Individuals, Representatives, and Racers : Instagram Images of F1 and F1 Esports Series Drivers
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Indi iduals, Rep esen a i es, and Race s : Ins ag am Images o F1 and F1 Espo s Se ies
D i e s
© 2024 he Au ho s
Published e sion
Malinen, Ville
Malinen, V. (2024). Indi iduals, Rep esen a i es, and Race s : Ins ag am Images o F1 and F1
Espo s Se ies D i e s. In e na ional Jou nal o Espo s.
h ps://www.ijespo s.o g/a icle/128/h ml
2024
Special Issue: No dic Espo s Resea ch – O iginal Resea ch A icle 1
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Indi iduals, Rep esen a i es, and Race s – Ins ag am Images o F1
and F1 Espo s Se ies D i e s
Ville Malinen
Uni e si y o Jy äskylä, Depa men o Music, A , and Cul u e S udies, Finland
Co espondence o Ville Malinen, Uni e si y o Jy äskylä, Depa men o Music, A , and Cul u e S udies, Finland.
Email: [email protected]
Abs ac
Aims: This a icle aims o deepen he unde s anding o how adi ional mo o spo s and espo s
s a s’ images a e ep esen ed and main ained in he o m o indi idual social-media con en and
how hey compa e wi h one ano he . This will allow o a be e unde s anding o he images o
and a ia ion be ween s a s in Fo mula One (F1) and he F1 Espo s Se ies as he syne gy
be ween hese se ies con inues o g ow.
Me hods and Resul s: The me hods used we e c i ical discou se analysis and close eading. The
heo ical amewo ks ea u ed Kellne ’s c i ical cul u al heo y and Dye ’s and Ch is ine
Ge agh y’s s a heo ies ega ding Wes e n socie ies.
The esul s showed a clea di e ence in he olume, quali y, and a ie y o con en and
discou se be ween F1 d i e s and F1 espo s d i e s (sim ace s). Fu he mo e, he lack o eam
p esence was appa en wi hin espo s s a s’ pos s, unde lining he ewe p oduc ion o ces and
s akeholde s behind he indus y, signi ying ha espo s s a s ha e less socio-cul u al weigh
han F1’s. Sim ace s also had less a ia ion in hei s a dom, bu hei ans a e likely o
cong ega e on o he media pla o ms.
Conclusions: I appea s ha much o F1 espo s s a s’ powe de i es om he eal-li e acing
eams ha p o ide he esou ces o c ea e and main ain s a dom ega dless o an indi idual
s a ’s cha ac e is ics. S akeholde s seem o ega d espo s as less wo hy o in es men , iewing
he indus y as mo e o a supe lui y ela ed o b and image and isibili y han a necessi y. This
subjec equi es u he examina ion by including o he media and con inued sc u iny o
de e mine whe he hese se ies d i e s’ images a e g owing mo e equi alen .
Keywo ds: Espo s, Fo mula One, s a dom, Ins ag am
Highligh s
Fo mula One and Fo mula One Espo s s a s’ Ins ag am p o iles a y ega ding
in hei amoun , quali y, and b ead h o con en
The signi icance o indi idual cha ac e and eam bonding a e explici in F1
d i e s’ con en
The lack o eam esou ces (and p esence) is e iden in F1 espo s d i e s’
con en
Ins ag am seems o be a seconda y medium o each (new) ans o sim ace s
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In oduc ion
This a icle in es iga es he image di e ences be ween op F1 and F1 Espo s P o Se ies d i e s
by analysing hei social-media pos s on Ins ag am h oughou 2021. The esea ch ques ions
a e wo: wha kinds o images do hese d i e s c ea e ia social media, and do he images o F1
and F1 Espo s d i e s o e lap in his ega d? The p ocesses and in e es s o di e en pa ies
and hei espec i e a ibu es—such as ans, sponso s, and na ionali y—can be expec ed o
a ec he build-up and main enance o a ce ain d i e -speci ic image o b and. As wi h o he
o ms o s a dom, spo s-s a cha ac e s and he images hey ha e buil a y, hus a ac ing
di e en audiences and c ea ing e sa ile an beha iou (1, 2). The p esen s udy sheds ligh
on hese unexamined a eas o espo s.
In his a icle, he e m espo s deno es o ganised compe i i e gaming. Emo o spo s e e s o
a ious mo o spo s- hemed i les wi hin espo s. Sim acing, a subgen e o emo o spo s,
e e s o simula ed acing games wi h a high deg ee o ealism. Ins ag am was chosen as he
analysed social-media pla o m because i is a leading con empo a y pla o m used globally by
a ious public igu es o p esen hei p o essional images ex ually and isually, hus
simul aneously in luencing he images o eams and b ands (3, 4).
Mo o spo s ha e been bound o decades by media isa ion and comme cialisa ion in a ious
ways (5). Fu he mo e, gaming and mo o spo s ha e long sha ed a his o y, since he dawn o
ea ly acing games, which ha e o en inco po a ed in e ex ual e e ences o eal acing se ies
om he 1982 Pole Posi ion o he 2014 eleased Asse o Co sa anchise (6, 7). Since he mid-
1990s, acing games ha e emb aced ealism and o icial licenses as a o m o ins i u ionalised
accep abili y, and he possibili y o global online acing has gi en new alue o hem as
p oduc s, especially as a pla o m o each newe and la ge audiences. Such games ha e
a ied om simula ions, such as iRacing (published in 2008), o “simcades,” like he 1997
launched G an Tu ismo anchise, a mix u e o simula ion and a cade gameplay.
The desi ed c edibili y and a ac i eness o acing games has had consequences: an inc eased
le el o compe i ion, gene al accep abili y o gaming as a o m o compe i ion, and g ow h in
he use o simula ion games as p ac ice o eal-li e acing (8). Ul ima ely, hese ends ha e
a ac ed he a en ion o mo o spo s eams, he au omo i e indus y, and sponso s,
simul aneously li ing he alue and s a us o sim acing (9, 10). When COVID-19 cancelled
acing e en s, emo o spo s gained new audiences on he o de o hund eds o housands (11).
The syne gy be ween hese wo di e en o ms o compe i ion has g own signi ican ly in
ecen yea s. In he case o F1, his g ow h has been exponen ial. As a pa o Libe y Media’s
(LM) akeo e o F1’s comme cial igh s, since 2017, he company has in es ed in a ac ing
social-media isibili y and o he “new” media and channels anging om Ne lix o Twi ch,
including o ming he o icial F1 Espo s Se ies in 2017 (12–14). T adi ional mo o spo s ha e
long had a ela ionship wi h linea , ele ised b oadcas ing, bu he p ima y pla o m o
emo o spo s has been online s eaming.
While F1 and i s s a s ha e become mo e app oachable and gene ally popula h ough social
media pla o ms, he d i e s emain dis an om hei ans. Sim- acing s a s, on he o he
hand, ha e become ela able and a ailable wi hin he highly compe i i e wo ld o espo s,
which lacks he ba ie s o en y ypical o adi ional F1. Compa ed o F1, howe e , he
emo o spo s domain s ill lacks he his o y, physicali y, and isibili y o i s o e -70-yea s-old
coun e pa (15, 16). S ill, sim acing ge s close o ealism han mos o he espo s (17) The
goal o his s udy is hus o u he explo e whe he and how hese di e ences mani es in he
espec i e d i e s’ public images.
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The Ins ag am p o iles o d i e s analysed in pai s include 2021 wo ld champions Max
Ve s appen (F1) and Ja no Opmee (F1 Espo s), Finns Val e i Bo as (F1) and Joni Tö mälä (F1
Espo s), and McLa en d i e s Lando No is (F1) and Ba i Ba oumand (F1 Espo s).
Me hodology
C i ical discou se analysis (CDA), which emb aces he socio-poli ical di isions o powe and
language and helps iden i y s uc u es o language and communica ion, was used o examine
he pos s (18). As a me hod, CDA assumes ha , behind a ex , he e a e some submissi e (and
opp essi e) social ela ionships; hence, CDA is used o sc u inise he communica ional
p ac ices ha uphold and jus i y hese eigning powe ela ionships (19).
Fai clough’s (20) CDA o communica ion si ua ions is pa icula ly sui able o his s udy, as i
emphasises how indi idual ex s and la ge socio-cul u al con ex s signi y each o he . I
employs h ee le els o display he powe o ideology om he le el o he ex o he le el o
discou se p ac ice, om whe e he ex is p oduced and consumed all he way o social and
cul u al p ac ice, including he ex ual and communica i e si ua ion (20). Rele an discu si e
p ac ices used by communi ies a e ne wo k-like and o med om discou ses and language:
discou se is a language ha ep esen s social p ac ices om a ce ain angle, and gen e is he
use o language ha is ela ed o i s socially epea ed p ac ices (20).
The ci cula i y among ex , eade , and social con ex is an impo an ea u e o his analysis.
This ci cula i y helps concep ualise how he ideal audience migh ead hese ex s, make sense
o hem, and ela e hem o hei own knowledge o mo o spo s, espo s, and, mos o all, o
hei exis ing image o a d i e . To deepen he analysis o hese connec ed pa s, his s udy
applied u he close eading, he cen al p inciple o which en ails in e p e ing ma e ials
mul iple imes, as such epe i i e ocusing on he same esea ch ma e ials exposes he ex o
in-dep h analysis (21). Close eading is no neu al, as all eade s ha e p esupposi ions, bu i
s ill deepens one’s unde s anding o he ead ma e ial as, h ough epe i ion, eade s disco e
new insigh s om he ma e ial while simul aneously dis ancing hemsel es om p e ious
supposi ions ha may ha e colou ed hei p e ious insigh s (21). The posi ionali y behind he
in e p e a ion o hese ex s en ailed a his o ical awa eness o bo h se ies: while no ha ing
pe sonally pa icipa ed in any ela ed compe i ions, he esea che has ollowed F1 closely
since he mid-1990s and F1 Espo s since i s ecen eme gence and ise in global popula i y.
Following CDA s anda ds, a o al o ou discou ses, sepa a ed in o wo pai s, we e selec ed o
analysis, emphasising essen ially opposi e ea u es wi hin he pai s while acknowledging ha
hey migh o e lap. Fi s , he analysis cen ed on how much eam p esence con ibu ed o
d i e s’ images in hei con en . Based on he p e iously desc ibed p io s, he p esence o a
eam was pe cei ed o e lec he esou ce powe di e ences be ween F1 and F1 Espo s se ies,
he o me o which ope a es by immense inancial ad an age ha can mani es in a ious
o ms o eam omnip esence. Second, he analysis also in es iga ed how he accoun s
luc ua e be ween p o essional and p i a e (o he “o -s age”), a luc ua ion ha , in u n, is
pe cei ed o e lec di e ences in social posi ion and powe . The mo e es ablished cul u al
s a us o F1 as a espec ed and aluable spo can mani es in hei d i e s’ p o essionally
ocused social-media p o iles in di e se ways.
Discou se pai s
Indi idual p esence and e o (d i e ) – g oup p esence and e o ( eam)
D i e a wo k – d i e enjoying leisu e
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The classi ica ion o indi idual as d i e in ol es clea signs o signi icance o ocus being
cen ed on he d i e in ques ion. This in ol es ma e ial in which d i e s a e emb acing hei
own pe sonal p esence and/o signi icance in ela ion o hei achie emen s and images o
wo k— o example, images o hem compe ing, doing p omo ional wo k, o celeb a ing
(alone). In u n, he eam classi ica ion in ol es g oup e o being clea ly o explici ly p esen
o being gi en c edi o being one wi h he d i e , chie ly ega ding hei successes. In such
cases, eam e o akes p ecedence o e he d i e o he b and and o he indi idual
membe s, such as in g oup celeb a ions, eam membe s’ wo king, p omo ional ma e ial,
explici agging, and w i en emb acing o eam’s wo k: in o he wo ds, how much he
p esence o an a hle e and (acknowledging) eam con ibu ion c ea es he image o a d i e ,
balancing powe be ween a) ac i e indi idual cha ac e and skill b) he su ounding esou ces
and en i onmen .
The classi ica ion o d i e a wo k means ha he pos is s ongly ela ed o occupa ional
hemes. These in ol e compe ing, p omo ing, es ing/p ac icing wi h o he se ies d i e s, and
a ending mee ings. Leisu e comp ises he d i e ’s ime o om p o essional ac i i ies. This
includes aca ions, ee ime, p ac ice and/o exe cise wi hou eam p o essionals o
colleagues, and o he non-p o essional ma e ial anging om wildli e pic u es o memes.
These wo discou ses ca ego ise he ac i e, e sa ile, and e en spec acled public spo s image
s a uses ha d i e s p esen as indi iduals on and o du y.
These discou ses we e also chosen o de e mine how occupa ion and he possible in luence o
employe s ( eams) may a ec d i e s’ pe sonal social media images. Al hough among
p o essional a hle es and game s he di ision be ween pe sonal and p o essional image
con en can be ela i e, he powe o employe s and hi d pa ies (such as sponso s and
associa ions) may se limi a ions on ideal image. This can esul in emb acing he alues and
in e es s o such g oups. These ep esen ed images (as ex s) a e decoded in speci ic socio-
cul u al con ex s by audiences who nego ia e hese and con ibu e o image building. In o he
wo ds, d i e s a e “ ead” and media ed onwa ds as cul u al ex s.
Theo e ical p emises
The i s ame comes om Dye (22), who has desc ibed s a s as unique indi idual agen s
wi h hei own pe sonal ideologies who a e no only p oduced and consumed bu also publicly
signi ied. S a s a e hence no solely consumable concep ual igu es because o ma ke s
manipula ed o audiences (22). The c i e ia ha de e mine which s a s become success ul a e
deeply oo ed in why and how audience membe s migh ela e o hem, e lec ing he dualis ic
nego ia ion among he p oduc ion o ces ( e e ing, o example, o mass media, p oduce s,
p omo ion, and dis ibu ion) behind s a s and how he public pe cei es hem (22).
As in his s udy, he s a us o being a s a is no ied jus o aiming o o e en a aining high
achie emen s o pe o mances; ins ead, s a dom in ol es ensu ing ha one has bo h enough
p oduc ion suppo ( om eam, sponso s, and spo es ablishmen ) and a as audience o
emain popula .
The second heo e ical ame comes om Ge agh y (23), who has ewo ked he concep s,
ea u es, and ac o s o s a dom espoused by Dye . She (23) p oposes a di ision h ough which
s a s can be app oached as celeb i ies ( ame as a li es yle and li es ou side o hei wo k),
p o essionals ( ame media ed h ough hei wo k and unde mining hei p i a e li es,
meaning ha consis en iden i ies and cha ac e s migh be ha d o dis inguish om one
o he ), o pe o me s (wo k and p i a e li es a e included bu emphasised by he quali y o
hei skills wi h highe cul u al alue). Each o hese ca ego ies o e laps o some ex en
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ega ding he s a in ques ion (23). The key is o see s a dom as some hing ha is
simul aneously c ea ed and exploi ed in di e en media and en e ainmen o ma s (23).
In suppo o his, he consump ion o espo s has been ound o depend on a mul i ude o
ac o s among ans, wi h a ying in e es owa ds adi ional spo s, bu implying ha espo s
an iden i ica ion is o ien ed less owa ds eams o playe s (who can achie e celeb i y-like
s a us) and mo e abou he game i sel compa ed o adi ional spo s and hei ans’ mo i es
(24, 25).
These concep s and no ions ega ding s a dom na u ally ansi ion he heo e ical ame in o
Kellne ’s heo y o media cul u e, which is based upon he lineage o c i ical heo y (26).
Acco ding o Kellne , media has become a o ce in cul u e, socialisa ion, poli ics, and social
li e (26). He inds media cul u e in capi alis coun ies o p ima ily be a o m o cul u e ha
seeks inancial bene i by selling p oduc s o la ge audiences, which equi es he p oduc s o
be ela able a a socie al le el (26). Kellne (27) also s esses ha spec acles media e eigning
eelings, needs, poli ical ep esen a ions, and discou ses o powe . Such a aming helps ead
cul u e: how media cul u e and spec acles a ec and e lec socie y ins ead o unc ioning
solely as en e ainmen (27). As o media spo s and espo s, hey a e insepa able om
spec acle and comme ce.
Resea ch da a
The p esen s udy uses quali a i e social-media da a in he o m o o e 780 social-media
pos s om six op d i e s. Because he d i e s a e celeb a ed public acing igu es wi h public
social-media pos s as pa o hei p o essional pe sonae, he p esen s udy did no necessi a e
an e hics e iew acco ding o he Finnish Resea ch In eg i y Guidelines (28).
Al hough Ins ag am is cu en ly he mos -used public social-media pla o m among F1 d i e s
(29), game s end o eso o Ins ag am ollowing YouTube and Facebook (30). Ul ima ely,
iden i ying and en e aining ans ia social media a e i al o espo s playe s’ and eams’
popula i y (31). The e a e also la ge s uc u al di e ences be ween hese g oups. Fo example,
he an and eam suppo o F1 is much mo e ex ensi e han ha o F1 espo s (32, 33). The e
a e also d as ic sala y di e ences be ween he wo g oups (34, 35) (Table 1). This se s s ong
p io s o analysis. I is logical ha some di e ences be ween he wo g oups de i e om hei
social-media p o iles’ being c a ed in hese di e en con ex s.
Table 1. Se ies media popula i y and op sala ies.
Fo mula One
Social media ollowe s: 49.1m (2021, 40% g ow h om 2020)
Cumula i e TV audience: 1.55bn (2021, 4% g ow h om 2020)
Race a endance: 2.69m (2021, p e-COVID-19 4.69m a endees)
Highes d i e base sala y in 2022: Lewis Hamil on, $40m
F1 Espo s Se ies
Social media engagemen s (P o Championship): 10.5m (262.5% g ow h om 2020)
Cumula i e digi al iews: 23m (47% g ow h om 2020, 13.8m iews om P o Championship)
Cumula i e TV audience: 858k (313.5% g ow h om 2020)
Highes d i e p ize money in 2022: $93.7k o 1s and 2nd place; Lucas Blakeley and F ede ik
Rasmussen
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The d i e s, h ee om bo h F1 and he F1 Espo s Se ies, we e chosen in compa a i e pai ings
based on h ee p incipal c i e ia:
1) eigning champions o 2021: Max Ve s appen and Ja no Opmee
2) same na ionali y (Finland): Val e i Bo as and Joni Tö mälä
3) same eam (McLa en F1 Team): Lando No is and Ba i Bo oumand.
The pai s ep esen di e en o ms o success, na ionali ies, and associa ion wi h adi ional
spo ins i u ions. These c i e ia we e chosen o mul iple easons. Fi s ly, i seemed ideal o
examine he popula i y and image o he ( hen-) eigning champions, as i is sa e o assume
ha hese igu es would be signi ican o and meaning ully ep esen a i e o he spo .
Second, wo d i e s om he same coun y, p e e ably one ha is smalle ye his o ically
success ul in mo o spo s, would mi iga e possible geog aphic in luences. Finland was selec ed
due o i s success in bo h mo o spo s and p o essional espo s. Thi d, pai ing wo d i e s
acing o a eam wi h a long he i age while compe ing in di e en acing se ies could mi iga e
he in luence ha a pa icula eam’s popula i y migh ha e on he indings. As McLa en has a
his o y as one o he mos success ul and oldes ac i e F1 eams, including eigh cons uc o s’
and wel e d i e s’ championships, and pa icipa es in he IndyCa and Ex eme E Se ies, i
was chosen as he ep esen a i e eam. The da a we e collec ed be ween 3–16 Oc obe 2022.
Table 2. In o ma ion abou F1 d i e s.
Fo mula One d i e s:
Max Emilian Ve s appen (@max e s appen1)
Bi hda e: 30 Sep embe 1997
Rep esen ed na ionali y: Du ch
Race debu yea : 2015 ( es d i e in 2014)
Teams: Scude ia To o Rosso (2014–2016) O acle Red Bull Racing (2016–)
Wins (by he end o 2021): 20
2021 championship inish: 1s
No able p io championship inishes: 3 d in 2020 and 2019
Val e i Vik o Bo as (@ al e ibo as)
Bi hda e: 28 Augus 1989
Rep esen ed na ionali y: Finnish
Race debu yea : 2013 ( es d i e in 2012)
Teams: Williams Racing (2012–2016), Me cedes-AMG Pe onas Fo mula One Team (2017–2021), Al a Romeo F1
Team (2022–)
Wins (by he end o 2021): 10
2021 championship inish: 3 d
No able p io championship inishes: 2nd in 2020 and 2019, 3 d in 2017
Lando No is (@landono is)
Bi hda e: 13 No embe 1999
Rep esen ed na ionali y: B i ish
Race debu yea : 2019 ( es d i e in 2018)
Team: McLa en F1 Team (2018–)
Wins (by he end o 2021): 0
2021 championship inish: 7 h
No able p io championship inishes: 6 h in 2020
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Table 3. In o ma ion abou F1 espo s d i e s.
Max Ve s appen is a Belgian-Du ch F1 d i e om a mo o spo s amily who won he F1
championship in 2021 wi h eam O acle Red Bull Racing, b eaking he se en-yea dominance
o Me cedes. He also holds such eco ds as he younges F1 ace debu an and ace winne .
Ja no Opmee is a Du ch F1 Espo s Se ies d i e who won se ies championships in 2020 and
2021. He has also compe ed in he Fo mula E i ual se ies. Opmee has a backg ound in
adi ional mo o spo s, compe ing in ka ing and lowe Fo mula se ies. He swi ched o F1
espo s in 2019 a e his acing ca ee s agna ed a e 2017.
Val e i Bo as is a Finnish F1 d i e who ep esen ed Me cedes om 2017 o 2021, acing wi h
se en- ime wo ld champion Lewis Hamil on and con ibu ing o i e cons uc o s’
championships. He was ega ded gene ally as he eam’s numbe - wo d i e a e eplacing
hen-champion Nico Rosbe g in 2017, when he la e e i ed unexpec edly.
Joni Tö mälä is a Finnish sim ace d i ing o Scude ia AlphaTau i. He began his ca ee in
2009 and ep esen ed Red Bull in F1 Espo s Se ies’ i s yea in 2017. Tö mälä has inished ou
imes in he d i e s’ championship op en, helped win he cons uc o s’ championship in
2019, and had he highes numbe o as es laps in 2020 F1 espo s.
Lando No is is a Belgian–B i ish d i e o McLa en Me cedes and is ega ded as one o mos
alen ed d i e s in he spo . He began his s in wi h McLa en in 2017 and debu ed as an F1
d i e in 2019. He is also an a id sim ace and game .
Ba i Bo oumand is an I anian sim ace who joined McLa en’s sim acing eam in 2021. His
backg ound includes ka ing and acing in Fo mula 4. In 2019, he won he F1 Espo s
Challenge Se ies, p og essed o d i ing o Me cedes in 2020, and inished i h in he 2021
d i e s’ s anding.
F1 Espo s P o Se ies d i e s:
Ja no Opmee (@ja noopmee )
Bi hda e: 11 Ap il 2000
Rep esen ed na ionali y: Du ch
Race debu yea : 2019
Teams: Renaul –Vi ali y (2019), Al a Romeo Racing O len Espo s Team (2020), Me cedes-AMG Pe onas
Espo s Team (2021–)
Wins (by he end o 2021): 9
2021 championship inish: 1s
No able p io championship inishes: 1s in 2020
Joni Tö mälä (@joni o mala)
Bi hda e: 15 Augus 1996
Rep esen ed na ionali y: Finnish
Race debu yea : 2017
P e ious eam(s): Red Bull Racing Espo s (2018–2019), Scude ia AlphaTau i Espo s Team (2020–)
Wins (by he end o 2021): 0
2021 championship inish: 11 h
No able p io championship inishes: 7 h in 2018
D i e : Ba dia Bo oumandgoha (@ba ib oumand)
Bi hda e: XX.XX.2002/2003 (age unclea )
Rep esen ed na ionali y: I anian
Race debu yea : 2020
Teams: Me cedes-AMG Pe onas Espo s Team (2020), McLa en Shadow (2021–)
Wins (by he end o 2021): 0
2021 championship inish: 5 h h
No able p io championship inishes: 21s in 2020
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Resul s
The con en a ied be ween bo h se ies and d i e s: F1 d i e s’ pos s anged om 150 o o e
300 and F1 espo s d i e s’ om only h ee o almos 100. The e we e also di e ences in
Ins ag am con en a ia ion and pos ing cycles. This inding unde lines he expec ed
di e ences be ween F1 and F1 Espo s d i e s, he o me using social media mo e e ec i ely
while enjoying g ea e audience in e es s and inancial bene i s. All he analysed da a a e
o ganised in Supplemen 1, and ci a ions o speci ic pos s e e o his supplemen al ile.
Figu e 1. Rela ionship be ween Ins ag am ollows and ollowe s pe d i e by 27 Oc obe 2022.
Figu e 2. Pos s by medium pe d i e in 2021
Max
Ve s appen
(F1)
Ja no Opmee
(F1 Espo s)
Val e i Bo as
(F1)
Joni Tö mälä
(F1 Espo s)
Lando No is
(F1)
Ba i
B oumand (F1
Espo s)
Follows 675 1,033 514 185 350 601
Followe s 9,400,000 136,000 3,400,000 1,491 5,800,000 5,091
82%
84%
86%
88%
90%
92%
94%
96%
98%
100%
Followe s Follows
Max
Ve s appe
n (F1)
Ja no
Opmee
(F1
Espo s)
Val e i
Bo as (F1)
Joni
Tö mälä
(F1
Espo s)
Lando
No is (F1)
Ba i
B oumand
(F1
Espo s)
Pho os 206 43 271 10 140 1
Videos 17 55 22 3 6 2
Pho o(s) and ideo(s) in a single
pos 4 0 0 0 3 0
0
50
100
150
200
250
300
Pho os Videos Pho o(s) and ideo(s) in a single pos
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indi idual e o and signi icance being he mos common discou se, leisu e-ac i i y and
g oup-e o ( eam) pos s a e explici among F1 d i e s. These include, o example,
an icipa ed p epa a ions o he acing season (LN # 143), g oup celeb a ions (MV #38), and
g a i ude (VB #100). Pe sonal a ibu es and leisu e a e also less isible among sim ace s.
Rega ding discou se a ios be ween he se ies, ha o he indi idual d i e was less
su p isingly emb aced in bo h. Team, and he powe and esou ces p o ided by he employe ,
we e signi ican ly less p esen in espo s d i e s’ con en . Wo k was mo e o en included in F1
d i e s’ ma e ial, whe eas espo s d i e s pos ed ela i ely mo e o en leisu e- ela ed con en ,
al hough he e was clea o e lap, especially conside ing hei lowe o e all amoun o con en .
One common ea u e was an ecogni ion, albei exp essed di e en ly. F1 d i e ans we e
mo e o en add essed as consume s o p oduc s (MV #16, VB #7, LN #138), whe eas espo s
d i e s, albei mos ly Opmee (JO #63, #75), had a mo e dynamic ela ionship wi h hei ans.
Ano he simila i y was he lack o open c i icism owa ds o he se ies compe i o s, employe s,
sponso s, and se ies es ablishmen , al hough disappoin men due o acing inciden s (VB #11,
LN #62) and bad gaming beha iou was add essed (JO #92).
The ange o oles was also une en: celeb i y s a us a ely i as hese d i e s’ p ima y ca ego y
and only o he F1 d i e s. Pe o me and p o essional seem he mos ideal ca ego ies o F1,
while sim ace s ope a e mo e exclusi ely as p o essionals in hei ield wi hou explici dep h
o cha ac e .
The lack o in e medial syne gy be ween hese se ies a he d i e le el on Ins ag am was
su p ising. Re e ences o sim acing o gaming by F1 d i e s we e limi ed (MV #101, LN #3), as
was di ec con ac wi h on- ack mo o spo s by espo s d i e s. Apa om announcing
con ac s wi h ep esen a i e F1 Espo s eams (JO #95, BB #3), Opmee also pos ed some
e ospec i e ma e ial o his p io yea s compe ing in ka ing (JO #41) and Fo mula Renaul
se ies (JO # 59).
Based on his social-media da a, he F1 d i e s bo h isually and ex ually exp essed close ies
o he eams o which hey we e wo king, unde lining mo i a ion, syne gy, loyal y, and
success. The comme cial success and syne gies a ound F1 pa ly explain he s ong emphasis
on (social) media con en p oduc ion, as eams ha e p o essionals esponsible o p ess and
PR du ies. Al hough ep esen ing F1 eams h ough espo s, he sim ace s seemed o ha e less
con en p oduc ion suppo and obliga ions associa ed wi h F1 Espo s. The popula i y and
sala y di e ences be ween he wo se ies mani es ed sys ema ically h ough Ins ag am
con en : F1 Espo s d i e s seemed o lag F1 d i e s in con en , esou ces, powe , and ollowe
ac i i y. Espo s eams also do no seem o be ac i ely in ol ed wi h hei d i e s’ con en
(p oduc ion).
Discussion
The lack o explici eam in ol emen wi h espo s d i e s in hei pe sonal Ins ag am pos s
s ands ou among he indings. Espo s s a s appea as p o essionals in hei eme ging ield
wi hou s uc u ed p o essional images on his pla o m—pe haps apa om Opmee , whose
p o ile comes close o imi a ing mo e e sa ile F1 s a s. Con e sely, No is’s image sligh ly
o e laps wi h he elemen s o espo s d i e s, as, al hough in equen ly, he does pos abou
sim acing and espo s.
This aises he ques ion o whe he s akeholde s pe cei e sim ace s as aluable
ep esen a i es o as mo e supe luous. Pu ing po en ial esou ces in o he emo o spo -
d i e con en c ea ion would likely inc ease he e lec ion o s akeholde s’ bias in d i e s’
Special Issue: No dic Espo s Resea ch – O iginal Resea ch A icle 16
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pos s bu also a ec he na u e and mindse o he spo . O he o e lapping image elemen s
be ween he se ies a y. F1 h i es on d ama, close compe i ion, and big, colou ul pe sonas, as
e lec ed in he amoun o social-media con en highligh ing big emo ions and ollowe s’
in e ac ion wi h said con en . The abili y o F1 espo s o cap u e and capi alise on hese
aspec s emains challenging.
Conside ing pos ed con en and he esou ces and powe o d i e s, some obse a ions s and
ou . Fi s , F1 d i e s seem o ha e be e abili ies o build hei social-media images on ea u es
o he han jus hei wo k. This is some hing hey can a o d, and do consciously, such as wi h
Bo as, who ac i ely published con en abou his p i a e ime and li es yle, such as cycling and
a elling. Second, con a y o he bias ha agging and he use o hash ags would seem less
necessa y o globally known s a s, Bo as was he one mos egula ly using hese. The need
o d i e s o expand hei popula i y and isibili y is p esen also in F1. Thi d, con en abou
ac ual compe i ion was lacking in bo h F1 and F1 Espo s accoun s and absen om ma e ial
in ol ing acing agains o he d i e s o he se ies. This mos likely due o b oadcas ing and
s eaming igh s and limi ing he isibili y o compe ing eams’ d i e s and hei sponso s.
Finally, ega ding ypes o con en , i is ob ious ha F1 Espo s d i e s mo e commonly s eam
ideos han do F1 d i e s, who do sim acing i egula ly and mo e as a hobby. Rega dless o F1
Espo s d i e s’ powe limi a ions, as hey mos ly published ideos abou p ac ising o open-
lobby acing, hei con en add essed (gaming) ans dynamically and less as consume s,
including exhibi ing hei eco d-b eaking d i ing skills (BB #1, JT #7) and mishaps (JO #24,
63).
In espo s, he demand o an image ha has cha ac e is ics o he excessi e celeb i y li es yle
and he leeway o an e icien pe o me a e s ill pe haps no as emphasised as in adi ional
media spo s, pe haps due o lowe ins i u ionalisa ion, popula i y, and isibili y (36–39). In
his a icle, media spo s a e ega ded as spec a o - iendly, en e aining spo s wi h a no able
global ollowing and e enue accompanied by b oad media co e age (40). E en i he syne gy
be ween hese wo se ies has g own, F1 espo s d i e s’ ela i e lack o esou ces shows ha
such syne gy emains low. As compe i i e gaming is s ill gaining a socio-cul u al oo hold,
s akeholde mo i a ion and gene al in e es a e s ill mino compa ed o adi ional spo s, bu
he e ol ing po en ial o espo s has led o signi ican specula ion on he subjec (41,42). Sim
acing’s possibili ies may indeed su pass hose o o he espo s due o i s close imi a i e
simula ion o on- ack acing, hus con ibu ing o he indus y’s ealism and physicali y (43,
44).
The e o e, ega ding Kellne ’s (26) no ion abou he unc ions o media cul u e, all hese
d i e s mani es he en e ainmen and spec acle o media spo s, bu he exci ing, escapis ,
and a iable images o cul u ally and economically powe ul F1 se ies d i e s a e a mo e
popula han hose o F1 Espo s d i e s on Ins ag am, based on an in ol emen . As o
Fai clough’s (20) CDA, he di e ences in he quali y and olume o ci cula ed ma e ial
unde line he s ill gene ally in e io s a us o emo o spo s compa ed o mo o spo s. The
popula i y o simula ed acing is s ill slowly gaining wide socio-cul u al acknowledgemen ,
especially in he sphe e o media spo s, despi e he le e age o adi ional mo o spo s and
popula i y du ing he COVID-19 lockdowns.
Fo espo s d i e s o gain Ins ag am isibili y, new ans, and s a us wi h he ewe media
image-building esou ces hey seem o ha e a ailable, pos ing egula ly pe sonalised con en
alongside hei game - iendly ideos o s eamed sim acing and p ac ising could be
bene icial. Adding he p esence o hei eam and o he mo o spo s con en migh also
associa e hem mo e closely wi h he ealm o adi ional mo o spo s, bu cha ac e and
me i a e s ill equi ed o build a popula image.
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Cul u al con ex s and he posi ion o mo o spo s and gaming also p esen s ques ions, such as
he popula i y di e ence be ween Ba i Bo oumand and Joni Tö mälä. In his case, i is
plausible ha Bo oumand is in he posi ion o a egional pionee , whe eas he achie emen s o
Tö mälä ha e no gained wide a en ion, pe haps due o he high na i e expec a ions
ega ding mo o spo s success.
The ca ee pa hs and expec a ions hemsel es di e hugely; a ca ee in mo o spo s akes
yea s o de elopmen , dedica ion, and esou ces e en o make i o lowe se ies. In addi ion,
he 2021 F1 season had 22 G and P ix aces om la e Ma ch o mid-Decembe , whe eas all 12 F1
Espo s P o Se ies Championship aces we e held be ween mid-Oc obe and mid-Decembe .
In u u e s udies, eam and se ies social-media accoun s should be analysed as well o how
hey con ibu e o d i e images.
As F1 Espo s Se ies d i e s a e cu en ly building hei images wi h ewe esou ces, i will be
in e es ing o see whe he hei images e ol e o align mo e closely wi h hose o F1 d i e s, as
he indus y con inues o gain mo e money and isibili y. S ill, he g ow h and de elopmen o
espo s app oaching he le el o adi ional spo s migh ha e undesi able ou comes ega ding
F1 Espo s’ accessibili y, compe i ion, and heal hy ecosys em.
Conside a ions
In gene al, espo s p o essionals end o be mos ac i e in game - iendly, li e-s eaming
media pla o ms like Twi ch. I is possible ha , o F1 Espo s d i e s, Ins ag am is no a
p io i y medium o he same ex en as i is o F1 d i e s. On he o he hand, e en minimal
con en ou pu wi h limi ed esou ces and expec a ions migh be cos -e icien o espo s
d i e s. The di e ences in social-media habi s due o he na u e o each spo emains a
limi a ion. A da abase sea ch o s udies conce ning he ac i i y o spo s and espo s
p o essionals on Ins ag am and o he social media did no yield ele an esul s.
Secondly, his esea ch does no answe o he possible longe - e m changes in con en . The
esou ces a ailable and p o ided o d i e s a e con ingen h oughou hei ca ee s.
Al hough a quali a i e s udy like his does no aim a sample ep esen a i eness, he choices
ega ding he da a se limi s on he esea ch. The ocus on one social-media pla o m and he
chosen d i e s se a basis o mo e wide- anging esea ch in he u u e.
Conclusions
This a icle se ou o in es iga e how adi ional mo o spo s and espo s s a s’ images a e
ep esen ed and po en ially di e by analysing he Ins ag am con en o h ee F1 and h ee F1
Espo s P o Se ies d i e s om 2021 wi h close eading and discou se analysis. The indings
sugges ha he media ep esen a ion and image o F1 Espo s s a s a e no as closely ied o
hei se ies as hose o F1 s a s, no do F1 Espo s s a s seem o ha e he needed esou ces
( inancial, social/labou , and isibili y) o c ea e pe sonal con en as e sa ile and spec acled
as ha o F1 s a s. These indings illumina e he g owing bu pe haps inadequa e syne gy
be ween he F1 anchise and he e ol ing s ands o sim acing.
The s a dom o espo s d i e s was almos solely p o essional, and hei con en had lowe
p oduc ion alue in e ms o a ie y, spec acle, and e inemen , whe eas F1 d i e s i in o he
ca ego y o pe o me , wi h ea u es o he celeb i y and p o essional ca ego ies. Rega ding
con en and discou se, he e appea s o be some leeway among sim ace s ega ding hei
image and obliga ions o pos con en , bu o he wise hey seem o be ope a ing in a mo e
limi ed con ex . F1 d i e s seem o ha e a i m image and close associa ion wi h hei eams
Special Issue: No dic Espo s Resea ch – O iginal Resea ch A icle 18
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and sponso s ha a ec he image ame in which hey ope a e, bu hey a e no ably be e
equipped o ope a e wi hin global-media spo s-s a cul u e.
Espo s d i e s use mul iple social and o he media pla o ms o di e en ypes (such as
Twi ch, Disco d, and YouTube) ha a e i al o hei ca ee s, whe eas mo o spo s
s akeholde s ha e s a ed o ha ness hese new media (alongside adi ional b oadcas ing and
p ess) o hei ma ke po en ial o main ain popula i y. Despi e he g owing syne gy and
e ol ing popula i y o espo s, he u u e may also b ing challenges along wi h bene i s,
especially o sim acing.
Acknowledgmen s
Fo hei eedback and sugges ions ega ding his a icle p ojec , he au ho wishes o hank
he o ganise s and a endees o h ee No dic espo s wo kshops o ganised in Copenhagen,
Denma k, Visby, Sweden, and Jy äskylä, Finland be ween all 2021 and summe 2022.
Decla a ion o in e es s a emen
The au ho s con i m ha he e a e no con lic s o in e es o decla e. The publishing o his
wo k was suppo ed by NOS-HS explo a o y wo kshop on No dic Espo s, Cen e o
Excellence in Game Cul u e S udies, and he Founda ion o Economic Educa ion.
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