文献信息
文献标题：Likes and views: Investigating internet video content creators perceptions of popularity（点赞与观看：调查网络视频内容创作者对受欢迎程度的看法）
文献作者：Maria Törhönen，Max Sjöblom，Juho Hamari
文献出处：《Proceedings of the 2nd International GamiFIN Conference》, 2018:108-114
字数统计：英文2522单词，14073字符；中文4375汉字
外文文献
Likes and views: Investigating internet video content
creators perceptions of popularity
1.Introduction
The online environment encourages digital natives to participate in various forms of collaborative and productive efforts through their use of social media and digital services such as Facebook, Wikipedia, Ins
tagram and YouTube. These type of activities have turned the consumer of online media content and channels into a social prosumers (Fuchs, 2014; Ritzer 2010, 2015), which is particularly evident in the prosumption activities of social video content.
Social video content is generated by private individuals and distributed to social networks through commercial services such as YouTube, Twitch and Facebook live. The rapid developed of supporting technologies (live-streaming, VR video formats, short video “story” integrations), dissemination platforms and even monetisation services (subscriptions, partnership programmes, donations) related to the creation of video content, have made this activity more approachable and available for the general public. Additionally, the emergence of online video influencers and celebrities
such as PewDiePie and Zoella, has increased the allure of online fame and fortune, associated with social video content creation. The increase in the popularity of this activity has led to greater competition for the attention of the online audiences and their engagement with content.
Social video content creation revolves around a complicated set of new economic structures that combine both play and labour, playbour (Kücklich, 2005; Castronova, 2005; Lehtovirta & Castronova, 2014), the platform economy, where the platforms facilitates content distribution as well as monetizatio
n structures and human interaction (Kenney & Zysman, 2016), and the attention economy, where the attention of the viewers acts as a form of payment for the creators of content (Simon, 1971; Huberman, 2009, 2013).
content的中文翻译The attention economy has played a crucial part in the formation of economic value in digital media formats and popularity. The idea of the attention economy evolved from a simple notion, that attention itself is a commodity. This idea was first introduced before the emergence of digital consumer technology, to examine the economics of the increasingly information-rich world (Simon, 1971), but developed into an accurate economic structure for the digital environments that depend on the abundance of content and information and the scarcity of attention (Huberman, 2013).
The different aspects of popularity and the attention economy in digital realms have been studied through various different forms of social media formats. For example, studies related to Facebook, have examined the content posted on Facebook and its effects on popularity (Goodwin, Griffin, Lyons, McCreanor & Moewaka Barnes, 2016) and the “like economy” of Facebook, that exemplifies how technology, through buttons and interactions, can transform our social interactions into transactions (Gerlitz & Helmond, 2013). Whereas previous research related to YouTube has examined the elements of attention on YouTube (García-Rapp, 2016) and how negative emotions are associated wit
h the attention economy of YouTube (Berryman & Kwaka, 2017).
This research will examine the aspects of popularity of social video content creators through an online survey (N=385). The research will analyse and evaluate
which aspects of content creation, content creators perceive to be most valuable towards their popularity, and which of those aspects they place most effort in.
2.Methods
This research examines the popularity of social video content creators, by determining what content creators themselves perceive to have an effect on their popularity, and how much effort they place on these aspects within their content creation activities. The respondents were presented with eighteen predetermined elements related to different aspects of social video content creation, that were considered to emphasise the content or the content creator to their viewers. These aspects of social video content creation were selected based on seven preliminary semi-structured interviews with different types of content creators, and through observation of different content creators and dissemination channels in digital environments.
The data for this research was collected through an online survey, which was distributed through various social media outlets (Facebook, Reddit, Twitch) and through an email contact list to social video content creators globally. The data was collected during 2017 from 385 social video content creators, out of whom a majority were young adults (millennials/Generation Y). More demographic information presented in Table 1. The respondents were asked two different questions related to the selected aspec ts of popularity: “Please rate how important you estimate the following things are in regards to the popularity of the videos you share online?” and “How much effort do you put in the following things when producing and sharing videos online?”. Respondents then rated each aspect on a 7-point Likert scale (1 indicating “strongly disagree” and 7 indicating “strongly agree”), which was used to determine the means for each aspect of popularity for the analysis of this research.
Table 1. Demographic information of respondents.
3.Results
The results, presented in Table 2, indicate that content producers place
importance in entertainment value, interaction and communication, personality, originality and activity level to a greater extent (M>5), and to a smaller extent related to the topic of videos, technical skills, search optimization, technical equipment, profile appearance, skill of the host and sharing personal experiences (5>M>4). Content producers felt networking with other producers, offline presence and agents to be of less important (4>M>3), and even less so with props, special guests and sex appeal (3>M). In regards to effort, content producers placed greater effort in entertainment value, interaction and communication, personality, originality, technical skills and topic of videos (M>5). They placed slightly less effort on activity level, search optimization, technical equipment, profile look, skill of the host and sharing personal experiences (5>M>4).
Less effort was placed on networking with other producers and offline presence (4>M>3), and least effort content producers reported for agents, props, special guests and sex appeal (3>M).
Table 2. Descriptive means and standard deviations for perceived importance and effort
4.Discussion
The personality of the host was reported to be an important contributor to popularity. Content creators also reported that they made a conscious effort in depicting their persona as well as their domain specific skills in their content creation activities. The host of social video content is often central to the content of the video
and visible throughout, especially in popular genres such as gaming and beauty. Content creators have been found to utilize their content to construct a branded- self (Senft, 2013) and a micro-celebrity status (Marwick, 2015), through which these individuals position themselves as consumable public figures in the eyes of the online audiences. As micro- celebrities, the content creators may reflect a level of relatability to their audiences, but also have an influence on those audiences as “authority” figures, which then again feeds into the larger sphere of the attention economy through elements of promotion.
The importance of the personality of the content creator is often also highlighted in the tone and mood of the social video. This is especially highlighted in the development of a “happiness economy” where the content that portrays favorable, positive, moods and personalities is perceived more favorably, and
therefore also gains more attention and popularity. This has been discussed by the popular social video content creator, Felix Kjellberg (PewDiePie) in his “Forced Positivity on YouTube” video (Kjellberg, 2017). However, there has been an increase in subgenres and type of content that reinforces negative associations and moods, through either encouraging criticism (eg. bad gameplay videos) or supporting negatively associated moods, such as anxiety, sadness or even anger (Berryman & Kwaka, 2017).
The content itself is another crucial part of the attention economy, which has been highlighted in previous research on spectating social video content (Sjöblom, Törhönen, Hamari & Macey 2017, Sjöblom & Hamari, 2017, Hamilton, 2014). The topic of the content, combined with search optimization, increases the visibility of the content creator and their content, whereas entertainment value and originality of content allow for further engagement and consistency of audiences and feeds into the self-branding of the content creator. It should be noted, that although search optimization was considered to be important for the popularity of the content creator, the effort placed on it was not as highly rated. This may be related to the difficulty in managing search optimization efforts, or evaluating its real effects on popularity.
The topic and originality of content may also allow for further development of communities around the
content creator or their content. Community aspect is

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