¡Esta película la hacemos entre todos! Crowdsourcing y crodwfunding como prácticas colaborativas en la producción audiovisual contemporánea
This paper focuses on the analysis of a series of emerging creative practices of particular relevance in the field of audiovisual media production, particularly those that tend to cluster around two terms of increasing popularity: crowdsourcing and crowdfunding. These terms are considered key concep...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2011 |
| País: | España |
| Institución: | Universitat Oberta de Catalunya (UOC) |
| Repositorio: | O2, repositorio institucional de la UOC |
| OAI Identifier: | oai:openaccess.uoc.edu:10609/93672 |
| Acceso en línea: | http://hdl.handle.net/10609/93672 |
| Access Level: | acceso abierto |
| Palabra clave: | Crowdsourcing crowdfunding participatory culture co-creation audiovisual projects collaboration colaboración proyectos audiovisuales crowdsourcing cultura participativa co-creación Teams in the workplace Treball en equip Trabajo en equipo |
| Sumario: | This paper focuses on the analysis of a series of emerging creative practices of particular relevance in the field of audiovisual media production, particularly those that tend to cluster around two terms of increasing popularity: crowdsourcing and crowdfunding. These terms are considered key concepts to explain the dynamics of contemporary cultural creation, mainly from two points of view: first, because they imply the involvement of large numbers of participants; second, because they become exponents of what is considered a radical reinvention of the relationship between producers and audiences in the various processes that enable the materialization of a creative project. This second factor establishes a clear link with a broader cultural trend: the greater engagement of publics in their own cultural consumption. This fact requires to reconsider the definition and the boundaries that traditionally surround the agents involved in circuits of cultural production. While this tendency can easily lead us to think about the democratization of audiovisual production and the empowerment of the publics, a thorough approach is required to take into account the different resistances, contradictions and ambiguities that lie behind this complexity. This paper attempts to contribute to this debate from the discussion, based on case examples, of the diversity of practices around the discourse on crowdsourcing and crowdfunding, highlighting both their potential and their limits. |
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