Pinte di Storia. Divulgazione storica ai tempi di Youtube

Video Vortex Reader III: Inside the YouTube Decade, 2020

INC Reader #14 Video Vortex Reader III: Inside the YouTube Decade Editors: Geert Lovink and Andreas Treske https://networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade/?fbclid=IwAR2AKXftunoPYKAkNFBrOEIDUFmJejOW87ZG973cLO8DhAEPVQl3KiDpMw4 What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smartphone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist! Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. Video Vortex has produced two anthologies, a website, a mailing list, 12 international conferences, several art exhibitions, and more to come as the internet and video continue to merge and miniaturize. The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019, where the foundations for this publication where laid before its production began in the midst of the corona crisis. The contributions herein respond to a broad range of emerging and urgent topics, from bias in YouTube’s algorithms to the use of video in messaging, image theory, the rise of deep fakes, a reconsideration of the history of video art, a reflection on the continuing role and influence of music video, indy servers, synthetic intimacies, love and sadness, artist videos, online video theory in the age of platform capitalism, video as online activism, and the rise of streaming. Click, browse, swipe, like, share, save, and enjoy! Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Albert Figurt, Oliver Lerone Schultz, Ana Peraica, Forian Schneider, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang. Editors: Geert Lovink and Andreas Treske Copy editor: Jack Wilson Cover design: Berkay Donmez Design and EPUB development: Tommaso Campagna Institute of Network Cultures, Amsterdam, 2020 ISBN/EAN Paperback: 978-94-92302-61-8 ISBN EPUB: 978-94-92302-60-1 This publication is licensed under Creative Commons Attribution NonCommercial ShareAlike 4.0 Unported (CC BY-NC-SA 4.0)

Revista Gaúcha de Enfermagem, 2017

RESUMO Objetivo Descrever como a segurança do paciente é abordada nos vídeos compartilhados pelo sítio YouTube. Métodos Pesquisa descritiva, de abordagem quantitativa. A coleta de dados foi realizada em maio de 2015, no campo de busca do YouTube com o descritor “segurança do paciente”. A amostra foi de 92 vídeos analisados com auxílio de instrumento construído pelos pesquisadores a partir de estatística descritiva simples. Resultados Os vídeos denotaram um conceito positivo acerca da segurança do paciente, pautado em uma visão sistêmica, que busca superar a cultura de punição em prol da promoção da cultura de segurança. Conclusões Compreende-se que a seleção e a reprodução adequada de vídeos pode qualificar o processo formativo de estudantes e profissionais de saúde, além de otimizar o envolvimento do cidadão em sua segurança a partir da distribuição de materiais informacionais de qualidade.

2010

Revista Latina de Comunicación Social

Las redes de la web 2.0 se han convertido en uno de los medios más utilizados por las organizaciones del Tercer Sector. En esta investigación se analizan los aspectos formales, de contenido y de significación de los vídeos emitidos por estas organizaciones a través de YouTube. Metodología. Utilizando como herramienta metodológica el análisis cuantitativo de contenido, se lleva a cabo el estudio de 370 mensajes representativos de este tipo de comunicaciones, con el objetivo de definir los perfiles característicos de estos mensajes audiovisuales. Resultados. Se pone de manifiesto que los vídeos emitidos muestran bajos niveles de creatividad, incorporan mucha información transmitida de una forma clara, con predominio de contenidos explícitos y formatos muy similares. Conclusiones. A partir de los resultados obtenidos, concluimos que estas organizaciones generan una comunicación previsible que tiende a estructuras homogéneas y fácilmente identificables en dos perfiles: Perfil de carácte...

MEDIA, KNOWLEDGE AND EDUCATION: Cultures and Ethics of Sharing. MEDIEN – WISSEN – BILDUNG: Kulturen und Ethiken des Teilens, 2012

Diese Publikation wurde mit finanzieller Unterstützung des Dekanats der Fakultät für Bildungswissen schaften, des Dekanats der Fakultät für Betriebswirtschaft, des Vizerektorats für Forschung der Universität Innsbruck (Sonderbudget HYPO 2012) sowie des Fonds zur Förderung der wissenschaftlichen Forschung (FWF, ProjektNr. P 21431G16) gedruckt.

Denicoli, S. and Sousa, H. (Eds.), Digital Communication Polices in the Information Society Promotion Stage, 2012

"The aim of this article is to provide an overview of the emergent Italian Web TV ecosystem. We begin by sketching a summary of the Italian media scenario, focusing on three related aspects: the Rai-Mediaset duopoly, the Berlusconi anomaly and digital evolution of the TV system. We then switch to the Italian digital resistance scenario and describe some of the most interesting experiences developed in the Italian context. In the third part, we dissect and analyze the phenomenon of Italian Web TVs, exploring its roots, legal status, producers and audiences. We conclude by providing a reflection on Italian Web TVs as an ecosystem, both by pointing out some future challenges it will face within the Italian media scenario and by focusing on the role of active citizens and unprofessional producers in changing the scenario and in advocating pluralism and creativeness."

Journal of Italian Cinema and Media Studies, 2023

In this exclusive conversation, MYmovies.it founder and CEO Gianluca Guzzo sits down with Antonio Falduto, Glen Bonnici, Jim Carter and Flavia Laviosa to discuss his business, which is part online cinema magazine and part streaming platform. Guzzo gives an historical overview of the development of MYmovies.it before turning to the ongoing COVID-19 pandemic, during which the website pioneered a digital service for replicating the in-person film festival experience. This history serves as a jumping-off point for a series of reflections on the future of film festivals, the distribution of Italian cinema domestically and internationally and the need to promote quality, independent productions. In contrast to most commentators published in this journal, Guzzo speaks as a businessperson who is concerned with marketing Italian cinema in the world, including the use of data for commercial purposes.

2021

Brazilian YouTuber Everson Zoio's channel is used as an analytical entry point into this study about temporalities, fl ows and media matrices in this audiovisual form whose main material dimension is a body that off ers self-fl agellation for consumption. This body's performance is composed of varied images of time and activates media matrices and their transformations. Mediations and cultural mutations, terms from Jesus Martín-Barbero, are taken as analytical dimensions. The objective is to invest in a communicational and historicized approach to YouTube's characteristic textualities, in this case demonstrating that each temporal action Zoio engenders is tension/ friction from other temporalities, as well as a condition for the functioning of the mediatic instance.

Cinema Journal, 2009

YouTube has come to epitomize the possibilities of digital culture. With more than seventy million unique users a month and approximately eighty million videos online, this brand-name video distribution platform holds the richest repository of popular culture on the Internet. As the fastest growing site in the history of the Web, YouTube promises endless new opportunities for amateur video, political campaigning, entertainment formats, and viral marketing—a clip culture that has seemed to outpace both cinema and television. The YouTube Reader is the first full-length book to explore YouTube as an industry, archive, and cultural form. This remarkable volume brings together renowned film and media scholars to debate the problems and potential of "broadcasting yourself." The YouTube Reader takes on claims of newness, immediacy, and popularity with sytematic and theoretically informed arguments, offering a closer look at the available texts on YouTube and the policies and norms that govern their access and use.