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The rise of Web 2.0 has pushed the amateur to the forefront of public discourse, public policy and media scholarship. Typically non-salaried, non-specialist and untrained in media production, amateur producers are now seen as key drivers of the creative economy. But how do the activities of today and tomorrow's citizen journalists, fan fiction writers and bedroom musicians connect with longer traditions of extra-institutional media production? How has the connection between professional production and amateur creativity changed over time, and how will it change in the future? What categories of authorship are at work in amateur cultural production? And how have shifts in law and policy worked to construct amateurism in relation to its purported others? This edited collection provides a much-needed interdisciplinary contextualisation of amateur media before and after Web 2.0. Surveying the institutional, economic and legal construction of the amateur media producer via a series of case studies, it features contributions from experts in the fields of law, economics, media studies and literary studies based in the US and Australia.
Each section of the book contains a detailed case study on a selected topic, followed by two further pieces providing additional analysis and commentary on the topic. By structuring the book in this way it offers nuanced understanding of the functions of extra-institutional forms of cultural production and their co-constitutive relationships to institutionalised media industries. This book will be of interest to students and scholars of law, economics, media and communications studies, cultural studies, and literary studies.
The rise of Web 2.0 has pushed the amateur to the forefront of public discourse, public policy and media scholarship. Typically non-salaried, non-specialist and untrained in media production, amateur producers are now seen as key drivers of the creative economy. But how do the activities of today and tomorrow's citizen journalists, fan fiction writers and bedroom musicians connect with longer traditions of extra-institutional media production? How has the connection between professional production and amateur creativity changed over time, and how will it change in the future? What categories of authorship are at work in amateur cultural production? And how have shifts in law and policy worked to construct amateurism in relation to its purported others? This edited collection provides a much-needed interdisciplinary contextualisation of amateur media before and after Web 2.0. Surveying the institutional, economic and legal construction of the amateur media producer via a series of case studies, it features contributions from experts in the fields of law, economics, media studies and literary studies based in the US and Australia.
Each section of the book contains a detailed case study on a selected topic, followed by two further pieces providing additional analysis and commentary on the topic. By structuring the book in this way it offers nuanced understanding of the functions of extra-institutional forms of cultural production and their co-constitutive relationships to institutionalised media industries. This book will be of interest to students and scholars of law, economics, media and communications studies, cultural studies, and literary studies.
Section I: Economic histories 1. Histories of user-generated content: between formal and informal media economies 2. Competing myths of informal economies 3. Start with the household Section II: Platform politics 4. Amateur digital content and proportional commerce 5. YouTube and the formalisation of amateur media 6. The relationship between user-generated content and commerce Section III: Amateurs and authenticity 7. The manufacture of ‘authentic’ buzz and the legal relations of MasterChef 8. Harry Potter and the transformation wand: fair use, canonicity and fan activity 9. The simulation of ‘authentic’ buzz: T-Mobile and the flash mob dance Section IV: Cultural intermediaries 10. Prestige and professionalisation at the margins of the journalistic field: the case of music writers 11. Swedish subtitling strike called off! Fan-to-fan piracy, translation, and the primacy of authorisation 12. Have amateur media enhanced the possibilities for good media work? Section V: Property and play 13. Minecraft as Web 2.0: amateur creativity and digital games 14. Cosplay, creativity and immaterial labours of love 15. Web Zero: the amateur and the indie game developer Section VI: Anonymity, identity and publicity 16. Anonymous speech on the internet 17. The privacy interest in anonymous blogging 18. ‘Privacy’ of social networking texts
Dan Hunter is a Professor of Law at New York Law School, USA. Ramon Lobato is a postdoctoral research fellow with the ARC Centre of Excellence in Creative Industries and Innovation at the Institute for Social Research, Swinburne University, Australia. Megan Richardson is a Professor of Law at the Melbourne Law School and Associate Director Law IPRIA, the Intellectual Property Research Institute of Australia based across three faculties at the University of Melbourne. Julian Thomas is Director of the Institute for Social Research at Swinburne University, Australia and also leads the ISR's Media and Communications program.
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