By Hunter, Dan; Lobato, Ramon; Richardson, Megan; Thomas, Julian
The increase of internet 2.0 has driven the novice to the leading edge of public discourse, public coverage and media scholarship. more often than not non-salaried, non-specialist and untrained in media creation, beginner manufacturers are actually noticeable as key drivers of the artistic economic system. yet how do the actions of citizen reporters, fan fiction writers and bed room musicians connect to longer traditions of extra-institutional media production?
This edited assortment offers a much-needed interdisciplinary contextualisation of novice media
before and after internet 2.0. Surveying the institutional, fiscal and criminal building of the beginner media manufacturer through a sequence of case experiences, it gains contributions from specialists within the fields of legislation, economics and media experiences established within the united kingdom, Europe and Singapore. every one component of the e-book encompasses a special case research on a specific subject, by way of additional items delivering extra research and remark. utilizing a rare array of case reviews and examples, from YouTube to on-line video games, from subtitling groups to truth television, the e-book is neither a party of beginner creation nor a denunciation of the death media industries. quite, this ebook provides a serious discussion throughout legislation and the arts, exploring the dynamic tensions and interdependencies among beginner artistic construction. This booklet will entice either lecturers and scholars of highbrow estate and media legislation, in addition to to students and scholars of economics, media, cultural and web stories.
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Extra info for Amateur Media : Social, cultural and legal perspectives
10 Ruth Schwartz Cohen, More Work for Mother: The Ironies of Household Technology From the Open Hearth to the Microwave, New York: Basic Books, 1985. Part II Platform politics 4 Amateur creative digital content and proportional commerce Steven Hetcher Introduction The goal of this chapter is to search out and explore some of the commercial aspects of amateur culture. In the Digital Millennium Copyright Act (DMCA), US copyright law refers to amateur internet ‘users’ in an explicit manner. 1 The term ‘users’ here of course is referring to the users of the various internet service providers (‘ISPs’) for which the four safe harbours of the DMCA are intended.
On the one hand, they are widely perceived to be the backbone of the internet and worthy of special protection for that reason. On the other hand, they are currently implicated in much colourably infringing activity, and have deep pockets and relatively ﬁxed locations and assets, which has garnered them the attention of plaintiffs’ attorneys. 3 It has been lauded as well for promoting new forms of culture not possible, or less likely, when motivation is purely commercial. 4 Appreciating these laudable features of ACDC is not, however, at variance with equally appreciating the essential role played by the commercial sphere in making much of this content available.
5 International Labour Ofﬁce, Employment, Incomes and Equality: A Strategy for Increasing Productive Employment in Kenya, International Labour Ofﬁce: Geneva, 1972. 6 Keith Hart, ‘Informal Income Opportunities and Urban Employment in Ghana’ (1973) 11(1) Journal of Modern African Studies 61. 7 Manuel Castells and Alejandro Portes, ‘World Underneath: The Origins, Dynamics, and Effects of the Informal Economy’ in Alejandro Portes, Manuel Castells and Lauren A. Benton (eds), The Informal Economy: Studies in Advanced and Less Developed Countries, Baltimore, MD: Johns Hopkins University Press, 1989, p.
Amateur Media : Social, cultural and legal perspectives by Hunter, Dan; Lobato, Ramon; Richardson, Megan; Thomas, Julian