Click here to download

Convergence culture and creativity as an agent of contents promotion. An overview on tv serials
Journal Title: SOCIOLOGIA DELLA COMUNICAZIONE  
Author/s: Antonella Mascio 
Year:  2014 Issue: 47 Language: Italian 
Pages:  15 Pg. 101-115 FullText PDF:  85 KB
DOI:  10.3280/SC2014-047009
(DOI is like a bar code for intellectual property: to have more infomation:  clicca qui   and here 


The reflection that we want to present here concerns the methods characterizing the fruition processes of television dramas through the perspective of Jenkin’s Convergent Culture, focusing on the relationship between tv series and the related activities of online audiences. The discourses on the tv series, in fact, use to connect people in the community spaces of the Internet, producing forms of a widespread sociality which is able to move objects, information, data, generating complex media activities in the media ecosystem, partly modifying the original text while giving it other complex chances of fruition. These are forms of symbolic and vernacular creativity arousing from the audiences, where we observe productions of new meanings inherently related to feelings, energies, and emotions.
Keywords: Convergent culture, quality drama, tv cult, symbolic creativity, vernacular creativity, online audiences.

  1. Andò R. (2012), Misurare la complessità. Modelli di analisi delle audience nella cultura della convergenza, in A. Marinelli, G. Celata (a cura di), Connecting Television. La televisione al tempo di Internet, Guerini e Associati, Milano.
  2. Baym N. (1999), Tune in, log on: soaps, fandom and online community, Sage, London, Thousand Oaks, New Delhi.
  3. Baym N. (2010), Personal connection in the digital age. Digital media and society series, Polity Press, UK-USA.
  4. Bataille G. (1967), La Notion de dépense, Éditions de Minuit, Paris; trad. it. (1997), Il Dispendio, Armando, Roma.
  5. Bisoni C., Innocenti V. (a cura di) (2013), Media Mutations. Gli ecosistemi narrativi nello scenario mediale contemporaneo. Spazi, modelli, usi sociali, Mucchi, Modena.
  6. Boccia Artieri G. (2012), Stati di Connessione, FrancoAngeli, Milano.
  7. Bolter J.D., Grusin R. (1999), Remediation. Understanding new media, MIT Press,
  8. Cambridge-London; trad. it. (2002), Remediation. Competizione e integrazione fra media vecchi e nuovi, Guerini e Associati, Milano.
  9. Bourdieu P. (1979), La distinction, Éditions de Minuit, Paris; trad. it. (2001), La distinzione: critica sociale del gusto, il Mulino, Bologna.
  10. Burgess J. (2007), Vernacular Creativity and New Media, PhD Dissertation, Queensland University of Technology, USA; online all’indirizzo: http://eprints.qut.edu.au/16378/1/Jean_Burgess_Thesis.pdf.
  11. Costello V., Moore B. (2007), Cultural Outlaws: an examination of audience activity and online television fandom, «Television & New Media», vol. 8, n. 2, pp. 124-143.
  12. de Certeau M. (1980), L’invention du quotidien. I Arts de faire, Éditions Gallimard,
  13. Paris; trad. it. (2001), L’invenzione del quotidiano, Edizioni Lavoro, Roma.
  14. De Rosnay J. (2001), Memorie in rete e inter-creatività, in Casalegno F. (a cura di) Memoria quotidiana. Comunità e comunicazione nell’era delle reti, Le Vespe, Milano.
  15. Deuze M. (2006), Participation, Remediation, Bricolage: considering principal components of a Digital Culture, «The Information Society», vol. 22, n. 2, pp. 63-75.
  16. Eco U. (1997), Dalla periferia dell’impero. Cronache da un nuovo medioevo, Bompiani,
  17. Milano. Fabris, G. (2007), La creatività del consumatore, in V. Codeluppi, R. Paltrinieri (a cura di), Il Consumo come Produzione, «Sociologia del Lavoro», n. 108, pp. 21-25.
  18. Fiske J. (1989), Moments of television: neither the Text nor the Audience, in E. Seiter, H. Borchers, G. Kreutzner, E.-M. Worth (eds.), Remote Control: Television,
  19. Audiences and Cultural Power, Routledge, London; trad. it. (2007), Momenti di televisione: né il Testo, né l’Audience, in R. Andò (a cura di), Audience Reader. Saggi e riflessioni sull’esperienza di essere audience, Guerini e Associati, Milano.
  20. Florida R.(2002), The Rise of Creative Class, Basic Books, New York; trad. It (2003), L’ascesa della nuova classe creativa, Mondadori, Milano.
  21. Grasso A. (2007), Buona maestra: perché i telefilm sono diventati più importanti del cinema e dei libri, Mondadori, Milano.
  22. Gray J., Sandvoss C., Lee Harrington C. (eds.) (2007), Fandom: identities and communities in a mediated world, New York University Press, New York-London.
  23. Hine C. (ed.) (2005), Virtual Methods. Issues in social research on the Internet, Berg, Oxford-New York.
  24. Innocenti V., Pescatore G. (a cura di) (2008), Le nuove forme della serialità televisiva. Storia, linguaggio e temi, Archetipo, Bologna.
  25. Jenkins H. (2006), Convergence Culture, New York University Press, New York;
  26. trad. it. (2007) Cultura Convergente, Apogeo, Milano.
  27. Lèvy P. (1994), L’intelligence Collective. Pour une anthropologie du cyberspace, Éditions La Découverte, Paris; trad. it. (1996) L’intelligenza Collettiva. Per un’antropologia del cyberspazio, Feltrinelli, Milano.
  28. Lewis A.L. (ed.) (1992), The adoring audience: fan culture and popular media, Routledge, London-New York.
  29. Mascio A. (2008), Virtuali Comunità, Guerini e Associati, Milano.
  30. Mittell J. (2006), Narrative Complexity in Contemporary American Television, «The Velvet Light Trap», n. 58, Fall, University of Texas Press, pp. 29-40.
  31. Perryman N. (2008), Doctor Who and the Convergence of Media: a case study in ‘Transmedia Storytelling’, «Convergence», vol. 16, n. 1, pp. 95-111.
  32. Scaglioni M. (2006), TV di culto. La serialità televisiva americana e il suo fandom, V&P, Milano.
  33. Scaglioni M., Sfardini A. (2008), MultiTV. L’esperienza televisiva nell’età della convergenza, Carocci, Roma.
  34. Volli U. (2002), Culti televisivi, in Volli U. (a cura di), Culti Tv. Il tubo catodico e i suoi adepti, Sperling & Kupfer, Milano.
  35. Willis P. (1990), Symbolic Creativity, in Common Culture. Symbolic work at play in the everyday cultures of youg, Open University Press, Milton Keynes; trad. it. (2005), Creatività Simbolica, in Mora E. (a cura di), Gli attrezzi per vivere. Forme della produzione culturale tra industria e vita quotidiana, V&P, Milano.

Antonella Mascio, Convergence culture and creativity as an agent of contents promotion. An overview on tv serials in "SOCIOLOGIA DELLA COMUNICAZIONE " 47/2014, pp. 101-115, DOI:10.3280/SC2014-047009

   

FrancoAngeli is a member of Publishers International Linking Association a not for profit orgasnization wich runs the CrossRef service, enabing links to and from online scholarly content