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The Culture Industry and Participatory Audiences by Emma Keltie

By Emma Keltie

This venture bargains a brand new critique of participatory media practices. whereas the idea that of participatory tradition is usually theorised as embodying the potential of a in all likelihood utopian way forward for media engagement and participation, this publication argues that the tradition undefined, because it adapts and adjustments, presents moments of accredited participation that play out less than the dominance of the undefined. via a serious recounting of the event of constructing an online sequence in Australia (with a world viewers) open air of the tradition constructions, this publication argues< that when participatory tradition utilising convergent media applied sciences permits media shoppers to develop into media manufacturers, this happens via structures managed by way of undefined. The rising structure of the web has created a chain of systems whereparticipation can happen. it truly is those systems that turn into areas of managed entry to participatory cultural practices.

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STRUCTURE AND THE LIMITS OF AGENCY Controls over access to the means of media production reinforce the power held by those in the position of dominance. Unlike television, however, emerging practices such as Web series do not yet take place in a completely controlled space of distribution. Control over what is broadcast on television is tightly connected to government regulation, private ownership, censorship and community feedback to determine what is aired. In the current media landscape, controlled existing structures such as the television broadcast spectrum compete against new and online media practices.

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The Internet is a site of current power struggles: emerging media practices do have the potential to reshape the power structure of media; however, my experience and analysis shows that this is extremely difficult to do as existing media structures reinforce the position of the dominant media players. Nevertheless, unlike broadcast television, the Internet is not regulated and controlled in a top-down manner with prominent gatekeepers blocking the participation of audiences in production. Certainly, emerging from the online practices of audiences and media consumers are varying discourses regarding the notion of their participation in the production of cultural texts.

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