Dissertations / Theses on the topic 'YouTube video'
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Lorentz, Isac, and Gurjiwan Singh. "Sentiment Analysis on Youtube Comments to Predict Youtube Video Like Proportions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-301779.
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Social media websites are some of the world’s most popular websites and allow all users to have a voice and express opinions and emotions. Using sentiment analysis, these users’ opinions and emotions can be extracted and quantified. This study examines sentiment analysis on Youtube comments and how well the number of comments classified as positive, neutral and negative can be useful in predicting the like proportion of a Youtube video. Four different prediction formulas were tested that utilize neutral comments in different ways. Five different classifiers were examined with pretraining on Youtube comments, tweets, and a combination of tweets and comments. Some positive correlation between the predicted and actual like proportion was found. The best performing configuration was a logistic regression classifier trained only on Youtube comments with a prediction that attributes all comments classified as positive and neutral to likes. However, the errors of this type of prediction are so large that it likely has little real-world application. Possible method improvements include filtering out spam comments and include emoji sentiment.Sociala medier är några av världens mest populära webbplatser och låter alla användare ha en röst och uttrycka sina åsikter och känslor. Med sentimentanalys kan dessa åsikter och känslor extraheras och kvantifieras. Denna studie undersöker sentimentanalys på Youtube-kommentarer och hur användbara antalet positivt, neutralt och negativt klassificerade kommentarer kan vara i förutsägelsen av like-proportionen på en Youtube-video. Fyra olika formler för förutsägelsen som använder neutrala kommentarer på olika sätt undersöktes. Fem olika klassificerare undersöktes med förhandsträning på Youtubekommentarer, tweets och en kombination av dessa. Ett positivt samband mellan faktisk och estimerad like-proportion hittades. Den bäst presterande konfigurationen var en logistisk regression klassificerare där alla neutrala och positiva kommentarer tillskrivs till likes och träning endast sker på Youtubekommentarer. Felen för dessa förutsägelser är så stora att förutsägelserna troligen har begränsad nytta i verkligheten. Möjliga förbättringar av metoden inkluderar att filtrera ut spamkommentarer och ta med emoji-sentiment.
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Häggström, Jesper. "Video Remix Tool : Implementing the Video Player of a YouTube Remix Editor." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64163.
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NUITEQ is a company based in skellefteå that develops multitouch software for touch screens with a focus on educational applications. They wanted to know if an application, that could aggregate small clips from YouTube videos to create summaries for school subjects could be created. This project is made with the existing YouTube API to create an application that can be used to create summaries about different subjects and then be shared with students and teachers. The end result is a web application that can be used to search for, play and clip YouTube videos. The result can then be shared with other people. This paper will go through how the YouTube API is used to search for videos and how to use it to create players for the videos.
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Paranthaman, Ayilan. "Youtube: A New Ground For Advertising." UOIT, 2009. http://hdl.handle.net/10155/57.
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Lebezko, Anastasia Kostiantynivna, and Анастасія Костянтинівна Лебезко. "Youtube video hosting as a method of cultural globalization." Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/50074.
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1. Cambridge Dictionary – [Electronic resource] / Globalization, – Access mode: https://dictionary.cambridge.org/dictionary/english/ globalization 2. Encyclopedia Britanica – [Electronic resource] / Cultural globalization, – Access mode: https://www.britannica.com/science/culturalglobalizationYouTube is an integral part of the digital communication space because with the help of this platform we can distribute the content of various topics and purposes. As evidence, we have absolutely different types of content targeted at different social groups, from videos for kids to global economical situation news. The relevance of the study lies in the fact that YouTube video hosting is becoming more and more popular for users and the number of different kinds of content continues to grow. The aim of the study is to determine how YouTube contributes to cultural globalization in the world.
YouTube є невід’ємною частиною простору цифрових комунікацій, оскільки за допомогою цієї платформи ми можемо розповсюджувати вміст різних тем та цілей. Як доказ ми маємо абсолютно різні типи контенту, орієнтованого на різні соціальні групи, від відео для дітей до новин про світову економічну ситуацію. Актуальність дослідження полягає в тому, що відеохостинг YouTube стає все більш популярним серед користувачів, і кількість різного роду контенту продовжує зростати. Метою дослідження є визначити, як YouTube сприяє глобалізації культури у світі.
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Steshenko, D., and Д. Стешенко. "Marketing component of video projects on the YouTube platform." Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/50083.
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1. Allie Wolff. 5 Reasons Clickbait Is The Worst (And How It Will Negatively Impact Your Business) [Electronic resource] – Access mode: https://www.hatchbuck. com/blog/5-reasons-clickbaitnegatively-impacts-business/ 2. Anderson C. How web video powers global innovation [Electronic resource] – Access mode: https://www.ted.com/talks/chris_anderson_how_web_ video_powers_global 3. Burroughs B. 2017. YouTube Kids: The App Economy and Mobile Parenting [Electronic resource] – Access mode: https://uk.sagepub.com/en-gb/eur/ journals-permissions 4.Josh Lieb. Clickbait I’m on the Fence About [Electronic resource] – Access mode: https://www.newyorker.com/humor/daily-shouts/clickbait-im-on-the-fenceabout. 5.Power D. 3 YouTube Social Features That Help Businesses and Brands [Electronic resource] – Access mode: https://sproutsocial.com/insights/youtubesocial-features-businesses-brands/Today, humanity has a unique opportunity to have instant access to a large amount of information from around the world. It is difficult to imagine the life of modern society without computer technology and the Internet. The advantage of the Internet is that it provides users with ample opportunities for self-realization. Everyone has the opportunity to start an author’s blog, in which he will be free to spread his own thoughts on a topic of interest to him.
Сьогодні людство має унікальну можливість отримати миттєвий доступ до великої кількості інформації з усього світу. Важко уявити життя сучасного суспільства без комп’ютерних технологій та Інтернету. Перевага Інтернету полягає в тому, що він надає користувачам широкі можливості для самореалізації. Кожен має можливість створити авторський блог, в якому він зможе вільно поширювати власні думки на цікаву для нього тему.
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Sedlařík, Vladimír. "Informační strategie firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2012. http://www.nusl.cz/ntk/nusl-223526.
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This thesis analyzes the YouTube service and describes its main deficiencies. Based on theoretical methods and analyses, its main goal is to design a service that will solve the main YouTube problems, build a company around this service and introduce this service to the market. This service will not replace YouTube, but it will supplement it. Further, this work will suggest a possible structure, strategy and information strategy of this new company and its estimated financial results in the first few years.
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Mironova, Ellina. "Audience's behavior and attitudes towards lifestyle video blogs on Youtube." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21639.
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Audiences perform as a key factor driving social media nowadays, and there would not be any point to create video content on Youtube if there was nobody to watch it. It is therefore important to study audiences and their behavior in order to find out viewers' preferences and to understand what makes them follow Youtube channels.The purpose of this research is to find out what is audience's behavior on Youtube and its attitude towards lifestyle content on the video platform. Additionally, in the theoretical part of my research I will take a look at the phenomena of fandom and the relationship between advertising and audiences. I will apply social cognitive theory and cultivation theory in order to support my findings from reading materials. Using the method of semi-structured interviews, I will explore users' activity and their watching preferences on Youtube. In the analytical part I will combine both theoretical and practical approaches and figure out the answer to my research statement.To conclude my research, I will discuss my findings together with perspectives for the future studies within selected area.
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ADAMI, ELISABETTA. "Video-Interaction on YouTube: contemporary changes in semiosis and communication." Doctoral thesis, Università degli Studi di Verona, 2009. http://hdl.handle.net/11562/337507.
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La tesi ha per oggetto la ‘video-interazione’, ossia una nuova forma di comunicazione che ha luogo sul sito YouTube grazie all’introduzione – nel maggio 2006 – dell’opzione di ‘video risposta’, tramite la quale un video può fungere da risposta ad un altro video. Questa funzionalità consente agli interagenti di costruire scambi comunicativi attraverso dei video. Il suo impiego genera intere catene comunicative, costituite appunto da video che rispondono l’un l’altro.
In considerazione dell’assenza di studi su questo nuovo tipo di comunicazione, la ricerca mira a fornire una descrizione accurata della video-interazione, sia in termini di processi che di prodotti. Nello specifico, l’analisi del processo si focalizza su (a) i tratti distintivi e le caratteristiche strutturali della video-interazione in quanto forma di comunicazione, (b) le ‘affordances’ semiotiche (Kress and van Leeuwen, 2001: 67), in termini di ciò che il mezzo consente o impedisce (e promuove o stigmatizza) sia a livello materiale (tecnologico) che di convenzioni sociali, e (c) le pratiche semiotiche diversificate (e spesso conflittuali) secondo cui le affordances vengono attualizzate dagli interagenti. D’altra parte, l’analisi dei testi della video-interazione s’incentra su video-threads (filoni d’interazione video), che prendono avvio dai video che hanno ricevuto il maggior numero di video risposte e esamina i patterns multimodali – in termini di regolarità e di variazione – dei processi di segnificazione nella catena della semiosi, cioè le modalità con cui le video risposte si relazionano al video iniziale e tra loro nel filone.
Il capitolo teorico rivisita alcune delle più influenti teorie di comunicazione, quali i modelli comunicativi di codifica-decodifica (Shannon and Weaver, 1949) e quelli inferenziali (Grice, 1957, 1975; Sperber and Wilson, 1986), insieme alle nozioni di coerenza e coesione tradizionalmente utilizzate nell’analisi testuale (Beaugrande and Dressler, 1981; Fairclough, 1992; Halliday and Hasan, 1976; van Dijk, 1985). Mediante un confronto con le pratiche semiotiche in uso nella video-interazione, il capitolo evidenzia le inadeguatezze di tali teorie per la descrizione della video-interazione, essenzialmente in ragione del fatto che, in quest’ultima, la reciproca comprensione del significato intenzionale degli interagenti non è essenziale perché scambi comunicativi di successo abbiano luogo. In considerazione di ciò, viene presentato il quadro di riferimento adottato per l’analisi, ovvero l’analisi multimodale socio-semiotica (Hodge and Kress, 1988; Kress and van Leeuwen, 1996, 2006; Kress and van Leeuwen, 2001). All’interno di tale quadro e sulla base della nozione socio-semiotica di ‘interesse’ (Kress and van Leeuwen, 1996, 2006: 13), lo studio introduce l’euristico di ‘relazione di prompt-response’ dettata dall’interesse del sign-maker (segnificatore). Tale euristico, derivato dall’osservazione stessa delle pratiche di segnificazione nei filoni d’interazione video, viene adottato come strumento analitico e descrittivo sia del processo che dei testi della video-interazione.
Il capitolo metodologico discute delle problematiche della raccolta di dati online, in termini di rappresentatività del corpus e di significatività, riproducibilità e verificabilità dei risultati, e illustra il criterio di popolarità che – per ovviare a tali problematiche – ha guidato la selezione dei dati. Una riesamina dei metodi di trascrizione esistenti ne evidenzia l’inutilizzabilità per gli scopi del presente lavoro e motiva la trascrizione ad hoc formulata per i testi del corpus. Successivamente il capitolo illustra la metodologia d’analisi, che ha coinvolto in maniera ciclica ogni stadio della ricerca, dalla selezione dei dati, alla loro trascrizione, allo studio pilota e alla conseguente messa a punto del quadro teorico di riferimento e degli strumenti analitici. L’analisi segue un processo ad ‘imbuto’, che, dall’identificazione di regolarità e ‘eccezioni’ ai livelli più generali, si focalizza su livelli d’analisi sempre più dettagliati. L’analisi integra metodi di tipo quantitativo e qualitativo con l’interpretazione testuale incentrata sui significanti (sulle risorse semiotiche presenti nei testi piuttosto che sui significati). Il capitolo discute, infine, la posizione etica alla base della scelta di una metodologia di osservazione nascosta delle pratiche in atto sul
sito, senza la previa richiesta di consenso ai partecipanti. Tale scelta è motivata dall’esplicito status pubblico del sito (e dal criterio di popolarità che ha guidato la selezione dei dati) e dalla volontà di evitare atteggiamenti paternalistici nei confronti degli autori dei video, considerati qui come veri e propri film-makers. Tale presa di posizione apporta nuovi contributi all’acceso dibattito attualmente in corso sull’etica della ricerca online.This thesis investigates the interaction by means of videos on YouTube Website. Video-interaction is a new form of communication which has been taking place on YouTube since May 2006 thanks to the introduction of the ‘video response’ option. The functionality enables (You)Tubers to reply to any given video by means of another video; hence whole communication threads are built composed of videos interacting one with another. Given that so far no study has investigated this new type of communication, the general aim of the research is to provide a thorough description of video-interaction, in terms of both its process and products. Specifically, the analysis of the process of video-interaction focuses on (a) its distinctive features and structural characteristics, (b) its semiotic ‘affordances’ (Kress and van Leeuwen, 2001: 67), in terms of the material and social constraints and possibilities which the medium imposes over the semiosis, and (c) the diversified (and often conflicting) semiotic practices with which the affordances are actualized by the interactants. The analysis of the texts of video-interaction focuses on video-threads which start from some of the most responded videos on the Website and investigates the multimodal patterns of regularities and variations of sign-making in the chain of semiosis, that is to say, how videos establish relatedness in the thread while differentiating themselves. The theoretical chapter reviews some of the most influential theories of communication, namely the coding-decoding and inferential models of communication (Grice, 1957, 1975; Shannon and Weaver, 1949; Sperber and Wilson, 1986), together with the notions of coherence and cohesion traditionally used in text analysis (Beaugrande and Dressler, 1981; Fairclough, 1992; Halliday and Hasan, 1976; van Dijk, 1985). Furthermore, it confronts these models and notions with the practices of video-interaction; finally, it discusses the inadequacies of these theories for the description of video-interaction, crucially because, in video-interaction, the interlocutors’ mutual understanding of their intended meaning is not essential for communication to succeed. On these grounds the framework adopted for the analysis is introduced, i.e., social semiotics multimodal analysis (Hodge and Kress, 1988; Kress and van Leeuwen, 1996, 2006; Kress and van Leeuwen, 2001). Within this framework and on the basis of the social-semiotic category of ‘interest’ (Kress and van Leeuwen, 1996, 2006: 13), the heuristic notion of an ‘interest-driven prompt-response relation’ is devised as an analytic tool used for the description of both the process and the texts of video-interaction. The methodological chapter discusses the issues of representativeness, significance, reproducibility and verifiability implied in collecting a corpus of online data. It illustrates the criterion of popularity which has driven the selection of the data in order to overcome the aforesaid hardly solvable issues. A review of the current practices of transcription highlights their inaptness for the purposes of the present research and motivates the ad hoc transcription devised for the threads. Then the chapter illustrates the analytical methodology, which, in a cyclic process, has involved all stages of the research, from the selection of the data and their transcription, to the pilot study and up to the consequent refinement of the theoretical framework and of its analytic tools. The analysis follows a funnel process; indeed, from the regularities and variations detected at more general levels, it zooms in to more fine-grained levels of analysis. The analysis combines quantitative and qualitative methods with a textual interpretation focused on signifiers (on the semiotic resources present in the texts, rather than on their signifieds). Finally, the chapter discusses the ethical stance which has grounded the choice of conducting a covert observation on the Website, with no prior consent asked to the participants. This choice is motivated by the manifest publicity of the Website (and by the criterion of popularity driving the data selection) and by the intention of avoiding any patronizing attitude towards the authors of the videos, considered here as film-makers. This standpoint adds to the debate currently ongoing on online research ethics.
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Zhang, Leticia Tian. "Understanding danmu: interaction, learning and multimodality in fan video comments." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/669267.
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When watching television, many people use social media to share
real-time opinions and feelings. The mediated co-viewing is widely
studied under the name of “second screen” or “social TV”. In Japan
and China, a technology integrates social media—the comments
section—into the video screen, creating an unprecedented form of
participation called danmu or danmaku (“barrage”). This research
aims to describe the characteristics of this emergent discursive genre.
Using content and discourse analysis, we analyzed danmu from 1) a
television series and 2) a thread of “funny danmu” from popular
video sharing sites. The results revealed that users showed diverse
interests (plot, language, culture), appropriated multimodal resources
(color, position, symbols) to make fun, while constructing meaning
using unconventional discursive strategies. The study indicates the
potential of danmu as a space for informal learning, semiotic
creativity, and (para)social interaction, and calls for future research
into video sharing practices beyond YouTube.Cuando ven la televisión, muchas personas usan las redes sociales para compartir opiniones y emociones en tiempo real. La covisualización mediada se estudia ampliamente bajo la denominación de “segunda pantalla” o “televisión social”. En Japón y China, una reciente tecnología permite incrustar las redes sociales (la sección de comentarios) dinámicamente en las secuencias del video, creando una forma de participación sin precedentes llamada danmu o danmaku (“barrera de fuego”). Este trabajo se propone describir las características de este género discurso emergente. Utilizando el análisis del contenido y del discurso, analizamos danmu de: 1) una serie de televisión, y 2) un hilo de “danmu graciosos” de sitios populares de repositorios de videos. Nuestros resultados revelan que los usuarios tienen diversos intereses (trama, lenguaje, cultura), se apropian de recursos multimodales (color, posición, símbolos) para hacer humor y construyen significados usando estrategias discursivas originales. Este estudio muestra el potencial del danmu como un espacio para el aprendizaje informal, la creatividad semiótica y la interacción (para)social, además de motivar futuras investigaciones sobre las prácticas de compartir videos más allá de YouTube.
Quan veuen la televisió, moltes persones fan servir les xarxes socials per compartir opinions i emocions en temps real. La covisualització mediada s’estudia àmpliament sota la denominació de “segona pantalla” o “televisió social”. Al Japó i a la Xina, una tecnologia recent permet incrustar les xarxes socials (la secció de comentaris) dinàmicament a les seqüències de vídeo, creant una forma de participació sense precedents anomenada danmu o danmaku (“barrera de foc”). Aquest treball es proposa descriure les característiques d’aquest gènere discursiu emergent. Utilitzant l’anàlisi del contingut i del discurs, estudiem danmu de: 1) una sèrie de televisió, i 2) un fil de “danmu graciosos” de llocs populars de repositoris de vídeos. Els nostres resultats revelen que els usuaris tenen diversos interessos (trama, llenguatge, cultura), s’apropien dels recursos multimodals (color, posició, símbols) per fer humor i construeixen significats utilitzant estratègies discursives originals. Aquest estudi mostra el potencial del danmu com a espai per a l’aprenentatge informal, la creativitat semiòtica i la interacció (para)social, a més de motivar futures investigacions sobre les pràctiques de compartir vídeos més enllà de YouTube.
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Beran, Matěj. "Vlogy jako součást tvorby české youtuberské komunity." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202757.
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This thesis is focused on Czech YouTube vlogs, their authors and spectators. I have therefore been watching those videos and attending events in the YouTube community over a few months and also asking authors about their motivation to create videos as well as the spectator's motivation to watch them. I have categorised and analysed Czech vlogs and associated videos. I have formed an overall opinion by applying texts by various sociologists and other theoreticians with the aim of presenting an integrated view on this topic. Youtubers and vlogs have the power to influence their audience as there is such a large number of spectators, mostly children.
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Wang, Hantao. "Analyzing YouTube Content Demand Patternsand Cacheabilityin a Swedish Municipal Network." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-119775.
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User Generated Content (UGC) has boosted a high popularity since the birth of a wide range of web services allowing the distribution of such user-produced media content, whose patterns vary from textual information, photo galleries to videos on site. The boom of Internet of Things and the newly released HTML5 accelerate the development of multimedia patterns as well as the technology of distributing it. YouTube, as one of the most popular video sharing site, enjoys the top most numbers of video views and video uploads per day in the world. With the rapid growing of multimedia patterns as well as huge bandwidth demand from subscribers, the sheer volume of the traffic is going to severely strain the network resources.</p><p>Therefore, analyzing media streaming traffic patterns and cacheability in live IP-access networks today leads a hot issue among network operators and content providers. One possible solution could be caching popular contents with a high replay rate in a proxy server on LAN border or in users' terminals.</p><p>Based on the solution, this thesis project focuses on developing a measurement framework to associate network cacheability with video category and video duration under a typical Swedish municipal network. Experiments of focused parameters are performed to investigate potential user behavior rules. From the analysis of the results, Music traffic gets a rather ideal network gain as well as a remarkable terminal gain, indicating that it is more efficient to be stored close to end user. Film&Animation traffic, however, is preferable to be cached in the network due to its high net gain. Besides, it is optimal to cache the video clips with a length between 3 and 5 minutes, especially the Music and Film&Animation traffic. In addition, more than half of the replays occur during 16.00-24.00 and peak hours appear on average from 18.00 to 22.00. Lastly, only around 16% of the videos are global popular and very few heavy users tend to be local popular video viewers, depicting local limits and independent user interests
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Mastoureshgh, Sahel. "Measurement and Method for Receiver Buffer Sizing in Video Streaming." Digital WPI, 2012. https://digitalcommons.wpi.edu/etd-theses/617.
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Video streaming has become increasingly popular with commercial video streaming applications such as YouTube accounting for a large quantity of Internet traffic. While streaming video is sensitive to bandwidth jitter, a receiver buffer can ameliorate the effects of jitter by adjusting to the difference between the transmission rate and the playback rate. Unfortunately, there are few studies to determine the best size of the receiver buffer for TCP streaming. In this work, we investigate how the buffer size of video streaming applications changes with respect to variation in bandwidth. We model the video streaming system over TCP using simulation to develop our buffering algorithm. We propose using a dynamic client buffer size based on measured bandwidth variation to achieve fewer interruptions in video streaming playback. To evaluate our approach, we implement an application to run experiments comparing our algorithm with the buffer size of commercial video streaming.
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Mangaoang, Aine. "Dangerous mediations : YouTube, pop music, and power in a Philippine prison video." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2009748/.
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The cultural crossings between music, new digital media,prison and postcolonial Philippine culture form the basis of Dangerous Mediations, which provides a close, intertextual reading of a contemporary prison performance to question the assumptions behind seemingly familiar, entertaining audiovisual media content. Through the lens of critical cultural studies, and ethno/musicology, I examine the interplay between Michael Jackson’s renowned hit Thriller (1983) and a specific interpretation of this work by a group of 1500 Filipino inmates at the Cebu Provincial Rehabilitation and Detention Centre (2007). Rereading Jackson’s impact on popular music and culture in light of postcolonialism, penology, popular music studies,YouTube theory, and in relation to Philippine culture, I trace the evolution of this contemporary music and dance practice within Cebuano culture, as it is transformed and mediated online. I address the prevalent idea of music as an innately positive power, and through a close reading of this irresistible performance, I deconstruct prevailing (dangerous) stereotypes regarding the ‘inherently musical Filipino.’ Reflecting on how, why, and to what effect popular performance can pollinate across cultures and nations, I demonstrate how audiovisual digital platforms such as YouTube can play an important role in shaping our understanding and experiences of the world we live in. Focusing on the performances made by inmates, by Filipinos, by amateurs, I show that we are able not only to historicise the effects of the disenfranchised, but through a close reading of the intertextual, hybridised mediated performance, we may also gain access to and gradually understand that which might otherwise have remained invisible.
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Bertelli, Anita Presser. "Perform yourself: a performance art no youtube." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122015-095523/.
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A presente pesquisa explora o YouTube como campo de criação da performance art contemporânea. Em primeiro lugar o site é abordado com foco em suas implicações culturais, empregando tanto uma bibliografia específica sobre o YouTube como autores que refletem sobre a subjetividade contemporânea, destacando-se neles aspectos que se relacionam com as práticas dos usuários do site. Em seguida é analisada uma seleção de obras de performance no YouTube realizadas por artistas de diversas nacionalidades. Elas estão reunidas em cinco vetores: #camgirlsattwhores, que trata da mulher e do feminismo na internet, apoiando-se principalmente no trabalho de Erica Scourti; #persona-ironia, que se baseia nas teorizações de Renato Cohen sobre a persona performática; #anti-confissão, que aborda a prática da confissão segundo conceitos desenvolvidos por Michel Foucault, Óscar Cornago e Christopher Lasch; #corpo-efeitos, no qual a principal referência é o trabalho de N. Katherine Hayles sobre o pós-humanismo; e #prank, que conta com as teorizações de V. Vale e Fábio Salvatti. Na etapa final, são realizados experimentos práticos no YouTube, inspirados nos ideais de Joseph Beuys e Allan Kaprow, e nas práticas artísticas de Petra Cortright. A pesquisa articula, portanto, diversas perspectivas culturais e artísticas, tanto teóricas quanto práticas, para apreender o objeto de estudo, defendendo um novo tipo de arte que transborde o mercado e as categorias tradicionais e propondo um uso desartístico e lúdico das tecnologias atuais.This work explores YouTube as a field for contemporary performance art creation. Firstly, the research approaches the website focusing in its cultural implications, investigating specific literature about YouTube as well as authors that reflect upon contemporary subjectivities, highlighting in them aspects that relate to the website users\' practices. Then, it analyses a selection of works by performers of various nationalities, gathering them in five vectors: #camgirls-attwhores, which deals with women and feminismo on the internet, relying mainly on Erica Scourti\'s work; #persona-irony, which is based on Renato Cohen theories on the performative persona; #anti-confession, which addresses the practice of confession making use of concepts by Michel Foucault, Óscar Cornago and Christopher Lasch; #body-effects, in which the main reference is the work of N. Katherine Hayles on post-humanism and #prank, which relies on writings by V. Vale and Fábio Salvatti. Finally, practical artistic experiments on YouTube are carried out, inspired by the ideas of Joseph Beuys and the artistic practices of Petra Cortright. Therefore, the research has articulated multiple cultural and artistic perspectives, both theoretical and practical, to seize the object of study, advocating a new kind of art, one that overflows traditional categories and the art market and proposing an unartistic and playful use of current technologies.
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Fernández, Argote Sebastián. "El videoensayo como género periodístico. Un análisis del canal de Youtube The Nerdwriter." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/648836.
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El presente trabajo analiza los videoensayos del canal de Youtube The Nerdwriter de Evan Puschak para tratar de definir sus características e identificar similitudes con el periodismo. El videoensayo es uno de los nuevos géneros audiovisuales surgidos en la plataforma de Youtube. Por ello, el análisis de los videos de The Nerdwriter, uno de los canales pioneros en el género, puede ayudar a determinar cuáles son sus características y si el periodismo, en particular el interpretativo y el cultural, forma parte significativa de esta nueva corriente audiovisual en internet.This paper analyzes the video essays of the YouTube channel The Nerdwriter by Evan Puschak. to try to define its characteristics and identify similarities with journalism. The video essay is one of the new audiovisual genres that have emerged on the YouTube platform. Therefore, the analysis of videos by The Nerdwriter, one of the pioneering channels in the genre, can help determine what their characteristics are and if journalism, particularly interpretive and cultural, is a significant part of this new online audiovisual trend.
Trabajo de investigación
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Chebudie, Abiy Biru. "Monitoring of Video Streaming Quality from Encrypted Network Traffic : The Case of YouTube Streaming." Thesis, Blekinge Tekniska Högskola, Institutionen för kommunikationssystem, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-13336.
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The video streaming applications contribute to a major share of the Internet traffic. Consequently, monitoring and management of video streaming quality has gained a significant importance in the recent years. The disturbances in the video, such as, amount of buffering and bitrate adaptations affect user Quality of Experience (QoE). Network operators usually monitor such events from network traffic with the help of Deep Packet Inspection (DPI). However, it is becoming difficult to monitor such events due to the traffic encryption. To address this challenge, this thesis work makes two key contributions. First, it presents a test-bed, which performs automated video streaming tests under controlled time-varying network conditions and measures performance at network and application level. Second, it develops and evaluates machine learning models for the detection of video buffering and bitrate adaptation events, which rely on the information extracted from packets headers. The findings of this work suggest that buffering and bitrate adaptation events within 60 second intervals can be detected using Random Forest model with an accuracy of about 70%. Moreover, the results show that the features based on time-varying patterns of downlink throughput and packet inter-arrival times play a distinctive role in the detection of such events.
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Johansson, Karin. "Brassundervisning på internet : En kvalitativ studie om innehållet i instruktionsvideor på YouTube." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54924.
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Syftet med föreliggande studie är att från ett designteoretiskt och multimodalt perspektiv undersöka hur instruktionsvideor i brassinstrumentspel på YouTube designas. Fem videor valdes ut, transkriberades och analyserades. Analysen visade att samtliga videor hade ett liknande innehåll med fokus på bland annat buzzing och tonbildning. Ämnesinnehållet i videorna stämde ganska väl överens med litteratur på området. Framförallt användes talet som resurs för att kommunicera innehållet. Kroppen och instrumentet användes i mindre utsträckning och framförallt tillsammans med talet. De tekniska resurserna i form av exempelvis digitala bilder och text användes i mycket liten omfattning. I diskussionen framkommer olika möjligheter för vad kombinationen av resurser innebär för kommunikationen av innehållet. I videorna förklarades musikaliska och instrumenttekniska begrepp i olika stor utsträckning vilket ställer större eller mindre krav på den som vill använda sig av videon att ha egna kunskaper på området för att kunna tillgodogöra sig undervisningen. Den som vill använda sig av instruktionsvideor på YouTube bör ha ett visst mått av källkritik samt förmågan att kunna jobba självständigt mot ett mål.The purpose of this study is to from a design theory and multimodal perspective study how instructional videos for brass instrument playing on YouTube are designed. Five videos were selected and transcribed and analyzed. The analysis showed that all videos had a similar content focusing on buzzing and tone production. The content of the videos was quite well matched with literature on the subject. The speech was used as the main resource for communication of the content. The body and instrument were used to a lesser extent, and mostly together with the speech. The technical resources in the form of, for example, digital images and text were used to a very small extent. The discussion reveals different possibilities for what the combination of resources means for the communication of the content. In the videos, musical and instrument-technical concepts were explained to different extent, which places greater or lesser demands on those who want to use the video to have their own knowledge in the field in order to gain from the teaching. Those who want to use YouTube video tutorials should be source-critical and have the ability to work independently towards a goal.
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Oliveira, Jackes Alves de Oliveira. "Educação histórica e aprendizagem da "história difícil" em vídeos de youtube." reponame:Repositório Institucional da UFPR, 2016. http://hdl.handle.net/1884/45009.
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Orientadora: Profª. Drª. Maria Auxiliadora Moreira dos Santos SchmidtDissertação (mestrado) - Universidade Federal do Paraná, Setor de Educação, Programa de Pós-Graduação em Educação. Defesa: Curitiba, 09/08/2016
Inclui referências : f. 113-116
Linha de pesquisa: Teorias e práticas de ensino
Resumo: Esta dissertação está situada no campo investigativo Educação Histórica. Sua finalidade foi investigar a seguinte problemática: como a aprendizagem histórica, na perspectiva de Rüsen, é mobilizada a partir dos vídeos do Youtube? O conceito substantivo (LEE, 2003; 2005) escolhido para a investigação foi a Ditadura Militar no Paraná. Dado que esse fato na história brasileira é controverso e doloroso, utilizamse as considerações da burdening history (BORRIES, 2010) ou "história difícil" (SCHMIDT, 2015). Para tentar responder ao problema de pesquisa, foram consultados primeiramente autores da Educação Histórica: Jörn Rüsen (2001) com os conceitos de consciência histórica e de aprendizagem histórica; Schmidt, Barca e Martins (2011) em função de seus estudos acerca da teoria rüseniana; Barca (2000; 2007) com pesquisas sobre o pensamento histórico de jovens, literacia e multiperspectividade históricas; Schmidt (2009) com a cognição histórica situada. Foram consultadas sete páginas do site Youtube para a visualização, análise e categorização dos vídeos; nessa etapa foram empregados autores que dissertam sobre a relação entre a internet e a produção do conhecimento histórico (CORRÊA e SHULZ, 2011; CHARTIER, 2007). Como a pesquisa ocorreu em ambiente escolar, buscaram-se referenciais teóricos que estudam as relações entre o ensino de História, as tecnologias e a instituição escolar (COLL e MONEREO, 2010; SHERBROOKE, 2001; SILVA, 2001; TORI, 2010; RESENDE, 2013; SILVA e URT, 2015; COSTA, 2015; CUTRIM e LIMA, 2015). De cunho qualitativo (BOGDAN, BIKLEN; 1994) a condução da pesquisa se deu em duas escolas, com alunos do Ensino Fundamental II: primeiro realizou-se um estudo exploratório na "escola A" com uma turma de alunos do 9º ano; depois concretizou-se o estudo principal na "escola B" com uma turma de alunos do mesmo ano; por fim, foi entregue um questionário à professora da turma analisada. Os resultados demonstraram que as diferenças entre professores e jovens (FRONZA, 2007; 2011) que adotam a Educação Histórica na rotina escolar são significativas, levando-os a uma literacia histórica (BARCA, 2009), e que existe aprendizagem histórica baseada nas considerações de Rüsen (2011), mas apenas como a aquisição de algo que não se sabia ou a ampliação de assuntos já conhecidos, uma vez que os vídeos do Youtube foram vistos pela professora e por seus alunos como elemento para dinamizar a aprendizagem e favorecer a expansão de conteúdos. Palavras-chave: Ensino de História - Educação Histórica - Aprendizagem histórica - "História Difícil" - Vídeos do Youtube
Abstract: This dissertation lies in the investigative field of Historical Education. It aims to investigate the following problem: how is historical learning brought together on YouTube videos under Rüsen's perspective? The substantive concept (LEE, 2003; 2005) chosen for the investigation was the Military Dictatorship in the state of Paraná. Given that this event in Brazilian history is controversial and hurtful, the considerations from burdening history (BORRIES, 2010) or "harsh history" (SCHMIDT, 2015) are used. In order to try to answer the research problem, the following Historical Education authors were primarily drawn on: Jörn Rüsen (2001), with the concepts of historical consciousness and historical learning; Schmidt, Barca and Martins (2011), due to their studies on Rüsen's theory; Barca (2000; 2007), with research on the historical thinking of young people, historical literacy and multiperspectivity; Schmidt (2009), with the located historical cognition. Seven YouTube pages were visited for visualization, analysis and categorization of the videos; in this stage we used authors who discourse on the relationship between the Internet and the production of historical knowledge (CORRÊA and SHULZ, 2011; CHARTIER, 2007). Because the research was conducted within the school environment, we searched for theoretical frameworks that study the relationship among History teaching, technologies and the school (COLL and MONEREO, 2010; SHERBROOKE, 2001; SILVA, 2001; TORI, 2010; RESENDE, 2013; SILVA and URT, 2015; COSTA, 2015; CUTRIM and LIMA, 2015). The research was carried out in two schools with students on the second stage of elementary education. First, an exploratory study was performed in "school A" with a group of students on the 9th grade; then, the main study was accomplished in "school B" with a group of students on the same grade; at last, a questionnaire was given to the teacher of the group being analyzed. The results showed that the differences between teachers and young people (FRONZA, 2007; 2011) who take up Historical Education within the school day are significant, leading them towards historical literacy (BARCA, 2009). We have also found that there is historical learning based on Rüsen's considerations (2011), but it is limited to acquiring content that was unknown or increasing knowledge on topics that are already known, since the teacher and her students watched the YouTube videos as an element to boost learning and to introduce more contents. Key-words: Historical Teaching - Historical Education - Historical learning - Burdening History - Youtube videos
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Segerberg, Jonathan, and Häggbom Karl. "Bad Marketing? : Marknadsaktiviteter på Youtube ur ett varumärkesperspektiv." Thesis, Linköpings universitet, Industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-140989.
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Sociala plattformar växer så det knakar och unga såväl gamla börjar flytta sitt fokus från traditionella linjära medieplattformar till de nya interaktiva. Den största kanalen hos unga svenska ungdomar idag är Youtube. Eftersom människor spenderar en stor del av sin tid på Youtube vill annonsörer vara närvarande och exponeras. Författarna ställde sig frågan hur väl annonsörer använder plattformen och om deras användning uppfattas korrekt av konsumenterna. Syftet med arbetet var att undersöka om varumärken på plattformen Youtube agerar på ett sätt som kan vara skadligt företagets varumärkesvärde och positionering. Till hjälp att besvara syftet gjordes en litteraturundersökning för att förstå kommunikation och varumärkesbyggande aktiviteter för företag och vidare för att förstå de sociala medieplattformarna. Teorier och forskning samlades in kring Sociala medier på användningen av dessa plattformar. I metodkapitlet formulerades hur undersökningen skulle gå, hur data skulle samlas in och hur den skulle analyseras. Data samlades in genom en enkät med 51 respondenter och intervjuer med 9 respondenter. De frågor som ställdes var relaterade till syftet, hur konsumenterna uppfattar företag och deras varumärkesbyggande aktivitet på Youtube samt om aktiviteterna påverkar konsumenternas uppfattning av varumärket. Den slutsats som drogs var att marknadsaktiviteter på Youtube kan ha en skadlig inverkan på ett varumärkes positionering och värde. Det som identifierades som den mest varumärkeshämmande egenskapen var att företagen inte publicerar material som konsumenten vill se. Genom att inte exponeras i de största kanalerna hos unga riskerar varumärken att försvaga deras positionering och värde. Användandet av påverkarmarknadsföring (eng. influencers) har bäst potential att generera effekt då varumärket kan rida på dessa redan etablerade enheter på Youtube. Generiska varumärkeshämmande aktiviteter identifierades även men som inte hade exklusivt med sociala medier att göra. Om varumärken planerar att bli en del av Youtube behöver de lägga ner energi och tid på att skapa och underhålla sin publik. Exklusivt material som ger konsumenterna mervärde bör skapas för att styra bort deras tankar om att det är reklam. Genom att använda dessa rekommendationer kan varumärket nå ut till fler konsumenter och bygga en lojal, engagerad följarbas.As social media platforms continue to grow, both youth and adults are shifting their focus from traditional media platforms to new interactive platforms. The biggest media platform for Swedish youth is YouTube, and because people spend a great deal of their time on YouTube, advertisers want to be present in promoting their brand. In this paper, the authors asked the questions: how well do advertisers use YouTube as a platform, and is their use correctly perceived by consumers? The purpose of the thesis is to examine if brands on YouTube act in a way that could be harmful for the brand’s image and market positioning. In helping to answer this question, the authors conducted a literature study to understand the communication and brand-building activities a company makes and further understand the social media platforms. Research and theory was gathered to understand companies’ usage of social media. The method chapter was created in order to decide how the data collection would be put together and how the data should be analysed. The data was gathered through 51 respondents in an internet survey and 9 people who were interviewed. The questions that were asked was related to the purpose of this paper: How do consumers perceive a brand and its market activities and do how the activities affect the consumer's perception of the brand? The conclusion that was made from the research results showed the authors that market activities on YouTube could have a harmful impact on a brand’s positioning and brand value. It was identified that the most harmful activity is to create content that the consumer is not interested in. By not being exposed on one of the biggest media channels for youth, the brand risks weakening their position and brand value. The use of influencers has the best potential to generate a good effect as the brand can ride on the wave of popularity on the platform, already established by the influencer. Many harmful brand activities were identified in this research but are not exclusive to YouTube and social media. If a brand is planning to reach an audience on YouTube they must spend resources on creating content that entertains their audience. Creating exclusive content for the consumer gives the brand added value and steers the consumer’s thought away from the content being advertising. By using these recommendations, a brand could reach out to a bigger audience and start building a loyal and engaged following.
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Vicet, Marie. "Les artistes contemporains et le clip vidéo : de la naissance de MTV à l’apparition de YouTube (1981-2005)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100010.
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Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détournerWith the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it
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Watz, Tanya. "Kamouflerad reklam : En fokusgruppstudie i attityder mot produktplacering i online video om Youtube." Thesis, Mittuniversitetet, Institutionen för samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-14478.
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Kirkland, Benjamin Renfroe. "VOODIO: Proposal for an Online Video Content Creation Tool." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/96554.
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Video content is a massive source of entertainment, education, and income for a large population of online users. As more reliance upon this medium enters the field of education, formal and informal, people need tools to enhance their ability to tell stories and engage an audience. A tool that easily adjusts without compromising the interaction, the storytelling, or the visual moment, while also capturing as much information as possible, might be of great benefit to all creators of video content. Allowing tutorial creators the ability to efficiently record multiple views of their content may better aid in presenting concepts while retaining the attention of the viewership. The opportunity to present information effectively may have impacts on fields including education as well as entertainment. This thesis aims to explore possible reasons why content can be made to retain the audience's attention and to create a tool utilizing these facets for far reaching possibilities.Master of Science
Video content is a massive source of entertainment, education, and income for a large population of online users. As more reliance upon this medium enters the field of education, formal and informal, people need tools to enhance their ability to tell stories and engage an audience. A tool that easily adjusts without compromising the interaction, the storytelling, or the visual moment, while also capturing as much information as possible, might be of great benefit to all creators of video content. Allowing tutorial creators the ability to efficiently record multiple views of their content may better aid in presenting concepts while retaining the attention of the viewership. The opportunity to present information effectively may have impacts on fields including education as well as entertainment. This thesis aims to explore possible reasons why content can be made to retain the audience's attention and to create a tool utilizing these facets for far reaching possibilities.
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Hurychová, Andrea. "Marketing Strategy of YouTube in the Czech Republic." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197417.
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The goals of the thesis are to present YouTube in the Czech Republic, to discuss its entire business model, analyze the main local competitors and mostly to suggest marketing strategy that will strengthen the position of YouTube as an online medium. The current trends in the internet society are introduced as well as the role of social media in order to understand how these factors are related to the position of YouTube in marketing. From general YouTube introduction the situation of this platform in the Czech market is analyzed. Based on this deep analysis, the key factors that should be taken into account in the Czech YouTube marketing strategy will be discussed.
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Boll, Cíntia Inês. "A enunciação estética juvenil em vídeos escolares no youtube." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/70596.
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Este estudo aborda a enunciação juvenil no viés da função estética enredada ao fetichismo contemporâneo e à Cultura Digital. O contexto de pesquisa envolve a função estética disposta nos vídeos caseiros digitais de trabalhos escolares publicados na internet, em especial na interface digital de compartilhamento YouTube. Esta interface onde se encontram as publicações dos vídeos que se apresentam em um tempo de tentativas de convergência tecnológica, mercadológica, cultural e social, tem em especial um falante — neste caso o jovem, — como seu principal espect-autor que vive e transita entre essa a escola e a Cultura Digital. A linha teórica analítica de pesquisa dessa composição (produçãovídeo- imagem) é construída com os conceitos de Estética e Atrator no diálogo com BAKHTIN e CANEVACCI. No limiar desse suporte de comunicação, Massimo CANEVACCI discute o conceito de atrator visual enquanto código de alto valor fetish que, acoplado à mercadoria comunicacional contemporânea, seduz espetc-atores e encena enigmas silenciados. A partir da indagação filosófica e sob sua orientação, foi utilizada como ferramenta metodológica de apreciação a noção de estético considerando o princípio ético-estético bakhtiniano que entende o pensamento teórico articulado à vida, focado na perspectiva sócio-histórica tanto da criação quanto da expressão. A relevância do processo emerge desse cronotopo singular enunciativo juvenil que se manifesta na forma de vídeos caseiros com um típico traço estilístico e sistemático firmando-se cada vez mais em seu inacabamento e dialogicidade digital. Uma experiência oportunizada não só pela intertextualidade já oferecida pelas redes sociais digitais, mas também pela atividade estética avizinhada aos espaços escolares em que este jovem está hoje imerso.This study approaches the juvenile enunciation bias in the aesthetic function entangled to contemporary fetishism and digital culture. The research context involves the aesthetic function arranged in school work digital home videos published on the internet, especially on YouTube digital sharing interface.This interface where the publications of the videos that are presented in a trial time of technological, market, cultural and social convergence are localizated, in particular has a speaker - in this case the young’s - as its main “spect-author” who lives and moves between this school and Digital Culture.The analytical theoretical line research in this composition is built on the concepts of Aesthetics and Attractor in dialogue with Bakhtin and Canevacci.On the threshold of this communication support, Massimo Canevacci discusses the concept of visual attractor while the high value fetish code that, coupled with good contemporary communication, seduces espetc-actors and performs silenced puzzles.From the philosophical inquiry and under his guidance, was used as a methodological tool for assessing the notion of aesthetic from the ethical-aesthetic principle that understands the Bakhtinian theoretical thinking articulated to life, focused on the socio-historical perspective same as the creation and the expression. The relevance of this process emerges from the single young enunciative chronotope that is manifested in the form of home made videos with a typical stylistic trait and systematically establishing “itself” in their incompleteness and digital dialogicity.An experience not only nurtured by intertextuality already offered by social digital networks, but also by the aesthetic activity around school spaces which this young people are now immersed.
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Dickson, Emil, and Adrian Berger. "Utformning av videoreklam - Designimplikationer för videoreklam på YouTube." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-231148.
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Videoinnehåll på internet är en populär källa för informationssökning och underhållning idag. YouTube är den största av de videoplattformar som finns tillgängliga och dess gratisversion finansieras genom reklam. Reklamen i sig innebär ett avbrott i tittarupplevelsen. Tidigare forskning har visat att sådan reklam är ett störande moment och kan orsaka irritation hos tittaren. Därtill väljer många idag att installera insticksprogram i sina webbläsare som blockerar reklamen och hindrar den från att visas. Eftersom att reklamen i dessa fall inte når mottagaren så fungerar inte reklamfinansieringen som tänkt. Denna studie syftar till att undersöka vad hos reklamen som uppfattas som störande och/eller irriterande av tittaren samt hur videoreklam kan utformas för undvika detta. För att besvara frågeställningarna genomfördes en experimentell studie där tio studenter deltog. Resultatet visade att de störande aspekterna relaterar till reklamens tid, dess placering i en video och tittarnas personliga intresse av reklamens innehåll. Slutligen föreslås följande designimplikationer för utformandet av videoreklam: i) reklamklipp bör vara kortare än 15 sekunder för att undvika att uppfattas som irriterande; och att längre reklamklipp bör kunna skippas av användaren; ii) placering av reklamklipp mitt i en vald YouTube-video bör undvikas; iii) reklamklipp bör passa till innehållet av den valda huvudvideon och borde, om möjligt, vara av personligt intresse för tittaren; iv) funktioner såsom att få se kvarvarande tid för ett reklamklipp bör kunna anpassas av tittaren själv, genom dennes användarkonto.Videos have become a popular source for information gathering and entertainment. YouTube is the biggest video platform available and its free version is funded by ads. The advertisements create an interruption from the viewer experience and research has shown that the ads are disruptive and can cause irritation among the viewers. Many users choose to use plugins in their browsers which block ads to avoid the distraction. Since ad-blockers hinder the ad from reaching the viewer they also hinder the funding of the video platform. This study aims to research what parts of the ads that the user finds disruptive or irritating, and how ads should be designed in order to avoid being perceived as a source of irritation for Swedish viewers. A suggestion will be made on how to design the video ads so that they are as non-disruptive as possible for the user and therefore allowed to be a part of the viewing experience. To answer the questions at hand an experimental study was conducted with ten students. The results showed that the irritating aspects of ads are related to the running times, its placement in a video and the viewers own interest in the content of the ad. Finally, the following implications are suggested for the design of video ads: i) ads should be shorter than 15 seconds to avoid being perceived as irritating; users should be able to skip longer ads; ii) ads showing in the middle of the video should be avoided; iii) ad content should match the content of the video and, if possible, be relevant to the viewer and their interests; iv) features such as showing the time remaining of the ad should be made customisable by the user, through their user account.
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Holmes, Alexander. "Paycheck.exe: Optimizing the Video Game Live Stream." Digital WPI, 2019. https://digitalcommons.wpi.edu/etd-theses/1283.
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Multiple resources currently exist that provide tips, tricks, and hints on gaining greater success, or increasing one’s chances for success, in the field of live content creation. However, these resources often lack depth, detail, large sample size, or significant research on the topic. The purpose of this thesis is twofold: to aggregate and optimize the very best methods for live content creators to employ as they begin a streaming career, and how best to implement these methodologies for maximum success in the current streaming market. Through analysis of a set of semi-structured interviews, popular literature, and existing, ancillary research, repeating patterns will be identified to be used as the basis for a structured plan that achieves the stated objectives. Further research will serve to reinforce as well as optimize the common methodologies identified within the interview corpus.
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TONIOLO, FRANCESCO. "YOUTUBE E VIDEOGIOCHI. PROSPETTIVE DI RICERCA SU PRODUZIONE,DISTRIBUZIONE E IMMAGINARI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58408.
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La presente tesi propone una mappatura sui rapporti fra i creatori di contenuti su YouTube (definiti “youtubers”) e i videogiochi. L’impatto di queste nuove figure, collocate fra il profilo dell’influencer e della celebrity, è stato indagato osservandone le ricadute economiche, produttive e di immaginario. L’indagine è stata condotta sfruttando differenti fonti, metodologie (qualitative e quantitative) e prospettive teoriche, in una generale collocazione nel quadro delle industrie creative intrecciate con i game studies e i cosiddetti “YouTube studies”. La tesi, oltre a fotografare l’attuale situazione del gaming su YouTube, presenta un modello le cui buone pratiche possono essere applicate ad ulteriori casi, legati non solo ai videogiochi ma al settore delle industrie creative in generale.The research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.
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TONIOLO, FRANCESCO. "YOUTUBE E VIDEOGIOCHI. PROSPETTIVE DI RICERCA SU PRODUZIONE,DISTRIBUZIONE E IMMAGINARI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58408.
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La presente tesi propone una mappatura sui rapporti fra i creatori di contenuti su YouTube (definiti “youtubers”) e i videogiochi. L’impatto di queste nuove figure, collocate fra il profilo dell’influencer e della celebrity, è stato indagato osservandone le ricadute economiche, produttive e di immaginario. L’indagine è stata condotta sfruttando differenti fonti, metodologie (qualitative e quantitative) e prospettive teoriche, in una generale collocazione nel quadro delle industrie creative intrecciate con i game studies e i cosiddetti “YouTube studies”. La tesi, oltre a fotografare l’attuale situazione del gaming su YouTube, presenta un modello le cui buone pratiche possono essere applicate ad ulteriori casi, legati non solo ai videogiochi ma al settore delle industrie creative in generale.The research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.
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Satti, Narendra Siva Prasad Reddy, and Saket Vikram Singh. "Analysis of Location based QoE for Mobile video streaming from YouTube in 4G Networks." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1939.
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Mobile Video streaming has become popular with the arrival of high capability smart phones on Mobile Networks. Users are streaming high definition (HD) videos and have high expectations on Mobile Quality of Experience (QoE). Fourth Generation Mobile Networks are being deployed recently in many regions of the world and have capability to efficiently handle high definition video traffic. YouTube is one of the most extensively used Video on Demand Service on smart phones where wide range of people do video streaming. Most of the QoE experiments on 4g networks have been conducted in lab environment but they do not capture the daily routine of user experience on viewing videos. The user experiments in this thesis are conducted in natural life settings to capture Quality of Experience based on context of the user location. User experiments are designed and conducted for collecting Mean Opinion scores (MOS) in four different context based locations and have been collected using Experience Sampling Method (ESM). The Contribution of thesis is applying linear mixed effect Modeling on data collected to develop Quality of Experience (QoE) models of video streaming for Mobile YouTube on 4G Network. This thesis is one of the first works on modeling QoE experience at different context based physical locations in natural settings for mobile YouTube video streaming in 4G networks.
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Cerqueira, Lícia Maria Costa Fajardo. "Aspectos da cultura participativa na criação de narrativas digitais que usam o YouTube como banco de dados audiovisual." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4053.
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A afirmação de Lev Manovich de que vivemos a forma cultural database pode ser confirmada ao refletirmos sobre como acedemos às diferentes informações diárias. Nas últimas décadas, percebemos o acesso do cidadão comum a mecanismos de comunicação e gravação que ampliaram suas capacidades de captura e armazenamento de imagens, como verdadeiras extensões do corpo humano. Após o surgimento da web 2.0 e das possibilidades de interação entre usuários, plataformas de compartilhamento de vídeo, como o YouTube, tornaram-se pontos centralizadores dessas imagens, evidenciando a formação de uma cultura participativa na criação de vídeos. Trechos provenientes de bancos de dados, há muito, são usados em obras audiovisuais. A garimpagem do material é uma característica destas obras baseadas em imagens presentes em arquivos pessoais ou públicos. Posteriormente revisitadas, ganham novo sentido, como em A Família Bartos (1988) e O Êxodo do Danúbio (1998), do cineasta húngaro Péter Forgács e Pacific (2009) de Marcelo Pedroso. No início do século, Manovich propôs a criação de uma forma narrativa que refletisse a era em que vivemos, enquanto outros artistas buscavam também contar histórias por meio de recortes, como faz o próprio ser humano ao organizar pensamentos. Dessa forma surgiram projetos como korsakow Syndrom (2000) de Florian Talhofer, Soft Cinema (2005) de Manovich, e O Tempo não Recuperado (2006), de Lucas Bambozzi. Esta pesquisa analisa os aspectos da cultura participativa presentes em duas produções que utilizam o YouTube como banco de dados e exploram, de maneira diferente, estes aspectos. Na primeira, o músico Thiago Correa retrata as manifestações de 2013 com imagens garimpadas no YouTube, um trabalho manual que deu origem ao vídeo Brasil em Cartaz. Na segunda, o projeto YouTag de Lucas Bambozzi, o participante escolhe palavras-chave, frase ou título. A partir daí o software seleciona imagens no Youtube e dá origem a um novo vídeo, características que nos levam a acreditar que tais obras se encaixam na proposta de narrativas da era de banco de dados.
Lev Manovich’s statement that we live the database cultural form can be verified when one contemplates the way all types of information are commonly accessed in a daily basis. Over the last decades, it has been easy to observe the access of the ordinary citizen to communication tools and recording devices that have amplified their image and sound capture capabilities and image storage, these working as truly extensions of the human body. After the emergence of Web 2.0 and, consequently, the possibilities of interaction among users, video sharing platforms, such as YouTube, have become hubs for those images, giving evidence of certain participatory culture in the way online videos are created. Since long time ago, excerpts from databases have been used in audiovisual work, whose filtering of its material is based on images found in personal or public archives. Once such media is revisited, it gains new meaning, as in “The Bartos Family” (1988) and “The Danube Exudes” (1998), by Hungarian filmmaker Péter Forgács; as well as in “Pacific” (2009), by Marcelo Pedroso. Early this century, Manovich proposed the creation of a narrative form that reflected on the age we live in, while other artists also developed storytelling through clippings, mirroring the way the human being itself does in order to organize thoughts. This perspective gave rise to projects such as “Korsakow Syndrom” (2000), by “Florian Talhofer”; “Soft Cinema” (2005), by Manovich; and “Not Recovered Time” (2006), by Lucas Bambozzi. This very research analyzes some aspects of participatory culture explored differently in two productions that use Youtube as their resource. In the first work analyzed, musician Thiago Correa depicts the events of 2013 with selected images from Youtube, a manual work which led to the video Brasil em Cartaz. In the second one, in Lucas Bambozzi’s project, YouTag, the participant chooses keywords, phrase or title. From there, the software selects images on YouTube and originates a new video, which leads us to believe that these works fit the characteristics of the so-called age of database.
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Kilavuz, Arda. "En studie av Karlstads universitets studenters användning av video-centric webbplatser." Thesis, Karlstads universitet, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6519.
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Undersökningens avsikt är att granska video-centric webbplatsers användning bland Karlstads universitets studenter, varför och hur studenter använder webbplatserna. Undersökningen är baserad på Uses and Gratifications modellen.
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Andersson, Julia, and Andreas Hultqvist. "Video quality encoding characterization and comparison." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158145.
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Adaptive streaming is a popular technique that allows quality adaption for videos based on the current playback conditions. The purpose of this thesis is to investigate how chunks in video files downloaded from YouTube correlate to each other. We investigate how the chunk size characteristics depend on the category and encoding of the video. The main focus is to analyze the chunk sizes of the video, focusing on distinctness between 360$^\circ$ and 2D videos. This is performed using the YouTube API. The videos are downloaded and analysed using youtube-dl and mkv-info. The results show that chunk sizes for adjacent qualities have higher correlation and that videos having a similarity between scenes have higher correlation. In addition, 360$^\circ$ videos differ primarily from regular 2D videos by the amount of qualities used and a generally higher correlation for all qualities.
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Förster, Felicitas. "Shreds: zur Geschichte und Stilistik parodistischer Overdubbing-Videos auf YouTube." Hochschule für Musik und Theater 'Felix Mendelssohn Bartholdy' Leipzig, 2017. https://slub.qucosa.de/id/qucosa%3A15826.
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Auf der Videoplattform YouTube finden sich hunderte sogenannter Shreds. Das sind Videos, die das Bildmaterial präexistenter Musikperformances mit einer neuen Tonspur kombinieren, und zwar mit humoristischer Intention. Hier wird erstmals die Geschichte der Shreds umfangreich nachgezeichnet und ihre stilistischen Ausprägungen untersucht.The video platform YouTube hosts hundreds of so-called shreds: videos that combine footage of preexisting musical performances with a new soundtrack, always with a humoristic intention. The present study examines the history of shreds and their stylistic devices for the first time ever.
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Simon, Godwin Iretomiwa. "Digital Nollywood: Implications of digital distribution for the Nigerian video industry." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235388/1/Godwin%2BIretomiwa%2BSimon%2BThesis.pdf.
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This thesis analyses the implications of digital distribution for the Nigerian video industry (Nollywood). Following a media industry studies research framework and drawing from interviews with more than 50 industry stakeholders, this project argues the advent of digital distribution has opened formal pathways to transnational capital and audiences hitherto unseen in Nollywood. Yet rather than a rational and linear transition away from the industry’s historical informal dynamics, the emergence of streaming services in Nollywood has been marked by complexity, contradiction, and ambivalence through what I suggest are ‘pluriformalising’ market mechanisms.
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Windress, Kent Anthony. "Cuban Ceremonial Batá Drumming and YouTube: Understanding Tradition, Change and Video-Sharing in the 21st Century." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/367063.
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This thesis examines and analyses some key issues related to the emergence of Cuban batá ceremony on YouTube. A musical-religious ceremony related to the Afro-Cuban religion commonly known as Santería, batá ceremony has been part of the YouTube landscape since 2006, although its practice in Cuba dates back to the late 19th century. As a traditional musical-religious practice, its mediation through video, and subsequent dissemination and representation on YouTube, is examined in light of how videography and online video-sharing practices affect the performance and meaning of batá ceremony in the real world, offline environment, as well as examining the way that this new, online representation creates new meaning and understanding of batá performance for those who are involved in its practice.
Through examining both the practice of videography at batá ceremony and the production and reception of its online representation on YouTube, I seek to contribute to the growing body of literature that is examining online communities that form around musical practice. This focus on a religious-musical practice also brings into perspective how the effects of modern technological mediation play into
traditional religious practices in the modern era, and how this is affecting ceremonial batá drummers and other religious practitioners, those people who arguably have the biggest stake in these new practices. To do this I utilise ethnographic, participantobservation methods in both the offline environment of batá ceremony, and the online environment of YouTube.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Falck, Lina, and Moa Thörlind. "YouTube och Musikbranschen : En studie i hur artisters användande av YouTube som marknadsföringskanal ser ut i en allt mer digital musikbransch." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35919.
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Denna uppsats syfte är att analysera hur musikartister använder sig av YouTube som marknadsföringsverktyg, samt vilken betydelse YouTube har för dessa artisters marknadsföring. En kvalitativ och induktiv metod har tillämpats, medan ett antal intervjuer samt en innehållsanalys genomförts som grund till det empiriska materialet. Detta för att få en inblick i musikbranschens syn på ämnet, samt även ge en objektiv bild av hur plattformen används som marknadsföringsverktyg. Slutligen menade studien att ge artister och andra arbetande inom musikbranschen, en bild av hur användandet av denna marknadsföringskanal kan förbättras för att skapa en mer effektiv marknadsföring. Den teoretiska referensramen har utgått från tidigare teorier kring YouTubes betydelse, roller och potential inom musikartisters marknadsföring. Teorier kring YouTubes möjliggörande för artister att upptäckas av A&R personer eller nya fans, YouTubes påverkan på musikvideons roll som marknadsföringsmedel, samt teorier kring plattformens påverkan på maktbalansen inom branschen har legat som grund. Även teorier kring ett nytt fokus på opinion leaders; vem och när, samt teorier gällande relationsmarknadsföring, kommunikation, feedback och sampling har tillämpats. Slutligen har teorier kring YouTubes negativa aspekter, såsom svårigheter att sticka ut och illegal spridning setts till. I redogörelsen av det empiriska materialet ingår svar från de intervjuer som genomförts med musikartister samt nyckelpersoner inom branschen. Här redogörs även resultatet från den innehållsanalys som genomförts av de intervjuade artisternas respektive YouTube-kanaler. I analysen sammankopplas den teoretiska referensramen med det empiriska materialet i en diskussion och analys. Detta för att jämföra tidigare teorier med branschens nuvarande syn på forskningsfrågan samt artisternas faktiska användande av plattformen. Även för att belysa vad musikartisterna har för möjligheter att förbättra sin marknadsföring via YouTube, för en mer framgångsrik marknadsföring. De slutsatser som uppsatsen sedan mynnar ut i menar att YouTube har utvecklats till en stark marknadsföringskanal för musikartister. Plattformen är av stor betydelse för musikartisters exponeringsmöjligheter, men det krävs dock andra marknadsföringsaktiviteter för att klipp ska hittas av A&R avdelningar och nya fans. Musikvideon har en fortsatt viktig roll för artisternas exponeringsmöjligheter. YouTube skapar en möjlighet till relationsbyggande mellan artister och fans, men denna möjlighet utnyttjas ej till fullo av artisterna. Feedback via kommentarsfält skulle dock kunna nyttjas för större grad av lärande, samt för starkare relationsbyggande. En nackdel är att YouTube dock tycks vara illegal spridning av material, samt minskad kontroll över eget material. Makten över kreativiteten tycks med YouTube ha flyttats mer mot artisterna själva, men de stora aktörernas nätverk och resurser tycks dock fortsatt viktiga för att ge möjligheter att sticka ut i det enorma mediaflödet.This paper aims to analyze how music artists use YouTube as a marketing tool, and the importance YouTube has for these artists' marketing. A qualitative and inductive approach was used, while a number of interviews and a content analysis conducted as the basis for the empirical material. This to get an insight into the music industry's views on the topic, and also give an objective picture of how the platform is used as a marketing tool. Finally, the study is meant to give artists and others working in the music industry a picture of how the use of this marketing channel can be improved to create a more effective marketing. The theoretical framework was based on earlier theories of YouTube's importance, roles and potential in music artists' marketing. Theories on how YouTube enables artists to be discovered by A & R people or new fans, YouTube's impact on the music video's role as a marketing medium, and theories about the platform's impact on the balance of power within the industry has been the foundatioin. Theories about a new focus on opinion leaders; whom and when, as well as theories on relationship marketing, communication, feedback and sampling have also been applied. Finally, theories of YouTube's negative aspects, such as difficulties to stand out and illegal distribution has been looked into. In the account of the empirical material responses from the interviews with music artists and key people in the industry are included, as well as the results from the content analysis conducted by the interviewed artists' respective YouTube channels. In the analysis the theoretical framework is linked to the empirical material in a discussion and analysis. This is to compare previous theories with the industry's current opinions on the research question and the performers' actual usage of the platform, also to illustrate how music artists could improve their marketing through YouTube for more successful marketing. The conclusions of the essay is of the opinion that YouTube has evolved into a powerful marketing channel for music artists. The platform is of great importance for music artists interms of opportunities of exposure, but additional marketing activities are however required gor the material to be found by A & R departments and new fans. The music video has a continued important role for artists' exposure opportunities. YouTube creates an opportunity to build relationships between artists and fans, but this opportunity is generally not utilized fully by the artists. Feedback via the comment field could be utilized for greater levels of learning, and for stronger relationship building. One negative aspect of YouTube is that it can be considered as a way to illegaly distribute content, and it does add to reduced control over the artists own material. The creative authority seems with YouTube have moved more towards the artists themselves rather than their labels or management, but networks and resources available to the major labels seem to remain important to provide opportunities to be able stand out in the masses f available media on YouTube.
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Rost, Richard, and Oskar Sandström. ""Ni måste se det här klippet" : En studie av gymnasieungdomars Youtube-vanor." Thesis, University of Kalmar, School of Communication and Design, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-511.
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The purpose of this study is to show and explain how and why Swedish young people use Youtube.
We conducted a written survey, asking approximately 120 students between the ages 16 and 18. The survey was carried out in the classrooms in order to receive answers from as many students as possible. We then interviewed six of them to gain further knowledge of why they use Youtube the way they do.
The survey showed that Youtube is used by all of the students and very frequently by most of them. Comedy and music videos are by far the most popular genres that are viewed. In most cases watching video clips on Youtube is a social activity, often combined with both talking about clips and sending and receiving video links to and from friends. Very few upload videos of their own.
Explanations as to why they watch video clips on Youtube can be found in the uses and gratifications theoretical approach. We found that the primary uses of Youtube seem to be motivated by the need for entertainment and filling time. There is also an important social context to the viewing since many of the students talk with their friends and classmates about what they have seen.
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Jin, Youbei. "Integration and assessment of streaming video content and API development into a spaced repetition service." Thesis, KTH, Radio Systems Laboratory (RS Lab), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-142481.
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There are a lot of spaced repetition system based online learning services available nowadays, but none of them are popular or widely accepted as a good means for studying. The problem of these services is, instead of exploiting and utilizing the possibility of modern technology, they simply brought this old school learning method to the web as an application with exactly the same experience as one could have with textbooks and flash cards. This master’s thesis project concerns Sharplet, a spaced repetition system based web service, who is trying to stand out by offering some features that none of the other comparable services have. One of these features is the integration of YouTube video clips, so that in addition to text and pictures, study materials may now include both audio and video material. This thesis begins by reviews spaced repetition systems in general, and then focuses on some of the existing services and how to provide a better service. Next the thesis describes the design, implementation, and evaluation of a new service that includes both audio and video content. The main practical result of this master’s thesis project is a working prototype audio and video enabled spaced repetition based service. Unfortunately, the actual performance of this prototype is unacceptable, hence there is a need to improve its performance before it can be integrated with the production spaced repetition system.Det finns en hel del repetitionssystem baserat online- lärande tjänster som finns idag, men ingen av dem är populära och allmänt accepterat som ett bra sätt för att studera. Problemet med dessa tjänster är, i stället för att utnyttja och utnyttja möjligheten till modern teknik, de helt enkelt fört din gamla inlärningsmetod för webben som ett program med exakt samma upplevelse som man kunde ha med läroböcker och flash-kort. Denna magisteruppsats projektet gäller Sharplet, ett repetitionssystem baserat webbtjänst, som försöker sticka ut genom att erbjuda vissa funktioner som ingen av de andra jämförbara tjänster har. En av dessa funktioner är att integrera YouTube- videoklipp, så att förutom text och bilder, samt ljud och video både är nu tillgänglig för läromedel. Detta examensarbete recensioner repetitionssystemi allmänhet, fokuserar sedan på några befintliga tjänster och hur man kan ge bättre service. Den största utmaningen kommer att undersöka YouTube API och studera användarbeteendeför att ge en bättre användarupplevelse. Det viktigaste resultatet av detta examensarbete är en fungerande prototyp av en ljud -och video aktiverat repetitionsbaserad tjänst. Tyvärr är det faktiska utförandet av denna prototyp oacceptabelt, därför finns det ett behov av att förbättra sina resultat innan den kan integreras med tillverkningen fördelade upprepning systemet.
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Ejembi, Oche Omobamibo. "Enabling energy-awareness for internet video." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9768.
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Continuous improvements to the state of the art have made it easier to create, send and receive vast quantities of video over the Internet. Catalysed by these developments, video is now the largest, and fastest growing type of traffic on modern IP networks. In 2015, video was responsible for 70% of all traffic on the Internet, with an compound annual growth rate of 27%. On the other hand, concerns about the growing energy consumption of ICT in general, continue to rise. It is not surprising that there is a significant energy cost associated with these extensive video usage patterns. In this thesis, I examine the energy consumption of typical video configurations during decoding (playback) and encoding through empirical measurements on an experimental test-bed. I then make extrapolations to a global scale to show the opportunity for significant energy savings, achievable by simple modifications to these video configurations. Based on insights gained from these measurements, I propose a novel, energy-aware Quality of Experience (QoE) metric for digital video - the Energy - Video Quality Index (EnVI). Then, I present and evaluate vEQ-benchmark, a benchmarking and measurement tool for the purpose of generating EnVI scores. The tool enables fine-grained resource-usage analyses on video playback systems, and facilitates the creation of statistical models of power usage for these systems. I propose GreenDASH, an energy-aware extension of the existing Dynamic Adaptive Streaming over HTTP standard (DASH). GreenDASH incorporates relevant energy-usage and video quality information into the existing standard. It could enable dynamic, energy-aware adaptation for video in response to energy-usage and user ‘green' preferences. I also evaluate the subjective perception of such energy-aware, adaptive video streaming by means of a user study featuring 36 participants. I examine how video may be adapted to save energy without a significant impact on the Quality of Experience of these users. In summary, this thesis highlights the significant opportunities for energy savings if Internet users gain an awareness about their energy usage, and presents a technical discussion how this can be achieved by straightforward extensions to the current state of the art.
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Dessì, Giulia. "Voice-over e forme ibride di YouTube: proposta di adattamento del documentario e video essay "The Hobbit Duology"." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20389/.
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Il presente elaborato è costituito dall'analisi di una proposta di adattamento in voice-over dall'inglese all'italiano di The Hobbit Duology, una serie di tre video pubblicati su YouTube che costituiscono un esempio dell'ibridazione dei generi in atto sulla piattaforma: si tratta infatti di un ibrido tra documentario e video essay, un genere diffuso su YouTube che unisce intrattenimento e critica cinematografica. Il progetto ha avuto un duplice scopo: sperimentare il voice-over, una modalità legata in Italia e in Europa Occidentale al documentario e al non-fiction in generale, su uno dei nuovi tipi di prodotti non-fiction di Internet, e analizzare la percezione degli elementi culturospecifici presenti da parte di un pubblico della cultura d'arrivo che grazie a Internet potrebbe avere avuto maggiori contatti sia con prodotti audiovisivi americani che con la cultura del Web, ancora prevalentemente anglofona.
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Kumoto, Rafael Togo. "Colecionando músicas com uma câmera: mediações audiovisuais e hipermidiáticas na produção artística das sessions do YouTube." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2031.
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CAPESNeste trabalho, buscamos analisar uma série de processos de mediação imagética, auditiva e hipermidiática na produção videográfica das sessions, compreendida enquanto circuito de publicações de coletivos cadastrados na plataforma do website YouTube. Inspiradas em produções pioneiras como os Take Away Shows, do blog francês La Blogothèque, e as Black Cab Sessions, idealizadas pelo videasta britânico Jono Stevens, as sessions apresentam registros de performances musicais improvisadas em locais inusitados à prática musical, como monumentos públicos, cozinhas, salas de aula, metrôs, barcas e espaços de grande circulação de pessoas. Com base na premissa de que o vídeo, longe de representar um registro fiel da realidade, implica em processos de tradução e representação dos acontecimentos em imagens e sons – colocados em circulação, por sua vez, em plataformas voltadas à publicação e compartilhamento de vídeos –, desenvolvemos nossa argumentação em três momentos: primeiramente, por meio do estudo da percepção visual e auditiva, buscando nas teorias inferenciais de E.H. Gombrich a compreensão dos fenômenos de interpretação de emissões luminosas e modulações sonoras (constituintes da comunicação videográfica) enquanto processos ativos, baseados em nossas expectativas, vivências e visões de mundo. Em seguida, observamos o sistema no qual as sessions se inserem, por meio da exploração das diversas funcionalidades do YouTube que reforçam a sua condição de plataforma agregadora de conteúdo – apresentando também com maiores detalhes algumas das características mais recorrentes nos diversos perfis de produtores e produtoras do circuito observado. Em um terceiro momento, organizamos nossa análise com base em seus aspectos expressivos, de conteúdo e de participação e relevância, por meio da identificação de características consideradas importantes, tais como rastros de visualidades provenientes de outras mídias e linguagens artísticas, temáticas recorrentes de representação e perfis de participação dos coletivos. Com isso, podemos observar que, por trás da noção aparente de acaso, improviso e informalidade expressa pelas soluções adotadas na materialização das sessions, jaz uma estreita relação entre os distintos modos de performatizar, produzir e circular música comunicados nas cenas retratadas e os valores e visões de mundo daqueles(as) que participam em maior ou menor grau dos processos de negociação inerentes ao circuito – entre eles, bandas e artistas, videastas, operadores(as) de som, público espectador e entidades patrocinadoras.
In this work, we aim to analyze a range of imagery, auditory and hypermediatic mediation processes in the video production of the sessions, understood as a circuit of video publications on YouTube website. Inspired by early productions like french blog La Blogothèque’s Take Away Shows and the Black Cab Sessions, designed by British video maker Jono Stevens, the sessions present recordings of improvised, musical acts in places unusual to musical performance, like public monuments, kitchens, classrooms, subways, boats and high traffic areas. Based on the premise that video is far from portraying a faithful reproduction of reality, thus implying processes of translation and representation of events to images and sounds – moreover, implying their circulation on platforms focused on publishing and sharing videos –, our argument takes shape in three stages: first, through the study of visual and auditory perception, basing ourselves on E.H. Gombrich’s inferential theories to comprehend the phenomenon of interpreting light emissions and sound modulations (both constituents of videographic communication) as active processes, based on our expectations, experiences and view of things. Afterwards, we observe the system where the sessions are based on through the exploration of several YouTube features that reinforce its status as a content-aggregator platform; we also present in greater detail some recurring features shared by producers associated with the observed circuit. In a third step, we organize our analysis based on its aspects of expression, content and participation and relevance, by identifying some characteristics considered relevant, such as other media and artistic languages’ traces of visuality, recurring representation themes and participation profiles of the collectives. This way, we can argue that behind the apparent notion of chance, improvisation and informality expressed by the solutions adopted in the sessions’ materialization processes lies a close relationship between the different ways of performing, producing and circulating music communicated in the depicted scenes, and the values and views of things of those who participate in a greater or lesser degree of negotiation inherent to the circuit – including bands and artists, video makers, sound engineers, viewers and sponsoring entities.
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Weare, Andrea M. "Beauty work : a case study of digital video production and postfeminist practices on YouTube's Icon Network." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3213.
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This dissertation study explored women's labor in the beauty industries of the YouTube vlogosphere, specifically beauty video production on the ICON network, the beauty and lifestyle channel of YouTube entrepreneur Michelle Phan. Via a case study of ICON's YouTube creators and their video production, this dissertation explored female digital labor by interrogating gender, ethnicity, bodies, and power to address two interconnected elements situated particularly in the YouTube vlogosphere: beauty and entrepreneurship. The study's key research questions asked: In the transnational world of digital employment, what are the material and ideological complexities of beauty YouTubers' experiences? And how do YouTubers interpret their technical production, their beauty ideologies, their power, their authenticity, and the material outcomes of their production for themselves and others? Following an analysis of ICON as a company, interviews with its management and video creators, and its video products, the case study's findings reveal that while ICON recruits beauty creators to market on behalf of its retail partners, the creators see themselves as entrepreneurs who negotiate their own stances regarding their beauty ideals, user-generated content, (post)feminisms, and online authenticity.
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Hagersjö, Sandqvist Elias. ""In an ideal world people wouldn’t be watching my videos" : En kvalitativ studie av YouTube-musiklärares syn på sin egen praktik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84523.
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Syftet med denna studie är att undersöka hur internetbaserade musiklärare konstruerar sin syn på videoundervisning. För att undersöka detta har fokusgrupper bestående av internetbaserade musiklärare använts som datainsamlingsmetod. Studien har en kvalitativ forskningsansats och en socialkonstruktionistisk ontologisk och epistemologisk utgångspunkt, och diskurspsykologi används som teoretiskt och analytiskt perspektiv. I resultatet synliggörs tolkningsrepertoarer där olika synsätt på videoundervisning uttrycks. Dessa tolkningsrepertoarer framställs ibland som motstridiga, så som framställningarna av videoundervisning som begränsande respektive som fördelaktigt. Detsamma gäller framställningarna av videoundervisning som något för många respektive som något för få. Däremot rådde samstämmighet i tolkningsrepertoaren som framställer videoundervisning som marknadsstyrt. Resultatet diskuteras i relation till tidigare forskning om instruktionsvideor, YouTube och musiklärares syn på undervisning.The purpose of this study is to examine how internet-based music teachers construct their views towards video lessons. To examine this, focus groups consisting of internet-based music teachers were used as a method for data collection. The study has a qualitative research approach and a social constructionist ontological and epistemological view, and discourse psychology is used as a theoretical and analytical framework. The results shed light on interpretative repertoires where different views towards video lessons are expressed. Sometimes these interpretative repertoires are described as conflicting, such as the descriptions of video lessons as limiting or as beneficial. This is also true for the descriptions of video lessons as something for a large audience or video lessons as something for a small audience. Other interpretative repertoires are unanimous, such as the description of video lessons as market driven. The results are discussed in relation to previous research on instructional videos, YouTube and music teachers' views on teaching.
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Eichenmann, Filip. "Využití on-line videa ve vzdělávání." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-193554.
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The diploma thesis is divided into a theoretical and a practical part. The theoretical part begins with explanation of basic concept of educational videos. The following chapter discusses advantages and possible barriers to using videos in education and presents examples of using videos in the classroom. The next chapter offers introduction to educational portals, selected YouTube channels, video tutorials and an example comparison of self-study versus university degree in a particular specialization. The practical part is divided into two chapters - Analysis of selected videos and Recommended steps for video production. The analytical part examines successful educational videos on YouTube in order to compile the recommended steps for creating quality video content in the last chapter. Included in the last chapter is also an educational video created by the author according to the previously recommended steps. This video was shown to students during a lecture at University of Economics, Prague. The students then filled in a short questionnaire as a feedback about the video. The conclusion summarizes the goals, results and benefits of the thesis.
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McLaren, Laura. "The Lyric Video as Genre: Definition, History, and Katy Perry's Contribution." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38124.
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Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos.
Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.
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Paton, Nathalie. "Vers une individuation médiatisée par la participation à une scène subculturelle numérique : les auteurs de school shootings et leurs publics." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20138.
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Cette thèse traite des school shootings, soit les fusillades perpétrées par des élèves dans leur école. Elle rend compte de la globalisation de ce phénomène, observée depuis que les auteurs des fusillades prémédient leurs actes de violence via l'usage des médias participatifs. Il s'agit d'analyser cette stratégie de communication et montrer comment différents publics se l'approprient. Cette forme de violence produit des événements médiatiques disruptifs globaux. Nous montrons comment les citoyens ordinaires prennent part à ces événements en développant des formes contemporaines de sociation au sein des réseaux sociaux numériques. Nous en singularisons notamment une, la communauté cocon. Parmi ces publics ordinaires, on voit également émerger un contre public, celui des school shootings. Ils investissent les médias participatifs pour rappeler qu'une révolte souterraine se prépare. Ils la font vivre au quotidien dans une scène subculturelle numérique hébergée par YouTube, via des vidéos à l'effigie des tueurs. Leurs pratiques communicationnelles sont au cœur de cette thèse tant leur association est suspectée d'alimenter le vivier de futurs tueurs. L'investigation de cette subculture nous a amenée à singulariser le fait que les plus extrêmes, ceux qui passent à l'acte, s'engagent dans un processus d'individuation posthume d'anti-sujet. Si les auteurs des fusillades connaissent l'issue fatale qui les attend, un suicide by cop, ils la déjouent avec leurs stratégies médiatiques. En mobilisant des procédés imitatifs, ils instrumentalisent les médias pour garantir la signification de leurs actes et prendre leur revanche sociale en accédant au statut d'anti-hérosThis thesis deals with the phenomenon of "school shootings". It accounts for the globalization of this phenomenon, observed since school shooters started using participatory media for communication strategies. This thesis analyzes this strategy of premediation and shows how their audiences appropriate it. This extreme form of school violence creates global disruptive media events. We show how ordinary citizens take part in this event by developing contemporary forms of sociation in digital social networks. We shall highlight one particular: the cocoon community. Among the ordinary audience of the media event, we see the emergence of counter-public, “school shooting” fans. The use participatory media to remind everyone that an underground revolt is underway. The remind us of this daily in broadcasting videos to the effigy of the killers on a digital subcultural stage hosted by YouTube. These fans, as well as their audiovisual and communication practices, are at the heart of this thesis, as their subculture is suspected of constituting a pool of future killers. The investigation of this subversive subcultural scene has led us to single out a phenomenon that is characteristic of the youth in search of points of reference beyond good and evil. The most extreme, those planning to act, appear to engage in what we call a process of posthumous anti-subject individuation. Even if they know the fatal outcome awaiting them, “a suicide by cop”, they thwart it with their media strategies. By the means of imitation, they guarantee the attribution of meaning to their acts and instrumentalize the media to take their revenge by achieving social fame and the status of an anti-hero
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Holmbom, Mattias. "The YouTuber : A Qualitative Study of Popular Content Creators." Thesis, Umeå universitet, Institutionen för informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-105388.
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Den sociala videoplattformen YouTube firar i år sitt 10-årsjubileum och har under den tiden bildat en kraftfull kultur. Över en biljard användare som delar och tittar på videoklipp innebär att tusentals individer kan kalla webbplatsen YouTube för sin arbetsplats. Genom att skapa videoklipp som många tycker om bildas en enorm attraktion till vissa kanaler och utifrån detta genereras så kallade YouTube-kändisar. Den här kvalitativa studien dyker in i upplevelsen av att inneha en populär YouTube kanal genom att intervjua fem individer som besitter just en sådan. Är det verkligen drömjobbet som alla talar om? Resultaten visar en talande ökning av entreprenörskap på YouTube. För att bygga en publik krävs strategi och passion. Denna undersökning resulterar i en överläggande förståelse för hur deras personliga framgång har gått till, men även en aning om var YouTube är på väg i framtiden.
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Hora, Samuel. "Fenomén video tutoriálů na YouTube." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-373001.
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The diploma thesis discusses the phenomenon of tutorials uploaded on the most visited server for viewing and sharing video content nowadays - YouTube. The term tutorial here is used for referring to the specific instructional video content, which primarily aims to show, by means of the step by step illustration, how to proceed within particular activity that usually requires to adopt a certain extent of specialized knowledge or skills. At the same time, the attention is focused on the graphic design and fine art tutorials. The main goal of the thesis is to answer following question: what motivations might internet users have both for the reception and for the production of tutorials. In other words, the thesis is oriented on searching for the highest possible amount of motives that can lead to the viewing as well as to the shooting of this specific media content. Therefore, this requires examining a given field from two different perspectives: from the perspective of receiving viewers and from the perspective of video makers. Whole thesis structure is then subordinated to these two perspectives. The first part introduces the relevant theoretical approaches related to the tutorial reception/production, whereas the second practical part is devoted to the presentation of particular motivation...
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Wu, Tzu-man, and 吳姿漫. "MyYouTube：Recommending YouTube Videos Based on Video Reviewers and User Preference." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/8q4b7r.
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碩士國立臺灣科技大學
電機工程系
99
The typical recommendation method of YouTube is to search those videos with similar titles or tags that are chosen and marked as favorite videos in a user account. There are four drawbacks in this method. First, not every user has a YouTube account, which may cause a cold-start problem of the collaborative filtering recommender system. Second, this method may easily be restricted to certain titles and tags and therefore neglect other videos in which a user may be interested. Third, this method may easily recommend the same videos due to successively clicking. Fourth, if the user wants to focus on a certain program, it is easy for YouTube to recommend videos of other programs because of the similarity of the titles or tags. This thesis presents a recommendation system called MyYouTube. It is mainly to recommend various and lowly repeated videos for those users who have preference about certain program but no specific watching objective. In the aspect of recommending a single program, the system simply extracts the related videos of the program from YouTube as it is very straightforward to search a specific program. In the aspect of providing various topic videos, the system adopts the network between the videos and the reviewers from YouTube to generate a recommendation watching list and also reweigh the co-reviewers between the videos which are successively being clicked. By doing this way, the videos can be recommended in priority if their reviewers have similar choices as the user. The system can also filter the videos that have many negative marks by using the preference of the reviewers. In the aspect of reducing repeated recommendation, the system uses a user's preference to decrease the weights of videos which have been previously recommended and browsed, but not elected by the user. Our experimental result demonstrates that, with same searching keywords, the proposed MyYouTube recommends more videos with various topics than YouTube in the first 22 recommendation items. In addition, MyYouTube can distinguish more efficiently than YouTube the titles of the videos of having being browsed or not by the user to reduce the repetition of recommending videos.
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Chang, Chao-Wei, and 張晁偉. "Accident Video Detection from YouTube Videos for Self-driving Cars." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/543884.
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碩士國立臺灣科技大學
電子工程系
107
As the perception technology of autonomous driving cars received attention in recent years, more and more researchers have investigated this issue. Specifically, to avoid car accident in road scenes is one of the critical issues for autonomous driving cars. In order to avoid car accidents, the autonomous driving cars should own the capability to detect car accidents in advance. To this end, in this thesis, we propose a novel three-stage classication architecture for dash-cam videos. First, the CNN-LSTM networks are used to detect out-of-control vehicles. Next, taking advantage of state-of-the-art object detection and object tracking schemes, we leverage the ratio of Intersection-over-union (IoU) of two bounding boxes from two vehicles to detect car accidents at the front-view images. Finally, cooperating with the inverse perspective transformation, we can confirm a car accident by using the occupancy map in the bird-view. The major contribution of this thesis is to propose a simple but eective car accident detection system based on neural networks, which can determine which frame a car accident occurs, point out which cars cause a accident and record their driving trajectories as well.