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[ecrea] Cfp - Crowdsourcing and crowdfunding in contemporary audiovisual economies - CINERGIE

Mon May 06 16:33:02 GMT 2013




CALL FOR PAPERS

Crowdsourcing and crowdfunding in contemporary audiovisual economies

Cinergie – Il cinema e le altre arti

<http://www.cinergie.it/>

<http://www.cinergie.it/?cat=32>

Special issue fall 2013.

Edited by: Marta Martina (University of Bologna) and Nicolò Gallio (University of Bologna)

The special section of the fourth issue of Cinergie would like to explore the practices of crowdsourcing and crowdfunding. Application of these practices is on the increase in today's creative industries, where significant changes in production, distribution and economics can be traced.

Specifically, in the production area, the affirmation of the role of the prosumer and pro-am, is reshaping the dialogue between producer and consumer in an ever more marked way. In the distribution industry, the disintermediation of the supply chain is gradually altering the way in which consumers stock up on their favorite media content. Finally, in the economic sphere, the frame of a non-monetary and emotional economy has urged a movement towards participation in many projects. Given this scenario, we would like to propose a tripartite reading of these phenomena, to highlight how the frame of participatory culture does not suffice in giving an account of the heterogeneity of crowdsourcing and crowdfunding. For a more detailed analysis, each project that addresses the "crowd", has three distinct aspects, which we will maintain as guidelines in the structure of this special issue: a perspective related to participation, one linked to the financing, and a third related to sharing.

1. The first line of investigation aims to highlight the different "intensities” of participation, and tries to understand what kind of contribution the curator of the project looks for in a community. (For example, Aaron Koblin's early works show low intensity of collaboration, while newer ones have a more structured call to action). The "participation" phase welcomes proposals that analyze the different ways in which one can take part in a collaborative audiovisual project. In addition, the proposals in this phase can investigate how the frame of participation is changing, especially when it is a form of "creative labor- force". The issues that emerge and upon which we invite you to contribute are: how important is the complex area of reputation economy in taking part in structured collaborative projects like Life in A Day, in which the top-down and bottom-up thrusts give rise to complex interactions? What role does the name of the curator play in attracting contributors? How important is the concept of cult in stimulating the high level of participation?

2. In recent years, we have witnessed the proliferation of crowdfunding platforms that support any audiovisual product (videos, films, serial contents...). The second line of inquiry focuses on the "finance" phase, and contributors are solicited to consider, for example, the following aspects: in which ways do rewards affect the way people take part in crowdfunding? How is crowdfunding changing, since, more and more frequently projects linked to well- known directors and actors (e.g. Matthew Modine, Zach Braff) or known titles (e.g. Veronica Mars) are asking for support? Moreover, within the "finance" stage, a debate about profit-sharing is emerging. In a time when the legislation on the topic is still in progress, projects that rely on crowds are well aware of operating in the frame of the expectation economy, which makes the pre-launch phase a form of entertainment in itself. With this in mind, in which ways are promotion and audience engagement being redefined?

3. The "sharing" phase, deliberately kept apart from the participation stage, welcomes papers focused on the dynamics of diffusion. Most of the projects developed in crowdsourcing and funded through crowdfunding, in fact, get visibility by users' sharing activities, although they do not fund them nor take part in the production in a direct way. These dynamics are difficult to predict or map, but require a deeper analysis in order to offer new perspectives on the circulation of contents as a way to promote them and as a way to overcome the too generic frame of virality. This will also lead to a reconfiguration of the relationship between the promoter and the public, in the shape of a more sophisticated construction of audiences. Finally, how do audience building strategies impact on the life cycle of a crowdsourced and crowdfunded project?

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Further information

Potential contributors can send a 2000 character proposal (in Italian or in English) together with a brief biography by 25th

May 2013 to (marta.martina2 /at/ unibo.it) and (nico.gallio /at/ gmail.com).

Communications of acceptance will be sent by 31st May 2013.

The final paper (in Italian or in English) is due on 20th July 2013 (20.000 characters, spaces included).

The special issue will be published in November 2013.

Since the journal uses the blind peer-review, between September and October 2013, changes may be required.


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