Publications


  • https://doi.org/10.14763/2025.3.2014

    Abstract

    Social media platforms are significant actors within the creator economy, shaping the visibility vital for content distribution and facilitating a range of monetisation models. Private governance, established through platform documentation, determines rules for influencers and regulates how monetisation takes place. This article brings together work from influencer studies with the field of platform governance to examine the regulation by platforms in the creator economy. Using TikTok as a case study, we systematically examine the classification of influencers and monetisation practices within platform documentation. Drawing on a data set of 85 policy documents, the article demonstrates the complex configuration of documentation influencers must navigate, drawing attention to hyperlinking practices and issues of accessibility. It approaches the documentation qualitatively to examine the discursive construction of influencers as creators’ which collapses boundaries between ordinary and monetising users, softens the hierarchy of eligibility shaped by region and metrics, and downplays professional identity. We also address the specificities of governance across different monetisation practices, which are nested within TikTok’s consistent downplaying of responsibility. Within its documentation, TikTok showcases its power to establish and set rules for monetisation and engender dependence whilst ensuring its obligations towards influencers remain tightly constrained and strategically vague.

  • https://doi.org/10.48550/arXiv.2505.08385

    Like other social media, TikTok is embracing its use as a search engine, developing search products to steer users to produce searchable content and engage in content discovery. Their recently developed product search recommendations are preformulated search queries recommended to users on videos. However, TikTok provides limited transparency about how search recommendations are generated and moderated, despite requirements under regulatory frameworks like the European Union's Digital Services Act. By suggesting that the platform simply aggregates comments and common searches linked to videos, it sidesteps responsibility and issues that arise from contextually problematic recommendations, reigniting long-standing concerns about platform liability and moderation. This position paper addresses the novelty of search recommendations on TikTok by highlighting the challenges that this feature poses for platform governance and offering a computational research agenda, drawing on preliminary qualitative analysis. It sets out the need for transparency in platform documentation, data access and research to study search recommendations.

  • https://arxiv.org/abs/2505.01122

    Abstract

    To facilitate accountability and transparency, the Digital Services Act (DSA) sets up a process through which Very Large Online Platforms (VLOPs) need to grant vetted researchers access to their internal data (Article 40(4)). Operationalising such access is challenging for at least two reasons. First, data access is only available for research on systemic risks affecting European citizens, a concept with high levels of legal uncertainty. Second, data access suffers from an inherent standoff problem. Researchers need to request specific data but are not in a position to know all internal data processed by VLOPs, who, in turn, expect data specificity for potential access. In light of these limitations, data access under the DSA remains a mystery. To contribute to the discussion of how Article 40 can be interpreted and applied, we provide a concrete illustration of what data access can look like in a real-world systemic risk case study. We focus on the 2024 Romanian presidential election interference incident, the first event of its kind to trigger systemic risk investigations by the European Commission. During the elections, one candidate is said to have benefited from TikTok algorithmic amplification through a complex dis- and misinformation campaign. By analysing this incident, we can comprehend election-related systemic risk to explore practical research tasks and compare necessary data with available TikTok data. In particular, we make two contributions: (i) we combine insights from law, computer science and platform governance to shed light on the complexities of studying systemic risks in the context of election interference, focusing on two relevant factors: platform manipulation and hidden advertising; and (ii) we provide practical insights into various categories of available data for the study of TikTok, based on platform documentation, data donations and the Research API.

  • https://dsa-observatory.eu/2025/06/02/dsa-audits-how-do-platforms-compare-on-influencer-marketing-disclosures/

    Under the DSA, social media platforms must provide clear tools for influencers to disclose paid content. But how well do they meet this obligation—and how rigorously is compliance assessed? This post compares eight DSA audit reports on influencer marketing disclosures and finds striking inconsistencies in how audits were conducted, what was measured, and how “compliance” was defined. The findings raise broader concerns about audit transparency, platform-defined standards, and the need for clearer guidance on what adequate disclosure—and meaningful oversight—should look like.

  • https://doi.org/10.14763/2024.4.1814

    Abstract

    Social media platforms mediate and regulate how influencers engage in monetisation practices. In this social-legal paper we examine one form of monetisation, influencer marketing, to understand how platform policies and interfaces shape commercial content for influencers. We situate our inquiry of governance by platforms within the governance of platforms, by focusing on the legal obligation to disclose commercial content under European consumer law. Combining an analysis of platform documentation for Instagram, TikTok, Snap, and YouTube, with insights from a walkthrough of each platform, we present five findings. First, we explore the terminology used by platforms to refer to influencers. Second, we outline how platforms frame commercial content and situate business models of influencer marketing. Third, we analyse how platforms present the duty to disclose commercial content and assign responsibility for compliance. Fourth, we examine how platforms facilitate disclosure through their in-app tools. Finally, we look at the articulation regarding the moderation of undisclosed commercial content by platforms. Our analysis unveils tensions between the law (governance of platforms) and what platforms do (governance by platforms). Overall, as platforms hold significant power in shaping monetisation practices, we argue that enforcing influencers’ disclosure practices must be contextualised within the dynamics of platform governance.

Platform governance

Conceptualising influencers, monetisation practices and labour

  • https://doi.org/10.1177/20563051251323951

    Abstract

    This article examines the construction of the ideal influencer across two sites of articulation within the influencer ecology: influencer coaches and platforms. It seeks to make visible the normative model that underpins and regulates influencer identities, practices and monetization, which is tied to the interests and values of different actors. Drawing on a sample of 70 TikTok videos and Instagram posts from influencer coaches, a dataset of 69 TikTok and Instagram policies, and a walkthrough of TikTok and Instagram creator accounts, I analyze what constitutes the ideal influencer through a critical feminist approach to influencer labor. In content shared by influencer coaches, the influencer is framed as a strategic actor who offers value to their community and embraces their identity as a professional entrepreneur. Through platform policies and interface design, the influencer is constructed as a skilful creator who engages their audiences in the “right” ways and assumes responsibility for complying with regulations. I argue that these constructions converge on the assertion that influencers should monetize for the “right” reasons. This steers influencers toward a worker subjectivity that is ideal for the platform, linking the construction of influencers as users—rather than workers who should be rewarded but not compensated for their labor—to the professionalization of the industry.

  • https://doi.org/10.14763/2025.3.2014

    Part of Special Issue: TikTok Creators and Digital Economies

    Abstract

    This article grapples with the tension between understanding influencers as individuals with lived experiences and as economic actors who behave like traders. Adopting a multidisciplinary perspective, it explores the boundaries of discrimination faced by influencers in their treatment by brands. It combines a feminist, intersectional approach with legal insights to examine the case study of a Black influencer who publicly withdrew from a brand trip due to unequal treatment and the ensuing drama on TikTok. Analysing a dataset of 137 TikTok videos, the study demonstrates how narratives of unfairness, racial discrimination, and responsibility are reconfigured by the legal status of influencers as independent contractors, reflecting on the limits of legal protections available to them.

  • Available open access: https://www.elgaronline.com/edcollbook-oa/book/9781035332816/9781035332816.xml

    The Hashtag Hustle: Law and Policy Perspectives on Working in the Influencer Economy is a new open access book in the Elgar Law, Technology and Society series. This timely book sheds light on the cultural, economic and legal aspects of content creation as a form of labour, investigating concerns over working conditions, worker protection, and the status of the working relationship. Chapters written by leading experts in the field explore two opposing, yet complementary sides of work: labour as an invisible and underappreciated effort made by influencers, and labour as an economic enterprise

  • https://doi.org/10.1177/14614448241304657

    Abstract

    Our article delves into the emergence of ‘kidfluencers’ within the content creator economy, highlighting how children’s participation intertwines their identities with monetisation strategies on platforms. Focusing on TikTok, we blend ethnographic and legal analysis of 215 videos from 23 kidfluencers in Israel, New Zealand and the Unites States, illuminating the complexities of monetising childhood across cultures. We highlight four monetisation and visibility practices in which children are exposed, mobilised and commodified in their parents’ content: (1) kids as props; brands as playmates, (2) transactional childhood, (3) aspirational child-ification and (4) regulative parenthood. Our analysis shows how children become concealed commodities, with varying degrees of (in)visibility in monetisation practices, from playful participation in branded content to embodying idealised notions of childhood for brand visibility. We situate our analysis within regulatory frameworks, revealing how TikTok’s policies conceal children’s role in monetised content, and reflect on platform liability under the European Union’s Digital Services Act.

Digital cultures & the everyday

  • https://doi.org/10.1177/13675494241310675

    Abstract

    Generic visuals like stock photos and simple data visualizations circulate in the news with increasing frequency, and so do dominant narratives about them. Stock photos are clichéd and inauthentic, data visualizations represent facts, so the narratives go. Such narratives suggest that generic visuals have limited capacity to function as public images – that is, as visual media for social thought and civic spectatorship. Findings from our research contradict this. We found that while UK-based news audiences mobilized dominant narratives when talking about stock photos and simple data visualizations in general terms, this did not happen in specific engagements with particular generic visuals. In these cases, participants moved beyond dominant narratives, as generic visuals activated emotions, experiences and participants’ different identities. We argue that generic visuals in the news are resources with which people make sense of their everyday lives and that people’s everyday lives are resources with which they make sense of generic news visuals. As such, generic visuals do, in fact, function as public images, connecting and engaging audiences in public life and foregrounding the role of the personal in engagements with the social issues portrayed in the news.

  • https://doi.org/10.1080/09589236.2024.2433674

    Abstract

    Each year, Spotify nudges users to share aesthetically pleasing data stories ‘wrapped’ and repackaged from their listening behavior. This article approaches Spotify Wrapped as an annual algorithmic event, defined as a moment in time in which there is a collective orientation towards a particular algorithmic system and its associated data. It offers a methodological contribution to research on datafication of music taste and identities through the development of a workshop format aimed at ordinary Spotify users. The workshop delivers insights into practices of datafication and the normative assumptions baked into Spotify data stories. Drawing on a data feminist framework, we outline three interconnected but distinct creative exercises, which take participants on an analytical journey. We combine feminist arts-based research methodologies with critical reflection and the walkthrough method to centre people’s experiences and equip them to analyze different layers of Wrapped. Our theoretical and methodological approach seeks to destabilize the logics of data extraction that further Spotify’s commercial aims and its associated claims of ‘knowing us’ through the aggregation of user data. As such, our workshop transforms the marketing campaign into a site for critical reflection on Wrapped as an algorithmic event.

Digital memory work & memory narratives

  • https://doi.org/10.1177/17506980251330559

    Part of Special Issue: Micro-memories

    Abstract

    This article explores memory as a process of assembling fragments of the past and the concept of memory as assemblage. It examines how the lens and language of assemblage are employed in a 3-minute extract from a research interview, which was selected for analysis by the contributors to this special interview. It uses the interviewer’s articulation of memory work by ‘put[ting] all the pieces together’ as the starting point to discuss how memory is co-constructed by two individuals in a specific interaction. Adopting a narratives-in-practice perspective, the micro-analysis looks at (1) the role of the interviewer as a memory agent and co-constructor of memory and (2) how two stories are told in the interview by the participant with a focus on material traces and objects. This article brings the analysis of assembling memory and mnemonic assemblages within the interaction into dialogue with frameworks and theories of assemblage memory studies to demonstrate how they are mobilised in everyday talk.

  • https://doi.org/10.4337/9781800377059.00030

    Abstract

    The ‘social media scroll back’ (Robards & Lincoln, 2017) is a qualitative research method where a researcher and participant together ‘scroll back’ through the participant’s social media platform to co-analyse social media data. This chapter brings together four authors (Moran, Renaud, Annabell and Yang) who reflect on their use of the scroll back method in their projects. The four case studies cover a range of different research topics (identity, race, sexuality, gender, and media industries), groups of participants (migrants, women, queer femmes, and media workers), different social media platforms (Facebook, Instagram, Snapchat, and WeChat), and a variety of modes of engaging with participants (in-person and via video conferencing). Within these case studies these authors offer a set of examples as to how the scroll back method may be utilized within different research contexts and in doing so, identify some of the opportunities, challenges and limitations involved with using this method.

  • https://doi.org/10.1017/mem.2024.3

    Editorial for Special Collection: Platformization of Memory Collection guest-edited by Rik Smit, Benjamin Jacobsen, and Taylor Annabell


  • https://doi.org/10.1075/ni.21074.ann

    Part of Special Issue: Bringing memory studies and interactional narrative studies together

    Abstract

    This article examines the performance of remembered experience within sharing in-the-moment carried out by young women on Instagram. I propose that the small stories analytical framework provides a way to examine at a micro level sharing of ‘memories’ online by addressing practices of selecting the past, showing and telling the past and interacting with the past in digital traces. For digital memory studies, this moves beyond a focus on affordances and infrastructure transformed memory and the examination of how people engage with memories that have been predefined. The analysis demonstrates how the performance of remembered experience is displayed and positioned across the interplay of past, present and future. Young women’s sharing in-the-moment reconfigures the function and meanings of ‘memories’ beyond the platform’s mobilisation of the term. It is part of how they express feelings and experiences about their unfolding lives.

  • https://doi.org/10.1017/mem.2023.6

    Part of Special Collection: Communicating Memory Matters

    Abstract

    This article explores how the concept of remediation is part of digital memory work performed by young women on Instagram. While remediation has been used to make sense of the ways sites of memory are represented across time and through different media, mnemonic media practices and forms are remediated in digital memory work. This article draws on interviews, observations of Instagram activities, and focus group data to analyse how other media practices and forms are integrated into digital memory work on Instagram and mobilised by young women to make sense of their mnemonic use of the platform. The analysis focuses on how practices of digital memory work use direct remediation of material objects and remediation of the functionality of mnemonic media practices. It addresses how the comparisons participants make to other mnemonic media practices reveal how digital memory work involves negotiation of personal and public, private and professional, and the authentic and staged. In addition, it grapples with the way that sharing happy experiences and moments to produce a ‘highlight reel’ or ‘hall of fame’ in postfeminist digital culture has valuable and potentially harmful implications.

  • https://doi.org/10.1007/978-3-031-34597-5_2

    Abstract

    A social obligation to remember Covid-19 as it unfolded is reflected in the range of public memory initiatives instigated by cultural organisations and institutions. This chapter argues that the moral imperative was internalised by ordinary social media users, shaping their practices of sharing. Drawing on qualitative interviews, focus groups and digital traces shared on Instagram and Facebook by young women living in London, this chapter explores how the memorialisation of Covid-19 was embedded within and shaped by postfeminist digital culture. It demonstrates how young women conceptualised Covid-19 as worth remembering on platforms, prioritised sharing happy “memories” of lockdown and celebrated the role of platforms in facilitating connection and memory-making in times of crisis. Through this empirical analysis, the chapter reveals how the experience of the pandemic shaped practices of sharing and remembering on platforms and was part of how Covid-19 was experienced and managed by young women.

  • https://doi.org/10.1177/17506980221133729

    Abstract

    This article examines how young women conceptualize memories within their language use. Through a microanalysis of how the term ‘memories’ and related expressions are mobilized by participants in interviews and digital traces shared on platforms, the study offers insight into everyday articulations of memory. The term ‘memories’ not only denotes the selective reconstruction of the past in the present but also signals how certain experiences, moments and feelings are assessed as worth remembering. Talking about ‘memories’ becomes a way for young women to signify and anticipate the value of experience in the present and future. In making this argument, the article contributes to existing debates on metaphors of memory and the production of memories through mediated objects by demonstrating how mnemonic language is reconfigured within digital culture.

New Zealand Identity & Cultural Policy

  • https://doi.org/10.1002/jocb.1514

    Abstract

    This article explores narratives of how COVID-19 impacted the performing arts sector, by drawing on interviews with creative workers in Aotearoa New Zealand. Despite the late exposure to COVID-19 and the adoption of an elimination approach that afforded opportunities for performing arts to continue to varying extents between 2019 and 2022, cultural workers in Aotearoa New Zealand, as with their overseas counterparts, experienced significant and consequential disruption to their working conditions and lives. Taking into account the specificity of Aotearoa New Zealand's performing arts sector and the government's COVID-19 response, the article contributes to the empirical examination of COVID-19 experiences by teasing out narratives of impact from cultural workers. The thematic analysis demonstrates how participants presented (1) COVID-19 as responsible for financial, emotional, and psychological costs, (2) framed opportunities arising from disrupted working conditions and wage subsidy as “silver linings,” (3) were reliant on digital technologies, and (4) constructed the return to “normal” as marked by the COVID-19 “aftermath.” The article argues that uniting these perceptions and articulations of impact is the ongoing (re)evaluations of risks and benefits by cultural workers of working conditions that predate COVID-19.

  • https://doi.org/10.1080/17405904.2018.1521857

    Abstract

    New Zealanders were presented with the opportunity to change the national flag and opted to retain the current New Zealand flag, despite arguments that it was unable to reflect national identity adequately. This article unpacks the particular version of national identity constructed in discourse in the infographic, Our Nation. Your Choice. which was released prior to the final referendum that determined the outcome of the Flag Consideration Project. We used Fairclough’s (1992. [Discourse and social change. Cambridge, England: Polity Press]) critical discourse analysis to examine the discursive construction of national identity by the Flag Consideration Panel that oversaw the process. The authoritative assertion of national identity on behalf of New Zealanders emphasised inclusiveness and unity by acknowledging cultural diversity. Biculturalism was confined to an old understanding of New Zealand identity while the ideology of multiculturalism, not yet officially implemented, was positioned as common-sense. There was a focus on situating New Zealand in a global context to distance New Zealand from colonisation and connection to Britain. The positive, cohesive conceptualisation of New Zealand suggested that the Flag Consideration Project was, in fact, an exercise in re-positioning New Zealand in the global context, in which the national flag would represent the national brand rather than contribute to national identity.

Policy Consultation