Mcmahon daithí 2019 the impact of facebook on the irish radio industry phd thesi

The economic, social & cultural impact of the social network site Facebook on the Irish radio industry 2011-2016 Item Type Thesis or dissertation Authors McMahon, Daithí Citation McMahon, D. (2019) 'The economic, social & cultural impact of the social network site Facebook on the Irish radio industry 2011-2016' Unpublished PhD thesis. University of Derby. Publisher University of Derby Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 19/02/2022 21:36:56 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.net/10545/624234 UNIVERSITY OF DERBY THE ECONOMIC, SOCIAL & CULTURAL IMPACT OF THE SOCIAL NETWORK SITE FACEBOOK ON THE IRISH RADIO INDUSTRY 2011-2016 Daithí McMahon Doctor of Philosophy 2019 Table of Contents List of Figures i Declaration ii Abstract iii Acknowledgements iv Chapter 1: Introduction and Context of Ireland and the Irish Radio Industry 2011-2016 p.2 Research Aims and Objectives p.3 Research Sub-Questions p.4 Thesis Scope, Outline and Structure p.5 Ireland 2011-2016: Political, Economic and Social Context p.6 The Irish Radio Industry p.14 Public Service Sector p.14 Independent Commercial Sector p.15 Community Radio Sector p.7 Radio Listenership in Ireland p.20 Chapter 2: Audience Participation – Radio at its Best p.2 Radio Audience Participation p.3 Audience Participation, Interaction and Engagement p.4 Radio and SNS ‘Followers’ p.30 Longitudinal Content Analysis p.35 Choice of Medium p.35 Choice of Radio Stations p.36 Facebook or Twitter? p.38 Multi-Method Approach p.41 In-Depth Interviews p.43 Audience Survey Questionnaire p.44 Chapter 3: The Development of Radio into a Multimedia Product p.2 Facebook: The Face of Radio p.0 and Social Media p.55 Radio and Facebook: The Perfect Match p.60 Radio’s Digital Transition p.63 Chapter 4: Audience Motives to Participate, Interact and Engage with Radio and Social Media p.2 Radio Uses and Gratifications p.3 Audience Survey Methodology p.71 Dissemination and Survey Sample p.73 Analysis of Findings p.4 Initial Survey Findings p.75 Tech-Savvy Active Audience p.75 Facebook is Preferred p.76 Audience Uses for Facebook p.78 (2) Seeking Entertainment/Amusement p.79 (3) Contests and Prizes p.5 Facebook not Feedback p.83 Chapter 5: Changes in Audience Media Consumption and the Role of the ‘Produsers’ p.2 Cultural Studies and the Active Audience p.3 Active User / Produser / Prosumer p.4 Active Audience Cycle p.90 Phase 1) Tune In p.92 Phase 2) Log On p.5 Audience Retention and Growth p.6 Commercial Radio vs RTÉ 2fm p.104 Chapter 6: Putting the ‘Social’ in Social Media: The Importance of Connecting with the Audience Through SNSs p.2 Research Methods: In-Depth Interviews p.3 Fundamental Functions of Facebook p.108 Increase Online Presence p.111 Increase Participation, Interaction and Engagement p.120 Chapter 7: Accumulation of Capital and the Commodification of Facebook Audiences p.123 Exploitation or Entertainment? p.125 Commodification of Audience Engagement p.3 Accumulation of Capital p.4 Habitus and Field p.0 – Radio’s Digital Coming of Age p.2 Research Methodology: Direct Observation p.3 Changes in Radio Production p.4 Radio Station Owners’ Perspective p.5 RTÉ Digital Changes p.148 Chapter 9: Understanding Radio Station Facebook Pages – Online Communities p.3 Online Communities – Audience Survey Findings p.155 Community Characteristic 1) Shared Common Location p.156 Community Characteristic 2) Emotional Connection with Others p.159 Community Characteristic 3) Community Influence p.160 Community Characteristic 4) Shared Connection p.162 Community Characteristic 5) Shared Resources and Support p.167 Community Characteristic 6) Shared Identities p.168 Community Characteristic 7) Interpersonal Relationships p.171 Community Characteristic 8) Sense of Belonging to a Group p.181 Chapter 10: Understanding Radio Station Facebook Pages – Cultural Public Spheres p.2 Public Spheres and Fora for Free Speech p.3 Impact on Audience/Participants p.4 Impact on Policy p.5 A Measure of Public Opinion p.6 Cultural Public Spheres – Matters of Art, Culture and Emotion p.7 Cultural Public Spheres on Facebook p.202 Chapter 11: Identity and Community – Beating the Tribal Drum: A Case Study of Radio Kerry p.2 Radio Kerry and its Audience p.3 Radio Kerry Production and Social Media Strategies p.4 Facebook and Cultural Public Spheres p.215 Chapter 12: Millennials, Nostalgia and Affective Communities: A Case Study of Beat 102103 p.2 Millennials and Generation Theory p.3 Affect and Emotion on SNSs p.220 Facebook and Nostalgia p.4 Beat’s Facebook Page p.224 Beat’s Connection with Millennials p.225 Beat’s Use of Nostalgia p.4 Beat’s Viral Posts p.227 Viral Post Example 1: Teletubbies p.227 Viral Post Example 2: Betty Spaghetty p.5 Beat’s Viral Growth p.232 Chapter 13: Radio Audiences and Parasocial Interaction: A Tubridy 2fm (RTÉ) Case Study p.2 Parasocial Interaction and Intimacy p.3 Radio Audience Fandom p.4 Tubridy 2fm Facebook Page p.244 Chapter 14: Radio in the Digital Age and Application of Research to Industry Policy and Strategy Development p.2 Revisit Research Questions p.3 Recommendations and Future Application of Research Findings p.261 Chapter 15: Critical Implications for the Research p.2 Change for Irish Radio p.3 The Future of Commercial Radio p.266 Radio’s Public Service Remit p.4 Visualisation of Radio p.271 Podcasts – Radio’s Aural Competition p.293 Appendix 1: Content Analysis Full Results Appendix 2: Informed Consent Form & Participant Information Sheet Appendix 3: Ethics Applications & Approvals Appendix 4: Radio Kerry Survey Results Appendix 5: Beat 102103 Survey Results Appendix 6: RTÉ 2fm Survey Results Appendix 7: Tubridy 2fm Survey Results Appendix 8: Radio Professional Interview Questions & Transcripts Appendix 9: Further Reading – Author’s Published Works & Presentations List of Figures Figure 1: Example of Beat Friday Post p.49 Figure 2: Example of survey post published on radio station Facebook pages p.73 Figure 3: The Active Audience Cycle p.92 Figure 4: Youth Radio Station Reach 2008-2014 p.100 Figure 5: Example of Beat meme on Irish weather p.138 Figure 6: Radio Kerry Facebook page on Sept.207 Figure 7: Terrace Talk post published July 2, 2016 p.214 Figure 8: Facebook’s emoji icons introduced in 2015 p.224 Figure 9: Beat Facebook page September 11, 2014 p.225 Figure 10: Beat Facebook page October 30, 2014 p.225 Figure 11: Teletubbies post on Beat’s Facebook page p.228 Figure 12: Betty Spaghetty post on Beat’s Facebook page p.230 Figure 13: Tubridy 2fm Facebook page September 11, 2014 p.235 Figure 14: RTÉ 2fm Facebook page September 11, 2014 p.237 Figure 15: RTÉ 2fm Facebook page July 13, 2018 p.237 Figure 16: An example of a ‘Behind the Scenes’ post March 4, 2014 p.241 Figure 17: ‘Celebrity Photo’ post Harry Shearer & Ryan Tubridy, March 7, 2014 p.242 Figure 18: ‘Ryan on Tour’ with the Irish Rugby Team, January 22, 2014 p.243 * Some images have been removed prior to publication for copyright reasons.

i Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ____________________ Daithí McMahon Date: ____________________ ii Abstract This thesis explores the relationship between radio and Facebook in Ireland during the period 2011-2016 and the ways in which radio production practices, audience participation and radio as a medium has changed over that time. From 2008, the Irish Radio Industry experienced a steep decline in advertising revenue which would continue for the next 8 years. Initially seen as a possible threat to the still largely analogue medium of radio, social media platforms such as Facebook were quickly adopted by radio stations and turned into tactical instruments to attract and engage audiences.

Again, radio proved its resilience and adaptability to change. Although producers for the most part used Facebook creatively and skilfully to gather their audience in online communities, Facebook has unfortunately been found to be presenting some significant issues for the Irish Radio Industry. This thesis employed a multimethod approach to explore the research problem from the perspective of the audience, the producer, and the media texts. This triangulation approach allowed for a comprehensive examination and analysis of the research question and an objective set of findings.

The research included interviews with Irish Radio Industry professionals (N=11) as well as direct observation of the presenters’/producers’ daily production routines. An extensive audience questionnaire was disseminated via Facebook and yielded a high response (N=416). Textual analysis of radio station Facebook pages offered insight into the bespoke nature of each station’s output including audience tastes and staff production strategies. A longitudinal content analysis allowed the researcher to measure the growth of radio station Facebook and Twitter followers over a two-and-a-half year period.

This research highlights the importance of Facebook for radio stations in Ireland as an audio- visual tool to reach new young audiences who have grown up in the digital age, although it does expand the producers’ remit. I argue that radio stations can accumulate social, cultural and symbolic capital through Facebook, and in some instances, economic capital. This thesis highlights the changes that are representative of convergence culture where the audience play a much more active role in media production and dissemination, but their ‘play labour’ is simultaneously being commodified and profited from by Facebook and Google. This research offers case studies which include some best practice in terms of social media management and will therefore inform radio production teaching in higher education.

Based on the research I propose that Irish radio needs to act fast while the industry is still afloat and engage in collaboration between commercial and public service radio, regulation of online advertisers and social network sites (SNSs) and innovation to engage further with digital media and find new revenue streams. Should action not be taken I predict the conglomeration of the commercial sector of the Irish Radio Industry and with it the loss of valuable and trusted public services from local communities. iii Acknowledgements This thesis would not have been possible without the help and support of Mary Immaculate College, University of Limerick and the staff of the Media & Communications Department. In particular I would like to thank my first thesis Director of Study Dr Rosemary Day who encouraged me to start this journey and supported me during our time working together.

I would also like to thank the rest of the staff in the department including Dr Marcus Free for his help and advice and his invaluable insight at a crucial stage of the research. Padraig Horgan was also extremely helpful as were the MIC library staff. Professor Jim Deegan and the staff of the MIC Research and Grad School were wonderfully supportive throughout my time at MIC and deserve my sincere thanks. PhD study takes time and money and so I must therefore also thank the MIC College of Arts for making my postgrad studies possible through an MIC Assistantship Award.

I transferred my studies to the University of Derby and I would like to thank Professor Chris White whose initiative and guidance in helping me transfer my studies was greatly welcomed, not to mention her expert guidance as my Director of Studies. I would also like to thank Professor Huw Davies whose support was invaluable in helping me bring this thesis over the line. I have learned a lot from all my supervisors which I will bring forward to my own PhD supervision in the future. I would also like to thank the College of Arts, Humanities & Education at the University of Derby for the financial and administrative support it provided to help me complete my studies, as well as the library staff at University of Derby and the post- grad support team who have been so helpful to me.

I also greatly appreciate all the participants who took part in the study, including the survey respondents, and the staff and management of the radio stations for their time, input and understanding of the importance of this research to radio studies. I would also thank the countless people who have helped along the way, too many to name individually or recall, but wherever you are please know that I appreciate your help and I thank you. My family have provided enormous support to me throughout the process of producing this thesis. I would like to thank my parents, siblings and their partners for everything they have done, big and small, to keep me moving forward.