music and images with an element of performance or narrative; the current research deploys longitudinal analysis to describe the trends in youth-created music videos and how these trends have evolved in the early years of YouTube. Using a sample of 100 youth-created user-generated music videos uploaded to YouTube in 2007 and 2013, the authors investigate trends in production strategies, narrative content, and demographics. Compared to videos posted in 2007, youth-created music videos posted in 2013 featured more complicated editing techniques, less linear narratives, younger actors, more women, and were more likely to celebrate the self, mimicking the recent emergence of “selfie culture.” These findings are discussed with respect to YouTube’s role in reducing barriers to entry and providing a virtual space for youth-oriented content communities that thrive on engagement and social networking as strategies of identity development.

This study aims to empirically test how sponsored video customization (i.e. the degree to which a sponsored video is customized for a sponsoring brand) affects video shares differently depending on influencer characteristics (i.e. mega influencer and expert influencer) and brand characteristics (i.e. brand establishment and product involvement).

This study uses a unique real-world data set that combines coded variables (e.g. customization) and objective video performance (e.g. sharing) of 365 sponsored videos to test the hypotheses. A negative binomial model is used to analyze the data set.

This study finds that the effect of video customization on video shares varies across contexts. Video customization positively affects shares if they are made for well-established brands and high-involvement products but negatively influences shares if they are produced by mega and expert influencers.

This study extends the influencer marketing literature by focusing on a new media modality – sponsored video. Drawing on the multiple inference model and the persuasion knowledge theory, this study teases out different conditions under which video customization is more or less likely to foster audience engagement, which both influencers and brands care about. The chosen research setting may limit the generalizability of the findings of this study.

The findings suggest that mega and expert influencers need to consider if their endorsement would backfire on a highly customized video. Brands that aim to engage customers with highly-customized videos should gauge their decision by taking into consideration their years of establishment and product involvement. For video-sharing platforms, especially those that are planning to expand their businesses to include “matching-making services” for brands and influencers, the findings provide theory-based guidance on optimizing such matches.

This paper fulfills an urgent research need to study how brands and influencers should produce sponsored videos to achieve optimal outcomes.

Purpose – This study examines perpetrators and their fans media participation for the purpose of investigating whether new media produce school shootings anew.

Method – We first analyze the narrative structure of eight school shooters’ 75 self-produced videos (1999–2011), then conduct thematic and content analysis of this material. Then, based upon a three-year ethnographic investigation of a subculture on YouTube (2007–2010), from which a sample of 81 users, 142 videos, and screenshots of natural conversation was taken, we analyze the style and ritual practices, fan attachment, and online regulation of the subculture.

Findings – The mirroring of the school shooters’ videos and their fans’ media practices highlights a trait of contemporary society: a need for distinction and intrinsic individuality directly linked to a modern era in which autonomy and self-production have become well-praised norms, and media a support for individuation.

Social implications – We observe some of the pitfalls of contemporary social injunctions and how the media interplay into this dynamic. This research also emphasizes the role of regulation in an online subculture: opposition encountered tends to contribute to the individualization of positions rather than the reproduction of violence.

Value of paper – This study provides a starting-point for future research in visual communication and online fan-based subcultures related to contemporary forms of violence.

Researchers in information studies have examined fictional depictions of libraries in various mediums because these images can reflect and influence real-life experiences and attitudes. Video games, despite being relatively overlooked, are increasingly culturally relevant and can indicate library users' real needs and desires. This study investigates the ways in which video games depict characters using libraries to seek and use information.

A qualitative content analysis approach incorporating methods from information studies and game studies was applied. Tancheva's (2005) semiotic analysis of fictional libraries and Carr's (2019) textual approach provided the framing for the unique aspects of video games and their meanings. Carroll (2021)'s character analysis and Chatman (1996)'s theory on insiders–outsiders dynamic underpinned the data collection and analysis. The purposive sample included 15 video games released since 2010.

Video games depict game characters visiting libraries to solve short-term problems, to gain knowledge to improve themselves or to bond with others. Protagonists are often depicted as adventurers or outsiders who must adapt to unfamiliar places and situations to achieve their wider objectives. In these games, libraries provide useful documents, spaces or helpful guides and intellectuals who assist the protagonists. As outsiders, the protagonists seek information in libraries to help them learn about their environments and to immerse themselves in the local histories and cultures in their worlds. Overall, these depictions highlight both short- and long-term benefits of library use.

As with existing studies, the ways in which fictional library use appear in video games can suggest real needs and desires among library users. The findings from this study emphasise the importance of library services and spaces that help users both address short-term problems and immerse themselves in local concerns, with longer-term goals. Applying different research methods or lenses to analysing video games could deepen our understanding of what library users think and feel when they seek and use information in libraries.

With the rapid development of short videos in China, the public has become accustomed to using short videos to express their opinions. This paper aims to solve problems such as how to represent the features of different modalities and achieve effective cross-modal feature fusion when analyzing the multi-modal sentiment of Chinese short videos (CSVs).

This paper aims to propose a sentiment analysis model MSCNN-CPL-CAFF using multi-scale convolutional neural network and cross attention fusion mechanism to analyze the CSVs. The audio-visual and textual data of CSVs themed on “COVID-19, catering industry” are collected from CSV platform Douyin first, and then a comparative analysis is conducted with advanced baseline models.

The sample number of the weak negative and neutral sentiment is the largest, and the sample number of the positive and weak positive sentiment is relatively small, accounting for only about 11% of the total samples. The MSCNN-CPL-CAFF model has achieved the Acc-2, Acc-3 and F1 score of 85.01%, 74.16 and 84.84%, respectively, which outperforms the highest value of baseline methods in accuracy and achieves competitive computation speed.

This research offers some implications regarding the impact of COVID-19 on catering industry in China by focusing on multi-modal sentiment of CSVs. The methodology can be utilized to analyze the opinions of the general public on social media platform and to categorize them accordingly.

This paper presents a novel deep-learning multimodal sentiment analysis model, which provides a new perspective for public opinion research on the short video platform.

Surprise family vacations have become increasingly prevalent in today’s digitally mediated consumer culture. Drawing on a performance-based view of tourism, this paper aims to explore the performance practices and embodied experiences by which young consumers are the recipients of last-minute surprise vacations.

YouTube offers a space for examining surprise family vacations, as captured in real time by consumers. The visual elements and verbal discourses of 139 surprise family vacation reveal videos were analyzed using a hermeneutical approach.

Findings suggest that surprise family vacations are characterized by three performance practices in which embodied tensions arise between normative expectations and unanticipated experiences: executing the reveal (scripted act versus improvised act), announcing the destination (absolute ideal versus relative ideal) and reacting to the surprise (initial acceptance versus initial rejection).

By exploring a phenomenon in which children’s anticipation for a vacation is largely absent or limited, surprise family vacations reveal culturally idealized norms and performative practices in family tourism. Positioning a family vacation as an offering or surprise for the children is distinct from previous research, which suggests family vacations are co-created. Children of all ages experience tourism-related stresses and anxieties.

The primary practical contribution for marketers lies in revealing how the material and performative practices of a family vacation begins even before a family enters its tourist destination. Service providers and retailers may provide offerings for families to support surprise family vacations, particularly in an increasingly digital culture. This study also reveals opportunities for parents to strategically discuss surprise vacations with their kids.

This study captures the liminal moment in which a child’s tourism journey begins. By using YouTube as a resource for digital ethnography, researchers can better understand how families discuss, negotiate and mediate tourism-oriented concepts, through their lived experiences.

The goal of this study is to explore how content creators engage in critical data literacies on TikTok, a social media site that encourages the creation and dissemination of user-created, short-form videos. Critical data literacies encompass the ability to reason with, critique, control, and repurpose data for creative uses. Existing work on critical data literacies on social media has focused on understanding of personal data, critique of data use, and strategies to protect privacy. This work focuses on how TikTok content creators repurpose data to construct their own narratives.

Through hashtag search, the authors created a corpus of 410 TikTok videos focused on discussing environmental and climate action, and qualitatively coded the videos for data literacies practices and video features (audio, footage, background images) that may support these practices.

Content creators engaged in multiple practices to attach meanings to data and situate environmental and climate action discourse in lived experiences. While there were instances of no data practices, we found cases where creators compiled different data sources, situated data in personal and local contexts, and positioned their experiences as data points to supplement or counter other statistics. Creators further leveraged the platform’s technical features, particularly the ability to add original audio and background images, to add narratives to the collective discourse.

This study presents a unique focus on examining critical data literacies on social media. Findings highlight how content creators repurpose data and integrate personal experiences. They illustrate platform features to support data practices and inform the design of learning environments.

The purpose of this study is to compare the communication practices of Chinese and US companies on YouTube and explores the effectiveness of different communication strategies at the topic level.

The author selected 22 Chinese companies and 22 US firms and compared the content of their English language corporate YouTube channels through content analysis, sentiment analysis and cluster analysis.

The results revealed that the three communication strategies (information, response and involvement) in general were not significantly different regarding their engagement rates, but they generated different comment scores when communicating topics of corporate social responsibility. The results also showed that Chinese companies were more likely than American firms to display the speeches of corporate leaders, use collectivistic references and present human interest messages in YouTube videos.

This study sheds light on how national institutional environment shapes corporate communication on YouTube.

This study challenges the infatuation with the involvement strategy and offers some advice for practitioners on topic selection and user comment function management.

This study makes a novel contribution to the literature of corporate communication on YouTube by adopting a cross-national comparative approach. A conceptual framework of major factors influencing stakeholder responses on YouTube was presented.

The peer review history for this article is available at: https://publons.com/publon/10.1108/OIR-02-2023-0061

Many companies must choose a marketing strategy to promote new products. This includes publishing digital video advertising with interactive features on the Internet. Guided by the attribute-framing theory, this study investigates the impact of the number of positive attribute framings (NPAF) in advertising messages on consumer responses. This study aims to check whether new products are incrementally new products (INPs) or really new products (RNPs).

Content analysis was conducted to identify the forms and components of attribute framing used in advertisements and consumer responses (i.e. review valence). Furthermore, this study followed an expert scoring procedure to identify product newness (INP vs. RNP). Hierarchical polynomial regression analysis was used to investigate the relationship between the NPAF, customer response and product newness.

This study has three main findings: (1) regardless of whether the new product is INP or RNP, there is an inverted U-shaped relationship between NPAF and consumer responses; (2) the inflection point of NPAF (INP) is greater than the inflection point of NPAF (RNP) and (3) the maximum value of consumer response for INP is greater than that for RNP.

This study sheds light on the effectiveness of attribute framing in new product advertising. Compared to previous research on attribute framing of advertising, this study is based on a realistic scenario in which multiple attributes are framed within a given advertisement copy. Furthermore, secondary data were used to test the impact of NPAF on consumer responses and further explore the effects of product newness.