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of Puoli Seitsemän (Half Past Six, daily magazine type of evening entertainment non-fictional programme), a Finnish crossmedia experience produced by
YLE, Finland’s public service broadcasting and Eesti Laul, (Estonian Song, singing competition aimed at selecting the representative of Estonia for Eurovi‑
sion song contest, including three concerts/episodes broadcast live from TV) an Estonian crossmedia experience produced by ERR, Estonia’s public service
broadcasting. The focus groups consist of members of actual audiences (based on telemetric analysis) and imagined audiences (based on interviews with
the producers of the show). Using a methodology of thematic analysis results from the total of seven focus groups were examined. Additionally, other re‑
sults from the producers’s interviews (fifteen interviews in total) are used to discuss the results. The analysis identified three main findings. First, audiences
tend to recognize and remember the productions by their main outcome, hence as TV productions rather than crossmedia experiences. Second, audience
members might consider to migrate from one text to another only if they find it compelling and relevant, but in general they seem reluctant to embrace
the migratory behaviour described by Jenkins (2006). Thirdly, there are differences in gendered behaviour of following media, however, the gender based
differences seem to be disappearing, when the dispassionate and general public is transformed into fans.
PP 618
Produsage as (Re)Interpretation: Memories of Yugoslavia on Youtube
J. Kleut
1
, B. Drašković
1
, D. Prodanović
1
1
University of Novi Sad, Department of Media Studies, Novi Sad, Serbia
Twenty five years after the breakup of Socialist Federal Republic of Yugoslavia, the memories of the former country – its peoples, structures, cultures and
values together the with the images of the wars that raged in the last decade of XX century – are alive in the imaginary of the citizens of newly formed
countries. Scholarship is predominantly, though not exclusively, oriented towards the role of mass media in the war period, with the extension to the pres‑
ent day media work on building new national identities against the one that is differently labelled as Yugoslav, socialist or communist. In order to broaden
the existing research, this paper focuses on the vernacular digital memories on the Youtube, a platform that is already researched as a socio-technical space
of remembrance and repository of individually crafted, materialized memories. In specific, using multi-modal discourse analysis we are studying 70 videos
in which a song 'Racunajte na nas” [You can count on us] is visually re-narrated. The song, once a generational anthem produced at the end of the 80-
ties, is viewed as a mass circulated text that served as the basis for produsage of Youtube videos. To bringing together scholarship on produsage as open,
communal, heterarchical, and ever continuing process, and scholarship on digitally mediated memories based on popular culture artifacts, we are using
the concept of interpretation. The analyzed amateur Youtube videos originate from ‘audiencing’ and thus individual interpretations of the song, its past
context and the overall understanding of the present act as the first step in produsage. Informed by this line of argument, the analysis reveals produsage
motivated by remembrance as in an individual process. The re-mixes of the song 'Racunajte na nas”with amateur and professional images show diversity
of interpretations manifested in thematic structures of multi-modal discourse. They include celebration of Tito’s times, Yugo-nostalgia, disappointment,
anti-war sentiments, anti-capitalism and anti-fascism. The analysis further reveals different historical points fromwhich a song is interpreted (old Yugoslav
times, times of breakup, present day) and different modes of combining popular culture images, historical material and personal audio-visual texts.