Spreading the cult body on YouTube: A case study of "Telephone" derivative videos

This case study of spreadability analyzes the Lady Gaga music video "Telephone," which has been appropriated and reworked by YouTube users sharing derivative works online. What properties of the music video stimulate user appropriation? What hybrid audiovisual forms are emerging from its r...

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Bibliographic Details
Main Author: Agnese Vellar
Format: Article
Language:English
Published: Organization for Transformative Works 2012-03-01
Series:Transformative Works and Cultures
Subjects:
Online Access:http://journal.transformativeworks.org/index.php/twc/article/view/313/300
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spelling doaj-3b5efdf093a946f7b1e0b0cdc7f65ffa2021-07-02T08:09:56ZengOrganization for Transformative WorksTransformative Works and Cultures1941-22581941-22582012-03-01910.3983/twc.2012.0313Spreading the cult body on YouTube: A case study of "Telephone" derivative videosAgnese Vellar0Università di Torino, Turin, ItalyThis case study of spreadability analyzes the Lady Gaga music video "Telephone," which has been appropriated and reworked by YouTube users sharing derivative works online. What properties of the music video stimulate user appropriation? What hybrid audiovisual forms are emerging from its reworking by users? In order to answer these questions, between January and August 2010, I conducted participant observation on Lady Gaga's official social network profiles and collected 70 "Telephone" derivative videos on YouTube. I identified three main categories of video creativity: (1) music (which includes covers, "me singing" videos, music mashups, and choreography); (2) parody (in which YouTube users and comedians humorously imitate Gaga, creating spoofs); and (3) fashion (in which makeup artists and amateurs appropriate the star's image to create makeup and hair tutorials). "Telephone" has become spreadable because it integrates dance music and choreography, costume changes, cinematic references, and product placements that work as textual hooks meaningful to different target markets: live music, dance, chick, and postmodern cinematic cultures. In particular, Gaga is a cult body that explicitly incorporates previous cinematic and pop music icons. Users are stimulated to reenact Gaga's cult body online. On YouTube, spreadability is thus strictly related to the appropriation of cult bodies. Fans, comedians, independent musicians, fashionistas, and pop stars construct their own cult bodies by deliberately borrowing characteristics from previous media icons and reenacting them in online videos in order to fulfill their expressive and professional needs.http://journal.transformativeworks.org/index.php/twc/article/view/313/300Derivative worksLady GagaSpreadable media
collection DOAJ
language English
format Article
sources DOAJ
author Agnese Vellar
spellingShingle Agnese Vellar
Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
Transformative Works and Cultures
Derivative works
Lady Gaga
Spreadable media
author_facet Agnese Vellar
author_sort Agnese Vellar
title Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
title_short Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
title_full Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
title_fullStr Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
title_full_unstemmed Spreading the cult body on YouTube: A case study of "Telephone" derivative videos
title_sort spreading the cult body on youtube: a case study of "telephone" derivative videos
publisher Organization for Transformative Works
series Transformative Works and Cultures
issn 1941-2258
1941-2258
publishDate 2012-03-01
description This case study of spreadability analyzes the Lady Gaga music video "Telephone," which has been appropriated and reworked by YouTube users sharing derivative works online. What properties of the music video stimulate user appropriation? What hybrid audiovisual forms are emerging from its reworking by users? In order to answer these questions, between January and August 2010, I conducted participant observation on Lady Gaga's official social network profiles and collected 70 "Telephone" derivative videos on YouTube. I identified three main categories of video creativity: (1) music (which includes covers, "me singing" videos, music mashups, and choreography); (2) parody (in which YouTube users and comedians humorously imitate Gaga, creating spoofs); and (3) fashion (in which makeup artists and amateurs appropriate the star's image to create makeup and hair tutorials). "Telephone" has become spreadable because it integrates dance music and choreography, costume changes, cinematic references, and product placements that work as textual hooks meaningful to different target markets: live music, dance, chick, and postmodern cinematic cultures. In particular, Gaga is a cult body that explicitly incorporates previous cinematic and pop music icons. Users are stimulated to reenact Gaga's cult body online. On YouTube, spreadability is thus strictly related to the appropriation of cult bodies. Fans, comedians, independent musicians, fashionistas, and pop stars construct their own cult bodies by deliberately borrowing characteristics from previous media icons and reenacting them in online videos in order to fulfill their expressive and professional needs.
topic Derivative works
Lady Gaga
Spreadable media
url http://journal.transformativeworks.org/index.php/twc/article/view/313/300
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