Creative production
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Transcript of Creative production
Creative ProductionChapter Authors: Patricia G. Lange and Mizuko Ito
Report by: Katherine Bernard
Participatory Culture
In what Henry Jenkins and his colleagues have described as “participatory culture,” budding creators can develop their voices and identities as media creators through ongoing interaction with engaged peers and audiences (Jenkins 1992; Jenkins et al. 2006).
Participatory Culture
To illustrate the idea of Participatory Culture, we will talk about Nicholle337, which is the username by which her fans know her, a popular Youtube sensation. She became known for being an awkward teen who loved to sing, and has used the clout she gained through Youtube as a path to becoming a mentor and motivational speaker in the autistic community.
http://www.youtube.com/watch?v=7BVvNE78lyc
http://www.youtube.com/watch?v=uud3CtpMbEA
The focus of this chapter is on the social processes of interest driven genres of participation, but we also describe how kids get involved in messing around with new media through friendship-driven practices.
Creative Production in the Digital Age
In today’s day and age, it’s becoming more commonplace to create profiles and personal webpages than it was in the past. This shows that the term “creative work” is ever changing in definition.
The ease in which digital work can be created has shown an influx of media and creative work into daily life. This alters
our process for self-expression, learning and sociality.
Creative Production in the Digital Age
Access to media production tools is easy. Most computers come with stock software that allows for creation of videos, editing photos, music and more. This changes the game because most people have access to these types of production software thus their capabilities are changing.
Everyday Media ProductionMany young people are now well versed in the
media production world. They may not call themselves producers because things like
making accounts/profiles on social networking sites are now very common occurrences, but a lot of them are capable of advanced forms of
media.
Personal PhotosDigital photography and videotaping grow out of existing practices of self-archiving (such as journaling, scrapbooking, and keeping photograph albums) and are propelled by the growth in avenues to share these media with friends and family.
Sharing Personal MediaThe capabilities of sharing within new forms of social media give new meaning to the term social life.
Sharing is one of the primary drives
behind the power of social media.
Sharing photos blurs the line between creative production and personal
communication.
Profiles
These observations provide a window onto how youth
engage with profile creation as a form of creative production embedded in their everyday
social relations.
As teens create their profiles, and post and link on their own profiles and their friends’ profiles, they are engaged in acts of social
communication and everyday media sharing and “consumption” that also entail creating
their own digital media.
Getting StartedTinkering with new media
production can lead to a greater interest in the field.
Mother-daughter youtube sensation Lola and Ashley got
started because Ashley wanted to go to film school. It was a great way for her to practice her craft and a great way for her mother,
Lola, to grow closer with her daughter.
Improving the Craft Peer Evaluation: the ability
to give and get feedback on your work
These social practices of evaluation, standard setting, and reputation building, well established in professional art worlds, are now being taken up by a larger swath of amateurs engaged
in digital media production and online sharing.
Gaining AudienceThe desire for sharing,
visibility, and reputation is a powerful driver for
creative production in the online world.
While fellow creators provide the feedback that improves the
craft, audiences provide the recognition and validation of
the work that is highly motivational.
Aspirational Trajectories In most cases, young people who create
digital media are not aspiring to be professionals or to get famous through
their creative work.
They engage in digital media production as a social activity, a fun extracurricular hobby, or maybe even a serious lifelong one.
Young people can begin by modeling more accessible and amateur forms of creative production.
Even if they end there, with practices that never turn toward professionalism, they still can gain status, validation, and
reputation within specific creative communities and smaller audiences.
ConclusionAll of the topics we’ve discussed
demonstrate the growing centrality of media creation in the everyday social
communication of youth.
Whether it is everyday photography or machinima, youth are using media they create as a way of documenting their lives and as a means of self-expression. These cases also demonstrate the centrality of peer-based exchange in motivating creative work
and providing a learning context.