Final Paper
June 10, 2010 by Maiyer
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Maiyer Vang
6/4/10
Transmedia TV
Professor Julie Russo
Internet Memes and Consumer-Producer Relations
Internet fandom stands as an area for both creativity and contention. On one hand, with a few clicks of a button, fans can upload their own work as a tribute to their favorite show while commenting on another user’s remix video. YouTube in particular has thrived as a forum for this participatory culture. On the other hand, owners of the series can pull the fans’ videos off with a quick flick of their hands. The troubled relationship between Star Wars fans and LucasArts, as described by Jenkins, has been a notable example.
One area of fandom, Internet memes, has had a particular effect on society outside of the viral landscape. In comparison to other types of fandom, viewers rarely need to know much of the context of the meme to understand its cultural significance. Should a remix gain enough prominence virally, the mainstream population often becomes aware of the work. An example includes the Christian Bale rant meme. Many rose to prominence during the time period after the audio clip leaked, and the one below is one of the most popular, even being nominated for a Webby.
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As his presence in the media peaked, the remixed multiplied. But like all topical memes, this one eventually died out.
However, not all media attention can be attached to the growth of memes. The Hitler Downfall meme gained press once the film’s studio asked YouTube to remove all of its parodies. Fans were angered once they began seeing the message stating, “This video contains content from Constantin Film, who has blocked it on copyright grounds.” The variability in this spectrum leads to study of the dynamics between the consumer and producer. In participatory culture, how does one determine which party holds the power? This relationship of give-and-take highly depends on the knowledge among non-fans, the amount of effort exerted by property owners, and the gift economy amongst fans.
Memes and the Public
For the most part, memes avoid the public eye. Most take the form of viral videos, as usually only a few stand out from the actual meme. In thinking about the popularity of videos in class, humor and brevity seemed to be two important factors. In order to become viral, they must somehow attract non-established fans to watch them. Many times, remixes on topical events reach the public eye quickly as the media covers the main event itself. An example includes the Kanye meme mentioned earlier. The show Ugly Betty parodies the phenomenon of a video from a meme gaining mainstream notoriety below.
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The clip notes the effect of the meme on the situation in which it was based off of. Wilhelmina and Marc understood that the moment had grown into a significant event because it became important enough to warrant a remix.
Similar to the Wilhelmina debacle is the Kanye meme. After his infamous interruption at the VMAs, the first remix appeared with him interrupting President Obama, another event that had occurred recently.
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Following its upload onto YouTube, the video received mentions from the likes of The Washington Post (http:/
In her article “User Penetrated Content,” Julie Levin Russo discusses the evolution of the fan song vids. While they started as grassroots efforts, some of these videos eventually broke into the mainstream because of their widespread appeal in terms of plot. In this case, she specifically recalls the “Closer” fan video set to images from Star Trek (Russo 126). In relation to the public, “Closer” became more accessible because of its campiness and self-contained storyline. This viral fan video is similar to the Kanye meme in that they both attract the public through their mainstream qualities. “Closer” may not be directly from a meme, but it lends itself to the situation at hand due to its comparable characteristics.
Attracting public interest can have both benefits and disadvantages. Gaining enough popularity in the mainstream can afford the creator unimagined new opportunities. For example, the Obama “Hope” meme spawned many artistic remakes, including artist Mike Mitchell’s famous take using Conan O’Brien and his nickname “Coco.” This image became an instant viral sensation once Mitchell introduced it in support of O’Brien during his Tonight Show conflict with NBC. He became a publicly known artist as his design circulated around the Internet and the rallies held for O’Brien. Months later, when he needed an image for his tour posters, O’Brien contacted Mitchell for reproduction rights http:/
Memes and the Copyright Holders
The results can vary in terms of their relations to the their respective original copyright holders. With the original Kanye VMA footage, Viacom removed all clips from YouTube and made it available exclusively on MTV’s website (http:/
A notable example of copyright holders taking fan-created videos off the Internet is Constantin Film calling for the removal of videos based on the Hitler meme. This seemed to come from nowhere and fans became incensed. While YouTube has removed many of the videos, YouTubers continue to upload their videos despite the declaration. This comments on the strength of the fan community in face of opposition. On an interesting note, the director of the film has separated himself and sided with the uploaders http:/
Memes and the Fans
To look at the relationship between a producer and consumer, it is important to look at relations among fans as well. Within a fan community, three elements determine the value of an exchange: to give, to receive, and to reciprocate (Hellekson 114). This relationship allows a sense of trust and communication to exist throughout a community, despite the lack of personal knowledge of one another. Because there is not usually any interaction involving monetary compensation, fans rely on a system dependant upon the quality of the commodity. This “gift economy” stands as the foundation of viral fan culture. The power of exchange is found in the effort and skill to make the fan video. The strength of the community develops through the work and exchange processes.
Jenkins mentions that international Star Wars fans are attracted to fan-made videos because of their “shared investment in the Star Wars universe” (Jenkins 164). In this sense, despite having no identification concerning nationality, fans feel a sense of identity with those who have similar interests. The same can be said about Internet memes. While they do not have a pre-established fan-base, like Star Wars or Star Trek, memes do cultivate strong movements as they spread virally. This fuels acts of change and resistance among fans, like those who protest against Constantin Film’s recall by continuing to upload their Hitler parody. Their affiliation as fans is strong enough to mark them as one community.
Conclusion
The relationship between a consumer and producer is intricate and complicated enough to warrant investigation. Looking at Internet memes, we can see that results often change and depend on many factors. The first, and perhaps most significant, is the state of the copyright holder. While some encourage fans to create remixes, others create strict guidelines or disapprove of them altogether. It is nearly impossible to pre-determine the actions a company will take, or when they will exert this power. The second factor deals with public accessibility and mainstream quality. Should a video from a meme become viral, this could lead to both widespread positive and negative attention. The consequences may largely determine the lifespan of a fan vid. Lastly, the gift economy among fans develops a sense of identification across the Internet, which provides worldwide support before ever hitting the mainstream. The relationship between fans and copyright holders, as we have seen, can be ambiguous territory. The theories applied to its study can help theorists understand the viral realm, but in these constantly changing times, it may be difficult to comprehend until it becomes more stable. Until that time comes, fans will have the ability to test the waters and see what actions are acceptable.
Works Cited
Busse, Coppa, Hellekson, De Kosnik, Russo, and Lothian. "In Focus: Fandom and Feminism." Cinema Journal Vol. 48, No. 4 (Summer 2009): (104-136).
Jenkins, Henry. "Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry." Convergence Culture. NYU Press, 2006. (131-168).
