Social media has become an integral part of everyday life with the spread of computer and mobile communication tools and has mediated the emergence of new cultural practices. Crystal Abidin (2018, p. 99) states that the new type of celebrities and the 'wing leader/influencer' (influencer) structure that has been visible since the mid-2000s has become an industry that has been institutionalized and organized. In parallel with the spread of the Internet, the disembodied digital 'virtual space' is developing individuals' (Morva, 2016, p. 43) it has led to a redefinition of traditional ways of thinking about the self. Morva (2016: 43) 'digital self', new media technologies in the last quarter-century with the development of the online environment that is the product of the offline self and that self can be defined as an online extension of his increasingly the line between digital to determine says. This digital self is formed by being accepted by 'others' in terms of their wishes, just like the offline self, and this acceptance is sustainable. In this context, it is said that social networks such as Facebook, Instagram, Twitter and YouTube, which owe their existence to web 2.0 technologies that allow interaction, unlike web 1.0, can also be read as self-building environments (Morva, 2016, p. 59). Some identities configured in these networks are monitored more by others and become known inside the network. Micro celebrities and follower networks express a new cultural production practice that is taking shape within the new media environment (Sezen, 2016. s. 175).
Abidin, C. (2018). Internet Celebrity: Understanding Fame Online. UK: Emerald.
Morva, O. (2016). Ben, Kendim ve Dijital Benliğim: Dijital İletişim Çağında Benlik Kavramsallaştırması. N. Timisi (Der.), içinde, Dijital Kavramlar, Olanaklar, Deneyimler (s. 41-62). İstanbul: Kalkedon.
Sezen, D. (2016). Dijital Sonrası hayran kültürünün dönüşüm üzerine. N. Timisi (Der.), içinde, Dijital Kavramlar, Olanaklar, Deneyimler (s. 153-177). İstanbul: Kalkedon.