Crowdfunding and other quasi-models of direct purchase

Loading...

En provenance du cours de National Research University Higher School of Economics

Cultural and creative industries

6 notes

National Research University Higher School of Economics

Cultural and creative industries

6 notes

Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods. This course will help you to: - Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production. - Be able to analyze cultural products and symbolic goods from the organizational, economic, business model point of view. - Be able to invent new business models and analyze cultural products in terms of their productions risk. - Be able to analyze cultural policies and creative industries/clusters policies. Main prerequisite to this course is to be able to produce analytical texts in humanities. Normally the course addresses all students of master level interested in peculiarities of media and cultural economy and management. This course is strongly not recommended for those who: - Analyse any market or industry only in microeconomic terms (supply and demand, level of competitions etc). This course is not about market but about peculiarities of symbolic goods; - Try to interpret culture only in terms of marketing and management (i.e. culture is considered like a simple good to be sold to the consumer). This course considers it more broadly like a human agency to produce meanings of everyday life. That’s why cultural goods are different and can not be interpreted exclusively in terms of consuming and need more or less state support; - Try to interpret culture like pure “art” and consequently are absolutely not preoccupied by organizational aspect of its working. This course uses a large number of concepts coming from different fields of science: political economy of communications, cultural studies, sociology etc. Some aspects of the course are commented by known scholars in this field such as David Hesmondhalgh (University of Leeds), Phillipe Bouquillion (University Paris 13 Nord), Bernard Miege (Grenoble Alpes University).

À partir de la leçon

Evolution of cultural industries in digital age

During this week we'll learn transformations of cultural industries after digital revolution. We'll touch upon changes in business models, platforms and general logics shaping cultural industries in digital era.

Platforms independence13:30

Persistence of two general models8:41

Crowdfunding and other quasi-models of direct purchase9:33

Between proprietary and free access platforms6:23

Shift in blockbuster model (long tail)6:24

Rencontrer les enseignants

Iliya Kiria
Professor
Department of Media

In field of Models of commercial functioning of

cultural industries we can see their proliferation of the new,

well say quasi-model of the Crowdfunding,

and other will say,

common with Crowdfunding Models of direct purchase and

some other Models which are very close to Crowdfunding.

And, right now I will speakp about it.

The Traditional Culture Industry Model has been pointed out initially in

this course is based on the idea that the editor brings together the creativity,

and the technological experience in order to make the content consumable,

to make the content accessible to consumer et cetera.

What kind of novelty we can see

right now with a proliferation of Crowdfunding? What is crowdfunding?

Crowdfunding means that artists

use their particular platform to ask consumer for their contribution.

Mainly it's the digital platform because

this digital platform could bring together a lot of people.

That platform is just a mediatizing

their relationship between the author and the consumer.

So, it means that without digital environment,

it was quite difficult to make the Crowdfunding in will say big scale.

So, it means that Crowdfunding existed probably a lot of years ago,

a lot of centuries even but,

it was used to produce very local content, where local thinks,

so and right now with digital platforms,

crowdfunding could contribute a lot to their independent production of photos,

or as certain people think independent production of photos.

So, a consumer contribute just to the production of particular volume,

particular piece, particular for example,

music album by artists.

Of course such Crowdfunding could have few dimensions and few even models inside it.

First of all it could be a model which we

can speak that this model is based on the name of the artist.

Means that very known artists,

and a lot of them have contracts with a major big phonographic companies,

they have a names or even during

few dozen years this name was developed in Phonographic Industry,

and right now, they address the audience

directly in order to Crowdfund a new album for example,

or in order to Crowdfund a new single,

to crowdfund the film et cetera.

And, of course the people think that

the film of Scasese or I don't know the film of Cameron.

Cameron is the good name,

it's a big name, and since he's the big name,

we could or we should contribute to his new film because for sure this film will be good.

This is the idea that this particular artist can't produce their best films,

or bad music songs.

So, we will contribute to this.

Second model is based on what we call the user

generated content, or prosumerist behavior.

It's the model based on artistic contribution.

Means that users can participate because the artist

guarantee them that he will take into consideration their audience idea.

Yeah. So, it means that in this case

their audience pays for their own artistic experience.

Their audience pays not only for these film but

the audience pays for the possibility to for example,

contribute to a new plot inside this film,

or contribute to the new series,

new episodes inside the series et cetera et cetera.

So, in this case the audience pays not for the content consumption as it is,

and not for the content production as it is.

It pays for their own participation inside the creative process.

Another thought, this is the third,

this is the model of the stock exchange.

It's, we can imagine we have

a particular digital platform and different artist creates previews,

scripts, some other presentations of the idea of the product,

and make them accessible to a large amount of people viewer such kind of online platform.

And then the people vote by money and pays according to their evaluation of this idea.

So, this is the, will say user assessed content.

Yeah? And just making a kind of preview,

and then make it accessible to people,

make it accessible to potential audience,

and ask the audience what his think about it,

and the audience pays the money,

if it thinks that it's good that this product could be good,

could be interesting for them et cetera.

Another close to these changes

is the proliferation of what we call self publishing or self publication.

Is the proliferation of the platforms that makes the content of

photos directly accessible to consumers.

They don't need any publishing house.

They don't need any particular editor et cetera.

So, this is just the consequence

of the devaluation of the editor function in cultural industries.

Because their online platforms are just decreasing marketing costs,

and each author can become a content creator without any gate keeping

function of the editor because he is able to create the content,

and then put this content into a particular online,

well say online program.

The creator of these online program will obtain a little money for that,

and then this book will appear for example in their online bookstore,

or digital bookstore et cetera.

So, from this point of view, of course the ability of

contemporary author thoughts to create new content

without any particular editorial function increase.

Of course, here we can question the power of such well say,

digital platforms, or digital marketing platforms,

or digital libraries, or digital bookstores et cetera.

But, of course it's another power,

it's another world with absolutely different market power.

Another driver of such self publication

is of course the quality of their amateur accessible technology.

Right now, the quite ordinary Smart phone.

All those YouTube create quite good video with a quite good quality.

And of course, it's also drive the creation of videos by the people themselves,

and we will back to it a little bit later during

this week when we will speak about user generated content.

So, it provokes this particular model

of the self publication in the book sector or for example publication on demand,

Print on demand, when before printing the book,

the printing house and especially the publisher

ask the people to pre-buy the book, to pre-order it,

and the people are pre-ordering the book and then according to that,

the publisher is just making their circulation.

So, it allows him not to invest

huge money into the most costly or

one of the most costly process of their book production,

the process of the printing.

Explorer notre catalogue

Rejoignez-nous gratuitement et obtenez des recommendations, des mises à jour et des offres personnalisées.

Coursera propose un accès universel à la meilleure formation au monde, en partenariat avec des universités et des organisations du plus haut niveau, pour proposer des cours en ligne.

© 2019 Coursera Inc. Tous droits réservés.

Télécharger dans l'App Store

Disponible sur Google Play