AQA A-Level Media Studies - Taylor Swift

Social Media and artists

On paper social media gives more control/freedom to artists to promote and share their work

In practice - record labels still have major control, they have the funds to afford advertising and recreating internet trends

Small artists with no record label also suffer as they are forced to spend more time creating a persona and marketing themselves on social media

Shirky - End of Audience

Only focused on the ‘prosumers’ - did not account for the people who aren’t ‘active’ and are scrolling for a dopamine hit

MySpace - one of the first musicians to make use of social media for marketing. Audiences use their cognitive surplus to share images, experiences and discuss the music

Swift’s website

Advertisements for her newest music

Big focus on advertising merch - different eras of merch available - website is for pre-existing fans already likely to buy merchandise

Options to input email/phone number for marketing - the website is acting like a ‘hub’ connecting all of her social medias

The website has a section containing videos she directed herself - creating a creative and artistic persona and giving herself artistic validation - also plays into her independent persona (paired with recent efforts of retaining creative control of her records through re-recording them)

Van Zoonen - Feminist Theory

4th wave feminisim - challenges male privilege and using mass media to equalise role in society

She does however, reinforce western beauty standards

Gauntlett - Identity

Perhaps her activism could inspire people in their own identity - particularly women

Representations on social medias are often just millennial, white, cis female and could perhaps alienate some audiences

Epitomises western beauty standards - even controversey over some fans calling her an “arvan goddess” - which just further alienates POC audiences

Butler - Gender Performativity

Representations are calculated and planned

Different eras for different presentations - epitomie of white trad femininity, sometimes a cold hearted businesswoman (feud between Katy Perry with songs and videos in response)

In some videos she acts roles that are generally considered to be ‘male’

Gerbner - Cultivation Theory

Social media is built on repeated exposure to hegemonic values

Recommends content based on things you’ve liked in the past - which can lead to political echo chamber content

Blumler and Katz - Uses and Gratifications

Followers engage with her empowering messages - want to feel that success and confidence within themselves

Fashion inspiration - buying products

Hall - Reception Theory

Intended - Inspires the audience, buys her merch, listens to her music etc.

Negotiated - Enjoys her music and appreciates Swift’s desire to empower followers, but feels the messages could be damaging to users who compare themselves to a celebrity’s lifestyle

Oppositional - Social media is toxic and damaging regardless of empowering messages or not - there is always some other motive

Jenkins - Fandom

Audiences engage with T Swift’s content to construct their own meanings of the product - analysing lyrics, forums, fan accounts posting news, creating and giving out handmade bracelets etc.

T Swift has many ‘facets’ that make her identity

The brand - mix of personal and brand/advert posting

The Influencer - encouraging audiences to vote in elections (Biden/Kamala)

The Supporter - helps smaller artists, have them open for her on tour

The Philanthropist - 2016 made a $1m donation to Lousiana flood relief

The Entrepreneur - Updating her sound/era with current trends, merchandise sales made more than $200m on tour in 2023, trademarked lyrics etc.

Social Impact - Spotify’s most played artists and TImes magazine person of the year (traditionally men and political figures)

The Protector - Re-recorded her music to fight against industry figures

Richard Dyer - Star Theory

Stars created around a stereotype

Manufactured by Instituions for financial gain - represents real emotions experienced by real people (some artists construct the persona themselves)

Hegemony - Audience should relate to the stars and the stars should represent shared cultural values and attributes to promote a certain ideology

Paradox - must be “ordinary and extraordinary”

This is shown through her social media posting - e.g. promoting album releases, being a club with her parents, pictures of her cats, professional live photos of her in giant stadiums

Audience

Age: 14-44 - longtime career means longtime fans

52% female

76% white and caucasian

55% vote democrat (grain of salt as many may not be American or even old enough to vote)

45% are millennials

150m followers on insta

Swifties - biggest fans

Each new ‘era’ is an opportunity to get a huge surge of new fans - new musical sound and themes - while existing fans can enjoy the old music and the new music

Psychographics

Mainstream and Aspirers

Easy listening style of music - themes of love, loss and self-doubt

Timeless content of lyrics - all age groups

Women living through various feminist movements can appreciate Swift’s achievements and getting through the ‘MeToo’ era

Stuart Hall and Stereotypes

How does she conform?

Other artists - fairly conventional with a mix of professional/personal posts - reinvents herself each album - celebrity partners

Gender - Cat lady, western beauty standard of femininity, pop music about romance

Age - dresses for her age, career focused

What ways does she not conform?

Gender - speaks her mind when passionate (politics, industry etc.), executive control, career focused

Other artists - direct control over her music, politically involved, cat posts

Age - no kids/not married

T Swift profile

35 and making music for 22 years

Networth of 1.6bn USD

682 music awards

Pioneered the use of internet for marketing, shaped modern country music scene, intergenerational appeal

T Swift is seen as a brand

2024 election posting, feminist activism

Two-step flow - audiences are heavily influenced by her actions