
Operation of Short Videos in Fan Economy Era: Tik Tok as a Case
- 1 Fuyang Normal University
* Author to whom correspondence should be addressed.
Abstract
Launched in 2016, Tik Tok has become the most popular platform providing various short videos. With the increasing users, the operation strategies cause our attention in the fan economy era. This paper illustrates the meaning of “fan economy” and introduces the current development of the fan economy to its audiences, which analysis 10.12 million users of Tik Tok. The results show that making use of fan economic incorrectly to develop Tik Tok probably cause a few operational problems, such as copy, controlling comments and buying water army. Two figures relating to short video show the popularity of Tik Tok, which illustrates this topic’s importance. By the discussion, the paper provides some new ways to the further operation of short video.
Keywords
short video, Tik Tok, fan economy, platform, account operator
[1]. Liang, Y., & Shen, W. (2016). Fan economy in the Chinese media and entertainment industry: How feedback from super fans can propel creative industries’ revenue. Global Media and China, 1(4), 331-349. https://doi.org/10.1177/2059436417695279
[2]. Yin, M. (2021). Video Transformation in Big Video Era and Its Impact on Content Editing. Open Journal of Social Sciences, 9(11), 116-124. http://dx.doi.org/10.4236/jss.2021.911010
[3]. Omar, B., & Dequan, W. (2020). Watch, share or create: The influence of personality traits and user motivation on TikTok mobile video usage. https://dx.doi.org/10.3991/IJIM.V14I04.12429
[4]. Hellekson, K. (2009). A fannish field of value: Online fan gift culture. Cinema journal, 48(4), 113-118. https://doi.org/10.1353/CJ.0.0140
[5]. Xu, L., Yan, X., & Zhang, Z. (2019). Research on the causes of the “TikTok” app becoming popular and the existing problems. Journal of advanced management science, 7(2). https://doi.org/10.18178/joams.7.2.59-63
[6]. Yang, S., Zhao, Y., & Ma, Y. (2019, July). Analysis of the reasons and development of short video application-Taking Tik Tok as an example. In Proceedings of the 2019 9th International Conference on Information and Social Science (ICISS 2019), Manila, Philippines (pp. 12-14). http://dx.doi.org/10.2991/aebmr.k.210601.041
[7]. Fung, A., He, W., & Cao, S. (2022). Cultural capitals and creative labour of short video platforms: a study of wanghong on Douyin. Cultural Trends, 1-16. https://doi.org/10.1080/09548963.2022.2082862
[8]. Liu, K. (2022). Research on the core competitiveness of short video industry in the context of big data—a case study of tiktok of bytedance company. American Journal of Industrial and Business Management, 12(4), 699-730. https://doi.org/10.48550/arXiv.0707.3670
[9]. Scott, S. (2009). Repackaging fan culture: The regifting economy of ancillary content models. Transformative Works and Cultures, 3(1.6), 1-11. https://doi.org/10.3983/twc.2009.0150
[10]. Xiuwen, Z., & Razali, A. B. (2021). An overview of the utilization of TikTok to improve oral English communication competence among EFL undergraduate students. Universal Journal of Educational Research, 9(7), 1439-1451. http://dx.doi.org/10.13189/ujer.2021.090710
[11]. Wang, Y. H., Gu, T. J., & Wang, S. Y. (2019, May). Causes and characteristics of short video platform internet community taking the TikTok short video application as an example. In 2019 IEEE International Conference on Consumer Electronics-Taiwan (ICCE-TW) (pp. 1-2). IEEE. http://dx.doi.org/10.1109/ICCE-TW46550.2019.8992021
[12]. Kaye, D. B. V., Chen, X., & Zeng, J. (2021). The co-evolution of two Chinese mobile short video apps: Parallel platformization of Douyin and TikTok. Mobile Media & Communication, 9(2), 229-253. https://doi.org/10.1177/2050157920952120
Cite this article
Zhu,Y. (2023). Operation of Short Videos in Fan Economy Era: Tik Tok as a Case. Communications in Humanities Research,6,222-227.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the International Conference on Social Psychology and Humanity Studies
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).