Governments continue to hold an integral role in supporting creative industries. This is showcased with Australian government funding creative industries. Australian producers have entered a Treaty with other countries such as Canada, China, France, Germany, Ireland, Italy, Israel, Korea, New Zealand, Singapore, South Africa, and the United Kingdom. The requirement of the Treaty ensures every coproducer brings 2 factors to the project that must be reasonably proportionate of a financial and creative contribution. This allows for

increased promotion and coverage of Australia as a co-producer worldwide, through projects created. To be granted funding from Screen Australia, features must pass the eligibility test which is known as the Significant Australian Content test. This test is measured by, the subject matter, location of the film, nationalities present and places of residence for individual taking part in the making of the film (Screen Australia, 2021).

An Official co-production is that of production companies that locate countries within the negotiated and signed an official treaty to commence working with. An Unofficial co-production is for those countries who do not have a relevant treaty in place, although continue to produce work. “Co-production treaties help the cooperating companies/countries to work together more efficiently, with less risk of misunderstanding, which saves time and money. This encourages more co-productions to be created, which is ultimately the reason treaties of any kind exist: to facilitate agreement, which increases trade” (Davis, 2014).

A case study we investigated in the lecture is ‘The Meg’, a film about a group of scientists exploring the Marianas Trench encounter the largest marine predator that has ever existed know as the Megalodon. This is a co-production between the US and China, where majority of the filming took place in New Zealand and included a large international cast of stars. The Chinese government requires censorship over their productions, allowing them to gain US$50.3 million for the first weekend and a global weekend of US$141.3 million, when ‘The Meg’ was broadcasted (The Meg, 2018).

While watching ‘The meg’ I personally noticed the censorship incorporated within the film.  Limited course language and sexual references were included, much different to other films with little to no restrictions. For me when watching this film, I enjoyed is regardless of the censorship, and I was still able connect with the characters and bring relation to myself and my own life.

References:

Davis, B., 2014. An Introduction To Chinese Films And TV Co-Productions | Student Resources. [online] Nyfa.edu. Available at: https://www.nyfa.edu/student-resources/introduction-chinese-films-tv-co-productions/

New Zealand Film Commission. 2018. The Meg. [online] Available at: https://www.nzfilm.co.nz/international/showcase/meg

Screen Australia. 2021. Significant Australian content – Eligibility – Guidelines – Producer Offset – Funding and Support – Screen Australia. [online] Available at: https://www.screenaustralia.gov.au/funding-and-support/producer-offset/guidelines/eligibility/significant-australian-content

Quality TV is defined by what it is not, it is not ‘regular’ TV (Boisvert, S., 2018). It attempts to define quality TV reliant on contrast to its assumed opposite such as reality TV. Within the commercial industry, quality refers to ‘quality audience’ the aim to capture through advertisements being educated, upscale, urbane demographic. During the week 3 lecture we addressed the fact that some critics say that quality is a marker of value, suggesting that some programs are better than others. For individuals, who seek out a more educational approach to their TV the textual attributes of high production values, serious themes, and connection to other more culturally legitimate and prestigious media such as literature and cinema is favoured.

For me personally, quality TV is dependent upon the individual watching and what they identify with as quality.  I personally believe that reality TV of quality, as I am able fully indulge myself within the show, build connections with the stars and find a way to relate to them within my life. Many people would disagree with me and say that reality TV is ‘trash’ not challenging go one’s mind and intellect, in comparison to documentaries or films based on academic topics would.

Chalaby (2016) examines the slow growth of scripted formats internationally, their adaptation is far more complex than other genres, but there is a high risk associated with the translations within scripted shows making the production much more expensive than reality television. There is a complexity of capturing the original principle of drama and comedy of the show and making it work elsewhere. Shameless is a great example of this as they have made a UK version and a US version both follow a working-class family. Frank Gallagher and his six children suffer due to his addiction and the eldest daughter must look after everyone in the house. The first 2 series of the UK series are untouchable, but there is a steady decline from there. The US series, however, continues to improve after season 3. A major difference between the two shows is that in the US one all the Gallagher’s stuck around. They remain a central family and the show didn’t need to rely on side characters to keep the show successful.

Quality TV is defined by what it is not, it is not ‘regular’ TV (Boisvert, S., 2018). It attempts to define quality TV reliant on contrast to its assumed opposite such as reality TV. Within the commercial industry, quality refers to ‘quality audience’ the aim to capture through advertisements being educated, upscale, urbane demographic. During the week 3 lecture we addressed the fact that some critics say that quality is a marker of value, suggesting that some programs are better than others. For individuals, who seek out a more educational approach to their TV the textual attributes of high production values, serious themes, and connection to other more culturally legitimate and prestigious media such as literature and cinema is favoured.

For me personally, quality TV is dependent upon the individual watching and what they identify with as quality.  I personally believe that reality TV of quality, as I am able fully indulge myself within the show, build connections with the stars and find a way to relate to them within my life. Many people would disagree with me and say that reality TV is ‘trash’ not challenging go one’s mind and intellect, in comparison to documentaries or films based on academic topics would.

Chalaby (2016) examines the slow growth of scripted formats internationally, their adaptation is far more complex than other genres, but there is a high risk associated with the translations within scripted shows making the production much more expensive than reality television. There is a complexity of capturing the original principle of drama and comedy of the show and making it work elsewhere. Shameless is a great example of this as they have made a UK version and a US version both follow a working-class family. Frank Gallagher and his six children suffer due to his addiction and the eldest daughter must look after everyone in the house. The first 2 series of the UK series are untouchable, but there is a steady decline from there. The US series, however, continues to improve after season 3. A major difference between the two shows is that in the US one all the Gallagher’s stuck around. They remain a central family and the show didn’t need to rely on side characters to keep the show successful.

Reference:

Boisvert, S., 2018. The rise and fall of the HBO empire: vinyl and the gender of TV legitimation. In HBO’s Original Voices (pp. 29-44). Routledge.

Chalaby, J.K., 2016. The format age: Television’s entertainment revolution. John Wiley & Sons.

Snetiker, M., 2017. Shameless cast, creator on how the show could end. [image] Available at: https://ew.com/tv/2017/11/03/how-should-shameless-end/

TVtropes, 2013. Series / Shameless (UK). [image] Available at: https://tvtropes.org/pmwiki/pmwiki.php/Series/ShamelessUK

Blog Post 1

During Week 1 we discussed Cultural proximity. This is defined as the intuitively appealing notion, that people will gravitate toward media from their own culture (Ksiazek and Webster, 2008).

How and why do reality television formats cross borders?

Reality Television transcends through different cultures, the combination of cultural fluidity and nationalism is a central characteristic of reality formatting. Cultural fluidity is useful and necessary for television production companies, this enables them to sell their products across borders, making increased profit. Reality TV is easily accessed through multimedia platforms as the demand for pop culture is high and is effortless way to illustrate shared culture.

Love Island is a reality tv show where a focus group of women and men undertake multiple tasks with a partner that is continually swapped until they meet the love of their life.

This show is an example of reality tv that formats across borders as you can watch Love Island UK, US and AUS. The individuals within the show are from multiple different backgrounds, also showcasing different cultures within the one realm. Some people would say that the reason these shows generate such interest is because reality tv formats a “go anywhere” quality and is easily culturally adaptable for the individual watching. This adds added value our unprecedented times, where travel isn’t something, we can take partake in due to the pandemic; these shows can act as an escape and can provide people with a feeling of belonging. Reality tv often uses cultural differences to make the show more entertaining and can may bypass political correctness and adequate cultural representation to have a better show and gain a wider response from the viewers (Reality TV transcends all borders, 2021).

Reality television formats cross borders, as it gives the viewers an insight into the reality stars world, where they can gain an understanding and become immersed into something new and different. For me reality tv is an escape of my own reality and allows for me to fully engage in the life these individuals are leading, allowing me to put my mind at ease, and escape from my own personal life.

What does this tell us about the modern media environment?

The modern media environment is ever changing and evolving. Some speculate that the reason these shows generate such interest is the unprecedented bringing together of “real” individuals, who don’t portray a character and broadcasting their coexistence, interactions, drama, and conflict. The modern-day media environment enables for network programming that captivates millions with each new episode. As addressed in the lecture, people can now participate in the reality tv through live voting, tweeting etc, these only being made accessible through modern day technologies.

Reference:

CULTURS — lifestyle media for cross-cultural identity. 2021. Reality TV transcends all borders. [online] Available at: https://www.cultursmag.com/reality-tv-transcends-all-borders/

Ksiazek, T.B. and Webster, J.G., 2008. Cultural proximity and audience behavior: The role of language in patterns of polarization and multicultural fluency. Journal of Broadcasting & Electronic Media, 52(3), pp.485-503.

Ravindran, M., 2020. ‘Love Island’ U.K. Eyes Late-Summer Broadcast as Coronavirus Hits ITV (EXCLUSIVE). [image] Available at: <https://variety.com/2020/tv/global/love-island-uk-coronavirus-august-september-itv-1234582105/&gt; [Accessed 27 August 2021].

How is the documentary Blackfish is an example of speciesism?

Speciesism refers to the belief that other animal species are inferior to that of humans, that we are classified at the top of this “human-held” hierarchy pyramid (What Is Speciesism? Get the Definition Now | PETA FAQ, 2021).

In 2013 the Documentary Blackfish was released, it tells the sorry of a captive killer whale called Tilikum, who has taken the lives of several people working at a sea-park. Blackfish addresses the problems within the industry, the relationships humans have with nature and the misrepresentation and understanding of these highly intelligent creatures (Blackfish, 2013).

What do you want to know about?

I want to investigate why humans believe they have this “right” to exploit other species for their own greed and consumption. I think it’s important to investigate further ways in which we as humans can help in demolishing this idea of speciesism and to start changing our ways for good and getting involved with different traditions we can help.

Why is your question worth investigating?

The week 4 content addresses the concept of ‘Invisible Animals’, I interpreted this as animals not having a voice. In this particular case its marine life being taken captive, stolen from their mothers and forced to grow up in captivity for human entertainment and consumption. The ocean makes up 71 % of the Earth’s surface, and the oceans hold about 96.5 percent of all Earth’s water (How Much Water is There on Earth, 2021). From those percentages it is obvious how extremely cruel and torturous it is to keep an 8 metre Orca or even any sort of marine animal in a small tank their entire life when in nature they have endless amounts of space to be free.

Who does it matter too?

This research question is so important because humans need to take initiative and help out animals as they don’t have a voice. We need to be the voice for them, it’s our duty to protect them and save them from what humankind has done and continues to take advantage of these innocent creatures. It matters to us because we are the ones that are exploiting animals for our own gain which will affect all species and cause them to go instinct. We need to be made aware and held accountable so We can actively change and make a positive difference in the world.

What do I already know about this topic?

I already know a few examples of speciesism in our modern day and age, as I am so passionate about animal rights and giving a voice for animals to spread awareness about these injustices committed against these innocent creatures, in turn hopefully help protect them from our destructive and greedy ways. One person who continues to influence me every day through her activism work is Peggy Oki. Oki 64-year-old American skateboarder, surfer, artist, and environmental activist from America. She was one of the original members and the only female member of the Z-Boys skating team (Peggy Oki, 2019). Oki is currently a founder and director of the Origami Whales Project which focuses on raising awareness and the protection of whales and dolphins. She also takes part in public speaking and being an environmental art instructor for the Whales and Dolphins Ambassador Program which educates students about different environmental issues and how we can do our part to better this world and help save it (Oki, 2020).

There were around 3 million whales killed in the 20th century alone. After the moratorium in 1986 Oki did some research and discovered that whales were still being killed more and more each year. She gained the attention of the Santa Barbara Whale Festival Organiser with her artworks of whales, which led her to the campaigning of 1400 origami whales that represented 1400 whales that are killed every year. Many people of all ages took part in the origami making and animal welfare organisations shared the campaign which gained the attention from people all around the world, who then began sending her origami whales. Oki was then provided the opportunity to present the origami whales to the International Whaling Commissioner of the United States which started up her organisation called The Origami Whales Project. The project now displays thousands of little origami whales, Oki says people often come out of the exhibit crying after seeing thousands upon thousands of whales that represent dead whales (Allow things to unfold and you will find your purpose in life | Peggy Oki | TEDxQueenstown, 2016). She inspires me to continue to fight for the rights of these invisible animals and aim to demolish speciesism.

References:

• Allow things to unfold and you will find your purpose in life | Peggy Oki | TEDxQueenstown. 2016. [film] New Zealand: TEDx.
• Oki, P., 2020. About Peggy Oki. [online] Peggyoki.com. Available at: https://www.peggyoki.com/about-me
• PETA. 2021. What Is Speciesism? Get the Definition Now | PETA FAQ. [online] Available at: https://www.peta.org/about-peta/faq/what-is-speciesism/
• Rotten Tomatoes. 2013. Blackfish. [online] Available at: https://www.rottentomatoes.com/m/blackfish_2013
• USGS: Science for a Changing World. 2021. How Much Water is There on Earth. [online] Available at: https://www.usgs.gov/special-topic/water-science-school/science/how-much-water-there-earth?qt-science_center_objects=0#qt-science_center_objects
• Wikipedia, The Free Encyclopedia. 2019. Peggy Oki. [online] Available at: https://en.wikipedia.org/wiki/Peggy_Oki

We all know that swimming is great exercise. But did you know that swimming is as good for your mind as it is for your body?

Globally, about 450 million people are affected by mental health. 1 in 4 people will suffer from mental health problems in their lifetime.

While nothing can replace professional help, going for regular swims can assist in adding to your self-car routine. Swimming can reduce symptoms of anxiety and depression. Even if you don’t suffer from mental health issues, being in the saltwater can still reduce stress and improve your mood.

How?

Well swimming releases endorphins Yes, you heard me right, swimming stimulates the release of the feel-good chemicals called endorphins in our brain. Endorphins are produced by our Nervous System to help us deal with pain or stress, which promote positivity, and boost one’s sense of wellbeing.

5 ways the ocean helps our mental health:

1. Stress relief

Swimming is a fun and effective way to relieve stress, possibly more so than other type of physical exercise. Being in contact with water, by itself, can help to loosen up both body and mind. Better still, being immersed in water while swimming, playing close attention to your technique as you practise the regular rhythm of your swimming strokes can have a very relaxing, almost meditative effect on the mind.

2. Healthy brain

A recent study shows that being immersed in water boosts the blood flow to the brain. This increases the supply of oxygen, glucose and nutrients which would suggest a positive impact on brain health.

3. Lower anxiety and depression

In research carried out with the participation of 4,000 swimmers across the world, ¾ agreed that water-based activities helped release tension, while 68% of people felt being in the water made them feel happier in themselves. The human body is made of about 70% water – no wonder, then, that many people feel drawn towards water and that being near the sea has a soothing influence on the mind

4. Zero cost

Swimming is a great way of getting active without hurting the bank. Less money spent on a pricey gym membership means more money to spend on other things you enjoy. Win-win!

5. Gets you out of the house

Another awesome thing about swimming is that you can’t do it in your bedroom. It’ll pull you out of your comfort zone and might even get you mingling with some new people.

Check out these meditative 30 second videos on tiktok that will motivate you to take part in the mindful activities so you can just to stop for a second and be present. Trust me you won’t regret it #seathegood

I’m using TikTok as my field site to display the underwater world and show how special it is. TikTok uses an algorithm to group people into different feeds according to what they like and follow. I will attempt to illustrate to the audience not just the beauty our world has to offer but I intend to give them reasons why we NEED to protect it.

I found one of our weekly readings really helpful because according to Leon Anderson analytic auto-ethnography is when the self-observer fully immerses themselves in the field of research (Anderson, 2006). This is why I will not only be observing but getting involved with the experimentation of how to actually make it in the media professionally.

In week threes lecture I learnt that observation and auto-ethnography in really important, I will be using these techniques to self-reflect on the work that I’ve done and observe the work of others in my specific field to examine why they gain such a response from their audience. I believe through my TikTok I can potentially gain the views then expand my social media through to Instagram and YouTube.

My desired audience would be ocean lovers like me and also hopefully for my future career big companies that want to hire me to produce footage for them. I also want to attract a new audience to the underwater experience of people who don’t have the opportunity to even take part in the adventure, I want to be able to share this experience with everyone so that people can truly understand the importance of taking care and respecting our earth.

References:

Anderson, Leon (2006) ‘Analytic Autoethnography’, Journal of Contemporary Ethnography Volume 35 Number 4. pp. 373-395

I gained some useful readings provided in the lecture this week, which helped me better my understanding of how to be ethically aware of my research data and field notes.

“Qualitative researchers situate themselves in a consciously value-laden territory in which human relationships and critical self-reflection loom prominently. This positioning leads to the emergence of ethical dilemmas throughout the conduct of research…”

(Mertens, 2014).

I had a look at the UOW Human Ethics Page, and I gathered that in order to avoid harm to the participants I will need to follow the principles of care. This will involve me being respectful with any interactions I have with my participants and not leading them to any kind of false hope. When I am collecting data throughout my research, I will be preparing for any kind of situation so if I encounter an awkward situation I will know how to interact and act efficiently. I will also be ensuring anonymity as that is a core principle of ethical research, as well as making sure all participants are fully aware and informed of my research (UOW Guidelines on Ethical Research, 2020).

A quote from one of my readings called “Talking and Thinking About Qualitative Research“ written by Carolyn Ellis which is a great example of how the principles of ethical research can cause conflict between the participants.

“They were extremely hurt by what they heard. I had described them as smelling like fish and other things equally devastating. These people had become really good friends of mine. I loved them and cared for them, and what I said was very painful for them and also for me. I went back to the community and talked with them. Some people forgave me. Some people never did forgive me. “

(Ellis et al., 2008: 272)

I was inspired by Professor Norman Denzin who talks about using any opportunity to change the world (Mertens, 2014). I want to do my best to make a positive difference in the world no matter what my job may be.

I believe within my own work I won’t really encounter much conflict as my audience will be aimed at ocean lovers to help me share the word about protecting our oceans. I will still have to be aware when I go work swims/ dives not to enter any protected areas where conservation marine work will be taking place. This won’t be too hard as my house mate is doing her master’s in Marine Biology and is aware of multiple conservation protection areas to steer clear from and respect the healing process.

Post Last Edited of the on 4th of September

References:

Ellis, C., Bochner, A., Denzin, N., Lincoln, Y., Morse, J., Pelias, R. and Richardson, L., 2008. Talking and thinking about qualitative research. Qualitative inquiry, 14(2), pp.254-284.

Mertens, Donna (2014) Ethical Use of Qualitative Data and Findings, The Sage Handbook of Qualitative Data Analysis (Edited by Use Flick), Sage: Los Angeles, 510 – 523.File 

SAGE Publications Inc. 2020. Denzin, Norman. [online] Available at: (https://us.sagepub.com/en-us/nam/author/norman-k-denzin)

Uow.edu.au. 2020. UOW Guidelines On Ethical Research. [online] Available at: (https://www.uow.edu.au/research-and-innovation/researcher-support/ethics/human-ethics/uow-guidelines-on-ethical-research/)

According to Leon Anderson analytic auto-ethnography is when you as the self-observer fully immerses themselves in the field of research (Anderson, 2006). This is why I will not only be observing but getting involved with the experimentation of how to actually make it in the media professionally.

Problematising my media niche

The key issues to help the audience better understand my media niche is that not everyone has TikTok, so that is why I’m starting with TikTok to gain some followers then progress on from that and branch out to other media platforms such as Youtube and Instagram. The intention that this will lead to me becoming more known and potentially starting off my dream career.

I will be researching other videos related to the ocean and identify some different ways of filming. I will incorporate different techniques so I can create my own unique way to attract my desired audience. My desired audience would be ocean lovers like me and also hopefully for my future career big companies that want to hire me to produce footage for them. I also want to attract a new audience to the underwater experience of people who don’t have the opportunity to even take part in the adventure, I want to be able to share this experience with everyone so that people can truly understand the importance of taking care and respecting our earth. I will be focusing on what videos have more views and responses and noting down in a journal why they have reached these results.

Research plan 

I have learnt in this weeks lecture that observation and auto-ethnography in really important, that is why I will be using these techniques to self-reflect on the work that I’ve done and observe the work of others in my specific field to examine why they gain such a response from their audience.

I’m going to record my notes in a field journal, where I will be adding to it every week with the new data I have collected. I will be observing the way in which my audience interacts to different videos. I’m going to have screenshots and look under hashtags and collate all this data into my field journal, then take part in it and reviewing which videos gained the best results and why.

Schedule of Research

There is 10 weeks till the major research assignment is due:

Week 1: Creating a tiktok account

Week 2: Observe which hashtags get the most views

Week 3: Screenshot and taking notes in my field journal every week

Week 4: Observe what colours and filming techniques the videos that have positive responses from the audience

Week 5: Start trialing some videos and hashtags only quick 15 second TikToks

Week 6: Looking at what responses I gain from the TikToks

Week 7: Depending what the views and responses are I will alter my videos

Week 8: Trying different video editing techniques

Week 9: Bring it all together, with the journal results and adding my own unique way of editing

Week 10: The ultimate outcome would be to receive some positive responses from my audience

Post last edited on the 1st of September 2020

Reference:

Anderson, Leon (2006) ‘Analytic Autoethnography’, Journal of Contemporary Ethnography Volume 35 Number 4. pp. 373-395

Field Site

From the lecture this week I learnt that I need to have perspective when being an ethnographer, as I will need to open my eyes to more than just my personal view of the ocean so that I can identify a non-bias approach that will fit my audiences aesthetic as well. This is so I don’t assume that everyone will understand what I’m trying to convey through my underwater videos. I will attempt to illustrate to the audience not just the beauty our world has to offer but I intend to give them reasons why we NEED to protect it. I will also be problematising and approaching in my field of research, because if I do not receiving the responses I am aiming for, I going to take a step back and figure out why and return to it with a different approach

“This requires collecting and analysing data from people who can help answer the question.”

Cresswell 2016 p.32

As you can see from my mind map, I’ve added my inspirations that I came across through YouTube when I was younger which are Alana Blanchard and Brodie Moss’s YouTube channels. They both have progressed with the way social media has been changing and created TikToks to progress their online media presence. They both have great quality videos and have been edited professionally as you can see with examples, I have added down below.

Skills

The skills that I will developing through ethnographically exploring my media niche are observing the different ways my audience respond to what I post. Then adjusting the ways I will present according to their responses.

I believe that through TikTok I can potentially gain the views then expand my social media through to Instagram and Youtube. My career goal is to gain sponsors from specific brands that will pay me to use and advertise their specific products while also spreading the word of ocean conservation and bringing more awareness to many environmental issues.

Why?

I am a diver and I have first-hand experienced the beauty of the underwater world, there are many people around the world that won’t get the opportunity to take part in this experience that is why I want to bring it to them through film. This will show my audience how amazing our oceans are and why we need to take care of them and respect them.

Scholarly Research

There is plenty of scholarly research available to expand my knowledge on underwater videos, as well as research about the how and why the ocean and the life in it is so special. These resources will assist me in understanding and expanding my knowledge on how to edit professionally and how to behave respectfully around certain marine life while staying calm in a high intensity situation.

Post last edited on the 1st of September 2020

References:

• Alana Blanchard and Jack Freestone, 2020. Day In The Life Of PRO SURFERS On North Shore Of OAHU | Summer Time |. [Video] Available at: <https://www.youtube.com/watch?v=wTnuJWgDVyI&gt;
• Creswell, John W. (2016) 30 Essential Skills for the Qualitative Researcher, Sage: Los Angeles. 
• YBS Youngbloods, 2020. Cleaning Up Rubbish For MONEY $$$. Available at: <https://www.youtube.com/watch?v=1F6xFWYpUTA&gt;
• YouTube. 2020. Alana Blanchard And Jack Freestone. [online] Available at: <https://www.youtube.com/user/alananeta&gt;
• YouTube. 2020. YBS Youngbloods. [online] Available at: <https://www.youtube.com/user/brodiemoss&gt;

My Media Niche: Why Tik Tok?

My specialisation is TikTok, TikTok has blown up so much recently during this pandemic and people are spending more and more time on TikTok. I believe it is called TikTok because you could go on TikTok and the next thing you know you have just wasted 3hours glued to your phone. I personally have an interest in the oceanic, adventure and travel side of TikTok. That is why I want to focus on the exploration of the underwater world, as it is so beautiful and should be shared with the world.

I’m want to start with TikTok because what I have come to discover is that people have more of a chance of being recognised on TikTok nowadays than on a random youtube or instagram account. I want to trial and see where I will get the most response from my audience.

An example of how TikTok has started up people supporters and recognition from the public is Charlie Damelio, she started just posting videos of her dancing then very quickly became one of the youngest and THE most popular creator on TikTok with over 58 million followers. From this she started branching off onto creating merchandise, Youtube, Twitter, Instagram and Facebook. She now earns millions from just doing what she loves which is dancing. She is a positive influence and roll model for many teens on how to live through quarantine (Andrews, 2020).

@charlidamelio

dc @yodelinghaley

♬ –

Another example of how TikTok users have gained a wider response on the platform is Brodie Moss. Moss is a YouTuber who documents his sustainable ocean life, who is living the dream if you ask me. He has videos on what he gets up to during the day, what he eats, how he gets his food and spreads awareness for the destruction of our ocean life (Forrest, 2019). He has gained even more followers on his youtube channel now because of his 15 second or 1 minute videos posted on TikTok which are snippets from his youtube channel. In this case I believe TikTok has played as a little trailer into his life and if the audience on TikTok come across his videos and likes what they see, they can respond by going and following him on youtube, instagram etc.

In conclusion, I will be focusing on illustrating the magic of the underwater world and hopefully gain some responses from people with similar interest, as TikTok uses an algorithm to group people into different feeds according to what they like and follow. Then from this I will be able to assess and see whether I should branch off and try different platforms of just to stick with Tiktok for the time being, until I have gained the response I am looking for.

Post last edited on the 1st of September 2020

References:

Andrews, T., 2020. Charli D’Amelio is TikTok’s biggest star. She has no idea why. The Washington Post, [online] Available at: https://www.washingtonpost.com/technology/2020/05/26/charli-damelio-tiktok-star/?arc404=true

Forrest, T., 2019. Brodie ‘Youngbloods’ Moss Quit His Job As An Electrician To Become A Full-Time Youtuber. [online] Abc.net.au. Available at: https://www.abc.net.au/news/2019-08-17/brodie-youngbloods-moss-quits-job-to-become-a-youtuber/11391924

YBS Youngbloods, 2018. YBS Lifestyle Ep 3 – CLEAREST WATER EVER | Big Tiger Shark + Hammerhead Shark | Cod Catch And Cook. Available at: https://www.youtube.com/watch?v=T8gpr2PwBP8

TikTok. 2020. Charli D’Amelio. [online] Available at: https://www.tiktok.com/@charlidamelio?lang=en