YOUTUBE SUBSCRIBERS.

- SUBMITTED BY SAAKSHI IYER

YouTube serves as an audio – visual platform which enables users belonging

from different horizons to like, share, and post seemingly endless contents.

Correspondingly, it provides a wide array of options featuring distinguished

spectrum of contents which chiefly connects a string of emotional response

with the YouTubers. in the light of the generational transition, this platform

stands synonyms to a realm of “reality” as it unquestionably, compensates for

“social life” through the means of digital media. Following this, users/viewers

assimilate with the symbolic technique of YouTube in various dimensions. It

stands as a substitute for entertainment {Radio, television} education as well

as a means of communication {social recognition and social content}.

More often than not, this platform immerses the attention of youth as it

functions on “teen –oriented content” which comes in a branched package of

seemingly engaging, relatable and whimsical tributaries. Ordinarily, the

platform engulfs the origin of amateur and commercial domain of interests.

Upon conducting a case study, a chain of most popular youTubers in the word

pocket their contents in the underlying areas such as such as gaming, makeup

vlogs, docu-series and off humour catches the fancy of adolescents. This,

however, is not found in a linear stroke as we see different levels of

participation.

The most subscribed youtubers and channels with a subscription on

countless number of users are 1. T-series with a subscription list of 129 M

subscribes – an assemblage of music videos, short films, clips and trailers.

2. Badabun with 42.5 subscribers which shares a collection of exposing

infidel’s series where couples are interviewed about cheating on their

partners.

3. Eminemmusic with a trail of41.2 M subscribes. following this are channels

operated by artists such as Ed Sheeran, Marshmallow and Justin Bieber.

4.HolasoyGerman with a long list of 40.4M subscribers. This channel is

dedicated to comedy videos and everyday life talks covering the field of

education, work and parents.

Using the method of analysing, we can shell the user engagement into

thematic fields of participation and production. It appears to open doors for

parasocial interaction wherein the viewers find themselves at ease as it

encourages interaction and discussions with respect to the credibility.

Vulnerable contents such as choreographed activity and remix reflects upon

communal preferences. Through online activism users/viewers form a

community whereby, adolescents sought for guidance and are at a hunt for

social and sexual identity. With that being said, audio- visual platforms

vindicate appropriate contents disseminating different spheres of relationship

and immediate gratification on the basis of preferences and likes.

The breath of this platform however, holds a relative space for limitations. The

content limits the viewers/users in the compass of decision making and active

participation in civic life. YouTube nonetheless, deemed to stand more

expropriate as it also works on widening the knowledge system and badges

itself suitable for positive focus as it serves as a competitive key to raise to

fame.

In sum, this platform mounts itself on the principle of free expression of

individuals’ and consumer opinion for marketing decisions.