Attitude and Zoella

Clay Shirky argues that audiences in today’s online age are no longer passive consumers of media content. Evaluate this ‘end of audience’ theory.

Refer to Zoella and the Attitude website to support your answer. [30]

Shirky's theory states that audiences no longer passively consume. Rather, they actively engage with the media. An example of this is Zoella, whose career exists mostly on social media. This allows fans to comment on her posts and videos, engaging with the media. She also has Q&A videos where she answers the fans questions.

Shirky's theory also states that there is no such thing as a passive audience. This, however, is not the case for a big part of Zoella's audience.  Going into the comments section of Zoella's videos, most of them are stand alone comments with no replies. This shows that the audience is not interacting with each other, only Zoella. As well as that Zoella rarely interacts with the comments either. Her last video on the Zoella youtube channel has the comments turned off, preventing the audience from interacting with it.

Shirky's theory also relies on the idea of audiences now being very individual, with media attracting a wide range of people. Zoella'a fanbase, however, seems to all be very similar, likely in big part due to her content neither challenging nor going against the expectations of society. Zoella is a middle-class woman who focuses on clothing and makeup in her content. Occasionally she branches out, with videos about airplane anxiety and other similar topics, but these are still within the realm of tame content. Her videos do not challenge the viewer, and so her videos attract a majority of the same types of people.

Attitude

Attitude began as a newspaper in the 1990's and later into a website. It is targeted at older gay men, primarily those with some amount of wealth. As it is a UK magazine, and it therefore targeted towards British men.

The website has an article called "boys" that is filled with photos of shirtless, muscular men. Currently, all of the men in this section are white, which reflects the ethnic group the newspaper is targeting.

The audience is older gay men, because much of the articles are reflective of their interests.

Exam question: Zoella and audience

How far can aspects of identity be seen to affect the way in which audiences use online media?

 Discuss, with reference to Zoella.  You should refer to relevant academic theories in your response.

Online media allows audiences to find a wider range of media to identify and interact with, but according to Gauntlett's identity theory, it also gives them a wider variety of media to build an identity with. In the case of Zoella, she does not challenge any stereotypes or preconceptions of womanhood, and therefore the audience does not have to think so hard to understand her content. It is very surface level and seemingly open. While o an intellectual level, we all understand that the way Zoella presents herself in the videos is not necessarily who she really is (especially since Zoella is a brand identity), due to the manner in which she addresses her audience in the videos, she creates the illusion of a two way friendship between her and the viewer. This makes the viewers more captivated in her content, and they then allow her subconsciously to have greater control over how their identity is shaped than perhaps a YouTuber they feel is very cold and distant.

However, the audience is no longer solely a consumer of the media they like. In the age of online media, people can actively create a two way conversation between the consumer and the producer. This ties in to Shirky's end of audience theory. The audience is no longer passive. Not only are they shaped by the media they consume, but the media is shaped by them. While the audience is shaped by the content Zoella puts out, if she were to create a completely different style video that the fans didn't like, they could immediately and in large numbers give her negative feedback for it. This would then affect her content, as it is unlikely she would create another video that style if the last one received backlash. This also means that the audience has a greater control over their identity, as they have greater control over the things that influence it. However, consumers could trap themselves in never wanting to see different content, and therefore restricting the media that moulds their identity.

Jenkin's fandom theory follows the idea that fans, in the age of online media, can not only consume media they like, but create media in response to it. Fans of Zoella's could create fan fiction, fan art, or fan pages. This means that not only are they consuming media that influences them, but they are also producing media that may influence others. This then means that parts of the audience now bare the same responsibility of the producer, which is to be aware of how the content created can be interpreted. Producers of media have an obligation to their fans to make sure the content they create is appropriate for their audience. A YouTuber that created content primarily for young children suddenly releasing a video full of swear words and other age inappropriate content would not only be irresponsible, but a betrayal of the trust they had with their audience. This would inevitably effect their views and the number of people interested in their content, and by extension the money they earn.

Zoella

Zoella is a brand that runs began on youtube. It primarily focuses on clothing and makeup, and generally shows the familial, social aspect of her life. Her main target audience is women aged 13-29. She primarily entertains her audience, but she also gives advice on which products to use and talks openly about her experiences with mental health. At this point in time, the top article on her blog is about an interview with a mental health professional.

Zoella does not challenge the dominant ideas that women like clothes and makeup. According to the cultivation theory, this could influence the young women who watch her content in terms of what they feel they should like. However, the argument could also be made that the only girls consuming her content are already interested in these things. However, Zoella's content on its own could plant the idea in girls' heads that this is the only ideal for what women should be. Zoe Sugg, in contrast, offers a broader range of identity and ideas about what identity is. She offers a more mature, worldly view of what a woman can be and the girls that watched her Zoella content grew up to watch her Zoe Sugg content, perhaps influencing and cultivating how they matured in their own lives.

Due to her career being entirely built on the internet, from the very beginning fans were able to interact with her through the comments section. This fits with Shirky's end of audience. The audience are no longer passive consumers as they were previously in media.

Life on Mars audience

The trailer tries to appeal to a mainstream audience. It is fast-paced and has quick editing, alongside the Immigrant song by Led Zeppelin. This song is easily identifiable and also from the era the show is primarily set in. There is also a voice over that makes the plot clear and easy to understand for the audience. The main character introduces himself as a DCI, letting the audience know this is a crime genre. Then, we see the car transform from a typical 2006 car to a 1973 one, telling the audience it is also sci fi and that the show is a hybrid-genre.

The main character is played by John Simm. He had already worked with the BBC on other shows, so he was already a familiar face for many regular viewers. Not long after Life on Mars, he appeared on Doctor Who as the Master, which would further boost him image to a mainstream audience.

The trailer portrays a variety of tropes for sci fi and crime. The main one for sci fi is the time travel aspect, highlighted by the transformation of the car. The audience is left with the enigma of how Sam Tyler got to the past

The sidekick character Gene Hunt acts as representation for older men who remember the 70s.

Life on mars was a critical success. It garnered a large following that still continue today. Part of the reason it was able to gain such a loyal fanbase is because of its sci fi element, as sci fi fans are known for being devoted and obsessive to their favourite series'. The fan wiki has 328 pages and goes into great detail about plot synopsis, what certain characters represent, and references to the era. This ties into Jenkin's fandom theory, as these fans are actively engaging with the show and creating information pages on it for all to enjoy. Unlike the BBC description of the show, these fans have no obligation to create this much fan content in this much detail, but out of a love for the show they have.

Life on Mars- post modernism

Life on Mars uses a lot of intertextuality. The name of the series is a reference to the 1973 David Bowie song of the same name. A news article Sam sees briefly references the politician Enoch Powell. There is also a poster for a 1950s western movie. The episode is very disconnected from the world of 1970s policing, despite revolving around it as a plot. This is because the episode acts more as a pastiche of 70s crime shows such as The Sweeney's more than as an accurately documented example of real life police investigation in 1973.

Bricolage is another trope of post-modernism. The episode is a great example of this because the whole thing can be broken down into different parts inspired by or referencing other media. Time travel has been done in almost every sci fi series that has run for long enough, and the many expected tropes of crime, including the weary detective and the sidekick who plays off him. Much of the crime genre aspects, as mentioned above, are based off depictions of police from 70s crime shows.

social context is not explicitly discussed, but it does acknowledge the treatment of race and gender in the episode. The only main female character is constantly belittled by other characters because she is a woman, and the pub owner reveals that he has created a facade in order to please his white customers.

Despite the time travel, the episode follows a linear narrative.

It matches the post-modernist narrative in the sense of not knowing what is real and what is fantasy, however only Sam experiences this while the audience have no doubt what is real or fake.

The series takes place in a hyper reality. It is very separated from actual 1970s police work.

Life on Mars

Life on Mars is a hybrid-genre of crime and scifi. It has more of the tropes of the crime genre, such as an urban setting and police station. Many of the characters fill the expected roles as well, such as the partners who start of not getting along and over the episode learning to work with each other. However, it subverts certain tropes such as the morally ambiguous protagonist. In the story, Sam is very straight lace and by the book at the start. It also presents things such as destruction of evidence and violence against a criminal as not necessarily in a bad light and even seems to reward characters for such behaviour. Its primary connection to scifi is the element of time travel, which though not confirmed is a very likely possibility. Sam also keeps hearing things throughout the episode that imply things may not be as they seem.

Despite starting in 2006 and ending in 1973, the story follows a linear narrative. The storyline is restrictive, as we only know what Sam knows. The episode follows Todorov's narrative stages. It begins in 2006 with a murder case that is not out of the ordinary. This is the equilibrium. This is then disrupted first by Maya'a disappearance and then more importantly by being sent back in time to 1973. By the end of the episode, while not completely satisfied, there is a new equilibrium formed with Sam slowly adjusting to his new life in the past.

Very few of the enigmas are solved in the episode. In terms of the crime genre, it fulfils the expectation of the culprit being caught at the end, and also solves the mystery of the first suspects connection to the killer. However, in terms of the sci fi genre, little to nothing is resolved. The audience is left just as clueless as Sam as to how he ended up in the past and whether or not any of it is real.