Pub Date : 2017-06-30DOI: 10.1080/14241277.2017.1331236
Jiyoung Cha
ABSTRACT Crowdfunding has become an important funding method for video game developments in the United States. Interestingly, video game crowdfunding projects have significantly lower success rates compared to other product categories. Recognizing this challenge, this study examines factors influencing the success of crowdfunding campaigns for video games. The analysis of 447 crowdfunding campaigns suggests that human capital, geography, media choice, and the intensity of media use influence the success of crowdfunding for video games.
{"title":"Crowdfunding for Video Games: Factors that Influence the Success of and Capital Pledged for Campaigns","authors":"Jiyoung Cha","doi":"10.1080/14241277.2017.1331236","DOIUrl":"https://doi.org/10.1080/14241277.2017.1331236","url":null,"abstract":"ABSTRACT Crowdfunding has become an important funding method for video game developments in the United States. Interestingly, video game crowdfunding projects have significantly lower success rates compared to other product categories. Recognizing this challenge, this study examines factors influencing the success of crowdfunding campaigns for video games. The analysis of 447 crowdfunding campaigns suggests that human capital, geography, media choice, and the intensity of media use influence the success of crowdfunding for video games.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72891992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-06-30DOI: 10.1080/14241277.2017.1331237
H. I. Chyi, J. I. Tennant
ABSTRACT In 2008, China surpassed the United States as the largest Internet market in the world. This study examines how four prominent Western news organizations respond to this new era of Internet publishing. A series of in-depth interviews with senior managers at The Wall Street Journal, Financial Times, Reuters, and The New York Times revealed how these news organizations serve Internet users in China through their Chinese-language Web editions—how they overcome geographic, language, cultural, and political barriers to explore this remote market. These cases demonstrate the viability of different operating models and the challenges and opportunities facing these media organizations as they manage transnational news operations in this seemingly lucrative market.
{"title":"Transnational Media Management: Western News Organizations’ Web Operations in China","authors":"H. I. Chyi, J. I. Tennant","doi":"10.1080/14241277.2017.1331237","DOIUrl":"https://doi.org/10.1080/14241277.2017.1331237","url":null,"abstract":"ABSTRACT In 2008, China surpassed the United States as the largest Internet market in the world. This study examines how four prominent Western news organizations respond to this new era of Internet publishing. A series of in-depth interviews with senior managers at The Wall Street Journal, Financial Times, Reuters, and The New York Times revealed how these news organizations serve Internet users in China through their Chinese-language Web editions—how they overcome geographic, language, cultural, and political barriers to explore this remote market. These cases demonstrate the viability of different operating models and the challenges and opportunities facing these media organizations as they manage transnational news operations in this seemingly lucrative market.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81488043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-03DOI: 10.1080/14241277.2017.1308947
Nando Malmelin, Sari Virta
ABSTRACT In this article we explore the conditions for creative work in media organizations from the viewpoint of serendipity and the management of serendipity. Our study contributes to the field of media management research by theorizing change and creativity within the framework of organizational serendipity. Based on an analysis of empirical data collected with the diary method in a media organization, the article also discusses the rationale of managing for serendipity in creative media organizations from strategic, structural, and cultural viewpoints. We argue that the management of organizational serendipity should be aimed at managing for serendipity, not managing serendipity as such. In practice, this means that serendipity management should be understood as creating suitable conditions for serendipitous creative processes and facilitating creative work, motivation, and collaboration in the organization.
{"title":"Managing for Serendipity: Exploring the Organizational Prerequisites for Emergent Creativity","authors":"Nando Malmelin, Sari Virta","doi":"10.1080/14241277.2017.1308947","DOIUrl":"https://doi.org/10.1080/14241277.2017.1308947","url":null,"abstract":"ABSTRACT In this article we explore the conditions for creative work in media organizations from the viewpoint of serendipity and the management of serendipity. Our study contributes to the field of media management research by theorizing change and creativity within the framework of organizational serendipity. Based on an analysis of empirical data collected with the diary method in a media organization, the article also discusses the rationale of managing for serendipity in creative media organizations from strategic, structural, and cultural viewpoints. We argue that the management of organizational serendipity should be aimed at managing for serendipity, not managing serendipity as such. In practice, this means that serendipity management should be understood as creating suitable conditions for serendipitous creative processes and facilitating creative work, motivation, and collaboration in the organization.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80190513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-03DOI: 10.1080/14241277.2017.1306531
Danny D. E. Kim
ABSTRACT The macro versus micro debate in the brand personality literature has yielded a variety of micro approach brand personality scales for different media, with both differences and parallels in personality dimensions uncovered. The observed parallels in media brand personality dimensions and the varying media contexts under which empirical tests of selective exposure theories have been conducted suggest some common ground in the way that media product brands of different formats are perceived by individuals prior to selection and that the optimal method of measuring brand personality for media products may be neither broad macro inventories nor highly context-specific micro measures but somewhere in between. This article discusses the construction of a unified scale of media brand personality that can measure the personality of movie, TV show, pop song, news, and video game brands. The results of a two-step study consisting of free-association task (N = 1,440) and factor structure formation survey of selected items (N = 4,967) suggest a three-factor structure consisting of aggression, heroism, and warmth. Communication, media management, and marketing ramifications of this scale and potential directions of future research are discussed.
{"title":"A Unified Measure of Media Brand Personality: Developing A Media Brand Personality Scale for Multiple Media","authors":"Danny D. E. Kim","doi":"10.1080/14241277.2017.1306531","DOIUrl":"https://doi.org/10.1080/14241277.2017.1306531","url":null,"abstract":"ABSTRACT The macro versus micro debate in the brand personality literature has yielded a variety of micro approach brand personality scales for different media, with both differences and parallels in personality dimensions uncovered. The observed parallels in media brand personality dimensions and the varying media contexts under which empirical tests of selective exposure theories have been conducted suggest some common ground in the way that media product brands of different formats are perceived by individuals prior to selection and that the optimal method of measuring brand personality for media products may be neither broad macro inventories nor highly context-specific micro measures but somewhere in between. This article discusses the construction of a unified scale of media brand personality that can measure the personality of movie, TV show, pop song, news, and video game brands. The results of a two-step study consisting of free-association task (N = 1,440) and factor structure formation survey of selected items (N = 4,967) suggest a three-factor structure consisting of aggression, heroism, and warmth. Communication, media management, and marketing ramifications of this scale and potential directions of future research are discussed.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80929630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1298111
Lydia Papadimitriou
ABSTRACT The article focuses on Greece and explores the extent and ways in which film production funding cultures have changed in the period 2010–2015. It maps out the hybrid modes of funding embraced by filmmakers in this period, and explores the extent to which new models, such as crowdfunding, were adopted, European co-production opportunities were more fully embraced, as well as how far traditional modes of financing such as, on the one hand, state funding, and, on the other, private, distributor-led, backing have persisted. As a country of the European periphery, and one particularly hard-hit by the recent financial crisis, Greece offers a good example of the processes of an uncertain, but also creatively productive, cultural, and financial transition. Set within the broader context of global changes led by technology, the national case study illustrates how state and private top-bottom funding initiatives have begun to co-exist with bottom-up production and dissemination processes, and how some new players have entered the scene. The patterns revealed through this exploration of the new funding cultures for film production in Greece contribute to an understanding of the impact of global economic transformations on a national level, and help us assess the effectiveness and viability of the new funding models for small markets.
{"title":"Transitions in the Periphery: Funding Film Production in Greece Since the Financial Crisis","authors":"Lydia Papadimitriou","doi":"10.1080/14241277.2017.1298111","DOIUrl":"https://doi.org/10.1080/14241277.2017.1298111","url":null,"abstract":"ABSTRACT The article focuses on Greece and explores the extent and ways in which film production funding cultures have changed in the period 2010–2015. It maps out the hybrid modes of funding embraced by filmmakers in this period, and explores the extent to which new models, such as crowdfunding, were adopted, European co-production opportunities were more fully embraced, as well as how far traditional modes of financing such as, on the one hand, state funding, and, on the other, private, distributor-led, backing have persisted. As a country of the European periphery, and one particularly hard-hit by the recent financial crisis, Greece offers a good example of the processes of an uncertain, but also creatively productive, cultural, and financial transition. Set within the broader context of global changes led by technology, the national case study illustrates how state and private top-bottom funding initiatives have begun to co-exist with bottom-up production and dissemination processes, and how some new players have entered the scene. The patterns revealed through this exploration of the new funding cultures for film production in Greece contribute to an understanding of the impact of global economic transformations on a national level, and help us assess the effectiveness and viability of the new funding models for small markets.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90920412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1298110
Nicole Ladson, Angela M. Lee
ABSTRACT Incorporating theoretical concepts from communication, media economics, and social psychology, and using data from two constructed weeks, this content analysis study examined factors contributing to funding successes on Byline, an international crowdfunded journalism platform. This study found that non-public affairs news is more likely to reach funding goals, have more supporters, and receive more money per supporter than public affairs news; author location makes a difference in how many supporters and how much donation a news column receives; and offering more reward options is associated with a significantly higher odds of a column reaching funding goals and having more supporters. Overall, this study offers empirical evidence of how news organizations may learn from Byline’s successful crowdfunding strategy, as well as theoretical linkages between uses and gratifications and Cialdini’s rule of reciprocity in understanding what and why people are persuaded to pay for news.
{"title":"Persuading to Pay: Exploring the What and Why in Crowdfunded Journalism","authors":"Nicole Ladson, Angela M. Lee","doi":"10.1080/14241277.2017.1298110","DOIUrl":"https://doi.org/10.1080/14241277.2017.1298110","url":null,"abstract":"ABSTRACT Incorporating theoretical concepts from communication, media economics, and social psychology, and using data from two constructed weeks, this content analysis study examined factors contributing to funding successes on Byline, an international crowdfunded journalism platform. This study found that non-public affairs news is more likely to reach funding goals, have more supporters, and receive more money per supporter than public affairs news; author location makes a difference in how many supporters and how much donation a news column receives; and offering more reward options is associated with a significantly higher odds of a column reaching funding goals and having more supporters. Overall, this study offers empirical evidence of how news organizations may learn from Byline’s successful crowdfunding strategy, as well as theoretical linkages between uses and gratifications and Cialdini’s rule of reciprocity in understanding what and why people are persuaded to pay for news.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78093834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1298112
Antonio Loriguillo-López
ABSTRACT The current article offers an exploration of the incipient development of crowdfunding anime projects for short and medium-length films. Japanese commercial animation is characterized by the support of a strong production industry that primarily targets local audiences through cross-media projects, developed in synergy with other cultural sectors (such as the publishing industry, record labels, or video game developers). The growing acceptance of anime in markets around the world has strengthened it as one of the most well-known forms of Japanese popular culture and has also resulted in changes to some of the dominant dynamics of its production to adapt to technological innovations. One of these changes has been the rise of crowdfunding, an increasingly popular form of financing involving the patronage of fans from all corners of the world who want to participate in these audiovisual projects. This article analyses the response to some of the more popular initiatives from a historiographical perspective on the production and reception of commercial animation and the main theories related to the relationship between the hyperactive nature of Japanese fandom and collective financing. The conclusions include the confirmation of the increasing receptiveness to anime crowdfunding among potential sponsors—especially among fans based outside Japan on platforms with a global reach, such as Kickstarter—and a consideration of the transformative potential of this phenomenon for a precarious industry and its usefulness as a tool for exploring the viability of the production and distribution of projects by animation studios.
{"title":"Crowdfunding Japanese Commercial Animation: Collective Financing Experiences in Anime","authors":"Antonio Loriguillo-López","doi":"10.1080/14241277.2017.1298112","DOIUrl":"https://doi.org/10.1080/14241277.2017.1298112","url":null,"abstract":"ABSTRACT The current article offers an exploration of the incipient development of crowdfunding anime projects for short and medium-length films. Japanese commercial animation is characterized by the support of a strong production industry that primarily targets local audiences through cross-media projects, developed in synergy with other cultural sectors (such as the publishing industry, record labels, or video game developers). The growing acceptance of anime in markets around the world has strengthened it as one of the most well-known forms of Japanese popular culture and has also resulted in changes to some of the dominant dynamics of its production to adapt to technological innovations. One of these changes has been the rise of crowdfunding, an increasingly popular form of financing involving the patronage of fans from all corners of the world who want to participate in these audiovisual projects. This article analyses the response to some of the more popular initiatives from a historiographical perspective on the production and reception of commercial animation and the main theories related to the relationship between the hyperactive nature of Japanese fandom and collective financing. The conclusions include the confirmation of the increasing receptiveness to anime crowdfunding among potential sponsors—especially among fans based outside Japan on platforms with a global reach, such as Kickstarter—and a consideration of the transformative potential of this phenomenon for a precarious industry and its usefulness as a tool for exploring the viability of the production and distribution of projects by animation studios.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89256643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1298108
A. Potter
ABSTRACT Contemporary children enjoy abundant supplies of television made especially for them, delivered across multiple platforms by a range of providers that includes public service broadcasters, pay-television services, and subscription video on demand services. Although digital regimes undermined longstanding funding models for children’s television and reduced the production of local content in the United Kingdom and Australia, the demands of new market entrant subscription video on demand services striving to establish themselves in global markets have increased the value of the intellectual property of children’s screen content. ITV Studios’ 2015 re-make of the 1960s Supermarionation series, Thunderbirds, is used here as a case study to illustrate how convergence has contributed to a culture of re-booting in children’s television, a genre for which consumer products have long been used to underpin program production costs. Importantly, the licence fees paid by subscription video on demand services—Netflix had a $5 billion programming budget in 2015—have begun to provide additional, significant sources of funding for production budgets, while also ensuring the rapid visibility of program brands in global television markets, particularly the United States. New means of multi-platform distribution also erode the centrality of traditional broadcasters to program commissioning and funding. While this shift in power relations between broadcasters and producers may be welcomed by the production sector, the increasing importance of global subscription video on-demand services in the funding of contemporary children’s television poses a threat to locally produced, culturally specific television for children.
{"title":"Funding Contemporary Children’s Television: How Digital Convergence Encourages Retro Reboots","authors":"A. Potter","doi":"10.1080/14241277.2017.1298108","DOIUrl":"https://doi.org/10.1080/14241277.2017.1298108","url":null,"abstract":"ABSTRACT Contemporary children enjoy abundant supplies of television made especially for them, delivered across multiple platforms by a range of providers that includes public service broadcasters, pay-television services, and subscription video on demand services. Although digital regimes undermined longstanding funding models for children’s television and reduced the production of local content in the United Kingdom and Australia, the demands of new market entrant subscription video on demand services striving to establish themselves in global markets have increased the value of the intellectual property of children’s screen content. ITV Studios’ 2015 re-make of the 1960s Supermarionation series, Thunderbirds, is used here as a case study to illustrate how convergence has contributed to a culture of re-booting in children’s television, a genre for which consumer products have long been used to underpin program production costs. Importantly, the licence fees paid by subscription video on demand services—Netflix had a $5 billion programming budget in 2015—have begun to provide additional, significant sources of funding for production budgets, while also ensuring the rapid visibility of program brands in global television markets, particularly the United States. New means of multi-platform distribution also erode the centrality of traditional broadcasters to program commissioning and funding. While this shift in power relations between broadcasters and producers may be welcomed by the production sector, the increasing importance of global subscription video on-demand services in the funding of contemporary children’s television poses a threat to locally produced, culturally specific television for children.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72954542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1300478
M. Freeman
ABSTRACT Media convergence has been mapped from a variety of perspectives, with scholars tracing the impact of digital convergence, for example, on everything from texts to consumption. Yet, few have examined how the rise of a convergent media landscape is impacting funding in and across contemporary media industries. It is important to examine such a relationship, and to assess ways in which convergent characteristics of connectivity, hybridity and networked society have informed approaches to funding across media sectors. This introductory article to this special issue “Funding and Management in the Media Convergence Era” briefly outlines the approaches of the five authors. Individually, each article examines innovations in funding across a variety of different media sectors and platforms, looking across contemporary children’s television, public service broadcasting, crowdfunded news and journalism, film production in Greece, and Japanese animation. Altogether, the articles in this special issue explore the broader implications of a contemporary media culture that is more sharable, hybridized, and connected on traditional funding models.
{"title":"Funding and Management in the Media Convergence Era: Introduction","authors":"M. Freeman","doi":"10.1080/14241277.2017.1300478","DOIUrl":"https://doi.org/10.1080/14241277.2017.1300478","url":null,"abstract":"ABSTRACT Media convergence has been mapped from a variety of perspectives, with scholars tracing the impact of digital convergence, for example, on everything from texts to consumption. Yet, few have examined how the rise of a convergent media landscape is impacting funding in and across contemporary media industries. It is important to examine such a relationship, and to assess ways in which convergent characteristics of connectivity, hybridity and networked society have informed approaches to funding across media sectors. This introductory article to this special issue “Funding and Management in the Media Convergence Era” briefly outlines the approaches of the five authors. Individually, each article examines innovations in funding across a variety of different media sectors and platforms, looking across contemporary children’s television, public service broadcasting, crowdfunded news and journalism, film production in Greece, and Japanese animation. Altogether, the articles in this special issue explore the broader implications of a contemporary media culture that is more sharable, hybridized, and connected on traditional funding models.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86993318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/14241277.2017.1298109
Tiziano Bonini, I. Pais
ABSTRACT The current article analyzes the difficulties faced by public service media in the current political, economic and multimedia context. It proceeds with an examination of the main financing methods used by public service media and of the most recent reforms at the European level. The last part of this article describes a potential “scenario” of reforming public service media license fee model through the dynamics of civic crowdfunding, allowing citizens to decide in which programs they may invest a (20%) quota. The scenario we have built is framed in the direction of a “digitally enabled collaborative economy” (Kostakis and Bauwens, 2014), where citizens can experiment with a form of participation in media that is no longer “content-related” but “structural” (Carpentier, 2011). In order to prove the value of this hypothesis, the model has been tested on 649 Italian citizens. This test demonstrated that, although 83% of the survey sample believe the current cost of the Italian license fee is too high, 70% of them would be willing to pay even more if they could be in control of a part of the license fee and decide where to invest it. Therefore, we have shown that our sample of Italian citizens and Internet users is favorably disposed toward forms of more structural participation in the decision-making processes of public service media and in the co-management of public service media budgets. The aim of the current article is to demonstrate the potential value of audience’ structural participation in reshaping the role of public service media in contemporary digital cultures and networked societies.
{"title":"Hacking Public Service Media Funding: A Scenario for Rethinking the License Fee as a Form of Civic Crowdfunding","authors":"Tiziano Bonini, I. Pais","doi":"10.1080/14241277.2017.1298109","DOIUrl":"https://doi.org/10.1080/14241277.2017.1298109","url":null,"abstract":"ABSTRACT The current article analyzes the difficulties faced by public service media in the current political, economic and multimedia context. It proceeds with an examination of the main financing methods used by public service media and of the most recent reforms at the European level. The last part of this article describes a potential “scenario” of reforming public service media license fee model through the dynamics of civic crowdfunding, allowing citizens to decide in which programs they may invest a (20%) quota. The scenario we have built is framed in the direction of a “digitally enabled collaborative economy” (Kostakis and Bauwens, 2014), where citizens can experiment with a form of participation in media that is no longer “content-related” but “structural” (Carpentier, 2011). In order to prove the value of this hypothesis, the model has been tested on 649 Italian citizens. This test demonstrated that, although 83% of the survey sample believe the current cost of the Italian license fee is too high, 70% of them would be willing to pay even more if they could be in control of a part of the license fee and decide where to invest it. Therefore, we have shown that our sample of Italian citizens and Internet users is favorably disposed toward forms of more structural participation in the decision-making processes of public service media and in the co-management of public service media budgets. The aim of the current article is to demonstrate the potential value of audience’ structural participation in reshaping the role of public service media in contemporary digital cultures and networked societies.","PeriodicalId":45531,"journal":{"name":"JMM-International Journal on Media Management","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89193273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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