Journal articles on the topic 'Audio-tutorial method'

Abstract: The rapid exchange of information through multimedia throughout the world helps the growth of humans’ knowledge and, at the same time, requires redefinition of learning methods and media, especially in the field of vocational education. The purpose of this research was to develop an interactive learning media in the form of video tutorial in increasing the learning effectiveness in the subject of audio processing techniques at class XII in multimedia competence in one of the State Vocational Schools in Parepare. Research and Development method was used in this study. The stages of research included the planning, design and development stages. The subjects engaged in this research were two validators namely the experts of learning media and learning material, the students of class XII multimedia with the total of 18 persons, and one teacher who taught audio processing techniques. The results achieved in the development of interactive media showed that the developed video tutorial media had been valid based on the assessment of both learning media and learning material experts. The tests conducted on individuals, small group trials, and the subject teacher’s responses indicated that an interactive media in the form of video tutorial was effective and appropriate to the users’ needs. Keywords: Research and development, Video Tutorial, Interactive media, Multimedia, Camtasia Studio Abstrak: Pertukaran informasi yang cepat melalui multimedia di seluruh dunia membantu pertumbuhan pengetahuan manusia dan, pada saat yang sama, membutuhkan pendefinisian ulang metode dan media pembelajaran, terutama di bidang pendidikan kejuruan. Tujuan penelitian yaitu untuk mengembangkan media interaktif berupa video tutorial pembelajaran dalam meningkatkan efektivitas pembelajaran pada mata pelajaran teknik pengolahan audio kelas XII kompetensi keahlian multimedia di salah satu SMK Negeri di Parepare. Penelitian ini merupakan penelitian dan pengembangan (Research and Development). Tahapan penelitian meliputi tahap perencanaan, desain dan pengembangan. Subjek penelitian yang digunakan pada studi ini meliputi dua orang validator yaitu ahli media pembelajaran dan ahli materi pembelajaran, siswa kelas XII multimedia yang berjumlah 18 orang dan satu orang guru mata pelajaran teknik pengolahan audio. Hasil yang dicapai dalam pengembangan media interaktif menunjukkan media vidio tutorial yang dikembangkan telah valid berdasarkan penilaian dari ahli media pembelajaran dan ahli materi. Uji coba yang dilakukan kepada perorangan, uji coba kelompok kecil, dan tanggapan guru mata pelajaran menunjukkan bahwa media interaktif berupa video tutorial pembelajaran yang dihasilkan efektif dan sesuai kebutuhan pengguna. Keywords: Pengembangan, Video tutorial, Media Interaktif, Multimedia, Camtasia Studio

Designing car audio that fits user’s needs is a fun activity. However, the design often consumes more time and costly since it should be consulted to the experts several times. For easy access to information in designing a car audio system as well as error prevention, an car audio system based on expert system and web is designed for those who do not have sufficient time and expense to consult directly to experts. This system consists of tutorial modules designed using the HyperText Preprocessor (PHP) and MySQL as database. This car audio system design is evaluated uses black box testing method which focuses on the functional needs of the application. Tests are performed by providing inputs and produce outputs corresponding to the function of each module. The test results prove the correspondence between input and output, which means that the program meet the initial goals of the design.

This research is to develop one method of learning that is a video containing tutorial about praying procedures in English. The video is designed to facilitate students to understand the praying procedures as well as practice their competence in English, especially listening and speaking. Some experts and the users validated the effectiveness of the research. Those who validated are people who have competence in praying procedures, English and multimedia. Therefore, there must be three experts in this research. The users are given some questionnaires asking their opinions about the video. The sample of the research was taken from college students majoring in Communication and Islam Broadcasting in IAIN Salatiga. There were 35 students in one class. Video of praying tutorial produced through this research get goodresponses from students. They feel that by watching the video and see the audio and visual movements of the prayer contained in the video can make them able to remember more clearly how to do praying, especially for praying that is not done everyday.

Universitas terbuka is one of university in Indonesia that implement a remote and open learning system. Learning distance requirements are not carried out by using media, both print (module) and non-print (audio/video, computer/internet, radio broadcasting, and television). To serve students spread throughout Indonesia, excellent service is required. UT continues to increase its commitment to promoting academic quality and one of the academic qualities that need to be improved is the learning process where in the learning process there are general service aspects, aspects of registration services, tutorial service aspects, either TTM tutorials or online tutorials (TUTON), practicum services, services teaching materials, Online Bookstore services (TBO), SIPAS services and aspects of service for administering examinations. This study is intended to determine the level of satisfaction of students, especially D2 Library students of FISIP-UT Library, to the services provided by UT. The method used is quantitative and qualitative methods. The results of the assessment of satisfaction and importance are ≥ 50% of students are satisfied and feel an interest in the various services provided by UT.

This study aims to determine the level of effectiveness of YouTube as a learning medium in society. Themethod used in this research process is descriptive qualitative method. While data collection techniques,the authors explore the data according to the discussion by looking at various journals, articles andinformation from relevant YouTube users in the problems observed. The results of this study indicate thatthe level of use of YouTube in the community can be said to be high, because apart from being a learningmedium, they open YouTube to be used as a medium of entertainment. People who use YouTube as alearning medium are people who have their own interests or when in an emergency they want to find outthe solution to the problems they face, for example opening a video tutorial on dealing with cellphones,washing machines, televisions, refrigerators or other damaged household items. By watching the video,finally the community can put it into practice. In addition, there are also many other ways such as how tocare for ornamental plants, from planting to growing big. All can be practiced via Youtube media. Peoplefeel they can add to their knowledge without having to spend a lot of money, meaning they consider itmore efficient because one click directly displays audio and visuals that can be imitated or applied. Mostpeople feel that YouTube has a positive impact on those in need.

Video tutorials are a form of learning through some sort of videos with the help of graphical and audio representations used in it. Video tutorials have a wide history of learning whether it is curricular or any extracurricular activities. It is less expensive and easy to access comparative to other learning mediums. Students can easily access, learn or solve their problems without going anywhere. It generates affection towards learning easily. If learning becomes attractive for learners, then innovation and mind mapping for new trends became easy and joy able (Dempsey ;2005). This study examined the role of video tutorials in increasing the learning trends among Pakistani youth. To conduct this research population was selected from Lahore, city of Pakistan. Sample based on 10 Universities of Lahore and totals 507(males and females) students of different universities included in sample size. The methodology of this study based on survey where as this method used to obtain the data was quantitative in nature. The result showed that video tutorials plays crucial role in increasing the learning trends among Pakistani youth. The new learning trends convert the older once in modern and learning become more easy as well as more interested.30% respondents strongly agree with the statement, 35.3% were agree whereas 20.7% were neutral and 8.5% disagreed. The findings of this research shows that the youth of Pakistan is more intended towards video tutorials as learning medium instead of traditional ways. The results also reveal that, the time spent on video tutorial is relatively high in contrast to the older trends of learning.

Introduction: Antibiotic overuse for acute respiratory infections (ARIs) is a significant problem in Emergency Departments (EDs). DECISION+, a training program on shared decision making (SDM) and a decision aid for antibiotic use in ARIs, reduces patients’ use of antibiotics for ARIs in primary care, but has never been studied in the ED setting. The objectives of this study are to assess the intention of ED physicians to adopt SDM about antibiotic use in ARIs and to identify barriers and facilitators about adopting SDM and a decision aid for antibiotic use in ARIs. Methods: An adapted version of DECISION+ (1-hour seminar) was offered to physicians of two academic EDs (Quebec, Canada) in fall 2015. A validated questionnaire was administered to participants before and after the seminar. This questionnaire contains three items measuring the intention to adopt SDM using a 7-point Likert scale [ranging from 1 (very unlikely) to 7 (very likely)]. We performed descriptive analyses for demographic characteristics and a paired Wilcoxon signed-rank test to compare pre- and post-training intention to adopt SDM (α=.05). A debriefing session with the participants identified potential barriers and facilitators about implementing SDM and using a decision aid regarding antibiotic use for ARIs. Two researchers analysed the recorded audio material. Results: 41% (23/56) of eligible physicians received the intervention. 74 % of participants had already heard of SDM and 40% felt they already used SDM in their practice. The median intention to adopt SDM was 6 (IQR 5-6) before and 6 (IQR 5-6) after the seminar (P = .23). One participant did not answer the questionnaire after the seminar and his results were excluded from the comparative analysis. We identified 20 specific barriers to adopting SDM for deciding about antibiotics use for ARIs in the ED (e.g., lack of time) and 13 facilitators (e.g., public health campaign). Conclusion: ED physicians’ baseline intention to adopt SDM with patients for antibiotic use in ARIs is high. The adapted tutorial of DECISION+ did not change this intention. This could be explained by the social desirability of SDM. Further studies must be conducted to adapt DECISION+ to the ED setting and also to assess the impact of DECISION+ on the actual prescription and use of antibiotics for ARIs.

Introduction: Competence in procedural skills is vital within the emergency department. Challenging procedures such as cricothyroidotomy are difficult to master as they are rare and hard to train for. Additionally, common procedures such as chest tube insertions require practice to become sufficiently competent. Opportunities to hone these skills are essential in residency training. This project aimed to create instructional video modules for specific emergency medicine (EM) procedures and gauge their utility as adjunctive resources for procedural learning in the EM residency curriculum. Methods: Tutorial videos for clamshell thoracotomy, cricothyroidotomy, and chest tube insertion were filmed within a cadaver lab with step-by-step instructions. The footage was edited and overlaid with a pre-prepared audio narration using Camtasia®/Apple® Video Editing software. These videos were embedded within modules that included foundational knowledge relevant to the procedures, including anatomy, physiology and pathophysiology. The modules were peer-edited by licensed EM staff physicians and distributed to EM residents and staff physicians for analysis. Qualitative and quantitative analysis relied upon participants’ answers to questions and a Modified Task Value Scale, respectively. Results: Ten participants were included in the analysis, including EM residents (n = 6) and staff emergency physicians (n = 4). Qualitative feedback suggested that positive aspects of the modules included visuals, content, narration, and review of anatomy. Negative aspects included the lack of indications for procedures, technical details, real patient examples, and a speed up function. Quantitative feedback resulted in scores of 4 and above out of 5 on the Motivated Task Value Scale across all aspects for all the modules. Furthermore, analysis revealed an average score of 3.9 for inclination to access more modules such as these, and a score of 4.4 for overall perception of the modules. Conclusion: Participants found the video modules valuable to their learning, both qualitatively and quantitatively. This study was limited by a small sample size of modules and a low number of participants. Furthermore, a more detailed analysis with further measures, including self-efficacy and self-confidence, would yield more comprehensive conclusions. However, video-based modules provide an effective and easily accessible adjunctive tool to acquire skill and confidence with EM procedures, for medical learners and staff physicians.

Innovation Concept: Competence in procedural skills is vital within the emergency department. Challenging procedures such as cricothyroidotomy are difficult to master as they are rare and hard to train for. Additionally, common procedures such as chest tube insertions require practice to become sufficiently competent. Opportunities to hone these skills are essential in residency training. This project aimed to create instructional video modules for specific emergency medicine (EM) procedures and to gauge its utility as an adjunctive resource for procedural learning in the EM residency curriculum. Methods: Tutorial videos for clamshell thoracotomy, cricothyroidotomy, and chest tube insertion were filmed within a cadaver lab with step-by-step instructions. The footage was edited and overlaid with a prepared audio narration using Camtasia®/Apple® Video Editing software. These videos were embedded within modules that included foundational knowledge relevant to the procedures including anatomy, physiology and pathophysiology. The modules were peer-edited by licensed EM staff physicians and distributed to EM residents and staff physicians for analysis. Qualitative and quantitative analysis relied upon participants’ answers to questions and a Modified Task Value Scale (measures the value of a module for overall learning), respectively. Curriculum, Tool or Material: Ten participants were included in the analysis, including EM residents (n = 6) and staff emergency physicians (n = 4). Qualitative feedback suggested that positive aspects of the modules included visuals, content, narration, and review of anatomy. Negative aspects included the lack of indications for procedures, technical details, real patient examples, and a speed up function. Quantitative feedback resulted in scores of 4 and above out of 5 (1 = lowest value, 5 = highest value) on the Motivated Task Value Scale across all aspects for all the modules. Furthermore, analysis revealed an average score of 3.9/5 for inclination to access more modules such as these, and a score of 4.4/5 for overall perception of the modules. Conclusion: Participants found the video modules valuable to their learning, both qualitatively and quantitatively. This study was limited by a small sample size of modules and a low number of participants. Furthermore, a more detailed analysis with further measures, including self-efficacy and self-confidence, would yield more comprehensive conclusions. However, video modules provide an effective and easily accessible adjunctive tool to acquire skill and confidence with EM procedures, for medical learners and staff physicians.

Abstract Introduction Additional Cost of Teaching for Pharmacy (ACTp) funding from Scottish Government supports the development of experiential learning (EL) placements for student pharmacists [1]. Interprofessional learning (IPL) has been built into initial education for many healthcare professionals [2]. In 2019, a National Pharmacy EL Stakeholder event recommended exploring the further development of IPL within EL for the MPharm. Aim To scope existing IPL in EL and explore the feasibility for further development within the MPharm in Scotland Methods Online qualitative interviews were conducted with key stakeholders from Schools of Pharmacy, NHS Education for Scotland, EL sites, and Scottish health boards. All were involved in the development/delivery of these activities. The interview schedule was developed by the research team, reviewed for face and content validity, piloted prior to use, and modified based on early interviews. All interviews were audio-recorded, transcribed, and independently thematically analysed by two researchers. Interviews continued until data saturation and good representation from all settings were achieved. All ethical approvals were sought prior to the interviews. Results Twenty interviews were conducted with three key themes emerging; (1)current IPL within EL activities, (2)future developments, and (3)perceptions of enablers and barriers to developing/delivering IPL within EL. There were limited examples of existing IPL within EL activities including: a pilot pharmacy longitudinal clerkship and hospital-based pharmacy/medical student IPL week. Some stakeholders indicated that current IPL involves mainly campus-based activities but other EL based initiatives were planned but not yet implemented. Respondents indicated that future developments should be carefully planned in collaboration with other stakeholders and tailored to students’ stage of study to ensure their success. There was significant support for incorporating IPL within EL initiatives as part of the MPharm course to complement traditional ways of teaching. “I think if we don't do it, we're missing a big trick… Doing something in a classroom or doing something within a small tutorial is a very false way of learning, whereas in practice, where they're going to end up working together, it seems ideal.” Many enablers were highlighted mainly relating to the expected benefits of such activities on students, facilitators, patients, and the healthcare system. Logistics and planning difficulties were perceived to be barriers to implementation of IPL within EL. “We've tried to do it, it was with the medical school and they were receptive to it, but the logistics just didn't work out… when you've got two very different timetables to try and bring together, it is very, very difficult to do.” Conclusion Pharmacy stakeholders highlighted that the majority of IPL currently undertaken in Scotland is not based in EL settings but they supported developing it. Enablers and barriers articulated highlight the need for careful planning of these activities. A strength of this study is it involved a broad range of key stakeholders from across Scotland ensuring representativeness of views and ideas. A limitation may be that, given the Scottish focus, findings may lack direct transferability to other countries. Future research should focus on designing a framework for developing and implementing IPL within EL in Scotland. References 1. NHS Education for Scotland, 2020. Experiential learning for student pharmacists in Scotland. [online]. Edinburgh: NHS Education for Scotland. Available from: https://www.nes.scot.nhs.uk/our-work/experiential-learning-for-student-pharmacists-in-scotland/ [Accessed 07/10/2020]. 2. Barr H. Interprofessional Education-The Genesis of Global Movement. 2015. https://www.caipe.org/resources/publications/barr-h-2015-interprofessional-education-genesis-global-movement. [Accessed 4 Aug 2020]

The Learning of local music in schools and universities had become the pre-eminent material as local content in every place in Indonesia, in this case, the focus of discussion on this paper was Rejung music or often called as Batang Hari Sembilan, the identification of problems in this research was in the learning process of Rejung music, where the music educators had difficulties in teaching this material because the steps of rejung music learning material were not well compiled. In addition, the problems faced by educators in learning Rejung music was the learning media was not utilized optimally, namely, audio-visual media (learning tutorial video). Based on the identification of the problem, The problem in this research could be formulated in the form of questions as follows, 1) How was the structure of Rejung music. 2) how to make /produce tutorial video in Rejung Music learning. 3) How to learn Rejung music through tutorials video. While the specific objectives of this study were 1) Explained the music playing technique in Rejung music. 2) Explained the video tutorial production. 3) Explained the learning process of Rejung music through tutorial video. The method used in this research was this research discussed matters related to the science of Rejung music, the data collection was done through observation and documentation related to the learning process of the local music. Furthermore, the analysis of data related to Rejung music was processed and formulated through musicology and audio-visual multimedia.

<p align="center"><strong>ABSTRACT</strong></p><p><em>The Learning of local music in schools and universities had become the pre-eminent material as local content in every place in Indonesia, in this case, the focus of discussion on this paper was Rejung music or often called as Batang Hari Sembilan, the identification of problems in this research was in the learning process of Rejung music, where the music educators had difficulties in teaching this material because the steps of rejung music learning material were not well compiled. In addition, the problems faced by educators in learning Rejung music was the learning media was not utilized optimally, namely, audio-visual media (learning tutorial video). Based on the identification of the problem, The problem in this research could be formulated in the form of questions as follows, 1) How was the structure of Rejung music. 2) how to make /produce tutorial video in Rejung Music learning. 3) How to learn Rejung music through tutorials video. While the specific objectives of this study were 1) Explained the music playing technique in Rejung music. 2) Explained the video tutorial production. 3) Explained the learning process of Rejung music through tutorial video. The method used in this research was this research discussed matters related to the science of Rejung music, the data collection was done through observation and documentation related to the learning process of the local music. Furthermore, the analysis of data related to Rejung music was processed and formulated through musicology and audio-visual multimedia.</em></p><p><strong><em>Keywords</em></strong><strong><em> :</em></strong><em> Rejung Musi</em><em>c, Tutorial Video</em><em>, Learning Media</em></p><p align="center"><strong>ABSTRAK</strong></p><p><em>Pembelajan musik daerah</em><em> setempat </em><em>di sekolah maupun perguruan tinggi </em><em>menjadi materi unggulan</em><em> sebagai </em><em>muatan lok</em><em>al</em><em> disetiap tempat di Indonesia, dalam hal ini, yang menjadi fokus pembahasan tulisan ini adalah musik rejung atau sering disebut dengan Batang Hari Sembilan, identifikasi masalah dalam penelitian ini yakni proses pembelajaran musik rejung, </em><em>kesulitan bagi pendidik musik </em><em>dalam mengajarkannya yakni, belum </em><em>tersusunnya langkah-langkah </em><em>materi pemb</em><em>elajaran musik </em><em> rejung dengan baik. Selain itu, masalah yang dihadapi pendidik dalam pembelajaran musik rejung, tidak termanfaatkan media pembelajaran secara optimal yaitu, media audio visual (video tutorial pembelajaran)</em><em>. Berdasarkan identifikasi masalah tersebut, dapat </em><em>dirumus</em><em>kan masalah</em><em> dalam penelitian ini</em><em> berupa pertanyaan sebagai berikut, 1) Bagaimana struktur musik rejung. 2) bagaimana cara pembuatan/produksi video tutorial dalam pembelajaran </em><em>Musik Rejung. 3) Bagaimana belajar </em><em>musik Rejung melaui Video tutorial. Sedangkan tujuan khusus dari penelitian ini adalah 1) Menjelaskan teknik permianan pada musik </em><em>Rejung. 2) Menjelaskan produksi video tutorial. 3) Menjelaskan proses pembelajaran musik r</em><em>ejung melalui video tutorial. Metode yang digunakan pada penelitian yakni Penelitian ini membahas hal-hal yang terkait dengan keilmuan musik rejung, dalam pengumpulan datanya dilakukan melalui observasi dan dokumentasi yang terkait dengan proses pembelajaran musik daerah setempat. Selanjutnya analisis data-data yang berhubungan dengan musik rejung tersebut diolah dan dirumuskan melalui musikologi dan multimedia audio visual.</em></p><strong><em>Kata Kunci : </em></strong><em>Musik Rejung, Video Tutorial, Media Pembelajaran</em>

As per the Merriam Webster dictionary, the definition of the distance learning is - “It is a method of study where teachers and students do not meet in a classroom but use the Internet, e- mail, video conference, audio conference mediums of the study. The assessments and doubt clearing also happen online and still there are some planned face to face interaction programs with the students.” In the late 1900s, correspondence courses started coming into the picture. These courses were mainly introduced for the working professionals and for the people who wish to go for competitive examinations as travelling to the university is difficult if it is far off. This is to enhance the access and reach for the learners. Many of the tutorial companies and coaching centers also use distance learning model to cater to the needs of IIT JEE/Civil services aspirants in India. However, distance-learning courses have much better acceptance in the western countries. In Europe and America, they have wider acceptance and several studies done have proven the need of the distance courses and the perception of the people about the distance courses is really good.

Abstrak:Membatik memerlukan tata cara pembuatan yang bertahap. Akan lebih baik jika tahap-tahap tersebut dijelaskan melalui materi audio-visual sehingga lebih mudah dimengerti oleh siswa. Penelitian ini bertujuan untuk mengetahui pengaruh penggunaan Media CD Tutorial terhadap hasil belajar membatik siswa SMK Negeri I Berastagi dan seberapa efektifkah penggunaan CD Tutorial tersebut terhadap peningkatan hasil belajar siswa dalam membatik. Penelitian ini dilaksanakan pada semester genap Tahun Ajaran 2013/2014, dengan metode quasi eksperimen. Hasil penelitian menunjukkan bahwa hasil belajar membatik Kelas Eksperimen cenderung cukup (83%), dan hasil belajar membatik Kelas Kontrol juga cenderung cukup (80%). Uji normalitas data pada taraf signifikan 5% dengan dk = 35, diperoleh data hasil belajar membatik Kelas Eksperimen berdistribusi nomal, Lh<Lt(0,0890<0,1610) dan Kelas Kontrol berdistribusi normal, Lh<Lt(0,0911<0,1610). Uji homogenitas, diperoleh Fh<Ft yaitu 1,53 < 1,89 sehingga kedua kelas penelitian memiliki varians sama (homogen). Hal ini membuktikan bahwa terdapat keselarasan antara data hasil penelitian Kelas Eksperimen dengan Kelas Kontrol. Hasil uji hipotesis dengan uji-t diperoleh nilai Sg sebesar 1,28, nilai th sebesar 6,74, sedangkan nilai tt pada taraf signifikansi 5% dengan n = 60 sebesar 1,679. Dengan demikian, th>tt (6,74>1,679). Disimpulkan bahwa terdapat pengaruh yang signifikan atas penggunaan Media CD Tutorial terhadap hasil belajar membatik. Selain itu, penggunaan CD tutorial menimbulkan kegairahan dan motivasi dalam belajar, yang bermuara pada pencapaian tujuan pembelajaran.Kata Kunci: Membatik, media CD tutorial, tujuan pembelajaranAbstract:Making batik requires step by step procedure. It is better to explain the steps in audio-visual material so that the students can understand them better. This study aims to find out the effect of Media CD Tutorial usage towards batik learning outcomes of SMKN 1 Berastagi students and its effectiveness in improving the students batik learning outcomes. This research was carried out in the second semester of 2013/2014 academic year, with quasiexperimental methods. The result shows that the Experimental Class’ batik learning outcomes tends to be fair (83%), and the Control Class’ batik learning outcomes also tends to be fair (80%). Normality test data on a significant level of 5% with df = 35 results in normal distribution of Experimental Class’ batik learning outcomes, Lh <Lt (0.0890 <0.1610) and normal distribution of Control Class too, Lh <Lt (0.0911 <0, 1610). Homogenity test results in Fh <Ft namely 1.53 <1.89, so both classes have the same variance (homogeneous). This proves that there is harmony between the data of Experimental Class resulted from the research and those of Control Class. Hypothesis test by using t-est results in Sg value of 1.28, the th value of 6.74, whereas tt value at significance level of 5% with n = 60 is 1,679. Thus Th>Tt (6.74> 1.679). It was concluded that there is a significant effect from the Media CD Tutorial usage towards batik learning outcomes. Besides, Media CD Tutorial usage creates passion and motivation of the students to learn, which, in turn, results in the learning objective achievement.Keywords: Making batik, media CD tutorial, learning objective

Objectives: To report experience with a global multidisciplinary tracheostomy e-learning initiative Methods: An international multidisciplinary panel of experts convened to build a virtual learning community for tracheostomy care, comprising a web-based platform, five distance learning (interactive webinar) sessions, and professional discourse over 12 months. Structured pre- and post-webinar surveys were disseminated to global participants including otolaryngologists, intensivists, nurses, allied health professionals, and patients/caregivers. Data were collected on audio-visual fidelity, demographics, and pre- and post-tutorial assessments regarding experience and skill acquisition. Participants reported confidence levels for NICU, pediatric, adult, and family care, as well as technical skills, communication, learning, assessment, and subdomains. Results: Participants from 197 institutions in 22 countries engaged in the virtual education platform, including otolaryngologists, speech pathologists, respiratory therapists, specialist nurses, patients, and caregivers. Significant improvements were reported in communication ( P < .0001), clinical assessments ( P < .0001), and clinical governance ( P < .0001), with positive impact on pediatric decannulation ( P = .0008), adult decannulation ( P = .04), and quality improvement ( P < .0001). Respondents reported enhanced readiness to integrate knowledge into practice. Barriers included time zones, internet bandwidth, and perceived difficulty of direct clinical translation of highly technical skills. Participants rated the implementation highly in terms of length, ability for discussion, satisfaction, applicability to professional practice, and expertise of discussants (median scores: 4, 4, 4, 4 and 5 out of 5). Conclusions: Virtual learning has dominated the education landscape during COVID-19 pandemic, but few data are available on its effectiveness. This study demonstrated feasibility of virtual learning for disseminating best practices in tracheostomy, engaging a diverse, multidisciplinary audience. Learning of complex technical skills proved a hurdle, however, suggesting need for hands-on experience for technical mastery. While interactive videoconferencing via webinar affords an engaging and scalable strategy for sharing knowledge, further investigation is needed on clinical outcomes to define effective strategies for experiential online learning and virtual in-service simulations.

Introduction Media and gender are intricately linked in our society. Every day we see representations of women and men on the screen, read about politicians in the press, watch influencers on YouTube or go to the cinema where we meet screen heroes. Our images and notions of gender draw on these media narratives and role models. Children and young people are socialised with these views and cultivate their own identity and gender roles accordingly. Ideas of gender are not static. They are produced discursively in an ongoing process. Gender is understood as a social category, and this perspective is interwoven with an observation of people’s social behaviour, their “doing gender” (West and Zimmerman). From a social constructivist, the focus lies on the production processes connected with the construction of gender representations through the media. The question of how masculinity and femininity, concepts of “being a man” or “being a woman”, represented on a platform such as YouTube become relevant. Our research interest lies exactly in this: How gender inclusive is the video platform YouTube? Are male and female representations equally visible—or do we find exclusion mechanisms that hinder this? Literature Review Europe-wide studies show that children and adolescents are online for an average of 2.4 hours a day (Hasebrink et al.). Eighty-seven per cent of young people report watching videos (e.g. on YouTube) at least once a week (ibid., 11). This applies for Germany as well (MPFS). Considering the relevance YouTube has for adolescents, the question arises as to which role models are portrayed through YouTube and how diverse the representations of gender are depicted there. Initial analyses, primarily for the English-language YouTube platform, see its potential to counteract gender stereotypes (Maloney et al.), but generally show an unequal visibility of the genders on YouTube. These studies find that women are underrepresented, receive more hostile feedback and present themselves in stereotypical forms (Wotanis and McMillan; Döring; Molyneaux et al.). Döring and Mohseni showed in their current nine-country comparative analysis that men dominate the popular YouTube across countries and women are more likely to give up after hostility. The existing research usually examined the English-language, mainly US YouTube, it analysed gender performance, stereotypes in selected genres such as advertising or gaming, the stigmatisation of obesity, the representation and experiences of black women on YouTube, and the staging of alternative images of masculinity (see Hussin et al.; Kataria and Pandey; Wotanis and McMillan; Casabianca; Maloney et al.; Sobande). Molyneaux et al. noted in their landmark study gender-specific differences: female YouTubers tend to focus on private matters and interact more frequently with their users. Male YouTubers, on the other hand, share opinions and information and avoid emotions (Pedersen and Macafee). In addition, female vloggers are more often criticised for their appearance than for the content of their videos (Molyneaux et al.). Even though YouTube is an international medium, its use remains limited to language and nation. For example, the most popular YouTube stars among German children and young people are predominantly German-speaking influencers or sportsmen and women. In 2019, girls between the ages of 6 and 13 most often name Bibi, Dagi Bee, Shirin David, Lisa & Lena, and Miley; boys at the same age Julien Bam, Gronkh, Die Lochis, LeFloid and Manuel Neuer (IZI). All these are German YouTube or sports stars. YouTube itself shows in its recommendations under the heading “most popular videos in Germany” exclusively German-language videos, music videos, or sporting events (YouTube). Therefore, YouTube also needs to be examined in national contexts, as well as in cross-national context. Our study will focus on the national German context to examine whether there are similar gender differences in the German-speaking YouTube as have been identified for the English-speaking YouTube. For German-speaking YouTube, few studies are available. Döring and Mohseni examined male and female operators of the top 100 YouTube channels in nine different countries. The results show that women make up 25 per cent of the top 100 German YouTube channel operators, a distribution which is similarly uneven in other countries. Usage data shows that the German-speaking YouTube appears to have a greater relevance among boys than girls. Boys (93%) use YouTube more often on a regular basis, than girls (86%), and rank it higher as their favourite app (MPFS). Other than for traditional media such as television or film, where intensive research has for decades shown a wide gender gap in the visibility of women (Prommer and Linke; Linke and Prommer), research on German-speaking YouTube is rare (Döring and Mohseni). Hypotheses In reflection of the research outlined above on representations of gender in media and the stereotypical portrayals of men and women in film and television, we assume that these gender role depictions are carried over into online videos on social media platforms. The fact that girls use YouTube somewhat less often, consider themselves less competent in the necessary Internet skills, and anticipate greater risks related to communicative aspects suggests that female operators might have been held back and that the female perspective might be marginalised in public (self-)portrayals. The following hypotheses will therefore guide our study: H1: Fewer women are channel operators of Germany’s most popular YouTube channels, and they are more limited in their choice of genres. H2: Women are less visible than men in popular YouTube videos. H3: Women portray themselves more often as connected to stereotypically female topics or are depicted as such in videos. H4: Men stage themselves as professionals. Methods and Sample Following these hypotheses, we conducted a two-step research. The first research step was to analyse to what extent women and men produce popular content. For this, we looked at the ratio of female to male YouTubers among the 1,000 most successful German channels. These YouTubers are called either creators or channel operators by the industry. Both terms are used synonymously here. To identify the most popular YouTube channels, we acquired the viewing and ranking data from the market research company Social Blade, which is one of the very few sources for these data. We measured the popularity of the channels by the number of subscribers to a channel. The success of individual videos was measured by individual views. We coded the 1,000 most successful German YouTube channels, with a standardised quantitative content analysis. This method is frequently applied in existing studies on gender representations in YouTube (Döring; Döring and Mohensi). Different to existing research, we looked at a larger number of channels. This quantified analysis was combined with a more qualitative, but still standardised analysis of visibility of gender and concrete content and presentation forms (Prommer and Linke). For the second step we used the Audio-Visual Character Analysis (ACIS) developed by Prommer and Linke as a method that is able to code any audio-visual content in order to describe visibility and diversity of the depicted people. Here, the analysis considered the individual video as the unit of analysis. For 20 videos from each of the top 100 YouTube creators, we chose the 10 of most recent videos plus the 10 videos with the most views to be analysed. In total, 2,000 videos were analysed. For the qualitative analysis, looking at the visibility of gender, we excluded channels operated by institutions, such as radio and TV broadcasters, music labels, and other commercial entities. These were not considered since there is no individual person responsible. We also excluded “Let’s Play” videos, since these often do not show the operator, but only show game play from video games. Results H1: Fewer women are operators of Germany’s most popular YouTube channels, and they are more limited in their choice of genres. As the analyses show, if the non-individual channel operators are included in the statistics, we see that 27 per cent of the top popular channels in Germany are hosted by institutions (270); this leaves 172 channels operated by women (17%), 525 channels by men (53%), and 25 (3%) by mixed-gender teams. Further on, we will only consider the top 1,000 channels produced by one or more individuals; of these, one quarter (24%) of channel operators are female (fig. 1). This shows that, for every channel in the list produced by a woman, three are produced by men. Only three per cent of the channels are produced by men and women together, constituting a mixed-gender team. The YouTube genres, according to the YouTube classification, also show significant gender differences. Women can be seen first and foremost in tutorial channels (women: 61; men: 9). However, because only 24 per cent of channels in which an individual operator could be identified are contributed by women, all other genres except for tutorial channels are produced disproportionally more often by men. Gaming videos are solid male territory, as almost all "Let’s Play" channels are operated by men (women: 6; men: 150). Here, there are 25 men for every one woman who operates a gaming channel. This is particularly remarkable, as women make up 46 per cent of gamers (ISFE), and their underrepresentation can generally not be explained by lack of interest. Men operate channels in a wide variety of other genres, such as music (women: 9; men: 80) and sports (women: 4; men: 20). The genres of comedy, film, and education show only one female operator each—outnumbered from 10 to 1 to as much as 20 to 1. Examining the statistics for men and women separately reveals that men do not only operate the majority of the top 1,000 channels, but they are also visible in a wider variety of genres. Female YouTubers have primarily limited themselves to entertainment channels (50% of all women) and how-to channels (35% of all women). Male channels are more diverse and include entertainment (38% of all men), games (29% of all men), and music (15% of all men), as well as all other genres. Only in tutorial channels men are rarely seen (2%). The genre definitions of the YouTube channels used here are derived from YouTube itself, and these definitions are not in line with other genre theories and are overly broad. Nevertheless, these results confirm the first hypothesis that fewer women are operators of popular YouTube channels, and that women are more limited in their genre diversity. Fig. 1: Gender distribution of the top 1,000 YouTube channel creators—individuals only (n=722) H2: Women are less visible than men in popular YouTube videos. From the list of the top 1,000 channels, the top 100 most successful channels produced by individuals were analysed in more depth. Of these top 100 channels we analysed 20 videos each, for a total of 2,000 videos, for the visibility and appearance of men, women, and non-binary persons. If we count the main protagonists appearing in these 2,000 videos, we see for every woman (979; 29%) more than two men (2,343; 69%). Only two per cent (54) of the people appearing in these videos had a non-binary gender (intersexual, transsexual, or other). Interestingly, this is a similar imbalance as we can detect in television as well (Prommer and Linke). In other categories, there is more diversity than in television: in total, 44 per cent of channel operators have a recognisable “migration background”, which is more commonly seen in men (49%) than in women (32%). “Migration background” is the official German definition of people with a foreign nationality, people not born in Germany, or having parents with these criteria. This confirms the second hypothesis, according to which women are visible in popular Web videos less often than men. H3: Women portray themselves more often in connection to stereotypically female topics or are depicted as such in videos. In the 2,000 videos from the top 100 channels, female YouTubers are primarily visible in service-oriented tutorial channels (on topics like beauty, food, and the household). Female YouTubers are predominantly represented in video blogs (vlogs: 17%), battles/challenges (16%), sketches/parodies (14%), and tutorials (11%). The haul/unboxing format, in which presenters unpack acquired products or gifts, is almost exclusively female. Men are visible in a wide array of formats such as battles/challenges (21%), sketches (17%), and vlogs (14%), including music (9%), opinions/positions (6%), interviews (2%), music parodies (3%), and question-answer formats (2%). The wide range of content produced by male YouTubers, compared to the limited range of female YouTubers, becomes even more obvious when we consider the topics of the individual videos. The results show that men engage with a variety of themes. Women’s topics, on the other hand, are limited: female YouTubers address beauty (30%), food (23%), relationships (23%), fashion and family, as well as household topics (15%). As fig. 2 shows, men present a bigger variety of topics such as music, relationships, family and fashion, and they also address politics (7%), gaming, and much more. The men’s list is significantly more comprehensive (21 topic areas instead of 15). The data thus confirm the third hypothesis, according to which female YouTubers are more often represented in popular videos with stereotypically female themes. It also becomes clear that their spectrum of topics is significantly more limited than that of male actors. Fig. 2: Topic and subject areas of main actors by gender (3,322), statistics for all women and all men; multiple answers possible H4: Men stage themselves as professionals The following results reveal selected characteristics of the staging with which the main female protagonists portray themselves in the 2,000 videos analysed, and which we understand as an expression of professional versus non-professional ability. Female YouTubers appear predominantly in private settings, and their relationships to (almost exclusively male) partners and to their families play a larger role in their appearances than with the male protagonists. Their activities in the videos are described more frequently by the women themselves as personal passions and hobbies, and they rarely discuss their activities as connected to a career. Women talk about their passions, while men thematise their professional abilities. While fewer than a quarter of female YouTubers (22%) address their careers, almost two thirds of men (61%) do so. When looking at hobbies and passions the reverse is true: while only a third of male YouTubers (32%) mention these themes, two thirds of women (64%) create this context in their videos. Also, public spaces and professional contexts are predominantly reserved for male protagonist on YouTube. This means that women shoot their videos in what appears to be their homes or other private environments, while men are also visible in offices or other professional environments (e.g. fitness studios). The settings in which most people are visible on YouTube are private houses and apartments, where most women (71%) and more than half of male actors (57%) are shown. Settings in the public sphere, in contrast, are chosen by male YouTubers twice as often (34%) as by females. This confirms the fourth hypothesis, which states that men communicate and stage themselves as professionals in their videos, measured by the choice of public settings, references to professional activity, and thematisation of emotions. Limitations This study represents a first step toward a quantified analysis of gender portrayals on YouTube. Although a large number of channels and videos were included in the analysis, it is not a comprehensive assessment of all of the most popular videos, nor a random sampling. Limiting the scope to the most popular content necessarily excludes videos that may show alternative content but receive fewer clicks and subscribers. The content analysis does not allow conclusions to be drawn regarding the videos’ actual reception among adolescents. Even though the data prove the platform’s popularity among children and young adults, the audience groups for the individual videos we analysed could not be broken down by sociodemographics. The gender-typical depictions can thus only be understood as an offering; no statements can be made as to their actual acceptance. Discussion The results show that Web videos favourited by children and young adults on the YouTube platform adopt and propagate similar role models to those that previously existed in television and film (Götz et al.). Female channel operators are significantly underrepresented in the most popular videos, they are more limited in their range of topics, and they appear predominantly in and with topics with a stereotypically female connotation. Further, most of women’s (self-)portrayals take place in private settings. Here, the new Web formats have not created a change from classical depictions on television, where women are also predominantly shown in their personal and private lives. Web videos emphasise this aspect, as female actors refer often to their hobbies rather than to their careers, thus characterising their actions as less socially legitimised. This shows that in their favourite new media, too, adolescents encounter traditional gender stereotypes that steer the engagement with gender onto traditional tracks. The actual variety of gender identities and gender roles in real life is not presented in the popular YouTube videos and therefore excluded from the mainstream audience. Clearly, the interplay of the structure of YouTube, the market, and audience demand does not lead to the inclusion and visibility of alternative role models. References Casabianca, Barbara. "YouTube as a Net'Work': A Media Analysis of the YouTube Beauty Community." CUNY Academic Works, 2016. <https://academicworks.cuny.edu/gc_etds/1300/>. Döring, Nicola. “Videoproduktion auf YouTube: Die Bedeutung von Geschlechterbildern.” Handbuch Medien und Geschlecht: Perspektiven und Befunde der Feministischen Kommunikations- und Medienforschung. Eds. Johanna Dorer et al. Wiesbaden: Springer Fachmedien, 2019. 1–11. Döring, Nicola, and M. Rohangis Mohseni. “Male Dominance and Sexism on YouTube: Results of Three Content Analyses.” Feminist Media Studies 19.4 (2019): 512–24. DOI: 10.1080/14680777.2018.1467945. Götz, Maya, et al. “Whose Story Is Being Told? Results of an Analysis of Children's TV in 8 Countries.” TelevIZIon 31 (2018): 61–65. Hasebrink, Uwe, et al. Ergebnisse der EU Kids Online-Befragung in Deutschland 2019: Online-Erfahrungen von 9- bis 17-Jährigen. Hamburg: Verlag Hans-Bredow-Institut, 5 Oct. 2020. <https://www.hans-bredow-institut.de/uploads/media/Publikationen/cms/media/s3lt3j7_EUKO_Bericht_DE_190917.pdf>. Hussin, Mallory, et al. “Fat Stigmatization on YouTube: A Content Analysis.” Body Image 8.1 (2011): 90–92. DOI: 10.1016/j.bodyim.2010.10.003. ISFE (Interactive Software Federation of Europe). Key Facts 2020. 17 Nov. 2020. <https://www.isfe.eu/wp-content/uploads/2020/08/ISFE-final-1.pdf>. IZI (Internationales Zentralinstitut für das Bildungsfernsehen). "BibisBeautyPalace wieder ganz vorne bei den Kindern: Neue Studie zu den beliebtesten Influencer*innen bei Kindern und Preteens." München: Bayrischer Rundfunk. 26 Nov. 2019 <https://www.br-online.de › Pressemitteilungen › PM_LieblingsYouTuber>. Kataria, Manju, and Bandana Pandey. “Representation of Women in Online Advertisements: A Content Analysis.” Research on Humanities and Social Sciences 22.4 (2014): 138–45. <https://www.iiste.org/Journals/index.php/RHSS/article/view/16823>. Linke, Christine, and Elizabeth Prommer. “From Fade-Out into Spotlight: An Audio-Visual Character Analysis (ACIS) on the Diversity of Media Representation and Production Culture.” Studies in Communication Sciences (SComS), forthcoming 2021. Maloney, Marcus, et al. “‘Mmm … I Love It, Bro!’: Performances of Masculinity in YouTube Gaming.” New Media & Society 20.5 (2018): 1697–714. DOI: 10.1177/1461444817703368. Medienpädagogischer Forschungsverbund Südwest (MPFS). JIM Studie 2018: Jugend, Information, Medien: Basisuntersuchung zum Medienumgang 12- bis 19-Jähriger. 1 Jan. 2019. 5 Oct. 2020 <https://www.mpfs.de/fileadmin/files/Studien/JIM/2018/Studie/JIM2018_Gesamt.pdfZ>. Molyneaux, Heather, et al. “Exploring the Gender Divide on YouTube: An Analysis of the Creation and Reception of Vlogs.” American Communication Journal 10.2 (2008). <https://www.it.uu.se/edu/course/homepage/avint/vt09/1.pdf>. Pedersen, Sarah, and Caroline Macafee. “Gender Differences in British Blogging.” Journal of Computer-Mediated Communication 12.4 (2007): 1472–92. DOI: 10.1111/j.1083-6101.2007.00382.x. Prommer, Elizabeth, and Christine Linke. Ausgeblendet: Frauen im deutschen Film und Fernsehen. Herbert von Halem Verlag, 2019. Sobande, Francesca. “Watching Me Watching You: Black Women in Britain on YouTube.” European Journal of Cultural Studies 20.6 (2017): 655–71. DOI: 10.1177/1367549417733001. West, Candice, and D. H. Zimmerman. “Doing Gender.” Gender and Society 1.2 (1987): 125–51. Wotanis, Lindsey, and Laurie McMillan. “Performing Gender on YouTube.” Feminist Media Studies 14.6 (2014): 912–28. DOI: 10.1080/14680777.2014.882373. YouTube. 23 Oct. 2019 <https://www.youtube.com/results?search_query=beliebteste+videos+deutschland>.

IntroductionSince its launch in 2005, YouTube has fast become one of the most popular video sharing sites, one of the largest sources of user generated content, and one of the most frequently visited sites globally (Burgess and Green). As YouTube’s popularity has increased, more and more people have taken up the site’s invitation to “Broadcast Yourself.” Vlogging (video blogging) on YouTube has increased in popularity, creating new genres and communities. Vlogging not only allows individuals to create their own mediated content for mass consumption—making it a site for participatory culture (Burgess and Green; Jenkins) and resembling contemporary forms of entertainment such as reality television—but it also allows individuals to engage in narrative and identity forming practices. Through filming their everyday lives, and presenting themselves on camera, YouTubers are engaging in a process of constructing and presenting their identity online. They often form communities around these identities and continue the practice in dialogue and collaboration with their communities of viewers on YouTube. Because of YouTube’s mass global reach, the ability to create one’s own mediated content and the ability to publicly play with and project different self representations becomes a powerful tool allowing YouTubers to publicly challenge social norms and encourage others to do the same. This paper will explore these features of YouTube using the recent “The Power of MAKEUP!” movement, started by NikkieTutorials, as an example. Through a virtual ethnography of the movement as developed by Christine Hine—following the people, dialogue, connections, and narratives that emerged from Nikkie’s original video—this paper will demonstrate that YouTube is not only a tool for self transformation, but has wider potential to transform norms in society. This is achieved mainly through mobilising communities that form around transformative practices, such as makeup transformations, on YouTube. Vlogging as an Identity Forming Practice Vlogging on YouTube is a contemporary form of autobiography in which individuals engage in a process of documenting their life on a daily or weekly basis and, in doing so, constructing their identity online. Although the aim of beauty vlogs is to teach new makeup techniques, demonstrate and review new products, or circulate beauty-related information, the videos include a large amount of self-disclosure. Beauty vloggers reveal intimate things about themselves and actively engage in the practice of self-representation while filming. Beauty vlogging is unique to other vlogging genres as it almost always involves an immediate transformation of the physical self in each video. The vloggers typically begin with their faces bare and “natural” and throughout the course of the video transform their faces into how they want to be seen, and ultimately, who they want to be that day, using makeup. Thus the process of self-representation is multi-dimensional as not only are they presenting the self, but they are also visually constructing the self on camera. The construction of identity that beauty vloggers engage in on YouTube can be likened to what Robert Ezra Park and later Erving Goffman refer to as the construction and performance of a mask. In his work Race and Culture, Park states that the original meaning of the word person is a mask (249). Goffman responds to this statement in his work The Presentation of Self in Everyday Life, saying the mask is “our truer self, the self we would like to be” (30). Beauty vloggers are engaging in the process of constructing their mask—their truer self and the self they would like to be—both through their performance on YouTube, and through the visual transformation that takes place on camera. Their performance on YouTube not only communicates a desired identity, but through their performance they realise this identity. The process of filming and the visual process of constructing or transforming the self on camera through makeup brings the subject into being. Scholarship in the fields of Life Writing and Digital Media including Autobiography, Automedia and Persona Studies has acknowledged and explored the ways narratives and identities—both online and offline—are constructed, created, shaped, chosen, and invented by the individual/author (Garner; Bridger; Eakin; Maguire; Poletti and Rak; Marshall; Smith and Watson). It is widely accepted that all representations of the self are constructed. Crucially, it is the process of documenting or communicating the self that is identity forming (Richardson; Bridger), as the process, including writing, filming, and posting, brings the subject or self into being (Neuman). The individual embodies their performance and realises the self through it. Park and Goffman argue that we all engage in this process of performing and realising the self through the roles we play in society. The significance of the beauty vlogger performance and transformation is the space in which it occurs and the community that it fosters. YouTube as a Transformative Tool and MirrorThe space in which beauty vloggers play with and transform the self on camera is significant as digital technologies such as YouTube invite exploration of the self. Networked digital media (Meikle and Young) invite multiplicity, heterogeneity, and fragmentation in/of identity performances (Bolter; Gergen; Turkle, "Parallel Lives"). These technologies create opportunities for defining and re-defining the self (Bolter 130), as they allow people to present a more multi-mediated self, using both audio-visual components and text (Papacharissi 643).YouTube, in particular, allows the individual to experiment with the self, and document an ongoing transformation, through film (Kavoori). Many scholars have described this ongoing process of identity construction online using the metaphor of “the mirror” (see Kavoori; Raun; and Procter as recent examples). In his research on trans gender vlogging on YouTube, Tobias Raun explores the theme of the mirror. He describes vlogging as a “transformative medium for working on, producing and exploring the self” (366). He argues the vlog acts as a mirror allowing the individual to try out and assume various identities (366). He writes, the mirroring function of the vlog “invites the YouTuber to assume the shape of a desired identity/representation, constantly assuming and evaluating oneself as an attractive image, trying out different ‘styles of the flesh’ (Butler 177), poses and appearances” (367). In reference to trans gender vlogging, Raun writes, “The vlog seems to serve an important function in the transitioning process, and is an important part of a process of self-invention, serving as a testing ground for experimentations with, and manifestations of (new) identities” (367). The mirror (vlog) gives the individual a place/space to construct and perform their mask (identity), and an opportunity to see the reflection and adjust the mask (identity) accordingly. An important feature of the vlog as a mirror is the fact that it is less like a conventional mirror and more like a window with a reflective surface. On YouTube the vlog always involves an audience, who not only watch the performance, but also respond to it. This is in keeping with Goffman’s assertion that there is always an audience involved in any performance of the self. On YouTube, Raun argues, “the need to represent oneself goes hand in hand with the need to connect and communicate” (Raun 369). Networked digital media such as YouTube are inherently social. They invite participation (Smith; Sauter)and community through community building functions such as the ability to like, subscribe, and comment. Michael Strangelove refers to YouTube as a social space, “as a domain of self-expression, community and public confession” (4). The audience and community are important in the process of identity construction and representation as they serve a crucial role in providing feedback and encouragement, legitimising the identity being presented. As Raun writes, the vlog is an opportunity “for seeing one’s own experiences and thoughts reflected in others” (366). Raun identifies that for the trans gender vloggers in his study, simply knowing there is an audience watching their vlogs is enough to affirm their identity. He writes the vlog can be both “an individual act of self validation and . . . a social act of recognition and encouragement” (368). However, in the case of beauty vlogging the audience do more than watch, they form communities embodying and projecting the performance in everyday life and thus collectively challenge social norms, as seen in the “The Power of MAKEUP!” movement. Exploring the “The Power of MAKEUP!” MovementOn 10 May 2015, Nikkie, a well-known beauty vlogger, uploaded a video to her YouTube channel NikkieTutorials titled “The Power of MAKEUP!” Nikkie’s video can be watched here. In her video Nikkie challenges “makeup shaming,” arguing that makeup is not only fun, but can “transform” you into who you want to be. Inspired by an episode of the reality television show RuPaul’s Drag Race, in which the competing drag queens transform half of their face into “glam” (drag), and leave the other half of their face bare (male), Nikkie demonstrates that anyone can use makeup as a transformative tool. In her video Nikkie mirrors the drag queen transformations, transforming half her face into “glam” and leaving the other half of her face bare, as shown in Figure 1. In only transforming half of her face, Nikkie emphasises the scope of the transformation, demonstrating just how much you can change your appearance using only makeup on your face. Nikkie’s video communicates that both a transformed “glam” image and an “unedited” image of the self are perfectly fine, “there are no rules” and neither representations of the self should bring you shame. Figure 1: thumbnail of Nikkie’s videoNikkie’s video started a movement and spread throughout the beauty community on YouTube as a challenge. Other famous beauty vloggers, and everyday makeup lovers, took on the challenge of creating YouTube videos or posting pictures on Instagram of their faces half bare and half transformed using makeup with the tag #thepowerofmakeupchallenge. Since its release in May 2015, Nikkie’s video has been watched over thirty million times, has been liked over five hundred and thirty thousand times, and has received over twenty three thousand comments, many of which echo Nikkie’s experience of “makeup shaming.” “The power of makeup” video went viral and was picked up not only by the online beauty community but also by mainstream media with articles by Huffington Post, Yahoo.com, Marie Claire, BuzzFeed, DailyLife, POPSUGAR, Enews, Urbanshowbiz, BoredPanda, and kickvick among others. On Instagram, thousands of everyday makeup lovers have recreated the transformation and uploaded their pictures of the finished result. Various hashtags have been created around this movement and can be searched on Instagram including #thepowerofmakeupchallenge, #powerofmakeupchallenge, #powerofmakeup. Nikkie’s Instagram page dedicated to the challenge can be seen here. “The power of makeup” video is a direct reaction against what Nikkie calls “makeup shaming”—the idea that makeup is bad, and the assumption that the leading motivation for using makeup is insecurity. In her video Nikkie also reacts to the idea that the made-up-girl is “not really you,” or worse is “fake.” In the introduction to her video Nikkie says,I’ve been noticing a lot lately that girls have been almost ashamed to say that they love makeup because nowadays when you say you love makeup you either do it because you want to look good for boys, you do it because you’re insecure, or you do it because you don’t love yourself. I feel like in a way lately it’s almost a crime to love doing your makeup. So after last weeks RuPaul’s Drag Race with the half drag half male, I was inspired to show you the power of makeup. I notice a lot that when I don’t wear makeup and I have my hair up in a bun and I meet people and I show them picture of my videos or, or whatever looks I have done, they look at me and straight up tell me “that is not you.” They tell me “that’s funny” because I don’t even look like that girl on the picture. So without any further ado I’m going to do half my face full on glam—I’m truly going to transform one side of my face—and the other side is going to be me, raw, unedited, nothing, me, just me. So let’s do it.In her introduction, Nikkie identifies a social attitude that many of her viewers can relate to, that the made-up face isn’t the “real you.” This idea reveals an interesting contradiction in social attitude. As this issue of Media/Culture highlights, the theme of transformation is increasingly popular in contemporary society. Renovation shows, weight loss shows, and “makeover” shows have increased in number and popularity around the world (Lewis). Tania Lewis attributes this to an international shift towards “the real” on television (447). Accompanying this turn towards “the real,” confession, intimacy, and authenticity are now demanded and consumed as entertainment (Goldthwaite; Dovey; King). Sites such as YouTube are arguably popular because they offer real stories, real lives, and have a core value of authenticity (Strangelove; Wesch; Young; Tolson). The power of makeup transformations are challenging because they juxtapose a transformation against the natural, on the self. By only transforming half their face, the beauty vloggers juxtapose the “makeover” (transformation) with “authenticity” (the natural). The power of makeup movement is therefore caught between two contemporary social values. However, the desire for authenticity, and the lack of acceptance that the transformed image is authentic seems to be the main criticism that the members of this movement receive. Beauty vloggers identify a strong social value that “natural” is “good” and any attempt to alter the natural is taboo. Even in the commercial world “natural beauty” is celebrated and features heavily in the marketing and advertising campaigns of popular beauty, cosmetic, and skincare brands. Consider Maybelline’s emphasis on “natural beauty” in their byline “Maybe she’s born with it. Maybe it’s Maybelline.” This is not the way the members of “the power of makeup” movement use and celebrate makeup. They use and celebrate makeup as a transformative and identity forming tool, and their use of makeup is most often criticised for not being natural. In her recreation of Nikkie’s video, Evelina Forsell says “people get upset when I’m not natural.” Like Nikkie, Evelina reveals she often receives the criticism that “the person with a full on face with makeup is not you.” Evelina’s video can be watched here.“The power of makeup” movement and its participants challenge this criticism that the made-up self is not the “real” self. Evelina directly responds to this criticism in her video, stating “when I have a full face of makeup . . . that’s still me, but a more . . . creative me, I guess.” The beauty vloggers in this movement use makeup and YouTube as extensions of the self, as tools for self-expression, self-realisation, and ongoing transformation. Beauty vloggers are demonstrating that makeup is a tool and extension of the self that allows them to explore and play with their self-representations. In the same way that technology enables the individual to extend and “reinvent him/herself online” (Papacharissi 645), so does makeup. And in the same way that technology becomes an extension of the self, or even a second self (Turkle, The Second Self; Vaast) so does makeup. Makeup is a tool and technique of the self. Vlogging is about storytelling (Kavoori), but it is also collective—it’s about telling collective stories (Raun 373) which can be seen in various vlogging genres. As Geert Lovink suggests, YouTube is one of the largest databases of global shared experience. YouTube’s global popularity can be attributed to Strangelove’s assertion that “there’s nothing more interesting to real people . . . than authentic stories told about other real people” (65). Individuals are drawn to Nikkie’s experience, seeing themselves reflected in her story. Famous beauty vloggers on YouTube, and everyday beauty lovers, find community in the collective experience of feeling shame for loving makeup and using makeup to transform and communicate their identity. Effectively, the movement forms communities of practice (Wenger) made up of hundreds of people brought together by the shared value and use of makeup as a transformative tool. The online spaces where these activities take place (mainly on YouTube and Instagram) form affinity spaces (Gee) where the community come together, share information, learn and develop their practice. Hundreds of YouTubers from all over the world took up Nikkie’s invitation to demonstrate the power of makeup by transforming themselves on camera. From well-established beauty vloggers with millions of viewers, to amateur beauty lovers with YouTube channels, many people felt moved by Nikkie’s example and embodied the message, adapting the transformation to suit their circumstances. The movement includes both men and women, children and adults. Some transformations are inspirational such as Shalom Blac’s in which she talks about accepting the scars that are all over her face, but also demonstrates how makeup can make them disappear. Shalom has almost five million views on her “POWER OF MAKEUP” video, and has been labelled “inspirational” by the media. Shalom Blac’s video can be watched here and the media article labelling her as “inspirational” can be viewed here. Others, such as PatrickStarrr, send a powerful message that “It’s okay to be yourself.” Unlike a traditional interpretation of that statement, Patrick is communicating that it is okay to be the self that you construct, on any given day. Patrick also has over four million views on his video which can be watched here. During her transformation, Nikkie points out each feature of her face that she does not like and demonstrates how she can change it using makeup. Nikkie’s video is primarily a tutorial, educating viewers on different makeup techniques that can manipulate the appearance of their natural features into how they would like them to appear. These techniques are also reproduced and embodied through the various contributors to the movement. Thus the tutorial is an educational tool enabling others to use makeup for their own self representations (see Paul A. Soukup for an overview of YouTube as an educational tool). A feminist perspective may deconstruct the empowering, educational intentions of Nikkie’s video, insisting that conceptions of beauty are a social construct (Travis, Meginnis, and Bardari) and should not be re-enforced by encouraging women (and men) to use make-up to feel good. However, this sort of discourse does not appear in the movement, and this paper seeks to analyse the movement as its contributors frame and present it. Rather, “the power of makeup” movement falls within a postfeminist framework celebrating choice, femininity, independence, and the individual construction of modern identity (McRobbie; Butler; Beck, Giddens and Lash). Postfeminism embraces postmodern notions of identity in which individuals are “called up to invent their own structures” (McRobbie 260). Through institutions such as education young women have “become more independent and able,” and “‘dis-embedded’ from communities where gender roles were fixed” (McRobbie 260). Angela McRobbie attributes this to the work of scholars such as Anthony Giddens and Ulrich Beck and their emphasis on individualisation and reflexive modernisation. These scholars take a Foucauldian approach to identity construction in the modern age, where the individual must choose their own structures “internally and individualistically” (260), engaging in an ongoing process of self-monitoring and self-improvement, and resulting in the current self-help culture (McRobbie). In addition to being an educational and constructive tool, Nikkie’s video is also an exercise in self-branding and self-promotion(see Marwick; Duffy and Hund; and van Nuenen for scholarship on self-branding). Through her ongoing presence on YouTube, presenting this video in conjunction with her other tutorials, Nikkie is establishing herself as a beauty vlogger/guru. Nikkie lists all of the products that she uses in her transformation below her video with links to where people can buy them. She also lists her social media accounts, ways that people can connect with her, and other videos that people might be interested in watching. There are also prompts to subscribe, both during her video and in the description bar below her video. Nikkie’s transformation is both an ongoing endeavour to create her image and public persona as a beauty vlogger, and a physical transformation on camera. There is also a third transformation that takes place because her vlog is in the public sphere and consequently mobilises a movement. The transformation is of the way people talk about and eventually perceive makeup. Nikkie’s video aims to end makeup shaming and promote makeup as an empowering tool. With each recreation of her video, with each Instagram photo featuring the transformation, and with each mainstream media article featuring the movement, #thepowerofmakeup movement community are transforming the image of the made-up girl—transforming the association of makeup with presenting an inauthentic identity—in society. ConclusionThe “The Power of MAKEUP!” movement, started by NikkieTutorials, demonstrates one way in which people are using YouTube as a transformative tool, and mirror, to document, construct, and present their identity online, using makeup. Through their online transformation the members of the movement not only engage in a process of constructing and presenting their identity, but they form communities who share a love of makeup and its transformative potential. By embodying Nikkie’s original message to rid makeup shaming and transform the self into a desired identity, the movement re-enforces the “made-up” image of the self as real and authentic, and challenges conceptions that the “made-up” image is “fake” and inauthentic. Ultimately, this case study explores YouTube as a site that allows individuals to play with, construct, and present their identity. YouTube is a tool with which, and a space in which, people can transform themselves, and in doing so create communities which can work together to publicly challenge social norms.References Beck, Ulrich, Anthony Giddens, and Scott Lash. Reflexive Modernization: Politics, Tradition and Aesthetics in the Modern Social Order. Cambridge, England: Polity Press in association with Blackwell Publishers, 1994. Bolter, Jay David. "Virtual Reality and the Redefinition of Self." Communication and Cyberspace: Social Interaction in an Electronic Environment. Eds. Ronald L. Jacobson, Lance Strate, and Stephanie B. Gibson. 2nd ed. Creskill, NJ: Hampton Press, 2002. 123–37. Bridger, Barbara. "Writing across the Borders of the Self." European Journal of Women's Studies 16.4 (2009): 337–52. Burgess, Jean, and Joshua Green. Youtube: Online Video and Participatory Culture. Cambridge: Polity, 2009. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Ed. MyiLibrary. New York: Routledge, 2006. Dovey, Jon. Freakshow: First Person Media and Factual Television. Ed. ebrary, Inc. London: Pluto Press, 2000. Duffy, Brooke Erin, and Emily Hund. “‘Having It All’ on Social Media: Entrepreneurial Femininity and Self-Branding among Fashion Bloggers." 1.2 (2015).Eakin, Paul John. "Living Autobiographically." Biography 28.1 (2005): 1.Garner, Helen. "I [Helen Garner Explores the New and Different Persona a Writer Must Adopt in Each Successive Work.]." Meanjin (Melbourne) 61.1 (2002): 40–43. Gee, James Paul. "Semiotic Social Spaces and Affinity Spaces." Beyond Communities of Practice. Eds. David Barton and Karin Tusting. Cambridge: Cambridge UP, 2005. 214–32. Gergen, Kenneth. The Saturated Self: Dilemmas of Identity in Contemporary Life. Basic Books, 1991. Giddens, Anthony. Modernity and Self-Identity: Self and Society in the Late Modern Age. Cambridge, England: Polity Press, 1991. Goffman, Erving. The Presentation of Self in Everyday Life. Garden City, NY: Doubleday, 1959. Goldthwaite, Melissa A. "Confessionals." College English (2003): 55–73.Hine, Christine. Ethnography for the Internet: Embedded, Embodied and Everyday. London: Bloomsbury, 2015. ———. Virtual Ethnography. Ed. Sage Research Methods, Online. London: SAGE, 2000. Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. Updated and with a new afterword. New York: New York UP, 2008. Kavoori, Anandam P. Reading Youtube: The Critical Viewers Guide. New York: Peter Lang, 2011. King, Barry. "Stardom, Celebrity and the Parra-Confession." Social Semiotics 18.2 (2008): 115–32.Lewis, Tania. "Changing Rooms, Biggest Losers and Backyard Blitzes: A History of Makeover Television in the United Kingdom, United States and Australia." Journal of Media & Cultural Studies 22.4 (2008): 447–58.Lovink, Geert. "The Art of Watching Databases: Introduction to the Video Vortex Reader." Video Vortex Reader: Responses to Youtube. Eds. G. Lovink and S. Niederer. Amsterdam: Institute of Network Cultures, 2008. 9–12.Maguire, Emma. "Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website. " M/C Journal 17.3 (2014).Marshall, P. David. "Personifying Agency: The Public–Persona–Place–Issue Continuum." Celebrity Studies 4.3 (2013): 369–71.Marwick, Alice Emily. Status Update: Celebrity, Publicity, and Branding in the Social Media Age. New Haven: Yale UP, 2013.McRobbie, Angela. "Post‐Feminism and Popular Culture." Feminist Media Studies 4.3 (2004): 255–64.Meikle, Graham, and Sherman Young. Media Convergence: Networked Digital Media in Everyday Life. Basingstoke: Palgrave Macmillan, 2012.Neuman, Shirley. "'Autobiography'." Essays on Life Writing: From Genre to Critical Practice. Ed. Marlene Kadar. Toronto: U of Toronto P, 1992. 213–30.Papacharissi, Z. "The Presentation of Self in Virtual Life: Characteristics of Personal Home Pages." Journal of Mass Communication Quarterly 79.3 (2002): 643–60. Park, Robert E. Race and Culture. New York: Free Press, 1950.Poletti, Anna, and Julie Rak. Identity Technologies: Constructing the Self Online. Madison, Wisconsin: U of Wisconsin P, 2014.Procter, Lesley. "A Mirror without a Tain: Personae, Avatars, and Selves in a Multi-User Virtual Environment." M/C Journal 17.3 (2014).Raun, Tobias. "Video Blogging as a Vehicle of Transformation: Exploring the Intersection between Trans Identity and Information Technology." International Journal of Cultural Studies 18.3 (2015): 365–78.Richardson, Laurel. "Getting Personal: Writing-Stories." International Journal of Qualitative Studies in Education 14.1 (2001): 33–38.Sauter, Theresa. "'What's on Your Mind?' Writing on Facebook as a Tool for Self-Formation." New Media & Society 16.5 (2014): 823–39.Smith, Michael J. "E-Merging Strategies of Identity: The Rhetorical Construction of Self in Personal Web Sites." Ohio University, 1998.Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives. 2nd ed. Minneapolis: U of Minnesota P, 2010.Soukup, Paul A. "Looking at, with, and through Youtube[TM]." Communication Research Trends 33.3 (2014): 3.Strangelove, Michael. Watching Youtube: Extraordinary Videos by Ordinary People. Toronto: U of Toronto P, 2010.Tolson, Andrew. "A New Authenticity? Communicative Practices on Youtube." Critical Discourse Studies 7.4 (2010): 277–89.Travis, Cheryl Brown, Kayce L. Meginnis, and Kristin M. Bardari. "Beauty, Sexuality, and Identity: The Social Control of Women." Sexuality, Society, and Feminism. Eds. Cheryl Brown Travis and Jacquelyn W. White. Psychology of Women; 4. Washington, DC: American Psychological Association, 2000. 237–72.Turkle, Sherry. "Parallel Lives: Working on Identity in Virtual Space." Constructing the Self in a Mediated World: Inquiries in Social Construction. Ed. Debra Grodin and Thomas R. Lindlof. Thousand Oaks, CA: Sage 1996.———. The Second Self: Computers and the Human Spirit. London: Granada, 1984.Vaast, Emmanuelle. "Playing with Masks: Fragmentation and Continuity in the Presentation of Self in an Occupational Online Forum." Information Technology & People 20.4 (2007): 334–51.Van Nuenen, Tom. "Here I Am: Authenticity and Self-Branding on Travel Blogs." Tourist Studies (2015).Wenger, Etienne. Communities of Practice : Learning, Meaning, and Identity. Cambridge: Cambridge UP, 1998.Wesch, Michael. "An Anthropological Introduction to Youtube." 2008. <http://mediatedcultures.net/youtube/an-anthropological-introduction-to-youtube-presented-at-the-library-of-congress/>.Young, Jeffrey R. "An Anthropologist Explores the Culture of Video Blogging. (Michael L. Wesch)." The Chronicle of Higher Education 53.36 (2007).