Journals / Folklor/Edebiyat / 2024 / Cilt: 30 Sayı: 118

Evolution of Children’s Humor Culture: Children’s Consumption Stories in Youtube Parodiess

Çocukların Değişen Mizah Kültürü: Youtube Parodi Hikâyelerinde Çocukların Tüketim Öyküleri

Çilem Tuğba Koç(ERCİYES ÜNİVERSİTESİ)0000-0002-3479-4035
Deniz Elif Yavalar(ERCİYES ÜNİVERSİTESİ)0000-0002-1225-8805
Pages
311–336
Publication Date
2024-05-01
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

Furthermore, these videos frequently incorporate commercial content, reflecting the pervasive influence of consumer culture within children‘s digital entertainment spaces.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:Parodic content disseminated and popularized on YouTube, a platform extensively frequented by children from an early age, constitutes a significant facet of postmodern culture.
📊
Key Findings & Data:This study, focusing on children‘s parody, comedy, and sketch videos on YouTube, aims to explore how children, who also serve as content creators, generate humor in the videos they produce and the underlying sources of this humor.
💡
Conclusion & Impact:Furthermore, these videos frequently incorporate commercial content, reflecting the pervasive influence of consumer culture within children‘s digital entertainment spaces.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:parodi · youtube · çocuk youtuber

Abstract

Parodic content disseminated and popularized on YouTube, a platform extensively frequented by children from an early age, constitutes a significant facet of postmodern culture. Despite its reliance on humor derived from intricate associations referencing original texts, thereby resembling a form of pastiche or imitation, such content is widely embraced as a prevalent mode of expression within children‘s play and entertainment culture. This study, focusing on children‘s parody, comedy, and sketch videos on YouTube, aims to explore how children, who also serve as content creators, generate humor in the videos they produce and the underlying sources of this humor. To accomplish this objective, a thematic qualitative content analysis was conducted on the 242 most popular videos uploaded by child YouTubers, including channels such as Fatih Selim Tube, Yusuf Mirza Tube, Agugu Tv, Toy Hunt, Toy Candy, Ecrinsu Çoban, Oyuncak Oynuyorum, Oyuncu Yusuf, Princess Elif, and Princess Lina Tv. Beyond functioning as a platform catering to children‘s interests, YouTube also serves as a conduit for companies to engage with child viewers. This commercial dimension of YouTube enhances the prevalence of elements associated with consumer culture in the content disseminated on the platform. Consequently, in addition to exploring the evolving nature of children‘s humor on YouTube, this study also scrutinizes elements related to consumer culture within such humor. The research findings suggest that parody videos on children‘s YouTube channels often take the form of pastiche or imitation, referencing popular texts, and are frequently rooted in playful activities such as hide and seek, escape, and chase. Furthermore, these videos frequently incorporate commercial content, reflecting the pervasive influence of consumer culture within children‘s digital entertainment spaces.

Özet

Çocukların, bebeklikten itibaren en çok takip ettiği platformların başında gelen Youtube’da paylaşılan ve popülerleşen parodi eğlencesi, post-modern kültürün bir parçasıdır. Metnin aslına gönderme yapan sonsuz çağrışımlar içinde yaratılan mizah, bir tür pastişi/taklidi andırsa da çocuk oyun ve eğlence kültürünün popüler formlarından biri olarak kabul edilmektedir. Youtube’daki çocuk parodi, komedi, skeç videolarının ele alındığı bu çalışmada, aynı zamanda içerik üreticisi olan çocukların yayınladıkları videolar aracılığıyla mizahı nasıl ürettikleri, mizahın kaynağının neye dayandığı soruşturulmaktadır. Bu amaçla, Fatih Selim Tube, Yusuf Mirza Tube, Agugu Tv, Oyuncak Avı, Oyuncak Şekeri, Ecrinsu Çoban, Oyuncak Oynuyorum, Oyuncu Yusuf, Prenses Elif, Prenses Lina Tv’de en popüler 242 çocuk youtuber videosu üzerinden, tematik nitel içerik analizi yapılmıştır. Youtube, çocukların takip ettikleri bir platform olmasının ötesinde, aynı zamanda firmalar için çocuk izleyiciye ulaşılabilen bir mecradır. Youtube’un bu ticari karakteri, Youtube’da üretilen her içeriğin içinde tüketim kültürü unsuruyla karşılaşma olasılığını arttırmaktadır. Bu nedenle çalışmada Youtube’la birlikte değişen çocuk mizahı incelenirken bu mizah içinde tüketim kültürüne ilişkin unsurlar da araştırılmıştır. Araştırmanın sonucunda, Youtube’daki çocuk youtuber kanallarındaki parodi videolarının popüler metinlere gönderme yapan pastiş/taklit videolar oldukları, saklambaç, kaçma kovalamaca gibi oyunlara dayandıkları, ticari içerik taşıdıkları bulgusuna ulaşılmıştır.

🔖

Cite This Article

Koç, Ç. T., Yavalar, D. E., *, Ç. T. K. (2024). Evolution of Children’s Humor Culture: Children’s Consumption Stories in Youtube Parodiess. Folklor/Edebiyat, Cilt: 30 Sayı: 118, 311–336. https://doi.org/10.22559/folklor.2623

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (16)

  1. Beck, D. (2023). Humorous parodies of popular culture as strategy in Boris Johnson’s populist communication. The British Journal of Politics and International Relations. https://doi.org/10.1177/13691481231174165
  2. Berger, A. A. (1976). Anatomy of the Joke. Journal of Communication, 26(3), 113-115. https://doi. org/10.1111/j.1460-2466.1976.tb01913.x
  3. Boxman-Shabtai, L. (2018). Reframing the popular: A new approach to parody. Poetics, 67, 1-12. https://doi.org/10.1016/j.poetic.2018.03.001
  4. Boxman-Shabtai, L. (2019). The practice of parodying: YouTube as a hybrid field of cultural production. Media, Culture & Society, 41(1), 3-20. https://doi.org/10.1177/0163443718772180
  5. Buijzen, M., & Valkenburg, P. M. (2004). Developing a typology of humor in audiovisual media. Media psychology, 6(2), 147-167. https://doi.org/10.1207/s1532785xmep0602_2
  6. Garin, M. (2015). Super Mario, the new silent clown: Video game parodies as transformative comedy tools. International Journal of Cultural Studies, 18(3), 305-309. https://doi.org/10.1177/1367877913513688
  7. Hariman, R. (2008). Political parody and public culture. Quarterly Journal of Speech, 94(3), 247-272. https://doi.org/10.1080/00335630802210369
  8. Hutcheon, L. (2000). A theory of parody: The teachings of twentieth-century art forms. University of Illinois press.
  9. Hutcheon, L. (2003). The politics of postmodernism. Routledge.
  10. Jameson, F. (1983). Postmodernism and Consumer Society. The anti-aesthetic: Essays on postmodern culture, 111-125, Verso.
  11. Jenkins, H. (2006). Convergence. Culture:where old and new media collide. New York University Press.
  12. Knobel, M., & Lankshear, C. (2007). Online memes, affinities, and cultural production. A new literacies sampler, 199-227. Publisher: Peter Lang.
  13. Meyer, J. C. (2000). Humor as a double-edged sword: Four functions of humor in communication. Communication theory, 10(3), 310-331. https://doi.org/10.1111/j.1468-2885.2000.tb00194.x
  14. Schaeffer, N. (1981). The art of laughter. Columbia University Press.
  15. Shifman, L. (2012). An anatomy of a YouTube meme. New media & society, 14(2), 187-203. https:// doi.org/10.1177/1461444811412160
  16. Simonsen, T. (2012). Identity-formation on YouTube: İnvestigating audiovisual presentations of the self (Doctoral dissertation) [Faculty of Humanities at Aalborg University, Department of Communication and Psychology].