In this study, Baltruschat calls attention to dramatic changes in worldwide media production. Her work provides new insights into industry re-organization, digital media, and audience interactivity as pivotal relationships are redrawn along the entire value chain of production, distribution, and consumption. Based on an international study, she details how cultural agents now negotiate a media landscape through collaborative ventures, co-productions and format franchising. These varied collaborations define the new global media economy and affect a shift across the entire field of cultural production.
Through detailing the intricacies of globally networked production ecologies, Baltruschat elucidates the shifting power relations in media production, especially in regards to creative labor and trade of intellectual properties. In the new global economy, "content" has become the "new currency." As a result, relational dynamics between cultural agents emerge as key forces in shaping worldwide cultural production, now increasingly characterized by flexible production and consumption.
The blurring of lines in international media developments require new parameters, which define creativity and intellectual property in relation to interactive audiences and collaboratively produced content. Baltruschat clearly maps and defines these new dynamics and provides solutions as to how creative labor constellations can advance and enrich the new media economy. This is especially pertinent as global film and TV production does not necessarily result in greater media diversity. On the contrary, interdependencies in policy regimes, prioritization of certain genres, and branded entertainment epitomize how current networked ecologies reflect broader trends in cultural and economic globalization.
|Publisher:||Taylor & Francis|
|Series:||Routledge Advances in Internationalizing Media Studies Series , #6|
|Product dimensions:||6.20(w) x 9.10(h) x 0.80(d)|
About the Author
Doris Baltruschat Ph.D. is a media and communications scholar with extensive experience in film and television production and distribution. She currently teaches and conducts research at the University of British Columbia, Canada.
Table of Contents
List of Tables, Figures, and Maps Preface and Acknowledgments Introduction and Overview 1: International Film and TV Co-production under Review 2: Activating Codes and Conventions in Co-produced Docudramas 3: Media Ecologies in Format Franchising 4: Formats and Reality TV: The Case of the Idol Franchise 5: Auditioning for Idol 6: "Content as Currency": New Alliances between Media and Cultural Agents 7: Summary and Conclusion Appendix A Glossary Notes Bibliography Index