Platforms and Cultural Production PDF
Preview Platforms and Cultural Production
PLATFORMS AN □ CULTURAL PRODUCTION THOMAS POELL DAVID NIEBORG BROOKEE RIN DUFFY Platforms and Cultural Production Platformsa nd Cultural Production Thomas Poell, David B. Nieborg, and Brooke Erin Duffy polity Copyright © Thomas Poell, David B. Nieborg, and Brooke Erin Duffy 2022 The right of Thomas Poell, David B. Nieborg, and Brooke Erin Duffy to be identified as Authors of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. First published in 2022 by Polity Press Polity Press 65 Bridge Street Cambridge CB2 1U R, UK Polity Press 101 Station Landing Suite 300 Medford, MA 02155, USA All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN-13: 978-1-5095-4050-1 ISBN-13: 978-l-5095-4051-8(pb) A catalogue record for this book is available from the British Library. Library of Congress Control Number: 2021938633 Typeset in 10.5 on 12 pt Plantin by Cheshire Typesetting Ltd, Cuddington, Cheshire Printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate. Every effort has been made to trace all copyright holders, but if any have been overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. For further information on Polity, visit our website: politybooks.com Contents Preface vi 1 Introduction 1 Part I: InstitutionalC hanges 2 Markets 25 3 Infrastructure 51 4 Governance 77 Part II: ShiftingC ultural Practices 5 Labor 109 6 Creativity 132 7 Democracy 155 8 Conclusion: Power 179 Notes 201 References 206 Index 244 Preface The development and rapid uptake of digital platforms like You Tube, TikTok, Instagram, and WeChat are profoundly reconfiguring cul tural production around the globe. Indeed, recent transformations in the cultural industries are staggering: longstanding - or "legacy" - media organizations are experiencing tremendous upheaval, while new industrial formations - live-streaming, social media entertain ment, and podcasting, to name but a few - are evolving at breakneck speed. Platform companies such as Facebook, Google, and Tencent may not impact every industry segment or region equally; some are barely impacted at all, but when they are, changes tend to be swift and drastic. What follows is our attempt to make sense of these changes, while being mindful of the continuities with earlier forms of cultural production. Although our names appear on its cover, this book is very much the outcome of an ongoing series of conversations with a global network of scholars and students. Collaborating with colleagues in work shops, conferences, and special journal collections made writing the book not just a process of creation, but an equally inspiring means of learning. Hence, it seems only fitting to start by briefly recounting this process. The project began as an attempt by two of us to develop a concep tual framework to study what we call "the platformization of cultural production" (Nieborg & Poell, 2018). When discussing our respec tive research on games and news production, we noticed that the uptake of digital platforms like Facebook and Apple's app store was triggering similar shifts in the creation, distribution, marketing, and monetization practices of these two industries. Yet, we could not find a comprehensive approach that allowed us to study and explain such Preface vii changes across these industry segments. We could, however, draw relevant insights from three research traditions: software studies, critical political economy, and business studies. By bringing these lit eratures into conversation with one another, we developed our initial framework to study how cultural producers organize their operations around platforms, foregrounding changes in markets, infrastructures, and governance. Owing to the substantial institutional variation between differ ent paths of platformization, Thomas and David invited Brooke, Stuart Cunningham, and Robert Prey to join them on a panel dealing with platforms and cultural production at the 201 7 Association of Internet Researchers (AoIR) conference in Tartu, Estonia. Sharing their respective research on the influencer economy, social media entertainment, and the music industry, these panelists helped to demonstrate that, while platformization involves similar changes in markets, infrastructures, and governance, there are also marked dif ferences in how cultural producers become - what we started refer ring to as - platform-dependent (Poell et al., 2017). More importantly, this conversation demonstrated the limits of our initial conceptual framework to account for such variation; in particular, it overlooked the particular labor, creative, and democratic practices that emerge in platform-dependent modes of cultural production. To broaden the scope of inquiry, Brooke joined the project. The three of us decided to solicit research on a wide variety of industry segments and geographical contexts, as well as on the gendered, classed, and racialized specificity of platform-dependent modes of cultural production. We were fortunate that Zizi Papacharissi, editor in-chief of Social Media + Society, agreed to host two special col lections in the journal, which gave us a productive forum through which to vastly expand the conversation concerning the relationship between platforms and cultural production. The response to our call for papers far exceeded our expectations. Given the diversity of contributing scholars, as well as the urgency of the topic at hand, we sought to bring the authors together to discuss a first full draft of their papers. Hence, in October 2018, we convened at the McLuhan Centre for Culture and Technology in Toronto. In the intimate setting of the Centre's historical Coach House, surrounded by old images and book covers from Canada's famed media theorist, we spent two intense days exchanging ideas, soliciting guidance, and providing feedback. These critical discussions proved enormously productive in bringing the papers into conversation with each other. After a year-long process of revisions and external peer review, the viii Preface twenty-six contributions were published in two special collections of Social Media + Society, in November 2019 and August 2020 (Duffy et al., 2019; Nieborg, Duffy, Poell, 2020). The collections were specifically focused on the industrial crea tion, distribution, marketing, and monetization of cultural content. The articles, moreover, spanned a wide range of segments and genres that included live-streaming, booktubing, game and app develop ment, music streaming, podcasting, social media content creation, webtoons, internet-distributed television, public service media, and the digital vintage economy, among others. The geographic terrain covered was similarly diverse and involved instances of cul tural production across Australia, Canada, Chile, China, Germany, Italy, Japan, Mexico, the Netherlands, Poland, South Korea, Spain, Sweden, the UK, and the US. Both roused and energized by our interactions with these contributors and their work, we realized that we needed to take this project to its logical conclusion; hence, the idea for this book was born. Our ambition with this book is to advance the theoretical frame work we introduced in our initial New Media & Society article pub lished in 2018. This framework is developed further in the first half of the book and is now recast as an institutional perspective on plat formization. At the same time, we are committed to doing justice to the wide variety of emerging cultural practices that can be observed across platforms and regions of the world. These emerging practices are just as much part and parcel of the processes of platformization as are institutional changes in markets, infrastructures, and govern ance. From the perspective developed in the second half of the book, platformization involves vital shifts in practices of labor, creativity, and democracy in the cultural industries. Overall, the book aims to provide researchers and students working at the intersection of plat forms and the cultural industries with a comprehensive framework to systematically examine and compare the particular industry segments and practices that they are studying. We are thankful to the many colleagues and students who made this journey with us. We would like to express our gratitude first and foremost to a number of colleagues who generously helped us with their critical comments and generative ideas: Amanda Lotz, Jose van Dijck, Bernhard Rieder, and Dwayne Winseck. We are also thank ful to our students, especially Maggie MacDonald and Ouejdane Sabbah, who read and commented on the first draft of the manu script. Furthermore, we would like to thank the contributors to the Social Media + Society special collections, who provided us with new
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