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concepts he discusses is commodification. According to Mosco, commodification is the process by

which things that were not previously considered merchandise or commodities are transformed into

merchandise that can be traded on the market.

In media and information technology, Mosco states that commodification occurs when

information, content, or even a person's personal life is converted into merchandise that can be sold

and bought. An example of commodification in this context is online content monetization, where

personal information or individual creative works are transformed into products that can be sold for

profit. Commodification refers to converting use value into exchange value, transforming a product

whose value is determined by its ability to meet individual, social, and social needs into a product

whose value is determined by its market price. Because it is part of the emphasis on structure and

Schiller, 1989), and the growth of exchange rates in interpersonal life and sexuality (Ludwig et al.,

2013; Mayer, 2005). Commodification is the basic process underlying media and technology in

capitalism. As media and technology reach consumers, they have become commodities and tend to

have ideological characteristics (Surahman et al., 2019).

According to Vincent Mosco, there are three forms of commodification. Vincent Mosco identifies

three distinct forms of commodification in the context of media and information technology:

commodification of content, commodification of audiences, and commodification of labors. Here is a

brief explanation of the three:

is perceived as a tradable or monetizable marketplace. In the digital age, user data is becoming

increasingly valuable, and practices such as online behavior tracking and data collection are used

to generate user profiles that can be sold to advertisers or other stakeholders. Thus, user

interaction and participation in online platforms are often leveraged to generate profits through

more effective ad targeting. The commodification of audiences/spectators becomes an

inseparable part of the study of the political economy involving the relationship of economic

structure (market) on the one hand and politics (power) on the other (Fensi, 2022).

into commodities that can be bought and sold in the labor market. In information technology, this

minds to bring benefits to the company (Evanalia et al., 2023).

By identifying and understanding these three forms of commodification, Mosco highlights how

non-economic values such as information, social interaction, and employment can be influenced by

market logic and commercialization in the digital age. Social media presence as a new media has

attracted public attention (Arifana, 2023). Raffi Ahmad and Nagita Slavina's Instagram

@raffinagita1717 account is the social media account with the most followers in Indonesia. Based on

the data, Indonesia is the influencer in Indonesia with the most followers on Instagram. Even today,

the number reaches 75.8 million followers. For this reason, researchers are interested in analyzing

how the commodification of content, audiences, and labors on Instagram social media accounts

@raffinagita17171717 is occurring.

In this study, researchers used four stages in literature studies: first, preparing the tools and

materials needed in research, preparing a bibliography of work processes, and organizing and

managing time in reading or recording research materials (Adlini et al., 2022). The process of

collecting data by researchers is carried out by finding sources and constructing analyses from

various sources such as books, journals, and previous research related to the topic studied. In the final

stage, researchers conduct an in-depth analysis of library materials and sources obtained by

researchers from various references to support propositions and ideas in research.

Based on the analysis of Instagram social media accounts, @raffinagita1717 data was obtained.

This analysis considers how social media accounts @raffinagita1717 commodify content by

creating a very diverse variety of content. Content commodification refers to using different types of

content to attract attention and generate profits from social media followers.

The strategies carried out by Raffi and Nagita through the @raffinagita1717 account are very

diverse. They range from daily life content that describes their daily lives to entertainment content

such as songs, quizzes, comedy, and cartoon animations. They also feature ad promotion content,

sports content, political content, infographics, and outing content so that it grabs the attention of

Instagram followers and goes viral.

This approach reflects a good understanding of their followers' diversity of interests and

Analysis of Audience Commodification

This social media account also commodifies audiences by directing the most profitable

audiences in creating content according to the market share of these audiences. Based on the

researcher's analysis, the audience of followers of Raffinagita's content is dominated by young people

who are interested in the social life and lifestyle of the idol artist who is their role model. Raffi is

considered a symbol of young artists' success in Indonesia. The audience who became his followers

house, etc., which is displayed and exposed to the public through social media.

Raffi and Nagita's children's sister labors, Sus Rini and Sus Lala, also used to appear on

Raffinagita1717's social media, telling how they could live decent and prosperous lives by working as

employees of Raffi and Nagita. Even though Sus Lala is shown working daily as a sister, Rafathar has

also been able to finish college and buy a luxury house in Jakarta.

The analysis highlights how social media accounts @raffinagita1717 commodify audiences and

their own labors. In this context, labor commodification refers to using social media exposure to

monetize labors' engagement and contribution to Raffi and Nagita's daily lives.

First of all, it is important to understand that Raffi and Nagita are known to own a company,

RANS Entertainment, which includes many labors who are often exposed on their social media

a personal achievement for her but was also promoted as proof of the success of working with Raffi

and Nagita. Thus, this social media exposure becomes part of labors' commodification strategy to

strengthen the company's positive image and provide a motivational boost for other labors. Thus,

while labor commodification can be an effective strategy in building a company's image and

motivating labors, it is important to consider its ethical implications and long-term impact on the

relationship between employers, labors, and society.

In addition to modifying content, audiences, and labors, researchers found that Instagram

@raffinagita1717 also performs commodification immanent and commodification externalization.

Commodification immanent refers to the process by which the values of a commodity or

product are generated from within an individual or entity rather than from an externality or objective

to the uploaded content, seeing it as something that inspires, entertains, or satisfies their particular

to problems, such as reliance on public attention or pressure to maintain a specific image.

Externalization of commodification refers to the process by which the value or valuation of a

commodity or product no longer comes from the individual or entity that produced it but is somewhat

dictated by external factors such as market trends, social norms, or industry influences. In the context

of Raffi Nagita's (@raffinagita1717) Instagram case theory, commodification externalization can be

seen in various aspects.

One implication of commodification externalization in the @raffinagita1717 case is how

external influences, such as social media trends or advertiser preferences, can affect the type of

content they produce and how it is presented. For example, suppose a certain trend on a social media

platform dominates the public's attention. In that case, Raffi and Nagita may feel pressure to follow

and Nagita to maintain a certain image or follow expectations set by the market or entertainment

industry. This can impact the authenticity of the content they share and their psychological well-being

as individuals who continue to be exposed publicly.

Thus, in the context of @raffinagita1717, the externalization of commodification highlights the

complexity of the dynamics between the desire to maintain creative autonomy and personal

existence, with pressure from external factors such as industry trends and market expectations. In

the context of the Instagram @raffinagita1717 case theory, the process of commodification of private

life and public life can be observed through the way Raffi Ahmad and Nagita Slavina use social media

platforms to share moments in their lives.

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