Representation Flashcards
How has the way KSI presented himself in his media products change?
What could this be seen as?
KSI has become far more sensitive to the way he represents different social groups in his media products.
As he has said in interviews, he was 16 years old when he began posting videos. He is now 29 years old and is more conscious of the impact he has on audiences.
This could be seen as a kind of self-regulation.
You could consider an early KSI video (one of his ‘Let’s Play’ series or an early prank clip).
What could be considered offensive in the ‘banter’ or who the videos mock?
How might some (especially younger) audiences see this as
more authentic than mainstream media?
Early KSI videos often relied on crude humor, exaggerated reactions, and jokes that could be seen as offensive by today’s standards.
His content sometimes mocked opponents in FIFA games, exaggerated stereotypes, or used provocative humor to entertain his audience.
His humor reflected the informal, edgy style of internet culture at the time, resonating with viewers who saw mainstream media as out of touch or overly sanitized.
The direct interaction with fans, lack of corporate oversight, and willingness to push boundaries contributed to a sense of authenticity that mainstream entertainment often lacks.
Compare this to his more recent videos, especially those in the build-up to the Logan Paul fight.
How have his values developed, and his tone changed? How does his labelling of the Paul brothers as ‘bad influences’ represent internet communities?
By labeling the Paul brothers as “bad influences,” KSI positions himself and his audience in opposition to the type of content that relies on controversy and provocation.
His stance resonates with audiences who feel disillusioned with influencers who engage in irresponsible behavior for clicks and views.
KSI’s criticism speaks to the growing awareness in internet communities about the impact that influencers can have on their audiences, particularly younger viewers.
It reflects a shift toward valuing authenticity, self-improvement, and positive role models, in contrast to those who capitalize on negative or sensational content to maintain their relevance in the fast-paced world of online entertainment
What about KSI’s persona could be labelled ‘traditionally masculine traits’
The ‘cocky, cool older brother’ persona could be seen as a combination of many traditionally masculine traits:
- highly competitive (sports and videogames)
- suspicious of femininity
- motivated by success and victory
- lack of compromise; ‘rude’ and impolite humour
- physical strength and endurance.
What parts of himself has he represented in order to convey his values
KSI also represents a very positive portrayal of young, Black, British men.
He failed his A levels, yet through hard work and innovation
KSI has become a millionaire.
Many of his fans describe him as being inspirational, and
some have followed his example to become influencers themselves.
His acronym stands for ‘Knowledge, Strength, Integrity’ – and the way he seeks to manifest these values creates a very positive portrayal of young people (and their relationship with technology
How does he portray his positive values via his boxing career
His boxing career is another way he represents these positive values.
- He had never boxed before, and the first fight with Joe Weller seemed more like a scuffle that escalated – an example of stereotypical machismo.
- However, the commitment with which KSI trained (detailed in his videos), and subsequent victories showed his ambition rather than arrogance
What narrative represented within the ‘Not over yet’ music video could also push his positive values
Dedication that leads to success, from underdog to victor, is a traditional narrative in the sports movie genre, especially boxing dramas like Rocky (Intertextuality referenced in music video)
Consider how audience responses to and interpretations of media representations reflect social, cultural and historical
circumstances?
KSI has a very blunt, honest relationship with his fanbase, and often personally responds to comments they make about his media products.
He has responded to negative comments from fans about comments that have been perceived as sexist, homophobic or racist; often he has apologised and thanked the audience for raising his awareness.
Like many YouTubers, he knows the value of shocking, politically incorrect material for gaining hits on the site, and therefore popularity and success.
How is the shift in interactive nature of social media (compared to early 2010’s) now reflected in how he is received by his audience?
The interactive nature of social media however means that shifts in cultural values, and phenomena like the MeToo or Black Lives Matter movements, are reflected in the
comments of KSI’s audience
What examples might suggest that KSI has become more politically correct or ‘woke’?
His discourse surrounding mental health
Old KSI:
He would make dismissive comments about emotions or self-care, reinforcing stereotypes about “toughness” or “masculinity.”
Current KSI:
In more recent years, KSI has openly discussed his struggles with mental health, particularly in the build-up to his boxing career. In a video titled “My Journey with Mental Health”, he talks about how he dealt with depression and how therapy helped him understand himself better.
This shift to being more open and honest about mental health aligns with a more “woke” approach to addressing societal issues and promoting vulnerability, particularly for young men.
Theoretical approaches: Gender performativity – Judith Butler
Concept outline
Butler asserts that gender is not a fixed, biologically determined characteristic, but rather a fluid social construct. She suggests people ‘perform’ a gender role composed of clothes, hair/make-up, posture and other behaviours.
Theoretical approaches: Gender performativity – Judith Butler
In application to the ‘not over yet’ music video
Costume and Gender performativity
Butler’s Theory: According to Butler, gender is produced through stylized acts or performances. In KSI’s case, the costume he wears in the Not Over Yet video — boxing gloves, athletic wear, and dark colors — serves as a signifier of masculinity that is culturally recognized. His choice of attire is not simply about practicality; it is an act of performance that conforms to traditional masculine ideals of toughness, strength, and aggression.
Analysis: KSI’s costume in the video can be seen as a deliberate performance of masculinity, in line with Butler’s theory that gender is a constructed identity. By dressing in boxing gear, he enacts the stereotypical masculine figure — one that is strong, physically capable, and ready for battle.
This act of dressing in a way that symbolizes masculinity performs that gender, contributing to the reinforcement of the masculine ideal.
Theoretical approaches: Gender performativity – Judith Butler
In application to the ‘not over yet’ music video
Gesture codes and Gender as a repeated act
Butler’s Theory: Butler argues that gender is not something one is, but something one does through repetitive acts. The way KSI holds himself in the video — with clenched fists, aggressive facial expressions, and a squared stance — can be seen as a repetition of the culturally prescribed gestures of masculinity. His posture and physical demeanor are not inherent traits; they are performative acts that reinforce the dominant notion of what it means to be masculine.
Analysis: KSI’s posture during the boxing scenes is a direct performance of masculinity. His stance is one of aggression, dominance, and readiness to fight, which fits Butler’s argument that gender is produced through repeated actions. The posture and movements KSI makes in the video (the clenched fists, the aggressive gestures) are not simply expressions of his physicality but performances that signify masculinity.
Through these repetitive gestures, he constructs the identity of the “tough” and “dominant” man, as culturally expected in boxing and traditional masculinity.
Theoretical approaches: Gender performativity – Judith Butler
In application to the ‘not over yet’ music video
Trials and the construction of masculine identity
Butler’s Theory: Butler’s theory also suggests that gender is not only performed individually but is shaped through interactions with societal norms and external pressures. In the montage of challenges KSI faces in the video, he is depicted overcoming physical and emotional obstacles. These struggles are part of the performance of masculinity, as overcoming adversity is often seen as a key masculine trait.
Analysis: The montage of KSI facing and overcoming challenges aligns with Butler’s idea that gender identity is shaped by external expectations and repeated performances. The physical trials, sweat, and injuries KSI endures in the video represent the external pressures placed on men to be strong and resilient. In performing these challenges, KSI enacts a traditional masculine identity — one that is capable of overcoming obstacles, enduring pain, and asserting control over situations.
The “man vs. obstacle” narrative is a culturally repeated performance that reinforces the idea of masculinity as strength and perseverance.
Theoretical approaches: Gender performativity – Judith Butler
In application to the ‘not over yet’ music video
“Alpha male energy”
Butler’s Theory: Butler’s concept of gender performativity also extends to how individuals embody societal roles through repeated acts, creating a sense of authority or leadership. In KSI’s video, his portrayal as the “alpha male” who rises above competitors reflects this idea, as he performs the socially constructed role of the dominant male who controls situations and is a leader.
Analysis: KSI’s “alpha male” persona can be seen as a performative act that is in line with Butler’s theory. His actions — from calling out rivals to asserting his dominance in the boxing ring — are all performances that construct his masculine identity. In enacting these roles, KSI is performing masculinity in a way that conforms to the societal expectations of men as leaders, competitors, and winners.
This “alpha” behavior is not something inherent to KSI but is a socially constructed role that he performs for his audience, reinforcing traditional notions of masculinity.
Theoretical approaches: Identity - David Gauntlett
In addition, David Gauntlett might say Olatunji’s relatable persona and modelling of how anyone can potentially be a success could be used by the audience to help construct their own identities. In addition to this, the way KSI has changed roles – from commentator to musician and sportsman – reflects the fluid nature of identity.
His ‘New vs Old KSI’ videos where he reacts to the ‘old’ him reinforces this idea.
