Who is zoella's target audience?

Facts:

Female audience:

emotive content - the show appeals to its female audience through narrative that engage with subject matter emotionally. Zoella continuously tells us how she feels about the problems she faces herself.
Zoella foregrounds stereotypical female based activities in her presentation: fashion, makeup, relationships.
Consume stereotypically female - female colour palette deployed in the mis-en scene
Use of pets and pet orientated references.
Presenter constructs a version of ideal beauty - highly stylised, lots of makeup, attention paid to costume.
Intimate confessional tone - creates a relatable female character.
A quiet/passive presentation style that fits with target audience expectations and female presenter stereotypes.

Heavy use of instagram , snapchat and youtube - these sites fit with the social media applications most prominently used by this age group.
Youthful co-presenters
Deliberate amteur aesthetic suggests authenticity to this media saturated audience segment.
Everyday activities of this demographic are incooperated into narratives to create connections with the target audience.
Fan connections showcased in uploads - fans represent the real target audience, light comedic tone effected.
Youth orientated slang language is used.
Use of youtube commentary to create intimate connections with the target audience.
Secondary target audience: engaged by the content that is safe in terms of sexual content and other taboo areas/.

Clay Shirky - End of Audience

The idea that the internet and digital technologies have had a profound effect on the relations between media and individuals. - making it harder to distinguish the difference.
The idea that the conceptualizations of audience members as passive consumers of mass media content is no longer tenable in the age of the internet, as media consumers have now become producers who 'speak back' to the media in various ways, as well as creating and sharing content with one another.
Broadcast media, the media of passive television consumption, Shirky claims, arose as a response to the explosion of leisure time afforded by technological progress in the twentieth century. "Media in the twentieth century" Shirky points out, 'Was run as a single event: consumption".

Amateur aesthetic of blogs/vlogs - create a sense of authenticity that content is unmediated.
Filming at home, "real" mis-en-scene use of direct address etc. Youtubers are constructed as relatable figures, 'real' people rather than distant 'stars'.
Regular posts and updates keep the content fresh and current - this creates the sense of spontaneity and creativity.
In this sense, Shirky would argue that the early work of both vloggers exemplifiers the ways in which the digital revolution enabled ordinary audience members to distribute self-constructed work rather then passively consuming the broadcast products of large scale media institutions.

Henry Jenkins also draws attention to the revolutionary impact of the new technology on media consumption suggesting that the audience engagement creates what he calls 'media flows': that the very process of contemporary digital distribution and circulation is enabled by an active engagement on the audience part.
Audience activity - Jenkins argues, provides the very mechanism through which modern media is distributed. Online media relies, he tells us, on audience sharing content across their social networks.