**2.3 A critical theory perspective**

Drawing from the notions of the Frankfurt School theorists who gained popularity in critical studies in the middle of the twentieth century and gave the social theory a perspective that aimed at analyzing and criticizing social, political, and economic structures of society, with a particular focus on power relations and the role of ideology, especially with the media as cultural industries [51], it is paramount to attach to the theoretical resemblance of the creative industry within these power relations and social construction spectrum. Thus, a study conducted by [52] on network television and American society contributes to the body of previous studies on Critical Theory by examining the contradictory imperatives and social effects of network television within the context of advanced capitalism. It challenges dominant paradigms and conventional wisdom by highlighting the contradictions and tensions within network television, and the potential for both hegemonic and subversive social effects.

By emphasizing the need for a critical analysis of television's contradictory functions and social effects, the study calls for a rejection of monolithic theories of advanced capitalism. It provides a foundation towards the understanding of media institutions and their relationship to broader social structures, making it a significant contribution to the field of Critical Theory, which can also serve as a setting stone for future studies outside of networked television. Television and film, in this regard, are often intertwined as subsets of creative and cultural industries [53, 54]. Although there is a growing body of contemporary research that specifically theorizes film as a mode of cultural industries (cultural production) vis-à-vis

*Unlocking Monetization Potential in the Age of YouTube Algorithmic Bias: An Analysis… DOI: http://dx.doi.org/10.5772/intechopen.113306*

Critical Theory such as [55–60], most of these studies have built upon [61] who revisited Critical Theory and film, focusing on the perspectives of Walter Benjamin and Theodor Adorno. The study examines the reasons behind the condemnation of film within the critical Marxist tradition, particularly within the framework of Critical Theory. It also discusses the concept of autonomy in art and the resistance to the study of reception within Critical Theory. The author analyzes Adorno's critique of mass art and the culture industry, highlighting his emphasis on the form and technique of the artwork and his neglect of the social context in which it is produced and received.

Waldman [61] also addresses the influence of market forces on both autonomous art and mass art, challenging Adorno's static view of Hollywood films and exploring the gaps and contradictions within them. Another key highlight of this argument is its focus on the attitudes of critical theorists toward film and the implications of their perspectives derived from Critical Theory. However, the application of Critical Theory to filmmaking by previous studies proves to have heavily focused on 'critiquing' the film as a product and neglected the dynamics of geo-restrictions and algorithm bias imposed by platforms such as YouTube, which are used by many, as a means to display film content.

The theoretical gap in understanding the power dynamics of platforms, within the context of critical theory, is further widened by the lack of studies that specifically focus on the intricate dynamics of platform power. This includes the examination of how platforms such as YouTube possess the power to host film content and manipulate its visibility through algorithmic promotion. By neglecting to analyze these platform power dynamics, then Critical Theory fails to fully comprehend the existence of media institutions and their role in shaping and disseminating cultural products. Therefore, by employing this theoretical framework, this study aims to contribute to the understanding of the cultural, social, and economic dynamics of utilizing YouTube as a platform for film distribution and monetization. It seeks to provide an appreciation of ways in which power relations, representation, and media ownership shape the experiences and opportunities of filmmakers in Botswana within the global film sphere.
