When something goes viral, it rapidly gains popularity on the internet. It becomes a ‘virus’ according to Rushkoff (1994). While the protein shell embodies an event, image or technology containing hidden agendas (i.e. ideological codes), popular culture serves as a host organism. That said, Rushkoff (1994) does not introduces ‘media virus‘ as a metaphor but literal meaning as it is spreading “through the data sphere the same way biological ones spread through the body or a community (pp. 9-10). However, he refrains from considering media viruses a necessarily bad thing and instead views them as tools to target systems and faulty codes controlling society (p. 15).
Though how do media events become viruses? Millions of people do not spread a certain media content because each of them finds it particularly interesting or well-produced. We pass e.g. videos, images and texts on because they mean something to not only us, but to the whole social community we are part of. That said, “when advertising spreads”, as Jenkins (2008, p. 76) puts it, “it is because the community has embraced it as a resource for expressing its shared beliefs or pursuing its mutual interests” (p. 76). It has thus acquired a certain ‘worth’ and is subsequently considered a ‘gift’. Consumers no longer talk about brands, but through them. They articulate what matters to them by distributing commercials to other members of their social surroundings that do not merely ‘stick’ anymore but feature ‘spreadable’ characteristics.
Here, Jenkins (2008) stresses a number of differences. Whereas ‘stickiness‘ aims to attract and hold the attention of users, ‘spreadability‘ rather tries to provoke them to react – to spread the word. While ‘stickiness’ implies an unified consumer experience and pre-structured interactivity, ‘spreadability’ is all about a diversified experience and open-ended participation. Lastly, the concept of ‘spreadability’ users neither maintain separate and distinct roles anymore, nor do they merely navigate through finite channels of communication (p. 3).
Correspondingly, the role of the consumer or rather “multiplier” (p. 22) has severely changed: Instead of passively consuming media content, the audience transformed into what Jenkins (2008) calls “grassroots advocates” (p. 23), who do not simply carry or host ideas anymore but pick and choose material that is personally and socially meaningful to them. Naturally, this motivation to spread content differs from the media producer side: a notion, Jenkins (2008) is particularly concerned with. At this point, it is important to understand the concepts of ‘Commodity Culture‘ and ‘Gift Economy‘ (as summarized in the chart below). While the latter solely follows social motives, ‘Commodity Culture’ adheres to economic interests – which is why they clash frequently (e.g. in the case of sharing music files online with friends). However, ‘spreadability’ offers a wide range of benefits to companies – preconditioned that they embrace this concept instead of fearing the loss of “centralized control over the circulation and interpretation of their brand messages” (p. 78). ‘Spreadable’ media content raises awareness of new brands or transforms the perception of established ones. They open up new potential markets and increase consumer loyalty by enabling emotional attachment.
Everything just said is, however, tied to four basic conditions according to Jenkins (2008). In order to become ‘spreadable’ a commercial must…
- contain humor or parody;
- pose puzzles or enigmas which encourage us to seek out other information;https://www.youtube.com/watch?v=Go9rf9GmYpM
- be incomplete without our active participation and/or
- express themes of community and nostalgia (p. 6).
This commercial by Edeka, one of the biggest German supermarket chain, has been an extremely controversial viral ‘success’ (released in November 2015; since then 56 million hits on Youtube). Already 24 hours after its publication, the video was clicked 5 million times on Facebook and 1,2 million times on Youtube. It deals with an elderly father who is being left alone on Christmas Eve by his pre-occupied children. In order to change this, he spreads the notion of his death, which triggers all of his children and grandchildren to visit after all – and enjoy a christmas dinner together ‘powered by’ groceries from Edeka. Overall, the commercial resembles more a premium cinema production than a spot. It invites its viewer to sit down and listen to a story; a very emotional one at that.
The story’s curators work for the German agency Jung von Matt. According to its manager Thomas Strerath, the intention was to remind people of Christmas being the family holiday, since today nobody seems to care anymore. And, of course, they deliberately crossed a line in the process – which he considers the only and therefore necessary way to become part of a general discussion and, ultimately, to be remembered.
Beyond being talked about, the clip was imitated in both professional and amateur ways. For one, the German TV show “Circus HalliGalli” produced a parody of the theme: when the mourning children encounter their father alive and well, they scream at him and eventually shoot him. Within the description of the Youtube post it says: “No, it is simply not a good idea to fake your own death. Never.”
Similarly, three friends remade the clip by changing the end as well: one of them spreads the news of his death so that his two friends come over and clean the house while he enjoys his spare time. Another response video was created as a comic. Here, the main protagonist fakes his death in order to get a quiet night watching Netflix.
https://www.youtube.com/watch?v=liVFIhohRuQ
Returning to the original Youtube clip and its comment section, users react mostly compassionate, claiming that this is the most touching / high-quality commercial they have ever seen. A lot of voices agree with the video’s message: do not wait until it is too late – make time for your loved ones now! Numerous viewers reveal that they had goose bumps or even tears in their eyes while watching. Under the hashtag #heimkommen (homecoming), people tweetet their thoughts on it: “brave”, “grand cinema”, “eye opening” etc.
However, there are other opinions, too: remarks like “disgusting”, “impious” and “a slap in the face for everyone who just lost someone” were posted by other Youtube users. A major German newspaper titles “This is how Edeka plays with its customers’ feelings”, calling the ad “morbid” and “sad in a far too obvious way”. Practically every online medium picked up on the ‘spreadable’ content – mostly criticizing it sharply but always concluding with some sort of recognition: Edeka’s strategy worked. If people are not touched by it, they are furious but most importantly: they talk about the ad’s content either way.
References
Jenkins, H., Li, X., & Domb, A. (2008). If it doesn’t spread, it’s dead. Creating Value in a Spreadable Marketplace. Retrieved from: http://www.convergenceculture.org/weblog/2010/04/conver gence_culture_consortium.php
Rushkoff, D. (1994). Introduction. In: Media virus! Hidden agendas in popular culture (1st ed.). New York: Ballantine Books.