The Culture Industry and Participatory Audiences by Emma Keltie

By Emma Keltie

This venture deals a brand new critique of participatory media practices. whereas the idea that of participatory tradition is usually theorised as embodying the opportunity of a possibly utopian way forward for media engagement and participation, this ebook argues that the tradition undefined, because it adapts and adjustments, offers moments of approved participation that play out lower than the dominance of the undefined. via a serious recounting of the adventure of constructing an online sequence in Australia (with a world viewers) outdoors of the tradition buildings, this ebook argues< that when participatory tradition making use of convergent media applied sciences allows media shoppers to develop into media manufacturers, this happens via structures managed by means of undefined. The rising structure of the web has created a sequence of systems whereparticipation can ensue. it's those structures that turn into areas of managed entry to participatory cultural practices.

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Extra resources for The Culture Industry and Participatory Audiences

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The business models that build in user engagement are now occupying “a central stage in discussions of the media industries and their future in the context of digital culture”; where consuming media content is no longer the end point of production but rather is a “dynamic site of innovation and growth in itself” (Burgess and Green 2009, p. 13). Those who were once the audience are now interacting with media in ways never before seen, and media convergence is redistributing the power held by the culture industry, including the “power to speak, to write, to argue, to define, to persuade.

For example, YouTube is a site of media distribution where the contradictions and issues of labour power between the culture industry and participatory culture play out. YouTube is a site of contested, symbolic power, where people ‘do’ media; it is a platform where people can speak to power (Burgess and Green 2009). g. ABC Open and ABC Pool) – illustrate what Burgess and Green refer to as a “participatory turn” in the production of media (2009, p. 13). The business models that build in user engagement are now occupying “a central stage in discussions of the media industries and their future in the context of digital culture”; where consuming media content is no longer the end point of production but rather is a “dynamic site of innovation and growth in itself” (Burgess and Green 2009, p.

The three realms of media production that Sender identifies – the “center” encompassing products generated by established and well-funded media companies, the “margins” encompassing “flexible, semi-professional, underfunded” through to the fringes or “periphery” of “precarious, amateur, unfunded”, provide for different forms of content creation (p. 209). Web series can occupy all of these spaces as more and more capital is invested to develop the medium. Sender argues that her model provides a way to view the development of participatory cultural practices as they become profitable and then move into the centre of the circle (2012, pp.

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