Influencer commerce has experienced an exponential growth, resulting in new forms of digital practices among young women. Influencers are one form of microcelebrity who accumulate a following on ...blogs and social media through textual and visual narrations of their personal, everyday lives, upon which advertorials for products and services are premised. In Singapore, Influencers are predominantly young women whose commercial practices are most noted on Instagram. In response, everyday users are beginning to model after Influencers through tags, reposts and #OOTDs (Outfit Of The Day), unwittingly producing volumes of advertising content that is not only encouraged by Influencers and brands but also publicly utilised with little compensation. Drawing on ethnographic fieldwork among Instagram Influencers and followers in Singapore, this article investigates the visibility labour in which followers engage on follower-anchored Instagram advertorials, in an attention economy that has swiftly profited off work that is quietly creative but insidiously exploitative.
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NUK, OILJ, SAZU, UKNU, UL, UM, UPUK
Taking seriously the global trend of selfies becoming marketable and entangled in ecologies of commerce, this article looks at Influencers who have emerged as (semi-)professional selfie-producers and ...for whom taking selfies is a purposively commercial, thoughtful, and subversive endeavor. Based on in-depth ethnographic fieldwork and grounded theory analysis, I examine Influencers’ engagements with selfies on Instagram and their appropriations of selfies as salable objects, as tacit labor, and as an expression of contrived authenticity and reflexivity. Through these practices, Influencers achieve “subversive frivolity,” which I define as the under-visibilized and under-estimated generative power of an object or practice arising from its (populist) discursive framing as marginal, inconsequential, and unproductive.
This book presents a framework for thinking about different forms of internet celebrity that have emerged in the last decade. Through cross-cultural case studies, the book offers a brief history of ...internet celebrity; analysis on recent developments in the industry; and commentary on emergent trends.
Following in the celebrity trajectory of mommy bloggers, global micro-microcelebrities, and reality TV families, family Influencers on social media are one genre of microcelebrity for whom the ...“anchor” content in which they demonstrate their creative talents, such as producing musical covers or comedy sketches, is a highly profitable endeavor. Yet, this commerce is sustained by an undercurrent of “filler” content wherein everyday routines of domestic life are shared with followers as a form of “calibrated amateurism.” Calibrated amateurism is a practice and aesthetic in which actors in an attention economy labor specifically over crafting contrived authenticity that portrays the raw aesthetic of an amateur, whether or not they really are amateurs by status or practice, by relying on the performance ecology of appropriate platforms, affordances, tools, cultural vernacular, and social capital. In this article, I consider the anatomy of calibrated amateurism, and how this practice relates to follower engagement and responses. While some follower responses have highlighted concerns over the children’s well-being, a vast majority overtly signal their love, support, and even envy toward such parenting. I draw on ethnographically informed content analysis of two group of family Influencers on social media to illustrate the enactment and value of calibrated amateurism in an increasingly saturated ecology and, investigate how such parents justify the digital labor in which their children partake to produce viable narratives of domestic life.
Reflecting on a decade (2009–2020) of research on influencer cultures in Singapore, the Asia Pacific, and beyond, this article considers the potential of “below the radar” studies for understanding ...the fast evolving and growing potentials of subversive, risky, and hidden practices on social media. The article updates technology and social media scholar danah boyd’s foundational work on “networked publics” to offer the framework of “refracted publics.” While “networked publics” arose from media and communication studies of social network sites during the decade of the 2000s, focused on platforms, infrastructure, and affordances, “refracted publics” is birthed from anthropological and sociological studies of internet user cultures during the decade of the 2010s, focused on agentic and circumventive adaptations of what platforms offer them. “Refracted publics” are a product of the landscape of platform data leaks, political protests, fake news, and (most recently) COVID-19, and are creative vernacular strategies to accommodate for perpetual content saturation, hyper-competitive attention economies, gamified and datafied metric cultures, and information distrust. The key conditions (transience, discoverability, decodability, and silosociality) and dynamics (impactful audiences, weaponized contexts, and alternating publics and privates) of “refracted publics” allow cultures, communities, and contents to avoid being registered on a radar, register in misplaced pockets while appearing on the radar, or register on the radar but parsed as something else altogether. They are the strategies of private groups, locked platforms, or ephemeral contents that will continue to thrive alongside the internet for decades to come.
This paper is a qualitative ethnographic study of how a group of meme factories in Singapore and Malaysia have adapted their content programming and social media practices in light of COVID-19. It ...considers how they have fostered, countered, or challenged the rise and spread of misinformation in both countries. More crucially, the paper considers how meme factories position their contents to speak in a variety of platform-specific and age-appropriate vernaculars to provide public service messaging or social critique to their followers.
With its rapid uptake among young people around the world, it is no surprise that TikTok is buzzing with cultures and practices of internet celebrity. Most notably, the platform is becoming more ...commercial and professionalized with the rise of TikTok Influencers, advertising networks, and agencies dedicated to monetizing content and embedding advertising on TikTok, and top TikTok Influencers raking in millions in income annually. However, little is known about the constitution of internet celebrity on TikTok yet, and existing models of internet celebrity on predecessor apps like Instagram and YouTube do not neatly apply to the distinctive terrain of TikTok. As such, this paper is an exploratory study into the makings of internet celebrity cultures on TikTok, focused on how attention economy and visibility labour practices have emerged as a result of the app’s features. With empirical data drawn from an extended period in-depth digital ethnography, and analyses and insights informed and supported by traditional anthropological participant observation and personal interviews with TikTok Influencers and agencies, this scoping paper offers a foundation for how celebrity, attention, and visibility are constituted across TikTok’s platform norms and features.
Equal parts honoured and terrified to have been invited to speak at the Twentieth Anniversary Colloquium of the Cultural and Communication Studies Section of the Australian Academy of the Humanities, ...I turned to my natural instincts as an anthropologist and decided to share ethnographic stories, to recount how I navigated interdisciplinarity as a precarious early career researcher. Having recently been fortunate enough to be permanently 'jobbed' after a long period of sessional work and short-term contracts, I also took this opportunity to reflect on the everyday logistical struggles of claiming to do Cultural Studies, which often feel overshadowed by intellectual abstractions of ideological histories and institutional politics. In this essay, I present a short biography of my journey as an early career researcher to recount five lessons I gleaned from five career stages (undergraduate, postgraduate, post-PhD sessional work, post-doctoral fellowships, permanent/continuing position), while navigating through various institutes, departments, and disciplines while researching in Cultural Studies.
Since the onset of COVID-19, incidents of racism and xenophobia have been occurring globally, especially toward people of East Asian appearance and descent. In response, this article investigates how ...an online Asian community has utilized social media to engage in cathartic expressions, mutual care, and discursive activism amid the rise of anti-Asian racism and xenophobia during COVID-19. Specifically, we focus on the 1.7-million-strong Facebook group “Subtle Asian Traits” (SAT). Throughout the COVID-19 pandemic, the 1,200 new posts it publishes daily have swiftly pivoted to the everyday lived experiences of (diaspora) East Asians around the world. In this article, we reflect on our experiences as East Asian diaspora members on SAT and share our observations of meaning-making, identity-making, and community-making as East Asians collectively coping with COVID-19 aggression between January and May 2020.
This article takes the “Fox Eye” challenge that trended on social media in 2020 as a case study in anti-racism activism by (East) Asian users on TikTok. The “Fox Eye” challenge was a trend in which ...both celebrities and ordinary users—often predominantly White women—posted photos and short videos on how to wear specific styles of make-up to achieve almond-shaped eyes or “fox eyes.” This was often accompanied with a “migraine pose” where a user pushes their index and middle fingers up against the temples on both sides of their head to “lift” the corners of their upper eyelids, and was colloquially referred to as a “Chinese” or “oriental” look. In response, (East) Asian users on TikTok called out the historically racist undertones of this seemingly superficial trend, using the features and affordances of the platform to produce everyday, nonheroic forms of digital activism, as an act of civic engagement and activist campaigning. Building on the scholarship on digital activism, we consider how TikTok has emerged as an alternative activist space for young people, specifically as it services users as a video production and sharing app. We specifically focus on the audiovisual aesthetics of the TikTok narratives in the counter-Fox Eye trend campaign, wherein the strategic and templatable deployments of vernacular TikTok aesthetics—curated image selections, creative uses of sound and audio memes, specific renders of visual filters and effects—play a central role in giving meaning to the online activist narratives created. This has given rise to platformed activism in the TikTok vernacular that we term “gesticular activism,” which focuses on the generation of visibility and virality as awareness-building and consciousness-raising tactics.
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