Kingdom or fandom? YouTube and the changing role of gatekeeping in digital cultural markets

• 成果类型: Article
• 署名作者: Malik, Sumeet; Rathee, Chandrika; Alexy, Oliver; Wang, Taiyuan
• 署名单位: University of Amsterdam; Erasmus University Rotterdam; Erasmus University Rotterdam - Excl Erasmus MC; Technical University of Munich; China Europe International Business School
• 刊物名称: STRATEGIC MANAGEMENT JOURNAL
• ISSN/ISSBN: 0143-2095
• DOI: 10.1002/smj.3678
• 发表日期: 2025
• 页码: 929-961
• 关键词: audience multiplicity; categorization; CULTURAL ENTREPRENEURSHIP; novelty; digital platforms; YouTube

摘要

Research SummaryHow should novelty-driven entrepreneurs best position themselves in digital cultural markets? On platforms like YouTube, cultural entrepreneurs may bypass classic gatekeepers to reach novelty-seeking audiences through algorithms that search and recommend. However, this positive view of disintermediation ignores that novelty often needs curation by and consecration from professional audiences. We explore what these potentially conflicting dynamics imply for cultural entrepreneurs in the arena of YouTubers nominated for acclaimed Streamy Awards. Merging fine-grained datasets and qualitative evidence, we find that general audiences value novelty they grasp well, that professional audiences undervalue novelty they should easily spot, and that cross-audience spillovers prove negative. We discuss the implications of our results for theories toward markets serving fragmented audiences, cultural markets going online, and digital platforms.Managerial SummaryHow can novelty-driven cultural entrepreneurs effectively establish themselves in digital markets like YouTube? This study guides them by highlighting that while these platforms enable bypassing traditional gatekeepers and reaching consumers directly through recommendation algorithms, recognition from professional circles may remain crucial. The research focuses on YouTube creators nominated for Streamy Awards, based on detailed data from YouTube and interviews. Key findings include that general audiences prefer novel content that is easy to curate, while professionals may overlook novel content when curation is easy. Additionally, popularity in one audience group does not guarantee acceptance in another. The study's insights are vital for understanding market dynamics in fragmented audiences, the shift of cultural markets online, and the functioning of digital cultural platforms.