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Producing participatory media: (Crowd)sourcing content in Britain/Life in a Day

Producing participatory media: (Crowd)sourcing content in Britain/Life in a Day
Producing participatory media: (Crowd)sourcing content in Britain/Life in a Day
Created from footage contributed by members of the public to YouTube, the 2011 Life in a Day and 2012 Britain in a Day crowdsourced documentaries show participatory media-making projects on global and national scales. Drawing comparisons with digital storytelling projects, this article examines efforts to structure and shape the contributions to the … in a Day crowdsourcing projects as set out in guidance and tutorial materials from the producers. This guidance and advice is critically analysed to consider the different openings and opportunities made available by the production team as they (crowd)source content. Setting out the practices and possibilities for self-representation is a point of tension that this article explores through the comments thread to one of the production team’s guidance videos. This video presents a number of submission requirements, notably that contributors do not edit, and analysis of the responding comments shows how potential contributors critically challenge participation that they regarded as the requesting and curating of content
1329-878X
Ashton, Daniel
b267eae4-7bdb-4fe3-9267-5ebad36e86f7
Ashton, Daniel
b267eae4-7bdb-4fe3-9267-5ebad36e86f7

Ashton, Daniel (2015) Producing participatory media: (Crowd)sourcing content in Britain/Life in a Day. Media International Australia, 154. (doi:10.1177/1329878X1515400113).

Record type: Article

Abstract

Created from footage contributed by members of the public to YouTube, the 2011 Life in a Day and 2012 Britain in a Day crowdsourced documentaries show participatory media-making projects on global and national scales. Drawing comparisons with digital storytelling projects, this article examines efforts to structure and shape the contributions to the … in a Day crowdsourcing projects as set out in guidance and tutorial materials from the producers. This guidance and advice is critically analysed to consider the different openings and opportunities made available by the production team as they (crowd)source content. Setting out the practices and possibilities for self-representation is a point of tension that this article explores through the comments thread to one of the production team’s guidance videos. This video presents a number of submission requirements, notably that contributors do not edit, and analysis of the responding comments shows how potential contributors critically challenge participation that they regarded as the requesting and curating of content

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Ashton (2015) 'Producing participatory media' MIA 154 eprint.docx - Accepted Manuscript
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More information

e-pub ahead of print date: 19 June 2015
Organisations: Winchester School of Art

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Local EPrints ID: 378204
URI: http://eprints.soton.ac.uk/id/eprint/378204
ISSN: 1329-878X
PURE UUID: 8013ef71-7d9e-417c-a0b4-5f23cea5ee5b
ORCID for Daniel Ashton: ORCID iD orcid.org/0000-0002-3120-1783

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Date deposited: 25 Jun 2015 13:32
Last modified: 20 Jul 2019 00:34

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Author: Daniel Ashton ORCID iD

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