What is the influencer lifestyle? How do influencers win their fight for relevance and create a brand that catches fire, while still leading an authentic, healthy life? Influencing is a business built around likes and hate, which can take a huge psychological toll on those who choose to play the game. An Influencer’s World pulls back the curtain and shines a light on the often-misunderstood realities of this dynamic industry. Featuring dozens of interviews with trending influencers, CEOs, leading industry insiders, brands, mental health professionals, and celebrities, this book provides an unconventional look at both the business side of influencing and the personal lives of influencers and creators.

INTERVIEWEES INCLUDE:
Isabella Avila (17.7m on TikTok)
Jacques Bastien (cofounder, SHADE)
Mark Cuban (8.6m on Twitter)
Mary Fitzgerald (1.8m on Instagram)
GloZell Green (4.6m on YouTube)
Tim Karsliyev (1.7m on Instagram)
Kevin Kreider (431k on Instagram)
Max Levine (cofounder, Amp Studios)
Cindy Pham (468k on YouTube)
Michael Schweiger (CEO, Central Entertainment Group)
LaToya Shambo (CEO/founder, Black Girl Digital)
Joshua Suarez (14.4m on TikTok)

At a time when more films are released annually than there are days in the year, films must compete for audience attention. As a result, promotional budgets have risen exponentially with online becoming the fastest growing sector. Film websites don’t just promote films, they chronicle backstories, map storyworlds, introduce characters and provide spaces for audiences to congregate. Yet as a hybrid of promotion, storytelling and community hub, these sites are ephemeral, and when the promotional work is done, they are often locked, taken down and disappear without trace. This book considers this emerging form: Where have film websites been collected and archived? What forms do these websites take? And how do audiences engage with film websites? Drawing on media archaeological methods as well as developing new strategies to investigate these intriguing media objects, this book suggests that film websites are worthy of consideration as cultural artefacts in their own right.

At a time when more films are released annually than there are days in the year, films must compete for audience attention. As a result, promotional budgets have risen exponentially with online becoming the fastest growing sector. Film websites don’t just promote films, they chronicle backstories, map storyworlds, introduce characters and provide spaces for audiences to congregate. Yet as a hybrid of promotion, storytelling and community hub, these sites are ephemeral, and when the promotional work is done, they are often locked, taken down and disappear without trace. This book considers this emerging form: Where have film websites been collected and archived? What forms do these websites take? And how do audiences engage with film websites? Drawing on media archaeological methods as well as developing new strategies to investigate these intriguing media objects, this book suggests that film websites are worthy of consideration as cultural artefacts in their own right.