Crowfundingand Media Collaboration:
AbouttheRewards
Talia Leibovitz and Antoni Roig
Open University of Catalonia/ Internet...
1885
1885 1958
1885 2000 1958
Research Framework
Researchonemergingcreativepractices and discourses
relatedtotheengagement of individuals and collective...
Openessof cultural production
Technological: easyaccess and use of
software, productionequipment and digital
platformsthat...
Crowdfunding
Definition 1: “the collective cooperation, attention and trust by people
who network and pool their money and...
Crowdfunding
Definition 1: “the collective cooperation, attention and trust by people
who network and pool their money and...
Types of crowdfunding
Donation: contributors receive nothing in return for their contribution.
Reward: backers receive a r...
• Direct Crowdfunding: The financing process is carried out independently.
• Indirect Crowdfunding:Mediated by specialized...
Research question:
• To what extent collaboration is mediated by the rewards?
• What drives the crowd to collaborate with ...
Conclusions
• Rewards are not a differentiating factor among the motivations that
engage the collaborating sponsors with a...
tleibovitz@uoc.edu / @taliacl
aroig@uoc.edu / @toniroigtelo
Thankyou!!!
Crowdfunding and media collaboration: about the rewards
Crowdfunding and media collaboration: about the rewards
Crowdfunding and media collaboration: about the rewards
Crowdfunding and media collaboration: about the rewards
Crowdfunding and media collaboration: about the rewards
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Crowdfunding and media collaboration: about the rewards

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This is a presentation for the last Digital Culture and Communication ECREA Workshop, held in Bonn on the 3rd and 4th of October, 2013. Presenters were Talia Leibovitz and Antoni Roig (that's me, actually). Here, we outline a part of Talia's PhD research focused on film crowdfunding practices, attending to motivations of project promoters and backers through a survey addressed to users of crowdfunding platforms, particularly in Spain. In this occasion, we are pesenting some conclusions regarding the perception of the relevance of the rewards in the crowdfunding process

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  • In 1958 thescreenwriter John Cassavetesclaim in aninterviewforthe radio broadcast "Night people", thatitwaspossibletomake a film Shadows out ofthestudiosobligations, ifeachlistenersenthim a ticket for $ 1 andgavehisadress. Nextday he received 2000 notes andbegantoshootthe film.
  • In 1958 thescreenwriter John Cassavetesclaim in aninterviewforthe radio broadcast "Night people", thatitwaspossibletomake a film Shadows out ofthestudiosobligations, ifeachlistenersenthim a ticket for $ 1 andgavehisadress. Nextday he received 2000 notes andbegantoshootthe film.
  • In 1958 thescreenwriter John Cassavetesclaim in aninterviewforthe radio broadcast "Night people", thatitwaspossibletomake a film Shadows out ofthestudiosobligations, ifeachlistenersenthim a ticket for $ 1 andgavehisadress. Nextday he received 2000 notes andbegantoshootthe film.
  • Crowdfunding and media collaboration: about the rewards

    1. 1. Crowfundingand Media Collaboration: AbouttheRewards Talia Leibovitz and Antoni Roig Open University of Catalonia/ Internet Interdiciplinary Institut (UOC/IN3)
    2. 2. 1885
    3. 3. 1885 1958
    4. 4. 1885 2000 1958
    5. 5. Research Framework Researchonemergingcreativepractices and discourses relatedtotheengagement of individuals and collectives in processes of audiovisual production. • Participatoryforms of media production • Affectiveengagement in complexnarrativeworlds, media objects and productionprocesses • Community-basedfilmmaking • Co-creationpractices • Collaborativediscourseson media production • Crowdfunding platforms
    6. 6. Openessof cultural production Technological: easyaccess and use of software, productionequipment and digital platformsthatfacilitatetheappropriation, collaboration, and thedissemination of cultural objectsproduced Legal: ease of access and use of contents, as evidencedbytheeasing of copyright licenses Narrative: cultural creations which emphasize experience as multimedia, transmedia and crossmedia Production: whereweattendtotransformations in theways of realization of creativeprojectsfromthepublicinvolvement.
    7. 7. Crowdfunding Definition 1: “the collective cooperation, attention and trust by people who network and pool their money and other resources together, to support efforts initiated by other people or organizations. (Kappel, 2009) Espai de paginació 2 / 25
    8. 8. Crowdfunding Definition 1: “the collective cooperation, attention and trust by people who network and pool their money and other resources together, to support efforts initiated by other people or organizations. (Kappel, 2009) Definition 2: “an open call, mostly through the Internet, for the provision of financial resources either in the form of donations or in exchange for some form of reward and/or voting rights in order to support initiatives for specific purposes” (Belleflame, Larraldeand Schwienbacher, 2010) Espai de paginació 2 / 25
    9. 9. Types of crowdfunding Donation: contributors receive nothing in return for their contribution. Reward: backers receive a reward or compensation in return for their contribution. Lending: Often called peer-to-peer lending. Peer-to-peer lending involves a loan. Contributors only provide the funds temporarily and repayment is expected. Equity: The equity model gives contributors an interest in the profits or return of the project they are helping to fund.
    10. 10. • Direct Crowdfunding: The financing process is carried out independently. • Indirect Crowdfunding:Mediated by specialized platforms dedicated exclusively to the promotion of projects like Kickstarter, Indiegogo or Verkami. Types of crowdfunding
    11. 11. Research question: • To what extent collaboration is mediated by the rewards? • What drives the crowd to collaborate with an audiovisual project through crowdfunding? Methodology • Online surveyon crowdfunding audiovisual backers • June 2013 • 134 backers
    12. 12. Conclusions • Rewards are not a differentiating factor among the motivations that engage the collaborating sponsors with audiovisual projects. • The act of collaboration and the amount to donate are mediated by the support network based on pre-existing interpersonal relationships, the perception of quality, and the project’s contents. • Not unconditional support. Looking for shared interest.
    13. 13. tleibovitz@uoc.edu / @taliacl aroig@uoc.edu / @toniroigtelo Thankyou!!!

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