TKTKGEN · TikTok and Generation Z: Online Participation and Identification in China and Italy
„Хоризонт 2020“ — Действия „Мария Склодовска-Кюри“
- Период
- 2022-01-01 → 2023-12-31
- Финансиране от ЕС
- 164 036 €
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- 2
- Схема
- MSCA-IF
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Накратко на български
TikTok и Douyin променят начина, по който младите хора в Китай и Италия участват в интернет чрез кратки видеа и предизвикателства. Анализът помага да се разбере как тези платформи влияят върху идентичността, ценностите и чувството за принадлежност към група при поколението Z.
Кратко обяснение, генерирано от езиков модел по текста на CORDIS. Оригиналът е по-долу.
Резултати накратко
TikTok and Generation Z: Online Participation and Identification in China and Italy
The fastest growing social media application video-sharing social network TikTok (known as “Douyin” in China) epitomises what may be described as a second generation of social media, ensuing the first wave of the 2000s and 2010s. Compared to firs-generation social media such as Facebook and Twitter, TikTok is marked by the dominance of audio-visual content, by light-hearted and often goofy videos, dance crazes, in which users imitate the funny dance moves popularised by young celebrities and “dubsmashers”, lip-sync to the tune of famous pop music songs or participate in all sorts of video-recorded “internet challenges” and “trends”. How are video-sharing social networks such as TikTok modifying forms of online participation and sense of group belonging among youth? To date is little systematic research about what motivates young users in using this platform and how their style of participation differs from that of first generation social media. Engaging with these questions TKTKGEN project has studied the use of TikTok and Douyin among young people in China and Italy, exploring forms and motivations of online participation and the way they relate to the new attitudes, values and forms of social experience of generation Z. By means of extensive fieldwork comprising social media analysis, interviews and a survey, the project has provided a better understanding of the transformation in the online experience of young people and its impact on identity, belonging and community. Qualitative interviews and a survey of TikTok users showed that - compare with first-generation social media, this platform is used chiefly for entertainment and distraction rather than social-networking and self-presentations. While connection to networks of friends, acquaintances, relatives and colleagues was central to first-generation social media this aspect has limited importance on TikTok. TikTok's rise also has important consequences for online communities. Despite the platform’s notable role as an arena for the most disparate subcultures the experience of users is more individualized compared to previous social media and requires less self-exposure and self-assertion as part of a group. This contributes to nurturing online communities that are highly fleeting. Furthermore, due its focus on recommender systems which automates much access to information the platform fosters a more passive user ethos than other social media, taking more often the form of mere online content consumption than "participation" in any way or form. Yet, the very success of the platform's mode of operation should be read as a reflection of a widespread fatigue with social media, the personal exposure they entail and proneness to "flames". All in all, by generating these findings the TKTKGEN project has allowed to glean a better understanding of these important practices and their social consequences, as well as offering the PI training, career development and research networking opportunities that will enable future research on this and related issues.
Текст от CORDIS, на английски · Данни: CORDIS, © Европейски съюз
Цел на проекта
The fastest growing social media application, with over 1.4 billion downloads and 800 million active users worldwide as of September 2020, the video-sharing social network TikTok is a key site to explore the digital culture of so-called ""generation Z"", comprising those who have been born since the late 1990s, and are now teenagers or in their early 20s. TikTok’s 15 second videos, comprising dance crazes, internet challenges and lip-syncs at the tune of famous pop songs point to different social media logic compared to text-based social media such as Facebook and Twitter, often accused of having become a space for raucous confrontation. While in public discourse much has been made about the different orientation underpining TikTok online communities vis-a-vis ""first generation social media"" systematic and in-depth research is necessary to assess these claims and understand the new ""style of online participation"" emerging on this platform and its consequences for identity, group membership and community. What are the dominant subjective motivations and the “ethos” that informs TikTok communities? How do practices of imitation and emulation seen in the context of dance crazes and internet challenges enforce a sense of group belonging? And what are the political implications of these trends? The TKTKGEN global fellowship will combine social media analysis and focus groups to examine emerging forms of participation and identification in TikTok communities. It will comprise a 12-month outgoing phase at Fudan University in Shanghai to receive training in new digital methods and study Chinese TikTok communities and a 12 month incoming phase at Scuola Normale Superiore in Florence to study sociological theories of participation and investigate Italian TikTok users. The project will result in high quality and innovative research outputs and contribute to European research excellence on social media, youth culture and digital methods. ""
Оригинален текст от CORDIS (на английски).
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Данни: CORDIS, © Европейски съюз