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).
User generated content
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从本节课中
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.
教学方
Iliya Kiria
Professor
Right now, how finely we can perceive this user-generated content revolution?
What kind of critique we can do against it?
And from this point of view,
we can see two different views on this issue.
Because yes, the amount of content created by the users is still growing.
And even now, the total amount of
this content is much more higher than the amount of the professionally produced content.
And from this point of view,
we can see two different opposite,
we'll say, interpretations of these phenomena.
First, the positive view,
the idea that these user-generated content represent a very important thing,
it's a cultural emancipation.
The idea of cultural emancipation that people are able to create by themself,
to spread out their cultural creativity,
which is positive from this point of view.
Another view is the critical view.
Critical view, which is mainly based around the idea
of that this user-generated content is the new way of capitalist exploitation.
It's the new way of big companies,
such as YouTube, such as Google,
because Google is the YouTube partner,
to exploit the quasi-free labor
of the users in order to make the profits from the advertising.
So, the ideology of UGC as
the cultural emancipation is linked strongly with the name of Henry Jenkins,
a very known American professor,
who is saying that spreadable media empowers consumers.
From this point of view,
user-generated content is considered as a sign of
cultural emancipation and final point in enlarging the participatory culture.
This term participatory culture becomes very important for Jenkins.
And any user is considered by Jenkins as co-creator.
And since it's a co-creator,
it's the participatory culture,
the culture which is empowering also the consumer.
And from this point of view,
there's a huge revolution in all mass communication chains.
Because historically, before mass communication chains,
the final power of
the content creator was the power of the professional company,
media structure, media company,
media holding, culture industry,
company, et cetera, et cetera.
And here, we have deal with a particular fan and consumer who
are participating in such participatory culture in such production of the content.
And finally, it makes the balanced this model between
the power of consumer and the power of producer of the content.
So, it means that the fans,
consumers could participate in circulation and creation of new content.
And from this point of view,
since such people are making content for their pleasure,
they are not motivated financially.
It means that UGC creators are not motivated financially.
They just would like to do a self-expression.
For them, it's just a universe of self-expression.
And if we will take a look on a classic chain of production in professional media,
we can see the concepts and ideas,
content production, content packaging,
content marketing, and content distribution.
And in the field of UGC,
we have deal with user-generated infrastructure.
So, concept and ideas are created by users.
For example, in particular, multi-user online games,
the whole environment, and
infrastructure inside the games is created or co-created by users.
Then, we have deal with UGC, user-generated content.
Then, we have deal with user-organized content,
when the user are contributing to
their organization of the content on the platform by voting,
for example, for particular types of contents
which becomes more visible for another people.
Then, it could be user-generated marketing,
when the people are promoting a particular contents.
And user-generated distribution, we are social networks for example.
Once we are making their posts or share of a particular content,
we are making the user-generated distribution.
What kind of critique is done against user-generated content?
Of course, such critique is based on the idea that all these idea of
the participatory culture is a collective utopia the same,
that the idea of the collective intelligence.
The idea of collective intelligence was pointed out by French philosopher,
Pierre Levy in 1990s because he called that the internet is a collective intelligence.
So, from the critical point of view,
UGC is considered as a tool of big digital capitalist companies.
Because, UGC permits for big companies as Google to
increase advertising revenues without considerably invest into professional content,
without considerably pay or invest into the production of content.
So, it's just the idea of the new form of exploitation or digital labor,
where people works not for the money or remuneration,
but for their pleasure and their self-expression.
The people would like to self-express,
that's why they accept not to be paid or to be paid at the modest level.
So, from this point of view,
if exploitation does not feel like exploitation,
then this doesn't mean that it doesn't exist.
And this is the argument of one of the critique of UGC,
and one of the critique of contemporary social media culture,
Kristen Fuchs, who is a professor in Westminster University.
So, this is the idea of their precarious culture worker,
and we will back to this idea of precarious worker during
the six-week of the course when we will speak about the creative industries concept.
Because a lot of this ideology of precariat is
largely used in these creative-free industries ideology.
Ideology is based on the idea that the people are working not for the money,
they are working for the pleasure,
for the particular experience, et cetera.
And these, it becomes the new tool of
social stratification and creation of
the illusion of the higher class in the social hierarchy.
Because, instead of saying that you are just the amateur video maker,
you can say that you are precarious video producer.
And from this point of view,
your social stature is making higher. We'll back to it.
