Antoni Roig Telo Open University of Catalonia (UOC) Mediaccions Research Group ( www.mediacciones.es ) ATACD. Changing Cul...
Presentation summary <ul><ul><li>Research framework and focus </li></ul></ul><ul><ul><li>First stage (2004-2008) </li></ul...
Research framework <ul><li>Interest in changes in the relationship between media industries and audiences in an environmen...
Research focus <ul><ul><li>Main challenges and transformations in contemporary cinema production </li></ul></ul><ul><ul><l...
Methodology: practices <ul><ul><li>Theories of practice as a body of theory and a methodological tool to observe nexus of ...
Methodology: practices <ul><ul><li>Any kind of social activity as a complex interrelation of practices. </li></ul></ul><ul...
Case study structure X-ILE PICTURES (USA): related to fan culture Energia Productions (Finland): related to fan culture Co...
X-ILE Pictures  (USA): brand of director and entrepreneur Shane Felux since 2006, particularly renowned for his Star Wars ...
Energia Productions  (Finland): brand established in 2006 by the Finnish team behind popular fan film  Star Wreck: in the ...
A Swarm Of Angels  (UK): project initiated by Matt Hanson in 2006 with the aim of building a community for the collaborati...
Families of practices observed <ul><li>Organizing practices  (at early stages of practice) </li></ul><ul><ul><ul><ul><li>c...
Families of practices observed <ul><li>Production-oriented practices </li></ul><ul><ul><ul><ul><ul><li>conception and elab...
Conclusions: industries, audiences and practices <ul><li>Practices as playful appropriation and reflection of industrial p...
<ul><li>Organizations as participatory cultural expressions AND companies   </li></ul><ul><li>Cultural production forms ar...
<ul><li>… .2 </li></ul><ul><li>Years </li></ul><ul><li>Later… </li></ul>
The original cases in 2009 <ul><li>X-ILE Pictures: still awaiting for Trenches’ online release, after two years since prod...
Emerging and consolidating trends <ul><ul><li>Popularization of participation practices related to media </li></ul></ul><u...
Key issues for further research <ul><li>Attention to  local reality </li></ul><ul><li>Is there really an ‘ alternative eco...
Present cases <ul><ul><ul><ul><li>La Wikipeli (‘The wikimovie’) (2009): community-based short movie; part of an advertisin...
Thanks for your attention [email_address]
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Where mass media and social production meet

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This is the presentation I prepared for the ATACD Conference, which took place in Barcelona last week. This is based on the current stage of my research and represents the evolution of a previous presentation for the ECREA Digital Media Conference held in Berlin last November.

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  • Lligar 17 i 18
  • Where mass media and social production meet

    1. 1. Antoni Roig Telo Open University of Catalonia (UOC) Mediaccions Research Group ( www.mediacciones.es ) ATACD. Changing Cultures: Cultures of Change Barcelona, 10-12 December, 2009 Where mass media and social production meet: change and continuity in participatory audiovisual projects
    2. 2. Presentation summary <ul><ul><li>Research framework and focus </li></ul></ul><ul><ul><li>First stage (2004-2008) </li></ul></ul><ul><ul><ul><li>Methodology and case studies </li></ul></ul></ul><ul><ul><ul><li>Practices observed </li></ul></ul></ul><ul><ul><ul><li>Conclusions </li></ul></ul></ul><ul><ul><li>Current and future research </li></ul></ul>
    3. 3. Research framework <ul><li>Interest in changes in the relationship between media industries and audiences in an environment where: </li></ul><ul><ul><li>Consumers can become (and/or be legimitzed as) content producers </li></ul></ul><ul><ul><li>‘ Success stories’ around self-produced complex cinema-based media -> ‘alternative media ecosystem’? (Hanson, 2007) </li></ul></ul>
    4. 4. Research focus <ul><ul><li>Main challenges and transformations in contemporary cinema production </li></ul></ul><ul><ul><li>Interrelations between movie industries and consumers </li></ul></ul><ul><ul><li>Main practices related to participatory media production </li></ul></ul><ul><ul><li>Elements of change and continuity </li></ul></ul>
    5. 5. Methodology: practices <ul><ul><li>Theories of practice as a body of theory and a methodological tool to observe nexus of doings and sayings when people engage in any kind of social activity (Schatzki, 1996,2001; Swidler, 2001; Reckwitz, 2003) </li></ul></ul>
    6. 6. Methodology: practices <ul><ul><li>Any kind of social activity as a complex interrelation of practices. </li></ul></ul><ul><ul><li>Potential for the analysis of creative practices (Knorr-Cetina, 2001; Ardevol et al., 2007) </li></ul></ul><ul><ul><li>‘ Consumption’ and ‘media’ as an open set of practices (Warde, 2005; Couldry, 2009) </li></ul></ul><ul><ul><li>Shift from objects/ texts to organizational forms (companies, collectives) </li></ul></ul>
    7. 7. Case study structure X-ILE PICTURES (USA): related to fan culture Energia Productions (Finland): related to fan culture Comparative A Swarm Of Angels/ ASOA (UK): related to ‘open source culture’ Transference Transference
    8. 8. X-ILE Pictures (USA): brand of director and entrepreneur Shane Felux since 2006, particularly renowned for his Star Wars fan movies: Revelations (2005) and Pitching Lucas (2006). In 2007 and 2008 Felux produced for Stage 9 Media (affiliated with Disney) the sci-fi webseries Trenches Cases overview
    9. 9. Energia Productions (Finland): brand established in 2006 by the Finnish team behind popular fan film Star Wreck: in the pirkinning fan film (considered the first feature film freely distributed on the Internet). Alliated with Universal Pictures Scandinavia for a commercial DVD release; presently co-producing sci-fi comedy Iron Sky and promoting a collaborative movie platform, Wreck a movie Cases overview
    10. 10. A Swarm Of Angels (UK): project initiated by Matt Hanson in 2006 with the aim of building a community for the collaborative development of an open source movie from its early stages. Redefinition of the production process as important as final product Cases overview
    11. 11. Families of practices observed <ul><li>Organizing practices (at early stages of practice) </li></ul><ul><ul><ul><ul><li>construction of normativity, hierarchy,legitimation (meta-practices) </li></ul></ul></ul></ul><ul><li>Performative practices </li></ul><ul><ul><ul><ul><li>motivations behind the practice </li></ul></ul></ul></ul>
    12. 12. Families of practices observed <ul><li>Production-oriented practices </li></ul><ul><ul><ul><ul><ul><li>conception and elaboration of ‘objects’ </li></ul></ul></ul></ul></ul><ul><li>Finance-oriented practices </li></ul><ul><ul><ul><ul><ul><li>business models, engagement of communities (i.e. crowdfunding) </li></ul></ul></ul></ul></ul><ul><li>Circulation-oriented practices </li></ul><ul><ul><ul><ul><ul><li>flexibility of licenses, promotion strategies </li></ul></ul></ul></ul></ul><ul><li>Self-promotion oriented practices </li></ul><ul><ul><ul><ul><ul><li>visibility of brand and creative core </li></ul></ul></ul></ul></ul><ul><li>Participation-oriented practices </li></ul><ul><ul><ul><ul><ul><li>engagement and integration of followers as participants into project and processes </li></ul></ul></ul></ul></ul>
    13. 13. Conclusions: industries, audiences and practices <ul><li>Practices as playful appropriation and reflection of industrial processes ‘play’ and ‘play with’ potential of transformation/ transgression of the rules of the cultural industries </li></ul><ul><li>Challenge on traditional notions of production and consumption </li></ul><ul><li>Complexity and interrelation between different families of practices </li></ul><ul><li>Cultural and industrial contexts as sources of legitimation constitutive rules </li></ul>
    14. 14. <ul><li>Organizations as participatory cultural expressions AND companies </li></ul><ul><li>Cultural production forms are not at odds with industry: more synergies than conflict </li></ul><ul><li>Recruitment by the industry vs. ‘assimilation’ </li></ul><ul><li>Multiple motivations for participants </li></ul><ul><li>Alternative creative practices Alternative production model? </li></ul><ul><li>Double aperture , understood as the necessary combination of: </li></ul><ul><ul><li>Open access to objects </li></ul></ul><ul><ul><li>Open participation in creative processes </li></ul></ul>Conclusions: change and continuity
    15. 15. <ul><li>… .2 </li></ul><ul><li>Years </li></ul><ul><li>Later… </li></ul>
    16. 16. The original cases in 2009 <ul><li>X-ILE Pictures: still awaiting for Trenches’ online release, after two years since production Project sold to ‘another big studio’ </li></ul><ul><li>Energia Productions: Iron Sky in development for 2010 release; intense promotional strategy and development of online platform Wreck a Movie </li></ul><ul><li>A Swarm of Angels: project on hold. Latest schedule for re-launch: early 2010. Currently accessible via Twitter </li></ul>
    17. 17. Emerging and consolidating trends <ul><ul><li>Popularization of participation practices related to media </li></ul></ul><ul><ul><li>Participation as commodity False empowerment? </li></ul></ul><ul><ul><li>Cross-narratives </li></ul></ul><ul><ul><li>Increase of barriers of entry </li></ul></ul><ul><ul><li>Mediating agents </li></ul></ul><ul><ul><li>Effects of economic crisis </li></ul></ul><ul><ul><li>Emerging networks for independent innovation </li></ul></ul>Emphasis on experience
    18. 18. Key issues for further research <ul><li>Attention to local reality </li></ul><ul><li>Is there really an ‘ alternative ecosystem ’? </li></ul><ul><li>Need to categorize models and evaluate impact Need to refine what’s behind ‘ participation ’ </li></ul><ul><li>Need to scrutinize working conditions, industry strategies and actual expectations for independent creation </li></ul><ul><li>Impact of the economic crisis (i.e. emphasis on funding) </li></ul><ul><li>Power relations between agents involved </li></ul>
    19. 19. Present cases <ul><ul><ul><ul><li>La Wikipeli (‘The wikimovie’) (2009): community-based short movie; part of an advertising campaign for Mahou, leading beer company in Spain </li></ul></ul></ul></ul><ul><ul><ul><ul><li>Digitalent Foundation: initiative aimed at fostering emergent creative talent through the development of innovative projects in the so-called Talent Factory (to be later sold to the industry </li></ul></ul></ul></ul>El cosmonauta (‘The cosmonaut’): independent feature project based in user participation, crowdfunding and remixable content. Shooting scheduled for 2010
    20. 20. Thanks for your attention [email_address]

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