The widespread uptake of digital platforms – from YouTube and Instagram to Twitch and TikTok – is reconfiguring cultural production in profound, complex, and highly uneven ways. Longstanding media industries are experiencing tremendous upheaval, while new industrial formations – live-streaming, social media influencing, and podcasting, among others – are evolving at breakneck speed. Poell, Nieborg, and Duffy explore both the processes and the implications of platformization across the cultural industries, identifying key changes in markets, infrastructures, and governance at play in this ongoing transformation, as well as pivotal shifts in the practices of labor, creativity, and democracy. The authors foreground three particular industries – news, gaming, and social media creation – and also draw upon examples from music, advertising, and more. Diverse in its geographic scope, Platforms and Cultural Production builds on the latest research and accounts from across North America, Western Europe, Southeast Asia, and China to reveal crucial differences and surprising parallels in the trajectories of platformization across the globe. Offering a novel conceptual framework grounded in illuminating case studies, this book is essential for students, scholars, policymakers, and practitioners seeking to understand how the institutions and practices of cultural production are transforming – and what the stakes are for understanding platform power.

The widespread uptake of digital platforms – from YouTube and Instagram to Twitch and TikTok– is reconfiguring cultural production in profound, complex, and highly uneven ways. Longstanding media industries are experiencing tremendous upheaval, while new industrial formations – live-streaming, social media influencing, and podcasting, among others – are evolving at a breakneck pace. Platforms and Cultural Production explores both the processes and implications of platformization across the cultural industries. Poell, Nieborg, and Duffy identify key changes in markets, infrastructures, and governance at play in this ongoing transformation, as well as pivotal shifts in the practices of labor, creativity, and democracy. Though they foreground the implications for three particular industries – news, gaming, and social media creation – the authors also draw upon examples from music, advertising, and more. Diverse in its geographic scope, the book builds on the latest research and accounts from across North America, Western Europe, Southeast Asia, and China to reveal crucial differences and surprising parallels in the trajectories of platformization across the globe. Offering a novel conceptual framework that is grounded in illuminating case studies, this book is essential for students, scholars, policy-makers, and practitioners seeking to understand how the institutions and practices of cultural production are transforming –and what the stakes are for understandings of platform power.

In this book, Goriunova offers a critical analysis of the processes that produce digital culture. In order to understand these processes, the author introduces the concept of the art platform, a specific configuration of creative passions, codes, events, individuals and works that are propelled by cultural currents and maintained through digitally native means. Goriunova provides a new means of understanding the development of cultural forms on the Internet, placing the phenomenon of participatory and social networks in a conceptual and historical perspective, and offering powerful tools for researching cultural phenomena overlooked by other approaches.

This book offers an in-depth academic discourse on the convergence of AI, digital platforms, and popular culture, in order to understand the ways in which the platform and cultural industries have reshaped and developed AI-driven algorithmic cultural production and consumption. At a time of fundamental change for the media and cultural industries, driven by the emergence of big data, algorithms, and AI, the book examines how media ecology and popular culture are evolving to serve the needs of both media and cultural industries and consumers. The analysis documents global governments’ rapid development of AI-relevant policies and identifies key policy issues; examines the ways in which cultural industries firms utilize AI and algorithms to advance the new forms of cultural production and distribution; investigates change in cultural consumption by analyzing the ways in which AI, algorithms, and digital platforms reshape people’s consumption habits; and examines whether governments and corporations have advanced reliable public and corporate policies and ethical codes to secure socio-economic equality. Offering a unique perspective on this timely and vital issue, this book will be of interest to scholars and students in media studies, communication studies, anthropology, globalization studies, sociology, cultural studies, Asian studies, and science and technology studies (STS).

This new book analyses the strategies, usages and wider implications of crowdsourcing and crowdfunding platforms in the culture and communication industries that are reshaping economic, organizational and social logics. Platforms are the object of considerable hype with a growing global presence. Relying on individual contributions coordinated by social media to finance cultural production (and carry out promotional tasks) is a significant shift, especially when supported by morphing public policies, supposedly enhancing cultural diversity and accessibility. The aim of this book is to propose a critical analysis of these phenomena by questioning what follows from decisions to outsource modes of creation and funding to consumers. Drawing on research carried out within the ‘Collab’ programme backed by the French National Research Agency, the book considers how platforms are used to organize cultural labour and/or to control usages, following a logic of suggestion rather than overt injunction. Four key areas are considered: the history of crowdfunding as a system; whose interests crowdfunding may serve; the implications for digital labour and lastly crowdfunding’s interface with globalization and contemporary capitalism. The book concludes with an assessment of claims that crowdfunding can democratize culture.

`This is both a smashing textbook and also an impressive contribution to thinking in a range of subjects. This book should influence the way we construct the undergraduate curriculum as well as rethink the polarizaton between political economy and cultural studies′- Frank Webster, City University `A wonderfully clear, insightful and original synthesis of work on the cultural industries, representing the perspectives of the new generation of researchers′ - James Curran, Goldsmiths College, University of London `The Cultural Industries is an indispensable guide to the main forces at work in the production of media today. This lucid, careful, and sophisticated book orders the entire field, for the US as well as Europe, and at one stroke becomes the state of the art, the standard′ - Todd Gitlin, New York University `David Hesmondhalgh offers us a valuable resource and a timely provocation... [A] very well organised and clearly written introduction to this increasingly important area of study. Students and teachers wanting a comprehensive and accessible guide to what we know and where we might be heading will welcome it with open arms... His book deserves to be required reading on every media and cultural studies course′ - Graham Murdock, University of Loughborough ′ The arguments within [this book] provide both a timely overview of current scholarship and offer a unique multidisciplinary approach to the topic in a clear and concise manner′ - TOPIA: Canadian Journal of Cultural Studies What are the ′cultural industries′? What role do they play in contemporary society? How are they changing? The Cultural Industries combines a political economy approach with the best aspects of cultural studies, sociology, communication studies and social theory to provide an overview of the key debates surrounding cultural production. The book: -Considers both the entertainment and the information sectors -Combines analysis of the contemporary scene with a long-range historical perspective -Draws on an range of examples from North America, the United Kingdom, Europe and elsewhere. Hesmondhalgh′s clearly written, thoroughly argued overview of political-economic, organizational, technological and cultural change represents an important intervention in research on cultural production, but at the same time provides students with an accessible, indispensable introduction to the area.

The computer and particularly the Internet have been represented as enabling technologies, turning consumers into users and users into producers. The unfolding online cultural production by users has been framed enthusiastically as participatory culture. But while many studies of user activities and the use of the Internet tend to romanticize emerging media practices, this book steps beyond the usual framework and analyzes user participation in the context of accompanying popular and scholarly discourse, as well as the material aspects of design, and their relation to the practices of design and appropriation.

Today, interest in networks is growing by leaps and bounds, in both scientific discourse and popular culture. Networks are thought to be everywhere – from the architecture of our brains to global transportation systems. And networks are especially ubiquitous in the social world: they provide us with social support, account for the emergence of new trends and markets, and foster social protest, among other functions. Besides, who among us is not familiar with Facebook, Twitter, or, for that matter, World of Warcraft, among the myriad emerging forms of network-based virtual social interaction? It is common to think of networks simply in structural terms – the architecture of connections among objects, or the circuitry of a system. But social networks in particular are thoroughly interwoven with cultural things, in the form of tastes, norms, cultural products, styles of communication, and much more. What exactly flows through the circuitry of social networks? How are people's identities and cultural practices shaped by network structures? And, conversely, how do people's identities, their beliefs about the social world, and the kinds of messages they send affect the network structures they create? This book is designed to help readers think about how and when culture and social networks systematically penetrate one another, helping to shape each other in significant ways.

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialties of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.

The study of media industries has become a thriving subfield of media studies. It already comprises a diverse intellectual history, a range of fascinating questions and topics, and many theoretical and methodological frameworks. Media Industry Studies provides the roadmap to this vibrant area of study. Blending a comprehensive overview of foundational literature with an examination of the varied scales and sites media industry studies have considered, the book explores connections among research questions, topics, and methodologies. It includes examples from many media industries – film, television, journalism, music, games – and incorporates emerging scholarship considering the industrial contexts of social and internet-distributed media. Offering an account of the intellectual traditions and approaches that have defined the subfield to date, Media Industry Studies is an indispensable resource for upper-level undergraduates, postgraduates, and scholars.