Industries Flashcards
How has KSI as a brand clearly developed
KSI has moved from zero-budget videos made in his bedroom, to massive on-line sporting events (his fight with Joe Weller had more viewers than the 2017 FA Cup Final).
How has he achieved success in the US market
One way he has achieved success in the US market is by making content that is internationally resonant.
- His super-confidence/arrogance appeals to many young men, and then his ability to actually do what could be considered macho is seen by his fans as inspiring (and achievable)
- His ‘beefs’ with prominent American Youtubers also extends all the participants’ reach and notoriety and has further aided his success in the US. The fight with Logan Paul especially
cemented this reputation. - KSI’s recent album also features famous US artists like Lil Wayne
What model does KSI achieve by using a global platform like YouTube to cultivate which voice?
By using a global platform like YouTube, but cultivating a distinct young, Black British voice, KSI achieves the model of ‘make local, distribute global’
Consider the significance of economic factors to media industries and their products
In interviews, Olatunji has been blunt about his materialist values. His content has always been designed to get hits on YouTube and he has produced whatever is on-trend in order to capitalise on and, through sponsorships,
monetise this.
Though his most recent content has been based around his boxing and music careers, he uses these as a strategy to generate more sponsorships and sell his own merchandise. His website is completely devoted to these income streams.
In addition, he formed the Misfits Boxing Company to organise further fights. He is also the director of Nemedis, a video production company that runs the pay-per-view streaming for the boxing matches since 2018.
Theoretical approaches - Cultural industries:
Hesmondhalgh
Concept outline
One of Hesmondhalgh’s key ideas is that the radical potential of the internet has been limited by the domination of large cultural institutions (which are increasingly indivisible for technology giants like Google, Apple and
Amazon)
Theoretical approaches - Cultural industries:
Hesmondhalgh
How does his career refute this idea?
All of his content is produced independently, with no limitations imposed by large cultural institutions.
His ownership of a video production company and streaming platform also illustrates his independence from the usual ‘gatekeeping’ and limitations on creativity.
Theoretical approaches - Cultural industries:
Hesmondhalgh
What is one exception that makes KSI align with this theory
One obvious exception to this is the reliance on YouTube to distribute his content.
The world’s largest video streaming site has much looser
regulations regarding content than traditional broadcast TV stations
Consider recent technological change and media production, distribution and circulation snd the impact of digitally convergent media platforms:
- We-media
- gatekeepers
- prosumers
- The sponsorship model
The ‘We-Media’ revolution of the early 21st century and the convergence of (affordable) digital technology has completely transformed the entertainment and culture industries.
Traditionally, media industries have been dominated by large companies. Producers and commissioning editors act as ‘gatekeepers’, deciding what they think audiences will like, and what will be profitable (usually from advertising
and sponsorship).
‘Prosumers’ (a consumer who produces) challenged this hierarchy by making low or no- budget content, free from creative limitations, and using video streaming sites to distribute it.
Influencers like KSI have also adopted the sponsorship model as a way to generate revenue but have bypassed the big media institutions.
Theorists who supports this:
- Curran & Seaton
- Henry Jenkins
