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Going by car to the airport this winter? Plan ahead to reap the rewards: How to dodge sky-high parking charges Vlogs renew attention and help maintain the interest first generated by tutorials, leading to treasured subscribers –an essential commodity within YouTube’s highly competitive environment.Secret wonders of the planet revealed: Fascinating book unearths spellbinding hidden places from wild hairpin roads to magical valleys and bizarre boulder houses I argue that the guru’s uploads lead to two types of audiences –casual viewers and loyal subscribers. Drawing from concepts as ‘attention economy’ and ‘metrics of popularity’ (Burgess and Green, 2009a, 2009b), I explore content characteristics and affordances for the creation and maintenance of viewers’ attention. An emerged content typology beyond tutorials and vlogs is introduced, presenting four distinctive video categories: content-oriented, market-oriented, motivational, and relational.
I consider the case of Bubz, a British-Chinese beauty guru, through a purposeful sample of 80 videos. I conceptualize the role of views and subscriptions as popularity markers, based on a broader ethnographic examination of 22 months of immersed fieldwork on the platform. This paper focuses on issues of attention and popularity development on YouTube’s beauty community. We argue that the response to YouTubers in more traditional media outlets demonstrates recognition of their visibility and appeal to a younger audience, whilst also signifying apprehension towards a phenomenon that potentially threatens both the existence of traditional media forms, and the influence of traditional media professionals. YouTubers' claims to fame are thus simultaneously legitimised by giving them coverage and delegitimised within said coverage, echoing media treatment of other 'amateur' celebrities such as reality stars and citizen journalists. Key themes recur in coverage, including YouTubers' presumed lack of talent and expertise, the alleged dangers they present and the argument that they are not 'really famous'. However, in much adult-oriented mainstream media, YouTubers are presented as fraudulent, inauthentic, opportunist and talentless, making money from doing nothing. Youth-oriented media have capitalised on the phenomenon, placing vloggers alongside actors and pop stars. In this paper, we present a thematic analysis of broadcast and print media representations of YouTube celebrity.
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