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1、Likes and views: Investigating internet video content creators perceptions of popularityMaria Törhönen 1) Gamification Group, Laboratory of Pervasive Computing, Computing and Electrical Engineering, Tampere Un

2、iversity of Technology, Finland. 2) Gamification Group, Tampere Research Center for Information and Media, Faculty of Communication Sciences, University of Tampere, Finland. maria.torhonen@uta.fiMax Sjöblom 1) Gamif

3、ication Group, Laboratory of Pervasive Computing, Computing and Electrical Engineering, Tampere University of Technology, Finland. 2) Gamification Group, Tampere Research Center for Information and Media, Faculty of Comm

4、unication Sciences, University of Tampere, Finland. 3) Aalto University School of Science max.sjoblom@tut.fiJuho Hamari 1) Gamification Group, Laboratory of Pervasive Computing, Computing and ElectricalEngineering, Tampe

5、re University of Technology 2) Gamification Group, Digital media, Faculty of Humanities, University of Turku3) Gamification Group, Tampere Research Center for Information and Media, Faculty ofCommunication Sciences, Univ

6、ersity of Tampere juho.hamari@uta.fi 1. IntroductionThe online environment encourages digital natives to participate in various forms of collaborative and productive efforts through their use of social media and digital

7、 services such as Facebook, Wikipedia, Instagram and YouTube. These type of activities have turned the consumer of online media content and channels into a social prosumers (Fuchs, 2014; Ritzer 2010, 2015), which is p

8、articularly evident in the prosumption activities of social video content. Social video content is generated by private individuals and distributed to social networks through commercial services such as YouTube, Twitch

9、 and Facebook live. The rapid developed of supporting technologies (live-streaming, VR video formats, short video “story” integrations), dissemination platforms and even monetisation services (subscriptions, partnershi

10、p programmes, donations) related to the creation of video content, have made this activity more approachable and available for the general public. Additionally, the emergence of online video influencers and celebritie

11、s such as PewDiePie and Zoella, has increased the allure of online fame and fortune, associated with social video content creation. The increase in the popularity of this activity has led to greater competition for the

12、 attention of the online audiences and their engagement with content Social video content creation revolves around a complicated set of new economic structures that combine both play and labour, playbour (Kücklich,

13、 2005; Castronova, 2005; Lehtovirta Huberman, 2009, 2013). 108 GamiFIN Conference 2018, Pori, Finland, May 21-23, 2018Published in Proceedings of the 2nd International GamiFIN Conference (GamiFIN 2018) pp. 108-114. E

14、ds. by Koivisto J. & Hamari J. CEUR Workshop Proceedings vol 2186. CEUR-WS. ISSN:1613-0073. http://ceur-ws.org/Vol-2186/paper13.pdfOther 5 1.3% Student 131 35.6% Unemployed 61 16.1% Age 21 5.4% 3. Results Th

15、e results, presented in Table 2, indicate that content producers place importance in entertainment value, interaction and communication, personality, originality and activity level to a greater extent (M>5), and to

16、a smaller extent related to the topic of videos, technical skills, search optimization, technical equipment, profile appearance, skill of the host and sharing personal experiences (5>M>4). Content producers felt

17、networking with other producers, offline presence and agents to be of less important (4>M>3), and even less so with props, special guests and sex appeal (3>M). In regards to effort, content producers placed gr

18、eater effort in entertainment value, interaction and communication, personality, originality, technical skills and topic of videos (M>5). They placed slightly less effort on activity level, search optimization, tech

19、nical equipment, profile look, skill of the host and sharing personal experiences (5>M>4). Less effort was placed on networking with other producers and offline presence (4>M>3), and least effort content pr

20、oducers reported for agents, props, special guests and sex appeal (3>M). Table 2. Descriptive means and standard deviations for perceived importance and effort. Aspects of popularity Description Importance Effort

21、 Mean SD Mean SD 1 Entertainment value of the videos How enjoyable or fun the content is 5.65 1.231 5.5 1.401 2 Interaction and communication with audience Direct communication with the audience through comment

22、s, chats etc. Primarily non- promotional and community enhancing. 5.55 1.494 5.5 1.689 3 Your personality as the host of the videos The personality traits portrayed or enhanced within the video 5.33 1.554 5.15

23、1.783 4 Originality Originality of the video content 5.08 1.492 5.04 1.672 5 Activity levels/frequency of posting How often content is published 5.01 1.601 4.64 1.94 6 The typical topic of the videos you sh

24、are The typical topic of video content 4.96 1.532 5 1.705 7 Technical skills Technical skills of the content creator related to video production (e.g. editing skills) 4.89 1.502 5.09 1.727 110 GamiFIN Conferen