Creative Autonomy under the Crowdfunding Model: A Study on Music Production
| Autor: | Ho, Meng-Hsuan, 何孟璇 |
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| Rok vydání: | 2019 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 107 Crowdfunding, a new way of funding in the Internet age, provides an alternative option for the artists struggling to survive in the withered music industry. This thesis aims to discuss the Taiwan music artists utilizing crowdfunding model ; such model creates a new reward relation that is different from the old one in the traditional business model. Based on Bourdieu’s field theory and many other sociologists’ focus on reward relations of artists, this thesis proposes the following research questions: how does crowdfunding operate and how does it affect music production, and how does the artists try to leverage the field in crowdfunding model for achieving their creative autonomy. By reviewing certain music crowdfunding cases, this article positions different artists in the field of cultural production and draws several artists’ moving trajectories in the field of cultural production after their using crowdfunding. Also, by comparing particular reward relations, this article emphasizes the particularities of the crowdfunding mode; such particularities have great effects on the artists’ models of production and their living situation. Through these discussions, this research points out three types of strategies that the artists use to leverage their creative autonomy. First, physical albums are not for using but for possessing. Through this, the artists could rebuild cult value to enforce loyalty from fans. With fans stepping in the producing processes by funding the artists, loyalty enforcement is the key that could assist the artists in remaining their creativity autonomy. Second, crowdfunding has changed the relationship between the artists and their fans, involving both sides in a struggle of power relations——fans obtain power to participate in the producing process through crowdfunding; whereas the artists build intimacy with the fans for strengthening their autonomy. Third, because of crowdfunding, the artists become new craftsmen or cultural entrepreneurs who can seize every detail of music production; this means that they cannot focus just on music wholeheartedly but on the whole production process. However, under the new forms of economy and technology, the whole production process, including those having been regarded as non-creative, can also be seen as a part of the creativity. To sum up, this thesis analyzes how crowdfunding involves artists into a new mode of music production, and how artists operate crowdfunding to achieve new meanings of autonomy. Thus, the thesis also aims to explore the future of music crowdfunding. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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