PL EN


2012 | 4(207) | 109-123
Article title

Mechanizmy kultury prosumpcji, czyli fani i ich globalne zróżnicowanie

Authors
Content
Title variants
EN
Discovering the Mechanisms of Culture of Prosumption
Languages of publication
PL
Abstracts
EN
In the field of sociological studies of culture, more and more attention is being paid to the so-called prosumption. Based on the already existing general concepts related to it, the author presents its functioning in the sphere of popular culture, proposing the term: culture of prosumption. More and more frequently the enterprises within the entertainment industry seek their ways to success in a grass-root emergence of groups of acquirers working for a culture text. The use of the amateurs’ participation has become a dominant business model. The aim of the article is to organize the state-of-the-art knowledge on prosumption. Additionally, the author proposes a convenient way of diagnosing its mechanisms – it is easiest to describe the culture of prosumption through the analysis of the most engaged recipients, namely the fans, who constitute the avant-garde of the culture. The fans illustrate all the essential features of pop-culture prosumption.
PL
W socjologii kultury coraz większą uwagę poświęca się tak zwanej prosumpcji. Bazując na już istniejących ogólnych koncepcjach z nią związanych, autor przedstawia jej funkcjono- wanie w sferze popkultury i wprowadza pojęcie „kultura prosumpcji”. Dziś przedsiębiorstwa z branży rozrywkowej drogi do sukcesu upatrują w wykształceniu oddanej grupy nabywców, pracujących na rzecz danego tekstu kulturowego. Autor proponuje sposób diagnozowania me- chanizmów kultury prosumpcji – najłatwiej przez badania najbardziej zaangażowanych od- biorców, to jest fanów, stanowiących awangardę kultury prosumpcji. W przypadku wielbicieli najwyraźniej uwidaczniają się wszystkie istotne cechy prosumpcji popkulturowej. Aby zobra- zować tezę o podstawowej roli fanów, autor prezentuje, jak badanie środowisk fanowskich pomagać może w odkrywaniu prawidłowości globalnego zróżnicowania kultury prosumpcji. W artykule zaproponowane zostają kryteria, na podstawie których sądzić można o stanie owej kultury w różnych rejonach świata.
Year
Issue
Pages
109-123
Physical description
Contributors
author
References
  • Abbott, Stacey. 2009. How Lost Found Its Audience: The Making of a Cult Blockbuster. W: R. Pearson (red.). Reading Lost: Perspectives on a Hit Television Show. London–New York: I.B. Tauris, s. 9–26.
  • Andrejevic, Mark. 2008. Watching Television Without Pity: The Productivity of Online Fans. „Television & New Media” 9(1): 24–46.
  • Apperley, Thomas. 2008. Citizenship and Consumption: Convergence Culture, Trans Media Narratives, and the Digital Divide. W: Proceedings of IE2007: Australasian Conference on Interactive Entertainment. RMIT University.
  • Arvidsson, Adam. 2005. Brands: A Critical Perspective. „Journal of Consumer Culture” 5(2): 235–238.
  • Arvidsson, Adam. 2006. Brand Management ant the Productivity of Consumption. W: J. Brewer i F. Trentmann (red.). Consuming Cultures, Global Perspectives: Historical Trajectories, Transnational Exchanges. Oxford: Berg, s. 71–94.
  • Arvidsson, Adam. 2007. Creative Class or Administrative Class? On Advertising and the ”Underground”. „Ephemera: Theory & Politics In Organization” 7(1): 8–23.
  • Banks, John i Mark Deuze. 2009. Co-creative Labour. „International Journal of Cultural Studies” 12(5): 419–431.
  • Banks, John i Sal Humphreys. 2008. The Labour of User Co-Creators: Emergent Social Network Markets?. „Convergence: The International Journal of Research into New Media Technologies” 14(4): 401–418.
  • Bardzell, Shaowen i William Odom. 2008. The Experience of Embodied Space in Virtual Worlds: An Ethnography of a Second Life Community. „Space and Culture” 11(3): 239–259.
  • Barra, Luca. 2009. The Mediation is the Message: Italian Regionalization of US TV Series as Co-creational Work. „International Journal of Cultural Studies” 12(5): 509–525.
  • Baym, Nancy K. i Robert Burnett. 2009. Amateur Experts: International Fan Labour in Swedish Independent Music. „International Journal of Cultural Studies” 12(5): 433–449.
  • Beer, David i Roger Burrows. 2007. Sociology and, of and in Web 2.0: Some Initial Considera- tions. „Sociological Research Online” 12(5), (http://www.socresonline.org.uk/12/5/17.html, dostęp 24.06.2012).
  • Beer, David. 2008. Making Friends with Jarvis Cocker: Music Culture in the Context of Web 2.0. „Cultural Sociology” 2: 222–241.
  • Beer, David i Roger Burrows. 2010. Consumption, Prosumption and Participatory Web Cultu- res: An introduction. „Journal of Consumer Culture” 10(1): 3–12.
  • Brabham, Daren C. 2008. Crowdsourcing as a Model for Problem Solving. An Introduction and Cases. „Convergence: The International Journal of Research into New Media Technologies” 14(1): 75–90.
  • Brooker, Will. 2001. Living on Dawson’s Creek: Teen Viewers, Cultural Convergence and Tele- vision Overflow. „International Journal of Cultural Studies” 4(4): 456–472.
  • Brooker, Will. 2002. Using the Force: Creativity, Community and Star Wars Fans. New York– London: Continuum.
  • Brooker, Will. 2009. Television Out of Time: Watching Cult Shows on Download. W: R. Pearson (red.). Reading Lost: Perspectives on a Hit Television Show. London–New York: I.B. Tauris, s. 51–72.
  • Bruns, Axel. 2005. Gatewatching: Collaborative Online News Production. New York: Peter Lang.
  • Bruns, Axel. 2006. Towards Produsage: Futures for User-led Cotent Production. W: F. Sudweeks i C. Ess (red.). Proceedings: Cultural Attitudes towards Communication and Technology. Perth Murdoch University, s. 275–284.
  • Bruns, Axel. 2008. Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage. New York: Peter Lang.
  • Campbell, Colin. 2005. The Craft Consumer: Culture, Craft and Consumption in a Postmodern Society. „Journal of Consumer Culture” 5(1): 23–42.
  • Collins, Steve. 2010. Digital Fair. Prosumption and the Fair use Defence. „Journal of Consumer Culture” 10(1): 37–55.
  • Consalvo, Mia. 2003. Zelda 64 and Video Game Fans: A Walkthrough of Games, Intertextuality, and Narrative. „Television & New Media” 4(3): 321–334.
  • Coppa, Francesca. 2006. A Brief History of Media Fandom. W: K. Hellekson i K. Busse (red.). Fan Fiction and Fan Communities in the Age of the Internet. Jefferson–London: McFarland, s. 41–59.
  • Darling-Wolf, Fabienne. 2004. Virtually Multicultural: Trans-Asian Identity and Gender in an International Fan Community of a Japanese Star. „New Media & Society” 6(4): 507–528.
  • Dena, Christy. 2008. Emerging Participatory Culture Practices: Player-Created Tiers In Alternate Reality Games. „Convergence: The International Journal of Research into New Media Technologies” 14(1): 41–57.
  • Deuze, Mark. 2005. Towards Professional Participatory Storytelling in Journalism and Advertising. „First Monday” 10.07.2005, (http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/1257/1177, dostęp 24.06.2012).
  • Deuze, Mark. 2007. Convergence Culture in the Creative Industries. „International Journal of Cultural Studies” 10(2): 243–263.
  • Deuze, Mark. 2008. Corporate Appropriation of Participatory Culture. W: N. Carpentier i B. De Cleen (red.). Participation and Media Production: Critical Reflections on Content Creation. Newcastle upon Tyne: Cambridge Scholars Publishers, s. 27–40.
  • Deuze, Mark. 2009. Media Industries, Work and Life. „European Journal of Communication” 24(4): 467–480.
  • Enli, Gunn Sara. 2008. Redefining Public Service Broadcasting. Multi-Platform Participation. „Convergence: The International Journal of Research into New Media Technologies” 14(1): 105–120.
  • Enli, Gunn Sara. 2009. Mass Communication Tapping into Participatory Culture. Exploring Strictly Come Dancing and Britain’s Got Talent. „European Journal of Communication” 24(4): 481–493.
  • Filiciak, Mirosław, Justyna Hofmokl i Alek Tarkowski. 2012. Obiegi kultury: Społeczna cyr- kulacja treści. Raport z badań, (http://creativecommons.pl/wp-content/uploads/2012/01/ raport_obiegi_kultury.pdf, dostęp 24.06.2012).
  • Flinn, Andrew. 2010. Independent Community Archives and Community-Generated Content. ‘Writing, Saving and Sharing our Histories’. „Convergence: The International Journal of Research into New Media Technologies” 16(1): 39–51.
  • Foucault, Michel. 2009. Nadzorować i karać: Narodziny więzienia. Warszawa: Aletheia.
  • Fung, Anthony. 2009. Fandom, youth and consumption in China. „European Journal of Cultural Studies” 12(3) : 285–303.
  • Gray, Jonathan. 2011. Mobility Through Piracy, or How Steven Seagal Got to Malawi. „Popular Communication: The International Journal of Media and Culture” 9(2): 99–113.
  • Harrison, Teresa M. i Brea Barthel. 2009. Wielding New Media in Web 2.0: Exploring the Hi- story of Engagement with the Collaborative Construction of Media Products. „New Media & Society” 11(1–2): 155–178.
  • Ito, Mizuko. 2007. Technologies of the Childhood Imagination: Media Mixes, Hypersociality,
  • and Recombinant Cultural Form. W: J. Karaganis (red.). Structures of Participation in Digital Culture. New York: Social Science Research Council, s. 31–34.
  • Jenkins, Henry. 1992a. ‘Strangers No More, We Sing’: Filking and the Social Construction of the Science Fiction Community. W: L.A. Lewis (red.). The Adoring Audience: Fan Culture and Popular Media. London–New York: Routledge, s. 208–236.
  • Jenkins, Henry. 1992b. Textual Poachers: Television Fans and Participatory Culture. New York: Routledge.
  • Jenkins, Henry. 1995. „Do You Enjoy Making the Rest of Us Feel Stupid?”: alt.tv.twinpeaks, the Trickster Author and Viewer Mastery. W: D. Lavery (red.). Full of Secrets: Critical Approaches to Twin Peaks. Detroit: Wayne State University Press, s. 51–69.
  • Jenkins, Henry. 2006. Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York–London: New York University Press.
  • Jenkins, Henry. 2007. Kultura konwergencji: zderzenie starych i nowych mediów. Warszawa: Wydawnictwa Akademickie i Profesjonalne.
  • Kim, Youna. 2005. Experiencing Globalization: Global TV, Reflexivity and the Lives of Young
  • Korean Women. „International Journal of Cultural Studies” 8(4): 445–563.
  • Kozinets, Robert V. 2007. Inno-Tribes: Star Trek as Wikimedia. W: B. Cova, R.V. Kozinets i A. Shankar (red.). Consumer Tribes. London–New York: Butterworth-Heinemann, s. 194–209.
  • Leung, Louis. 2009. User-generated Content on the Internet: An Examination of Gratifica- tions, Civic Engagement and Psychological Empowerment. „New Media & Society” 11(8): 1327–1347.
  • Lévy, Pierre. 1997. Collective Intelligence: Mankind’s Emerging World in Cyberspace. Cambridge: Perseus Books.
  • Lih, Andrew. 2009. The Wikipedia Revolution: How a Bunch of Nobodies Created the World’s Greatest Encyclopedia. New York: Hyperion.
  • Lüders, Marika, Lin Prøitz i Terje Rasmussen. 2010. Emerging Personal Media Genres. „New Media & Society” 12(6): 947–963.
  • Mauss, Marcel. 1973. Socjologia i antropologia. Warszawa: Państwowe Wydawnictwo Nauko- we.
  • McKee, Alan. 2001. Which is the best Doctor Who story? A Case Study in Value Judgements Outside the Academy. „Intensities: the Journal of Cult Media” 1.
  • McKee, Alan. 2009. Is Doctor Who Australian?. „Media International Australia” 132: 54–66.
  • McLelland, Mark J. 2005. The World of Yaoi: The Internet, Censorship and the Global „Boys’ Love”. „The Australian Feminist Law Journal” 23: 61–77.
  • Milner, Ryan M. 2009. Working for the Text: Fan Labor and the New Organization. „International Journal of Cultural Studies” 12(5): 491–508.
  • Ndalianis, Angela. 2004. Neo-Baroque Aesthetics and Contemporary Entertainment. Cambridge: MIT Press.
  • Nieborg, David B. i Shenja van der Graaf. 2008. The Mod Industries? The Industrial Logic of Non-market Game Production. „European Journal of Communication” 11(2): 177–195.
  • Postigo, Hector. 2007. Of Mods and Modders: Chasing Down the Value of Fan-Based Digital Game Modifications. „Games and Culture” 2(4): 300–313.
  • Postigo, Hector. 2008. Video Game Appropriation through Modifications: Attitudes Concerning
  • Intellectual Property among Modders and Fans. „Convergence: The International Journal of Research into New Media Technologies” 14(1): 59–74.
  • Postigo, Hector. 2009. America Online volunteers: Lessons from an Early Co-production Community. „International Journal of Cultural Studies” 12(5): 451–469.
  • Pugh, Sheenagh. 2005. The Democratic Genre: Fan Fiction in a Literary Context. Glasgow: Seren.
  • Punathambekar, Aswin. 2007. Between Rowdies and Rasikas: Rethinking Fan Axtivity in In-
  • dian Film Culture. W: J. Gray, C. Sandvoss i C.L. Harrington (red.). Fandom: Identities and Communities in a Mediated World. New York–London: New York University Press, s. 198–209.
  • Ross, Sharon Marie. 2008. Beyond the Box: Television and the Internet. Oxford: Blackwell Publishing.
  • Ruppel, Marc. 2009. Narrative Convergence, Cross-Sited Productions and the Archival Dilemma. „Convergence: The International Journal of Research into New Media Technologies” 15(3): 281–298.
  • Ritzer, George. 2005. Makdonaldyzacja społeczeństwa. Warszawa: Muza S.A.
  • Ritzer, George i Nathan Jurgenson. 2010. Production, Consumption, Prosumption: The Nature of Capitalism in the Age of the Digital ‘Prosumer’. „Journal of Consumer Culture” 10(1): 13–36.
  • Segall, Miriam. 2007. Career Building Through Fan Fiction Writing. New York: Rosen Publishing.
  • Siuda, Piotr. 2007. Fanfiction – przejaw medialnych fandomów. W: W. Gruszczyński i A. Hebda (red.). Człowiek a media: Obserwacje–wizje–obawy. Warszawa: ASPRA JR, s.143–157.
  • Siuda, Piotr. 2008. Wpływ Internetu na rozwój fandomów, czyli o tym, jak elektroniczna sieć rozwija i popularyzuje społeczności fanów. W: M. Sokołowski (red.). Media i społeczeństwo: Nowe strategie komunikacyjne. Toruń: Wydawnictwo Adam Marszałek, s. 118–127.
  • Siuda, Piotr. 2010. Od dewiacji do głównego nurtu – ewolucja akademickiego spojrzenia na fanów. „Studia Medioznawcze” 3(42): 87–99.
  • Surowiecki, James. 2004. The Wisdom of Crowds: Why the Many are Smarter then the Few and How Collective Wisdom Shapes Business, Economies, Societies, and Nations. New York: Doubleday.
  • Strinati, Dominic. 1998. Wprowadzenie do kultury popularnej. Poznań: Zysk i S-ka.
  • Tapscott, Don i Anthony D. Williams. 2008. Wikinomia: O globalnej współpracy, która zmienia wszystko. Warszawa: Wydawnictwa Akademickie i Profesjonalne.
  • Terranova, Tiziana. 2000. Free Labour: Producing Culture for the Digital Economy. „Social Text” 18(2): 33–58.
  • Thurman, Neil i Ben Lupton. 2008. Convergence Calls. Multimedia Storytelling at British News Websites. „Convergence: The International Journal of Research into New Media Technologies” 14(4): 439–455.
  • Toffler, Alvin. 1980. The Third Wave. New York: Bantam Books.
  • Wexelblat, Alan. 2002. An Auteur in the Age of Internet: JMS, Babylon 5, and the Net. W: H. Jenkins, T. McPherson i J. Shattuc (red.). Hop on Pop: The Politics and Pleasures of Popular Culture. Durham: Duke University Press, s. 212–214.
  • Williams, Walter Jon. 2009. In What Universe?. W: P. Harrigan i N. Wardrip-Fruin (red.). Third Person: Authoring and Exploring Vast Narratives. Cambridge–London: MIT Press, s. 25–32.
  • Zwick, Detlev, Samuel K. Bonsu i Aron Darmondy. 2008. Putting Consumers to Work: ‘Co-creation’ and Marketing Govern-mentality. „Journal of Consumer Culture” 8(2): 163–196.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.cejsh-067246c4-3f05-42c4-a146-687a9dd9fae5
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.