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This book explores how independent film and music artists and
labels use crowdfunding and where this use places crowdfunding in
the contemporary system of cultural production. It complements an
analysis of independence in film and music with the topic of
crowdfunding as a firmly established form of financing cultural
activity. In the second half of the 20th century, the concept of
artistic independence was vital to classifying and distinguishing
artists, their works, and labels or publishers who released them.
However, during the last three decades, this term has become
increasingly blurred, and some commentators argue that independence
is in crisis. Can crowdfunding be the answer to this crisis? Some
believe that it is, whereas others argue otherwise, seeing
crowdfunding instead as just the next manifestation of this crisis.
This dilemma is a starting point for the analyses of the
relationships between crowdfunding and artistic independence
conducted in this book, and will be of great interest to people
looking for a deeper understanding of crowdfunding, how it can
influence artistic independence, and what it means for artists and
audiences. It will be a stimulating read for scholars and students
with an interest in media and cultural studies, digital humanities,
fandom, sociology, economics, business studies, and law, while also
offering insights to artists and practitioners in the creative
industries.
During the last thirty years Eastern Europe has been a place of
radical political, economic, and social transformation, and these
changes have affected the cultural industries of its countries.
This volume consists of twelve chapters by leading international
researchers. Stories are documented of various organisations that
once dominated the 'communist music industries' - such as
state-owned record companies, music festivals, and collecting
societies. The strategies employed by artists and industries to
join international music markets after the fall of communism are
explained and evaluated. Political and economic transformations
that coincided with the advent of digitalisation and the Internet
intensified the changes. All these issues posed challenges both to
record labels and artists who, after adjusting to the rules of the
free-market economy, were faced with the falling record sales of
records caused by the advent of new communication technologies.
This book examines how these processes have all affected the music
scene, industries, and markets in various Eastern European
countries.
This book explores how independent film and music artists and
labels use crowdfunding and where this use places crowdfunding in
the contemporary system of cultural production. It complements an
analysis of independence in film and music with the topic of
crowdfunding as a firmly established form of financing cultural
activity. In the second half of the 20th century, the concept of
artistic independence was vital to classifying and distinguishing
artists, their works, and labels or publishers who released them.
However, during the last three decades, this term has become
increasingly blurred, and some commentators argue that independence
is in crisis. Can crowdfunding be the answer to this crisis? Some
believe that it is, whereas others argue otherwise, seeing
crowdfunding instead as just the next manifestation of this crisis.
This dilemma is a starting point for the analyses of the
relationships between crowdfunding and artistic independence
conducted in this book, and will be of great interest to people
looking for a deeper understanding of crowdfunding, how it can
influence artistic independence, and what it means for artists and
audiences. It will be a stimulating read for scholars and students
with an interest in media and cultural studies, digital humanities,
fandom, sociology, economics, business studies, and law, while also
offering insights to artists and practitioners in the creative
industries.
During the last thirty years Eastern Europe has been a place of
radical political, economic, and social transformation, and these
changes have affected the cultural industries of its countries.
This volume consists of twelve chapters by leading international
researchers. Stories are documented of various organisations that
once dominated the 'communist music industries' - such as
state-owned record companies, music festivals, and collecting
societies. The strategies employed by artists and industries to
join international music markets after the fall of communism are
explained and evaluated. Political and economic transformations
that coincided with the advent of digitalisation and the Internet
intensified the changes. All these issues posed challenges both to
record labels and artists who, after adjusting to the rules of the
free-market economy, were faced with the falling record sales of
records caused by the advent of new communication technologies.
This book examines how these processes have all affected the music
scene, industries, and markets in various Eastern European
countries.
Made in Poland: Studies in Popular Music serves as a comprehensive
introduction to the history, sociology, and musicology of
contemporary Polish popular music. Each essay, written by a leading
scholar of Polish music, covers the major figures, styles, and
social contexts of pop music in Poland and provides adequate
context so readers understand why the figure or genre under
discussion is of lasting significance. The book first presents a
general description of the history and background of popular music
in Poland, followed by essays organized into thematic sections:
Popular Music in the People's Republic of Poland; Documenting
Change and Continuity in Music Scenes and Institutions; and Music,
Identity, and Critique.
Made in Poland: Studies in Popular Music serves as a comprehensive
introduction to the history, sociology, and musicology of
contemporary Polish popular music. Each essay, written by a leading
scholar of Polish music, covers the major figures, styles, and
social contexts of pop music in Poland and provides adequate
context so readers understand why the figure or genre under
discussion is of lasting significance. The book first presents a
general description of the history and background of popular music
in Poland, followed by essays organized into thematic sections:
Popular Music in the People's Republic of Poland; Documenting
Change and Continuity in Music Scenes and Institutions; and Music,
Identity, and Critique.
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