In the top e-commerce country such as China, the live stream of direct online sales has become a trend in recent years. New types of consumption are born from these streaming platforms that are online shopping and virtual gift consumption. Douyin has a high number of active users. "User-generated contents" (UGC) include imagination, cultural practices at the forefront and encourage the exchange of inexperienced and expert content (Van Dijick, 2013, p.8). Douyin attracts social media users because it was developed in the form of UGC. Besides, Douyin also makes a difference in the new wave of consumers in China, online shopping, and giving gifts online to streamers. According to Hou, Guan, Li & Chong (2018, p. 141), live stream engages viewers in real interaction through video. Hou et al. (2018, p. 142) emphasize a difference between online shopping and online consumption. Douyin acts as an intermediary that create social connections between consumers and live streamers. Gillespie (2010, p. 353) points out that intermediaries should deliberately uniquely plan to everyone and serve their monetary advantages while settling omitting the users' inconsistencies. Live-stream marketing can improve customer-to-business relationships (Su et al., 2020). This essay will explore how Douyin promotes online consumerism by analyzing the intermediary position, user's participatory culture, and authentic commodities in Douyin.
Gillespie (2010, p. 358) indicates that intermediaries pretend to be transparent, explicit and neutral environments with everyone-"prosumer" (Ritzer & Jurgenson, 2010, p. 31). However, Fuchs (2017, p. 35) states that digital labour described online publicity as a process by which businesses manipulate Internet users' digital work. Douyin is a prevalent social network in China, developed in 200 days, and within a year has 100 million users, with more than 1 billion videos viewed every day (Graziani, 2018) that meet the criteria to become intermediary. Gillespie (2010, p. 348) indicates that intermediaries attempt to build up a drawn-out situation in The development of new consumerism in communication infrastructure in China power by Douyin 3 a variable financial and social landscape. Douyin 's entire user experience consists of a vertical screen that enables viewers to interact with the creators (Chen, n.d.). Through the usage experience, the short videos, creators have to be creative and concise to keep viewers interested that lots of hot trades are updated every day in the search box for news and trends. The live stream shows every time anyone purchases something that persuades other people to purchase (Figure1). "Production and Consumption Hybrid" is streamlined to derive business profit employing customer processes online and offline that diminish the division of work and leisure institutionalized by industrial capitalism (Ritzer& Jurgenson,2010). Furthermore, live-stream marketing should be used as a sustainable technique to strengthen business-to-customer partnerships (Su et al., 2020).
Online gift awareness should be seen as a sustained tactic to encourage consumers' buying purpose (Su et al.,2020). Gift very eye-catching gifts with 3D interaction with the live stream's creator that viewers feel close to streamers (figure 10). Gillespie (2010, p. 355) points out that online video consumers should become content programmers to fulfill their material expectations. Ritzer & Jurgenson (2010, p. 25) states that the benefits of being given the freedom to create or co-create from Web 2.0, prosumers also receive other material benefits in lieu of money. Hence KOL and KOC are the ones connecting viewers with brands. Fuchs (2014) states that users are inspired by psychological and connectivity desires and wish to utilize social networks to get less feeling to manipulate by the business.
Livestream is increasingly proving its attraction in the online business; consumers no longer need to go to traditional stores to see products directly, ask support staff to consult or make payment at the counter. Fuchs (2017, p. 36) declares that competitive social media drives economic markets' construction, and production markets create brand value for companies and represent a unique identity. All of this The development of new consumerism in communication infrastructure in China power by Douyin 4 can be done online, whether consumers at home or on the go. In an age of explosive video players and live streams, the brand should seek to expand its partnership with celebrities whose fan base and themes are closely related to its products. Partnerships ar
e an excellent way for brands, product promoters and influencers to work together, delivering real-world content and experiences to their consumers. Digital labour can take advantage of their fame or social connectivity to receive commodities (Fuchs, 2014). Gillespie (2010, p. 355) points out that the population's expectations are best interpreted and interacted with by intermediaries, data and algorithms for advertisers. For that reason, many people from the original consumer who only watched content from Douyin began to become creators. Ritzer & Jurgenson (2010, p. 19) emphasizes that Web 2.0 accelerated the leap of consumer
goods and production.
Douyin was able to classify common videos and guide people, based on their past desires and search habits, using their current user base and the algorithms infrastructure (Le, 2018). Platforming does not consist of a one-way process; solutions, assemblies, and the potential can be seen, and platforming is also feasible alongside platforming procedures (Kloet et al., 2019). Douyin thrives on a new consumer wave from the digital workforce's participation that is also the platform's consumer force. Douyin created a new consumerism trend, openness but certainty in advertising design for the live stream feature base. Ritzer & Jurgenson (2010, p.31) argue that firms can be more adaptability sustainable but with less intervention with consumers who are generating and content consumption in prosumers capitalism era. Van Dijick (2013, p.4) emphasizes that the participatory culture was the popular expression that meant the Web's capability to support associations, fabricate networks, and advance the majority rules system. However, in a certain sense, this sales method is not new. It is a continuation and evolution of TV shopping channels, especially attracting viewers in the 80s and 90s of the 20th century. Until The development of new consumerism in communication infrastructure in China power by Douyin 5 now, instead of appearing on TV, the salespeople. Online product advertising on live stream services. These platforms grow exponentially in China, as social media explodes and viewers look for something more interesting than what has been shown on television. According to Allison (2020), Douyin's Ads are shown in four ways: Open screen ads, Feed ads, Sticker ads, and KOL (figure 6, 7, 8, 9). Barney et al. (2016, p. 26) argue that a colloquial definition of openness explicitly enables specific participatory media initiatives to partake in practice. An open screen advertising occurs as a consumer joins a programme that lasts from three to five seconds (Allison, 2020). Brands may use brief videos of 5-60 seconds that serve as native advertisements on Douyin's stream to further distribute brand recognition through various channels (Allison,2020). Jenkins, Ford, & Green (2013, p. 2) states that public attendances are actively influencing advertising interactions, consumer necessity and manufacturers. Jenkins, Ford, & Green (2013, p. 2) affirms that the participatory logic of spreadability contributes to the public using information unforeseen by an individual culture's curvature. Since these advertisements incorporate agreeably into the take care of and have a substantial visual effect, brands can rapidly accomplish their China promoting objectives (Allison, 2020). A brand's official account can establish fan engagement and allow users to share ad content with friends or other social networks and form an engagement culture. Brands will avoid monopolies and enhance control over the future of business through partnerships that drive new revenue streams. Fuchs (2017, p. 61) declares that media are environments centric where digital mechanisms communicate in diverse ways with social practices. Van Dijck (2013, p. 29) argues that the platform is an intermediary and a mediator that influences social actions' behaviour. Jenkins (1992) states participatory culture to characterize fan populations' cultural development and social engagement, initially attempting to distinguish fans' practices from other modes of The development of new consumerism in communication infrastructure in China power by Douyin watching (Jenkins, Ford, & Green, 2013, p. 203).
Brands may make unique stickers to advertise a product or business to allow users of Douyin to generate content with these stickers (Allison, 2020). Brand partners with influencers to increase visibility and promote the brand (Walkthechat, n.d.). Douyin's benefits in KOC marketing are that influencers are more genuine and faithful to a company (Allison, 2020). Feng & Qu (2020) said that the recommendation algorithm creates new consumerism among consumers. The advanced Douyin algorithms have a continuous stream of knowledge to be interpreted by several individuals within the same user community with the same desire. Fuchs (2017, p. 54) states that the algorithms attempt to measure, schedule and coordinate human needs. These advertisements are essential in attracting consumers to find their niche, which leads to them following those brands and potentially participating in live stream sessions. Van Dijck (2013, p. 31) affirms that algorithms penetrate a cooperative exchange on which the output is converted into a commercial-social strategy, valuable confidential information, forms of intellectual property. Van Dijick (2013, p. 4) stresses that connectivity transfers data through algorithms that contribute to brand a particular type of online sociality that supports a significant social and user-generated demand of online markets. Contrary to Van Dijck's "connectivity" theory, Douyin creates her closed ecosystem that also characterizes the market economy and enterprises' growth in China. Chen (2020) states that Douyin recently began blocking the Qianniu Taobao's connection to the order management system in Douyin and push forward Doudian 抖店. Chen (2020) affirms that Doudian 抖店 is an extensive e-commerce system to handle goods, deliveries, distribution, customer support, data monitoring, monitoring progress and advertising for traders. Users can easily create Douyin Ecommerce shops. Chen (2020) states that Bytedances are regarded as powerful enough to battle Tencent or Alibaba in China's technology industries to create closed ecosystems. According to The development of new consumerism in communication infrastructure in China power by Douyin Agency China (2020), Douyin mini-program designed interactive mall that permits consumers without exiting the framework to use different resources and can see different lists and product recommendation.
Dijick (2013, p. 41) states that the reliance on action plans steer interface design because every stage actualizes a complicated plan of coding and marking procedures to shape online society's explicit specialties. The user interface design of Douyin secretly makes people want to spend more time on the platform and, therefore, potentially spend more money. Zhang (2020, p. 1) states that Tiktok has ambitions to become an encyclopedia through content distribution and commercial monetization, cloud estimating content from production users. Lin and Lu (2017, p. 634) state that diverse platform infrastructure and user-friendly live streaming platforms make it convenient for ordinary internet users to stream live wherever convenient. This demographic recognizes fulfilling its social interaction and leisure requirements by witnessing and engaging with live streams (Lin and Lu, 2017, p. 634). The growing population that produces live stream has grown into a new social media norm, cultivating social ties between streamers and audiences (Lin, Lu, 2017, p. 636). Lin, Lu (2017, p. 636) claim that live streams take advantage of how people need to find comfort, use, and protect and socialize, but live streaming helps social media users do it without interacting with real communities. User content-sharing repetition promotes consumer product authenticity and a springboard for curiosity in live shopping streams. More than that, live streaming is a new technique for online brands to market their products. Hu et al. (2020, p. 1019) state that live streaming promotes online shopping authenticity, visualization, and interactivity compared to traditional online shopping. The benefit of live stream shopping is the integration with the streamer. Hu et al. (2020, p. 1020) give the example that the audience can request and interact with the broadcaster and the viewers through a text-based chat room when viewing the live stream The development of new consumerism in communication infrastructure in China power by Douyin 8 (Figure 4). Live streaming may be used to prove and launch different materials, including trendy items, products of beauty and fresh items (Hu et al., 2020, p. 1020). Lin and Kloet (2019) state that the Chinese Tik Tok platform even calls on farmers to film their daily lives in remote locations and encourage their fresh produce in farms(figure 5), which also suit their company into the state's Mass Entrepreneurs & Innovation Agenda with accomplishment (Zhang, 2020, p. 7). Live e-commerce streams help customers learn to buy digitally introduce how clothes can be mixed and matched (Figure 4) and how vegetables are harvested (Hallanan, 2019; Hu et al., 2020, p. 1022). Live stream shopping attracts consumers because of the interactivity it creates and the benefits of buying online with its convenient checkout and fast delivery process. Operators introduce different forms of connection bonds in e-commerce live streaming, deliver exclusive pricing discounts to customers or discount vouchers to invite viewers to participate in live streaming (Hallanan, 2019; Hu et al., 2020, p. 1021). Buyers are always in the mentality of being pushed, afraid to miss and then decide to spend money quickly. Furthermore, social bonds rely on administration measurements that include relational connections, fellowships, and distinguishing pieces of proof to fabricate connections among shoppers and merchants (Berry, 1995; Hsieh et al., 2005; Hu et al., 2020, p. 1022). China's short video market is not new, and Douyin has already had competitors like Kuaishou, Miaopai, Haokan Shepin, but that cannot wholly stop Douyin's growth. Because of the age difference, users' geography, and participation, Douyin has more potential than its predecessor. For example, Kuaishou has a customer segment located in Tier 3 and Tier 4 cities or more rural areas, including significant users who exhibit richness or flirtation behaviour (Graziani, 2018).
In contrast, the audience of Douyin is living in Tier 1 and Tier 2 cities and The development of new consumerism in communication infrastructure in China power by Douyin young people are typically under 24 years old (Graziani, 2018). Yap (2019) explains the potential of how Douyin can transform the shape of Chinese luxury marketing. Ritzer & Jurgenson (2010, p. 16) state that consumer culture focuses on expectations, ideals and definitions relevant to the society governed by consumption, not the commodity system structure. Zwick et al. (2008) state that prosumption is engaging consumers into cocreation relationships that revolve around satisfying consumer needs (Ritzer & Jurgenson, 2010, p. 17).
Ritzer & Jurgenson (2010, p. 25) argued that it is likely that consumers would prefer their contributing jobs on cyber rather than being manipulated by companies. Ritzer & Jurgenson (2010, p. 27) clarifies that some resources from user-produced content may be transferred to consumers, but the potential profits are retained by the companies that own the platform.
Van Dijck (2013, p. 31) insists that internal and external interfaces that monitor encoded material's meaning are converted into commands for user-specific activities and link them to the content. Van Dijck (2013, p. 31) insists that interfaces are generally defined by default configurations dynamically assigned to a programme framework to in any form channel user actions by technological and ideological manoeuvres. Skageby (2009) states that consumers are also not well aware of processes underlying contact in social media networks by the shaping culture of algorithms, protocols, and defaults (Van Dijck, 2013, p. 32). Douyin exploited users into producers and turned content producers into consumers when they participated in live streams to become prosumers. Douyin's digital labour force came from the participation of these social media users. Barney et al. (2016, p. 9) argue that participation has been an influential cultural, political and economic asset and participation as a condition. Barney et al. (2016) state that participation is the decision-making process, which influences social relationships, societies, information structures, organizations, policies and culture, is a guarantee. The development of new consumerism in communication infrastructure in China power by Douyin
The partnerships between brands and influencers are most effective when brands and influencers work together to create relevant content and find practical ways for influencers to suggest products through a session live streaming. Douyin is not about interacting with a network of peers can also be very empowering. Users can feel empowered to present themselves do what they like, without the burden of trying to stick to socially desirable expectations and in a room free of prejudice and judgments – and since the videos are just 15 seconds away, it is also straightforward for them. It seems that prosumers are satisfied with co-creat with the resurgence of “cyber-libertarianism” (Ritzer & Jurgenson ,2010,p. 23).
The streaming platforms' infrastructure is deliberately intended to amplify content adaptation through virtual gifting from audiences (Zhang et al., 2019, p. 13). Zhang et al. (2019, p. 13) point out the "commodification of virtual" associations appeared in the authoritative structure of virtual awards that integrate at a distinct stage by establishing sensibilities and shared connections between the group. Hou et al. (2018, p. 155) claim that streamers thanked viewers for giving them gifts helped them locate their social status and identity, increasing their dignity with the viewers who donated. The digital shopping commitment from effective media intervention establishes that all forms of normative commitment are related to customer participation (Hu &Chaudry, 2020, p. 1033). This appearance awareness enhances market authenticity and contributes to improved sustainable purchase timely decisions (Su et al., 2020, p. 10).
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