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deictic references to time and space, by including language like “today”, “now”, “here” and “this”. Additionally, Luke uses informal language and often admits to presentation mistakes. Tolson explains “it is not just then that the production is amateurish, it is that she makes a transparent virtue of this”. Another feature of her videos is that they typically start off with a greeting to the viewer and often include self-referential acknowledgements of the community surrounding Luke’s YouTube channel. Luke’s linguistic informality allows viewers to feel as if they are a part of the conversation with a real person and not a “celebrity persona”, despite the fact that she has over half a million subscribers (Tolson, 2010). While Tolson’s critical discourse analysis is a great starting point in terms of understanding the communication practices found in vlogs, he only reviews a single case study. This study will seek to apply Tolson’s linguistic research to a variety of amatuer videos on YouTube. Furthermore, my research will try to classify how the language used in amateur videos can influence the audience size and participation. Outside of vlogs, other amateur video formats on YouTube have found success and warrant further research. In fact, Green and Burgess found that only 40% of popular UGC on YouTube was classified as vlogging. Other popular original programming topics included amateur music videos (15%), live material (13%), scripted material (8%) and informational content (10%) (Green and Burgess, 2010). When researching science education and communication on YouTube, Welbourne and Grant found that UGC was significantly more popular than PGC, despite traditional media companies having a larger amount of available content. Their content analysis studied 390 videos from 39 science communication channels, 21 of which were created by professional media brands. One of their major findings was that for UGC and PGC that had a similar number of views, UGC 8PDF Image | UNDERSTANDING AND ENGAGING YOUTUBE COMMUNITIES
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