YouTube as a Post-Feminist Celebrity Space
YouTube as a Post-Feminist Celebrity Space
“Broadcast Yourself” is the slogan that greets visitors of the social media site YouTube. YouTube encourages individuals to post videos with virtually zero limits as to what the content of the videos should include. This results in a vast array of heterogeneous user-generated content. While individuals use YouTube to disseminate many types of information, each video provides the viewer with information that can be used to create an identity for, or give attributes to, the creator. One YouTuber in specific, Jenna Marbles, seems to use YouTube to craft a very particular image of herself. Jenna is a YouTube comedian who produces largely solo comedy videos that satirize everyday things and activities that are relatable to a large audience. In her video “My 200th Video,” Jenna thanks her subscribers and viewers for helping her get to where she is today, apologizes to those who have gotten bored of her over the years, and sends an overall message of empowerment about following life’s path and having faith that all will be alright. While watching this video, it became clear that Jenna is engaging in practices of both celebrity and Post-feminism.
Jenna begins her 200th video by telling her viewers, “I wanted to take you to one of my favorite places to share some thoughts with you…I have food to eat, a roof over my head. You put those things there and I don’t really know why”. Marwick and Boyd discuss celebrity as a performative practice, whereby “celebrity is maintained through mutual recognition of power differentials by fan and practitioner, and maintenance of one’s fan base through performed intimacy, affiliation and public knowledge” (Marwick & Boyd, 2011). In this beginning statement of her video Jenna is clearly performing celebrity by acknowledging the power differential that has been created through her fans elevating her success, by bringing her fans intimately close when she “takes” them to her “favorite place”, and by sending this message of thank you out as public knowledge. This can also be viewed as an attempt to brand oneself. As Banet-Weiser discusses, branding oneself is “a practice deployed by individuals to communicate personal values, ideas, and beliefs using strategies and logic from commercial brand culture” (Banet-Weiser, 2011). Jenna illustrates humble values in her opening statement when she takes the time to thank her viewers for her success, and later in the video demonstrates her own personal value by encouraging her fans to continue following her because “I will always be here”. Much like a brand-name product that you would buy at the store, Jenna markets herself as a product available for reliable consumption. However it is not only the content creator who has power in the celebrity-fan relationship. Marwick and Boyd cite Goffman’s idea of symbolic interactionism as an important part of performing celebrity whereby, “individuals work together to uphold preferred self-images of themselves and their conversation partners, through strategies like maintaining face, collectively encouraging social norms, or negotiating power differentials and disagreements” (Marwick & Boyd, 2011). In the case of YouTube it seems that symbolic interactionism would take place in user comments on “My 200th Video”. While these kinds of comments are not conducive to interactive conversation, they do “create a continuous dynamic between consumer/user and producer,” and provide a platform for Jenna Marbles to maintain her celebrity (Banet-Weiser, 2011). Furthermore, these weak ties which do not facilitate two-way interaction can none the less still be considered an important form of “social capital” (Lewis & West, 2009). For the viewers, commenting on videos is social capital because it allows them to potentially contact a celebrity, and for the celebrities these videos function as social capital by providing proof of their success and popularity.
Additionally, it may be argued that Jenna Marbles engages in Post-feminist practices during the creation of her videos. Dubrovsky and Wood discuss the idea of female identities online and explain that, “Postfeminism implies that women self-representing online is empowering and gives them agency over their identity-making” (Dubrovsky & Wood, 2014). During her 200th video, Jenna takes the time to define her identity when she says, “I’m just Jenna. That’s all I can ever be. Nothing special at all”. Although viewers may prescribe their own identities to her that attempt to discredit her agency, Jenna’s creation of these videos by herself signals her agency in her public identity. Much like the way Dubrovsky and Wood discuss Miley Cyrus’s awareness of her online performance as authenticating, Jenna’s acknowledgement during the video that her fans may be getting bored of her because she’s “just Jenna,” gives credit and value to her videos as authentically representing her identity. (Dubrovsky & Wood, 2014). This authenticity contributes just as much to branding oneself as does the performance of celebrity. Because Jenna creates an authentic and reliable identity through post-feminist practices, Banet-Weiser argues that “she is encouraged to be a product within a neoliberal context; she authorizes herself to be consumed through her own self-production” (Banet-Weiser, 2011). This is particularly important when considering YouTube, because a successful “product” not only garners many views and comments on video posts, but also can lead secondary consumption by companies wishing to advertise their products through her product.
References
Banet-Weiser, Sarah. (2011). Branding the Post-Feminist Self: Girls’ Video Production and YouTube.
Dubrovsky, Rachel E., Wood, Meghan M. (2014). Posting Racism and Sexism: Authenticity, Agency and Self-Reflexivity in Social Media, Communication and Critical/Cultural Studies, 11:3, 282-287
Lewis, Jane. West, Anne. (2009). ‘Friending’: London-Based Undergraduates’ Experience of Facebook. New Media Society. 11:7. 1209-1229
Marwick, Alice. Boyd, Danah. (2011). To See and Be Seen: Celebrity Practice on Twitter. Convergence: The International Journal of Research into New Media Technologies. 17:2. 139-158




















