TODAY S AGENDA. Shares. Readings / Williams (2008) Readings / Cova & White (2010) netnographic analysis of heavy metal entrepreneurs

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Melvyn Shields
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1 T H E RO L E O F S O C I A L M E D I A I N T O DAY ' S P O P U L A R A R T

2 TODAY S AGENDA Shares Readings / Williams (2008) Readings / Cova & White (2010) netnographic analysis of heavy metal entrepreneurs

3 H T T P S : / / W I K I. A A LT O. F I / D I S P L AY / 2 3 E / S H A R E +CONTENT+HERE

4 READINGS Williams (2008) "What South Park character are you? Popular Culture, Literacy and Online Performances of Identity", Computers and Composition 25: Cova and White (2010) 'Counter-brand and Alter-brand communities: the impact of Web 2.0 on tribal marketing approaches', Journal of Marketing Management 26(3-4):

5 WILLIAMS (2008) Bronwyn Williams is an associate professor of English at the University of Louisville. He writes and teaches on issues of literacy, popular culture, and identity SOME pages are filled with information that the writer of the page has composed to construct a performance of identity This information is drawn from multiple media and, very often, directly connected to popular culture.

6 what is common is the reliance of most of the students on popular culture content and references they can appropriate from other sites to enable them to compose their identities and read the identities of others popular culture icons, catch phrases, music, text, and film clips in post- modern, fragmented collages that present selves that seem simultaneously sentimental and ironic construction of these pages illustrates how popular culture practices that predate online technologies have been adopted and have flourished with new technologies that allow content to flow across media as well as increase the ease of audience participation

7 Online technological changes have changed the nature of being part of the audience in popular culture in terms of how individuals respond to and adapt popular culture texts to their own ends, such as the construction of identities on web pages technologies, by creating potentially global audiences for any web page, have changed the relationship of the popular culture audience members to their peers creates opportunities for multiple readings of social networking web pages in ways that destabilize the identities students believe they have created

8 popular culture dominates much of convergence culture on the one hand because the stakes are so low; and on the other because playing with popular culture is a lot more fun than playing with more serious matters the development of interactive online technologies allowed people to continue and expand the uses to which they were already putting their readings of movies, television, and music individuals have always engaged in interactions with mass popular culture

9 Long before online technologies, people would make statements or judgments about identity and taste based on the popular culture references of those they would meet popular culture has not only been an element of identity construction but has also been a central part of creating community in contemporary society Before the advent of interactive online technologies, writing fan fiction, attending a fan convention, or belonging to a fan club required a commitment of time, emotion, and resources beyond that of more casual members of the audience.

10 online technologies did not create the desire for such activities but rather provided opportunities and media that enabled more people to engage in such activities more easily First, new technologies have, through the ease with which they allow interaction and the appropriation and combination of multiple media, vastly increased the number of people engaging in interactive popular culture activities the ease and speed of movement of pop culture content across media now enables both faster shifts in meaning and juxtapositions of popular culture words, images, and video that create new meanings online technologies have changed the relationship of audience members not just to popular culture producers but also to each other.

11 The templates ask people to think of their identities in terms of popular culture references: with the requests for lists of favorite movies, television programs, books; with the capability to choose a song to play when the page opens; and with the capability to load images and video from other sources. We shouldn t be surprised that s how people respond to the templates. linking encourages thinking about popular culture preferences in terms of communities of others who share the same tastes popular culture content and references on social networking pages are available for others, casual acquaintances or even sometimes strangers, who encounter them in contexts that perhaps lead to significantly different interpretations than the authors intended.

12 the judgments people make about the popular culture preferences of others are nothing new The students affection for using the images, songs, and templates of social networking pages to make quick judgments about others, including friends, stands in contrast to their awareness that the identities they were creating on MySpace or Facebook were incomplete and could result in incomplete or inaccurate readings of their identities

13 DISCUSS IN SMALL GROUPS How do you express your identity through popular culture in social media? Do you search information from other people s social media profiles? What kind of information?

14 COVA & WHITE (2010) (i) to explore the relationships on the web between communities of consumer-producers and brands when these communities do not collaborate with the companies concerned (ii) to explore what motivates consumer-producers to engage in these relationships without collaborating with companies. point is no longer to market to consumers but to market with consumers

15 Linking value has to be produced, and at present, companies invest significant resources in this the consumers communities active role in the creation of linking value on the Web Consumers produce and use communal relationships and create feelings of ease, well-being, satisfaction, excitement, and passion that permeate the brands, products, and services with which they deal, which are, subsequently, redistributed among these consumers. Second, they provide a cultural value. Consumers are responsible for selecting ideas, symbols, codes, texts, linguistic figures, and images that are then put into products and services

16 consumer-producers can also generate communities that may oppose or contest the management of their favourite brands (tribal opponents). Another possibility is to develop communities that will create a brand related to a collective project which may in turn compete, either consciously or unconsciously, with existing corporate brands (tribal competitors) Productive consumers increase the linking value of brands, and companies capture this value on the market, but almost none of this is returned to consumers.

17 First, consumers are not generally paid for the know-how, enthusiasm, and social cooperation that they contribute to. Second, customers typically pay what the marketing profession calls a price premium for the fruits of their labour, as the value provided by co-created offers is said to be higher than that which can be achieved through company creation. As a consequence of this double exploitation, consumers gather into communities in order to rebel against strong brands and companies.

18 Contrary to counter brands, the reasons that lead consumers to create alter brands are in no way related to economic frustrations or other forms of dissatisfaction in terms of what the market is offering. It is rather a series of positive motives that guides consumers towards co-creating such brands

19 266 Journal of Marketing Management, Volume 26 Figure 1 Motives, creation, and capture of value for the three types of brand-related communities. Co-creation of value by the community and the company Appropriation of value by the company BRAND COMMUNITY Community Enjoyment Self-Improvement tent Distribution] At: 10:08 14 September 2010 Creation of value by the community Utopia Altruism Community Appropriation of value by the community Creation of value by the community diverting company assets Appropriation of value by the community ALTER BRAND COMMUNITY Frustration Feeling of being exploited COUNTER BRAND COMMUNITY between the company and the members of the brand community. In the case of alter brands, companies should help members of the community in their utopian projects while combining the project ephemerally with the company s brand. The example of Dell with Hell and then Idea Storm is a good example for brand managers seeking to influence a counter brand. The same can be said about Jeep with Geocaching in

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