Özet
This thesis examines the production processes of influencers as cultural goods in the influencer industry in Turkey. The study, initiated from the cultural economy approach, examines how influencers are shaped, valued and being integrated to platform economy through the interaction of three pivotal actors (digital influencer agencies, social media platforms, and legislators). Examining the interaction between market demands, cultural production, and algorithmic curation, the research aims to shed light on how influencers navigate between authenticity and commodification. The study combines semi-structured in-depth interviews with digital ethnography, adopting a mixed methodological approach. Interviews have been conducted with 10 representatives of 9 digital influencer agencies, 10 influencers, a TikTok Turkey official, and an expert from the Ministry of Trade between the years of 2023-2025. This diverse dataset presents the point of views of different actors and offers a multidimensional perspective on the dynamics of the sector. Furthermore, on Instagram, one of the main platforms for influencers, the real-time observation of digital ethnography, content strategies, audience engagement, and platform-driven practices have been carried out for two and a half years. This methodological approach has enriched the analysis by grounding influencer experiences on both qualitative insights and digital practices. The research reveals that digital influencer agencies play a significant role in the commodification process by mediating between influencers and brands. Not only do agencies facilitate commercial partnerships but also professionalize influencer labor by setting standards for content quality, engagement, and marketability. On the other hand, acting as algorithmic gatekeepers social media platforms manage influencer visibility and reinforce the commodification of relational and aspirational labor through data-driven metrics. Regulatory bodies such as the Ministry of Commerce have begun to intervene in influencers’ content production practices, but legal gaps still persist in the industry. In general, legal and ethical standards are not established in the industry. In conclusion, this study reveals how the influencer industry in Turkey is shaped by local economic and cultural dynamics while reproducing global trends in platform capitalism.
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