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New Social Practices of Audiences: Community Engagement in Filmmaking

Yıl 2018, Cilt: 4 Sayı: 2, 365 - 379, 29.12.2018

Öz

Cinema
has gone through various
stages in becoming a locus for collective production throughout its existence. Due
to new technologies and changes in users’ social practices, that cinema is the
product of the film director is no longer the main conviction about cinema. The
opportunity to participate in production processes, thanks to the opportunities
provided by new media, has shifted the focus from the director to the audience.
This has brought up the opportunity for self-expression across various
communities in different parts of the world. This medium is considered to be a
new sphere in which various groups have the chance to get involved in the filmmaking
process.  
In terms of users' engagement
with the media of their choice, individuals have gradually achieved more
control on the production and marketing processes in film industry.
With the concept of “Community Filmmaking,” a
burgeoning common practice, means, as communities now have direct or indirect
access to mass participation in filmmaking.
As a result of the changing
economic, social and cultural practices of present day, crowdsourcing has
become more widespread and available. This article traces the changing social practices
of audiences and new audience patterns due to their involvement in the
filmmaking process in terms of digitalization through the term crowdsourcing by
focusing on the collaborative process of this method.
 In this article, the concepts of connectivity and collectivity
will be analyzed by two  specific examples.
First case is  “Life in a Day”, a crowdsourced
documentary that has been completed by the participation of 80.000 prosumers
from 192 nations. The second case is “Transformers Premake,” which is described
as a desktop documentary, discusses the changing form and aesthetic in
filmmaking in addition to the production method, all of which relate to users'
engagement and crowdsourcing. 

Kaynakça

  • Acland, C.R. (2003). Screen Traffic: Movies, Multiplexes, and Global Culture. Durham, N.C. Duke University Press.
  • Ashton, D. (2017). Digital stories, participatory practices and life/Britain in a day: framing creativity and debating diversity. In S. Malik, C. Chapain ,& R. Comunian (Eds.), Community Filmmaking: Diversity, Innovation, Policy and Practice (pp. 26-44). Britain: Routledge.
  • Bannerman, S. (2013).“Crowdfunding Culture”. Wi Journal of Mobile Media.Vol: 9, No:2, http://wi.mobilities.ca/crowdfunding-culture/ (accessed 12.03.2018)
  • Biedenharn, I. (2014). “A Brief Visual History of On-Screen Text Messages in Movies and TV”. Flavorwire. http://flavorwire.com/453006/a-brief-visual-history-of-on-screen-text-messages-in-movies-and-tv (accessed 10.06.2018)
  • Bone, Steven. (2014). Transformers Premake. Bald&Dash. https://www.rogerebert.com/balder-and-dash/kevin-b-lees-transformers-the-premake (accessed 15.06.2018)
  • Bordwell, D. (2002). “Intensified Continuity: Visual Style in Contemporary American Film,” Film Quarterly 55. no. 3.(pp. 16-28). University of California Press.
  • Boyd, D. ( 2007). "Film and the Audience of Tomorrow". Cannes Film Festival Opening Forum: "Cinema: The Audiences of Tomorrow" Retrieved July/August 2018, from https://www.danah.org/papers/talks/Cannes2007.html (accessed 15.06.2018)
  • Case, A. (2010).We are All Cyborgs Now. [Video File]. Retrieved from URL https://www.ted.com/talks/amber_case_we_are_all_cyborgs_now (accessed 10.07.2018)
  • Castells, M., (2010).The Information Age: Economy, Society and Culture Volume 1: The Rise of the Network Society. 2nd ed. Oxford: Wiley Blackwell.
  • Cizek, K. (2017). Interview by Rose, M. (published) in Ashton, J., Gaudenzi, S., Rose, M. (Eds.) i-docs: The Evolving Practices of Interactive Documentary. London: Wallflower pp. xv-xvi.
  • Dixon, W.W. (2007). “Vanishing Point: The Last Days of Film,” Senses of Cinema 43(2007), http://www.sensesofcinema.com/contents/07/43/last-days-film.html.(accessed 12.05.2018)
  • Elsaesser, T. (2009).“The Mind-Game Film”, In Warren Buckland (ed.), Puzzle Films, Complex Storytelling in Contemporary Cinema (pp.13-42). UK: Wiley-Blackwell.
  • Fallon, K. (2014). Why We Binge-Watch TV, Daily Beast. https://www.thedailybeast.com/why-we-binge-watch-television (accessed 02.07.2018).
  • Gómez-D., G. (2012). Cyberspace and Cyberculture. In Kosut, M. & Golson, J. Geoffrey (Eds). Encyclopedia of Gender in Media.SAGE reference publication. Hardcover ISBN: 781412990790 https://www.researchgate.net/publication/284078559_Cyberspace_and_Cyberculture (accessed 14.07. 2018).
  • Grodal, T.K. (1997). Moving Pictures, (A New Theory on Film Genres, Feelings andCognition). Oxford: Clarendon.
  • Howe, J. (2010).Crowdsourcing: Why The Power of Crowd is Driving The Future of Business.
  • Howe, J . (2006). “The Rise of Crowdsourcing”, Wired. vol. 14, no. 6 (pp.1-5).
  • Jenkins, H. (2006). Convergence Culture, Where Old and New Media Collide. New York: University Press.
  • Jenkins, H.(2006). Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York: NYU Press.
  • Lee B.K.(2014). Transformers Premake. Alsoalikelife. https://www.alsolikelife.com/premake-1(accessed 18.07. 2018).Leibovitz, T., Antoni R., Navarro, J.S.(2013). “Collaboration andCrowdfunding in Contemporary Audiovisual Production: The Role of Rewards andMotivations for Collaboration”, Cinergie.no:4 (pp.73-81) DOI:0.6092/ISSN.2280-9481/7365 http://www.cinergie.it/?p=3214 (accessed 01.02.2018)
  • Levy, P. (2001).“Collective Intelligence”, In David Trend (ed.), Reading Digital Culture. Malden Mass: Blackwell. (p. 253-259).
  • Lewis, J.G. 2014.Why We're Wired to Binge-Watch TV: Complex, engrossing series affect our minds in unexpected ways. Psychology Today. https://www.psychologytoday.com/us/blog/brain-babble/201403/why-were-wired-binge-watch-tv (accessed 01.07.2018)
  • Life in a Day, 2011[Video File]. Retrieved from URL https://www.youtube.com/watch?v=w8S4gGI4nRo (accessed 05.04.2018)
  • Manovich, L. (2001) The Language of New Media. London: The MIT Press Cambridge.
  • Meriam Webster. Definition of Binge Watch. https://www.merriam-webster.com/dictionary/binge-watch(accessed 04.07.2018)
  • Poster, M. (1997). “Cyberdemocracy: Internet and the Public Sphere”. Internet Culture, (pp.201-218) http://www.hnet.uci.edu/mposter/writings/democ.html (accessed 04.07.2018)
  • Reid, J. (2012). Letter on Crowdfunding to the Honourable Christian Paradis, Minister of Industry. http://www.cata.ca/Cata_Members/News/members_pr06221201.html(accessed 07.05.2018)
  • Rosen, D.(2013)."In The Age of Digital Distribution What is a Movie?"Filmmaker Magazine. http://filmmakermagazine.com/75457-in-the-age-of-digital-disruption-what-is-a-movie/#.WWevsoTyjIU (accessed 20.06.2018)
  • Toffler, Alvin. The Third Wave. Canada: Banthamand William Morrow & Co,1980.
  • Trigonis, John T.(2013). “Crowdfunding for the Indie Filmmaker: A (Re-) Introduction to the Three P’s of a Successful Indie Film Campaign”. Filmslate. http://www.filmslatemagazine.com/blog/crowdfunding-for-the-indiefilmmaker-a-reintrodution-to-the-three-ps-of-a-successful-indie-film-campaign (accessed 10.03. 2018)
  • Tryon, C. (2009). “Wall to Wall Color”, Reinventing Cinema Movies in The Age of Media Convergence. NewJersey: Rutgers University Press. (pp. 59-93)
  • Winston, B. (2017) Foreword. In Ashton, J., Gaudenzi, S., Rose, M. (ed.) i-docs: The Evolving Practices of Interactive Documentary. London: Wallflower,xv-xvi.
Yıl 2018, Cilt: 4 Sayı: 2, 365 - 379, 29.12.2018

Öz

Kaynakça

  • Acland, C.R. (2003). Screen Traffic: Movies, Multiplexes, and Global Culture. Durham, N.C. Duke University Press.
  • Ashton, D. (2017). Digital stories, participatory practices and life/Britain in a day: framing creativity and debating diversity. In S. Malik, C. Chapain ,& R. Comunian (Eds.), Community Filmmaking: Diversity, Innovation, Policy and Practice (pp. 26-44). Britain: Routledge.
  • Bannerman, S. (2013).“Crowdfunding Culture”. Wi Journal of Mobile Media.Vol: 9, No:2, http://wi.mobilities.ca/crowdfunding-culture/ (accessed 12.03.2018)
  • Biedenharn, I. (2014). “A Brief Visual History of On-Screen Text Messages in Movies and TV”. Flavorwire. http://flavorwire.com/453006/a-brief-visual-history-of-on-screen-text-messages-in-movies-and-tv (accessed 10.06.2018)
  • Bone, Steven. (2014). Transformers Premake. Bald&Dash. https://www.rogerebert.com/balder-and-dash/kevin-b-lees-transformers-the-premake (accessed 15.06.2018)
  • Bordwell, D. (2002). “Intensified Continuity: Visual Style in Contemporary American Film,” Film Quarterly 55. no. 3.(pp. 16-28). University of California Press.
  • Boyd, D. ( 2007). "Film and the Audience of Tomorrow". Cannes Film Festival Opening Forum: "Cinema: The Audiences of Tomorrow" Retrieved July/August 2018, from https://www.danah.org/papers/talks/Cannes2007.html (accessed 15.06.2018)
  • Case, A. (2010).We are All Cyborgs Now. [Video File]. Retrieved from URL https://www.ted.com/talks/amber_case_we_are_all_cyborgs_now (accessed 10.07.2018)
  • Castells, M., (2010).The Information Age: Economy, Society and Culture Volume 1: The Rise of the Network Society. 2nd ed. Oxford: Wiley Blackwell.
  • Cizek, K. (2017). Interview by Rose, M. (published) in Ashton, J., Gaudenzi, S., Rose, M. (Eds.) i-docs: The Evolving Practices of Interactive Documentary. London: Wallflower pp. xv-xvi.
  • Dixon, W.W. (2007). “Vanishing Point: The Last Days of Film,” Senses of Cinema 43(2007), http://www.sensesofcinema.com/contents/07/43/last-days-film.html.(accessed 12.05.2018)
  • Elsaesser, T. (2009).“The Mind-Game Film”, In Warren Buckland (ed.), Puzzle Films, Complex Storytelling in Contemporary Cinema (pp.13-42). UK: Wiley-Blackwell.
  • Fallon, K. (2014). Why We Binge-Watch TV, Daily Beast. https://www.thedailybeast.com/why-we-binge-watch-television (accessed 02.07.2018).
  • Gómez-D., G. (2012). Cyberspace and Cyberculture. In Kosut, M. & Golson, J. Geoffrey (Eds). Encyclopedia of Gender in Media.SAGE reference publication. Hardcover ISBN: 781412990790 https://www.researchgate.net/publication/284078559_Cyberspace_and_Cyberculture (accessed 14.07. 2018).
  • Grodal, T.K. (1997). Moving Pictures, (A New Theory on Film Genres, Feelings andCognition). Oxford: Clarendon.
  • Howe, J. (2010).Crowdsourcing: Why The Power of Crowd is Driving The Future of Business.
  • Howe, J . (2006). “The Rise of Crowdsourcing”, Wired. vol. 14, no. 6 (pp.1-5).
  • Jenkins, H. (2006). Convergence Culture, Where Old and New Media Collide. New York: University Press.
  • Jenkins, H.(2006). Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York: NYU Press.
  • Lee B.K.(2014). Transformers Premake. Alsoalikelife. https://www.alsolikelife.com/premake-1(accessed 18.07. 2018).Leibovitz, T., Antoni R., Navarro, J.S.(2013). “Collaboration andCrowdfunding in Contemporary Audiovisual Production: The Role of Rewards andMotivations for Collaboration”, Cinergie.no:4 (pp.73-81) DOI:0.6092/ISSN.2280-9481/7365 http://www.cinergie.it/?p=3214 (accessed 01.02.2018)
  • Levy, P. (2001).“Collective Intelligence”, In David Trend (ed.), Reading Digital Culture. Malden Mass: Blackwell. (p. 253-259).
  • Lewis, J.G. 2014.Why We're Wired to Binge-Watch TV: Complex, engrossing series affect our minds in unexpected ways. Psychology Today. https://www.psychologytoday.com/us/blog/brain-babble/201403/why-were-wired-binge-watch-tv (accessed 01.07.2018)
  • Life in a Day, 2011[Video File]. Retrieved from URL https://www.youtube.com/watch?v=w8S4gGI4nRo (accessed 05.04.2018)
  • Manovich, L. (2001) The Language of New Media. London: The MIT Press Cambridge.
  • Meriam Webster. Definition of Binge Watch. https://www.merriam-webster.com/dictionary/binge-watch(accessed 04.07.2018)
  • Poster, M. (1997). “Cyberdemocracy: Internet and the Public Sphere”. Internet Culture, (pp.201-218) http://www.hnet.uci.edu/mposter/writings/democ.html (accessed 04.07.2018)
  • Reid, J. (2012). Letter on Crowdfunding to the Honourable Christian Paradis, Minister of Industry. http://www.cata.ca/Cata_Members/News/members_pr06221201.html(accessed 07.05.2018)
  • Rosen, D.(2013)."In The Age of Digital Distribution What is a Movie?"Filmmaker Magazine. http://filmmakermagazine.com/75457-in-the-age-of-digital-disruption-what-is-a-movie/#.WWevsoTyjIU (accessed 20.06.2018)
  • Toffler, Alvin. The Third Wave. Canada: Banthamand William Morrow & Co,1980.
  • Trigonis, John T.(2013). “Crowdfunding for the Indie Filmmaker: A (Re-) Introduction to the Three P’s of a Successful Indie Film Campaign”. Filmslate. http://www.filmslatemagazine.com/blog/crowdfunding-for-the-indiefilmmaker-a-reintrodution-to-the-three-ps-of-a-successful-indie-film-campaign (accessed 10.03. 2018)
  • Tryon, C. (2009). “Wall to Wall Color”, Reinventing Cinema Movies in The Age of Media Convergence. NewJersey: Rutgers University Press. (pp. 59-93)
  • Winston, B. (2017) Foreword. In Ashton, J., Gaudenzi, S., Rose, M. (ed.) i-docs: The Evolving Practices of Interactive Documentary. London: Wallflower,xv-xvi.
Toplam 32 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Derleme
Yazarlar

Seda Aktaş 0000-0002-1735-699X

Yayımlanma Tarihi 29 Aralık 2018
Gönderilme Tarihi 1 Eylül 2018
Kabul Tarihi 26 Ekim 2018
Yayımlandığı Sayı Yıl 2018 Cilt: 4 Sayı: 2

Kaynak Göster

APA Aktaş, S. (2018). New Social Practices of Audiences: Community Engagement in Filmmaking. Uluslararası Kültürel Ve Sosyal Araştırmalar Dergisi, 4(2), 365-379.

Uluslararası Kültürel ve Sosyal Araştırmalar Dergisi