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examining comments posted to the videos and observing some of the underlying themes. Given that I have spent more than a year observing this phenomenon, written numerous academic papers on this subject, and conducted interviews with three haulers, my opinions and findings are based on solid substantiation. I wanted to take my interest in this web phenomenon to the next level and determine if there is evidence supporting the criticisms, or if these conclusions are based on flimsy evidence and inadequate observation. This is in part what motivated me to write my thesis on the exploration of this web sensation. Given that I am studying a form of popular culture, arguably a cultural artifact, I would like to mention Finnegan’s (1997) notion of “the self as story” (p. 69), as this comes from a cultural studies background and focuses on the moment of identity. The idea as ‘self as story’ both overlaps and contrasts with other models of identity. It also extends the idea of ‘culture’ and ‘media’ beyond the organizational structures of, say, the culture industries, broadcasting or the published media, into the everyday modes in which we express and construct our lives in personal terms, telling our own stories. It makes the assumption that it is valuable to look not just at the products of professionals and specialists but also the practices of ordinary people in their everyday lives (see Finnegan, 1997, p. 69). I propose that there are thousands of girls and women producing virtual versions of the “self as story” through the vlogs and haul videos present on YouTube. I believe that these videos constitute “everyday modes in which we express and construct our lives in personal terms...” and are rich with detail that can be analyzed by employing the circuit of culture (the theoretical framework used to guide this research). Moreover, the phenomenon of hauling on YouTube is 17PDF Image | EXPLORING HAUL VIDEOS ON YOUTUBE: A COLLECTIVE CASE STUDY APPROACH
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