| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910160755903321 |
|
|
Autore |
Keltie Emma |
|
|
Titolo |
The Culture Industry and Participatory Audiences / / by Emma Keltie |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Cham : , : Springer International Publishing : , : Imprint : Palgrave Macmillan, , 2017 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
|
|
Edizione |
[1st ed. 2017.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (IX, 152 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Cultural policy |
Mass media - Political aspects |
Culture |
Australasia |
Communication |
Cultural Policy and Politics |
Media Policy and Politics |
Australasian Culture |
Media and Communication |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references at the end of each chapters and index. |
|
|
|
|
|
|
|
|
Nota di contenuto |
|
1. Introduction -- 2. The Culture Industry and Audience Agency -- 3. Agency in Practice: A Participatory Utopia -- 4. Fans: A Long History of Participation -- 5. Producing Culture: Australian Media and Creative Policy -- 6. Participation in Practice -- 7. Authorised Participation.-. |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
This work offers a discussion of participatory culture as a disruption to the previously held dominance of the culture industry, while also exploring the tensions created in this emerging media landscape through analysis and examination of the current Australian media policy, regulation, and content distribution landscape. The text argues that the culture industry colonises participatory cultural practices and absorbs them into the practices of the industry, to reveal that what emerges from this colonisation is an audience that misrecognises their |
|
|
|
|
|
|
|
|
|
|
agency as participants in the production of culture. The discourse surrounding participatory culture positions the audience as active in cultural production and falsely emancipates them as consumers, with little acknowledgement of the exploitation of labour that is occurring. Keltie exposes how, as the culture industry folds participatory practices back into its own industry practices, audience participation, in effect, becomes authorised bythe culture industry. . |
|
|
|
|
|
| |