The goal of this essay is to study the effect Youtube’s system and guidelines has had on history channels and to reflect upon the potential consequences it may have on the history community on the site. This is a current problem that has affected many history channels over the years and that may cause more problems for other channels in the future. My essay will not only provide the reader a better understanding about the problems between Youtube and history channels, but also give the reader a better understanding of the consequences this conflict may have on future generations and their access to historical storytelling on the site. The result of this essay shows that the host of each channel has their own motive and method for producing their own videos and the decisions they make affect whether their video receives positive or negative feedback on the site. Some channels work hard to make their videos available to their viewers and avoid trying to add content that may be sensitive. Others try to make more authentic and entertaining videos which may more than often include sensitive content that leads to more problems for these channels. The channels who don’t encounter these problems as often as others choose to not help nor recognise these channels and their struggles. Channels that do encounter these problems more often point to Youtube as the problem and often use the word censorship as a reasoning for why their content gets in trouble. The choices made on both sides at the moment may affect the future of historical storytelling on the site.

Magister Theologiae - MTh / South Africa has one of the highest rape statistics in the world, and there are increasing reports of women who have been violated and abused in religious institutions, specifically by clergy. Research on clergy sexual abuse has been limited to research methods that rely on court transcripts or interviews and focus group discussions. Studies that seek to understand social and religious attitudes about sexual abuse often rely on surveys and other conventional forms of research. Drawing on the court testimony of Cheryl Zondi, who was sexually abused by her pastor, Timothy Omotoso, this study aimed to explore how social media provides a site for exploring the ways in which patriarchal religious understandings of gender and power are supported or challenged through a narrative of sexual abuse.

This thesis will discuss how museums and historic sites can use videos from the costuming community on YouTube to share their collections and interpretation to a larger audience. The tactics employed by these creators create engaging works that will bring in a younger audience to a museum or historic site. The process of making often employed by these creators is a methodology that facilitates the learning experience as well as creates embodied knowledge for the creator. This knowledge allows the creator to explain historic practices with nuance only available to makers. The process represented in this paper is a combination of interviewing YouTube creators, making a dress inspired by an extant garment, and the creation of a video series to share information about the 1910s garment worker’s strike through academic research and making. / English

This study examines the three most popular children’s YouTube channels to explore the extent to which advertisements within children’s YouTube content present gender-role stereotypes. Children today are growing up in the digital age, surrounded by media content that has been on, and continues to move onto, streaming services. While media consumption habits may be changing, today children consume more content than ever. Between the ages of 18 months to seven years, children are in the Preoperational Stage of development (Piaget, 1964), during which they begin to understand symbolic function and, therefore, representation. As such, the gender messages that children consume during this time of their lives can have lasting effects on how they perceive their gender’s role in society. Children’s advertisements are especially important to study as the characters in advertisements are often given a product or “reward” which reinforces the behavior they modeled for the viewer. This study is a content analysis of advertisements aimed at children on YouTube conducted to determine the extent of stereotypical gender roles and discuss their possible impacts on young viewers. / Media Studies & Production

I en sjundeklass utfördes ett projekt som gick ut på att utföra en HIV/AIDS-kampanj där eleverna skulle delta genom produktionen av kortfilmer som sedan skulle läggas ut på den nätverksbaserade mötesplatsen, på YouTube. Det centrala syftet var att på prov använda Internet och film som hjälpmedel i undervisningen och samtidigt att nå fram med information gällande ämnet. Jag ville granska bland annat vilken ny kunskap samt vilka nya tankar och funderingar eleverna kan få kring HIV/AIDS-ämne genom detta projekt och som metod använde jag bland annat en kort nätverkbaserad enkät. Eleverna tyckte att projektet var underhållande och svarade att man lär sig på ett bättre och roligare sätt när man arbetar med datorn. Även om projektet var kort kan man summera att genom sitt aktiva deltagande i projektet väcktes det hos eleverna känslor och funderingar och de fick en hel del ny kunskap om HIV/AIDS-ämnet.

The purpose of this study is to analyze how and what kind of didactic techniques that are used in the audiovisual medium of YouTube. Nine different YouTube videos dealing with historical topics across four different YouTube channels has constituted the material for this study. Furthermore, four different dimensions, cognitive, aesthetic, moral and commercial will be analyzed according to how they interact with one another within the videos. Lastly the mode of presentation employed in the videos will also be analyzed among which there are three, explanatory, observatory, and participatory mode. The method that has been used to accomplish this is qualitative text analysis. As this study is not of a quantitative character a qualitative method is appropriate, and the videos have been analyzed similarly to how one would analyze a text with focus being put on the content and construction of the videos. The result has shown that the use of a narrator, appropriate clothing and scenography, maps, animation, archive footage and other graphical tools are the main didactic techniques employed across the nine videos. Two others, slapstick comedy and suspenseful elements are used with the express purpose of conveying knowledge by only one of the four channels. The cognitive and aesthetic dimensions interact a lot with one another as each channel has a distinct aesthetic and all of them strive to convey knowledge to the viewer which in turn is supported by the aesthetic dimension. The moral dimension is present and often supported by the aesthetic one but compared to the previous two it takes more of a backseat role, appearing most often at the beginning or the end of the videos and is used to send moral messages or evoke feelings in the viewer. Commercial dimensions also play a role in creating the videos as two of the four channels uses explicit sponsorship bits in their videos, often connected to the topic of the video in some way, while the other two promotes their Patreon pages but does not use sponsors. All but one of the channels also have regular YouTube advertisements that play before their videos. Lastly the mode of presentation used is predominantly the explanatory one where a narrating voice is put over the footage on screen. The other two modes, the observatory and participatory modes are not used at all in any of the videos.

This study draws on social problems literature about rhetoric in claims-making and social movement literature about credibility in framing to understand the construction of YouTube abuse and relationships between member role in the community and their frames/the reception of those frames. I also draw on feminist, non-feminist, and postfeminist literature to understand how YouTubers incorporate feminism into their claims about why YouTube abuse is wrong. Here feminism refers to understandings of sexual harassment as stemming from gender inequality, and non-feminist understandings of sexual harassment refer to individualized and degendered violations of rights and power imbalances. Postfeminist literature informs this study in understanding how a feminist issue has been disassociated with gender inequality and individualized. Drawing on this literature, I conducted a content analysis of YouTube videos and the comment sections on these YouTube video webpages to address how the community members responded to the sexual harassment problem. First, how do the YouTubers describe the problem? Second, what explanations for why the behavior is wrong, do the YouTubers use? Options include portraying the issue using a more feminist frame of "gender equality," a post-feminist frame of gender-neutral "consent," or a gender-neutral frame of "power imbalance." Lastly, are there relationships between the YouTubers' position in the community and/or gender, their responses, and positive and negative comments left on the videos? Analysis supports that YouTubers did not connect the issue to feminism and that YouTubers' positions in the community relate to how they politicized the abuse and how much commentator support they received. / Master of Science

Millennials are leaving the Catholic Church in great numbers, despite being raised in the faith. When asked for the reason of disaffiliation, young adults do not blame sexual abuse scandals in the Church nor do they cite specific Catholic beliefs and teachings. Instead, they say that they have begun to ask why stay Catholic and what meaning does the Catholic faith provide in their lives. This search for meaning has caused them to leave their faith and seek it elsewhere. However, prominent figures in Catholic media, Emily Wilson and Fr. Mike Schmitz, use YouTube as a platform to reach out to young adults in the Catholic faith. This thesis aims to understand how the two Catholic YouTube influencers use eudaimonic messages in their videos to provide the meaning that young adults have been missing from their faith. Eudaimonics has been linked to a sense of enjoyment beyond pleasure, focusing on a sense of well-being instead; this provides a deeper sense of meaning for those who view media containing eudaimonics. Using a directed content analysis, videos will be analyzed for the seven dimensions of eudaimonics – meaning in life/sense of purpose, self-acceptance, autonomy, competence, relatedness, personal growth, and living according to central personal values – and two transcendent elicitors – hopefulness and religiousness. Comments left by viewers under the videos will also be analyzed to see if viewers pick up on these meaningful messages. This analysis will evaluate how those messages by the YouTube influencers may impact young adult viewers and their Catholic faith. / Master of Arts / Millennials are leaving the Catholic Church in great numbers, despite being raised in the faith. When asked for the reason of disaffiliation, young adults do not blame sexual abuse scandals in the Church nor do they cite specific Catholic beliefs and teachings. Instead, they say that they have begun to ask why stay Catholic and what meaning does the Catholic faith provide in their lives. This search for meaning has caused them to leave their faith and seek it elsewhere. However, prominent figures in Catholic media, Emily Wilson and Fr. Mike Schmitz, use YouTube as a platform to reach out to young adults in the Catholic faith. This thesis aims to understand how the two Catholic YouTube influencers use eudaimonic messages in their videos to provide the meaning that young adults have been missing from their faith. Research has shown that eudaimonics provides a deeper sense of meaning for those who view media containing eudaimonic messages. This thesis will analyze the YouTube videos by the Catholic influencers for eudaimonic messages as well as analyze the comments left by viewers. This will help to evaluate how the influencers' messages may impact young adult viewers and their Catholic faith.

A dissertação ora apresentada teve como objetivo central identificar e sistematizar as estratégias de transmidiação desenvolvidas no âmbito da produção da obra ficcional Latitudes (2013, 2014), um projeto transmídia veiculado em três plataformas diferentes: YouTube, televisão e cinema e, respectivamente, em três formatos: websérie, série de TV e longa metragem. Trata-se de pesquisa que utiliza a técnica de estudo de caso para analisar o surgimento de obras ficcionais produzidas para distribuição em diversas plataformas O trabalho discute o surgimento de novos gêneros e formatos relacionando-os ao contexto da hipertelevisão (Scolari, 2014) e da distribuição de conteúdos em multiplataformas, que marca a experiência estética audiovisual na contemporaneidade, proporcionando novas formas de produção, consumo e fruição. Também são discutidos modelos de negócio na cultura da convergência (Jenkins, 2008), nomeadamente no YouTube - repositório para a websérie Latitudes -, a partir da distribuição e consumo cada vez mais pautados em plataformas streaming, que ganham espaço frente à grade horária tradicional televisiva, no modelo broadcast. Apoiados nos estudos de linguagem de Bakhtin (2003) e em discussões sobre gêneros feitas por Barthes (2009), Eco (1994) e Mungioli (2012), os resultados das análises sugere uma aproximação entre os gêneros ficcional e documental na versão seriada exibida na televisão. Em termos de estratégias de transmidiação desenvolvidas em Latitudes, a análise revelou que a obra incorpora modelos de distribuição e consumo que se apresentam como tendências atuais na produção audiovisual brasileira. Quanto à construção narrativa, observamos como principais resultados o uso das estratégias de propagação (Fechine, 2013) e de reassistibilidade (Mittel, 2011) para o estabelecimento da transmidiação em Latitudes. Também incorporamos às discussões a análíse de estratégias de product placement, a partir de inserções roteirizadas, como modelo de capitalização eficaz em produtos audiovisuais que contam com a internet como principal veículo de distribuição. / The present study aims to identify and systematize transmediation strategies developed by the producers of the series Latitudes (2013, 2014), a project distributed in three different platforms: internet (YouTube), television and cinema (so, in three formats: webseries, TV series and film). The work discusses the emergence of new genres and formats relating them to the context of hipertelevision (Scolari, 2014) and the multi-platform content distribution, which marks the audiovisual experience in contemporary culture and ensures more autonomy and agency to the audiences (Castells, 2009). We also discuss the new business opportunities in the convergence culture (Jenkins, 2008), particularly on YouTube, which works as a repository for the webseries Latitudes, with the distribution and consumption increasingly guided by streaming platforms, that are gaining ground against the traditional television broadcast model. It was also possible to see that these new dynamics, supported by the Internet, create new production processes. Based on the Language theory of Bakhtin (2003) and reflections on genres using Barthes (2009), Eco (1994) and Mungioli (2012). Through these analyzes, we see a connection between the fictional and documentary genres in the television version of our empirical object. After these advances, we reach the stage of systematization of transmediation strategies developed in Latitudes, realizing that it incorporates different kinds of distribution and consumption that are presented as trends in the Brazilian audiovisual production. As main results, we identified propagation strategies (Fechine, 2013), and the use of rewatchability (Mittel, 2011) for the establishment of transmidiation in Latitudes. We also add to the discussion the strategy of product placement (Miller, 2014), through scripted insertions, as an effectively capitalization model for audiovisual products that rely on the internet as a primary vehicle of distribution.

Esta dissertação intenciona investigar a construção do cômico, mediado pela tecnologia, em vídeos remix publicados na plataforma YouTube. Os trabalhos analisados propõem o riso a partir da manipulação de tempo e pitch do áudio de vídeos virais, possibilitada por softwares como Auto-Tune e Melodyne. Entendemos remix conforme autores como Lev Manovich, Eduardo Navas e Lawrence Lessig, que afirmam que vivemos em uma \"Cultura Remix\", uma época que tem como base cultural o sampling, atividade que consiste na troca inteligente entre fragmentos de diversas mídias. Analisaremos a emergência do riso nesse contexto, a partir de reapropriações de materiais preexistentes na rede. Autores como Henri Bergson e Michail Bakhtin nos fornecem o suporte conceitual para investigarmos o riso como um recurso dramático e da cultura tanto na vida cotidiana quanto nas plataformas digitais, que facilitaram, por um lado, o acesso e reciclagem de \"detritos midiáticos\", e, por outro, potencializaram as possibilidades de manipulação desses materiais / This dissertation intends to investigate the construction of the comic, mediated by technology, in video remix published on the YouTube platform. The analyzed works propose the laughter from the manipulation of time and pitch of the audio of viral videos, made possible by softwares like Auto-Tune and Melodyne. We understand remix by authors such as Lev Manovich, Eduardo Navas and Lawrence Lessig, who claim that we live in a \"Culture Remix\", an era that is based on cultural sampling, an activity that consists of the intelligent exchange between fragments of various media. We will analyze the emergence of laughter in this context, from re-appropriation of pre-existing materials in the network. Authors such as Henri Bergson and Michail Bakhtin provide us with conceptual support for investigating laughter as a dramatic and cultural resource in everyday life as well as on digital platforms that facilitated access to and recycling of \"media debris\" on the one hand, and , on the other, potentialized the possibilities of manipulation of these materials.