The history of the Supercut and its roots in feminist vidding (check description box)
Channel: Kyra Gaunt Ph.D.
Date: 2018-11-28

Prof. G: My Music and Interactive Media course final project answers the question what contributes most to gender inequality relative to music video interactivity on YouTube--sound, visual media, or language (including gesture, movement and dance; i.e., kinesics and parakinesics).  Based on the blog: https://brenkjm.wordpress.com/2016/07/18/the-evolution-of-the-supercut/

Made this vlog to begin my season of content creation/participant-observation  as I begin to script the short essay or supercut I am making on music and emotional abuse stemming my own experiences and others. 

I've been thinking of XXXtentacion, the YouTube trending music videos the last few weeks, and my own experience with a former significant other who used James Morrison's "You Make it Real for Me" to lure me and 3 other women, white and black, that he met on FB into an emotionally entangled and financially abusive relationships. Men can be "born again" on sites like FB when friends who witnessed the spoiled connection unfriend the repeater. This makes room for a new woman to show up as his new flame. And she'll rarely step outside the bubble of their social connection. History is dead in such a context. Now is all that matters. So "You Make it Real for Me" can happen again and again with successive women in the same role--objectification on another level. 

Scholarship that might be useful for student projects include:

#CiteWOC (see @CiteBlackWomen on Twitter)
1. Noble, S.U., 2018. Algorithms of Oppression: How search engines reinforce racism. NYU Press.
2. Noble, S.U. and Tynes, B.M., 2016. The intersectional internet: Race, sex, class, and culture online. Peter Lang International Academic Publishers.
3. Nakamura, L., 2008. Digitizing race: Visual cultures of the Internet (Vol. 23). U of Minnesota Press.
Vancouver 
4. Gaunt, K.D., 2016. YouTube, Twerking, and You: Context Collapse and the Handheld Copresence of Black Girls and Miley Cyrus. In Voicing Girlhood in Popular Music (pp. 218-242). Routledge.

#CiteMOC
1. Brock, A., 2009. " Who do you think you are?": Race, Representation, and Cultural Rhetorics in Online Spaces. Poroi, 6(1), pp.15-35.

#CiteTransScholars
1. Raun, T., 2016. Out online: Trans self-representation and community building on YouTube. Routledge.

#CiteSocialMediaScholars
1. Wotanis, L. and McMillan, L., 2014. Performing gender on YouTube: How Jenna Marbles negotiates a hostile online environment. Feminist Media Studies, 14(6), pp.912-928.
Vancouver 
2. Burgess, J., 2008. 'All your chocolate rain are belong to us?'Viral Video, YouTube and the dynamics of participatory culture. In Video vortex reader: Responses to YouTube (pp. 101-109). Institute of Network Cultures.
3. Morris, M. and Anderson, E., 2015. ‘Charlie is so cool like’: Authenticity, popularity and inclusive masculinity on YouTube. Sociology, 49(6), pp.1200-1217.
Vancouver 
4. Vedantham, A., 2011. Making YouTube and Facebook videos: Gender differences in online video creation among first-year undergraduate students attending a highly selective research university.
Vancouver 

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