An Editing Room of One's Own: Vidding as Women's Work

Coppa, Francesca

doi:10.1215/02705346-1301557

Cited by 22 publications

(4 citation statements)

References 1 publication

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“…En cuanto a los "fanvids", se denomina así a los videos creados por fans a partir de una o más fuentes (Seymour, 2018) y usan continuidad temática que suele corresponder a una canción que acompaña el video. El fan-vidding es una práctica que tiene al menos una historia de treinta años y es una forma importante de arte en su propio derecho (Coppa, 2011); además, el fanvid, descrito a menudo como "fanfiction visual", es una práctica que reinterpreta y altera la narrativa canónica para hacerla calzar en sus intereses y proveer nuevas discusiones para las fan-audiencias y los creadores digitales (Freund, 2018).…”

Section: Marco Teóricounclassified

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

Yucra-Quispe

Espinoza-Montoya

Núñez-Pacheco

et al. 2022

RCom

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En las últimas décadas, los juegos digitales se han convertido en parte esencial de la cultura de los adolescentes y jóvenes. Los consumidores de contenidos de estas plataformas se han incrementado notablemente, así como los estudios en torno a ellos. El objetivo de esta investigación consiste en analizar los contenidos generados por los usuarios en los juegos móviles Episode: Choose Your Story y Choices: Stories You Play, los cuales poseen una gran cantidad de usuarios jóvenes que difunden y expanden las historias a través de las redes sociales más importantes. Se realizaron dos estudios de casos sobre la estructura de las narrativas transmedia de estos juegos y se empleó una metodología cualitativa basada en el análisis narrativo y el análisis de contenido. Los resultados indican que, si bien ambos juegos expanden las historias en diversas plataformas, la presencia de un laboratorio de escritura por parte de Episode genera un comportamiento más delimitado en los usuarios en comparación con Choices, el cual brinda una mayor posibilidad de convertir a los consumidores en prosumidores. La enorme comunidad de fans en torno a estos juegos, corrobora la importancia de las narrativas expandidas en distintos medios.

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Section: Marco Teóricounclassified

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

Yucra-Quispe

Espinoza-Montoya

Núñez-Pacheco

et al. 2022

RCom

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“…Remix assignments are oft en seen as novel in supporting new pedagogies for multimodal composition, although feminist vidders have been creating remixes for over thirty years. 16 We are all raced, classed, and gendered as well as embodying multiple other identities. FemTechNet's texts, videos, activities, and community have been valuable resources for white, male, and/or heterosexual students too: several students remained in one DOCC class despite their own anti-feminist orientations and varied interests.…”

Section: Feminism and Race In Femtechnet Classroomsmentioning

confidence: 99%

FemTechNet: A Collective Statement on Teaching and Learning Race, Feminism, and Technology

Collective¹

2018

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“…We can briefly consider the example of fanvids where fans create music videos using mainly mass media footage as a way to explore and share their admiration for original audiovisual material (Coppa, 2011; Gallucci and Pantolony, 2008). It is now well-established that fanvids were born in 1975 when Kandy Fong synced Star Trek still images to music from a cassette player at Equicon/Filmcon convention.…”

Section: Introductionmentioning

confidence: 99%

Rethinking participatory video in the times of YouTube

Sánchez

2020

Media, Culture & Society

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Participatory video emerged in the late 1960s with a view to harnessing video technology in order to promote community building and develop critical awareness. It involves a wide range of practices that revolve around non-professionals collaborating in the task of making a facilitated, collective video in the topic of their choice. Consensual decision-making and iterative cycles of filmmaking alongside reflection and analysis represent milestones of traditional PV practice. Over the last 50 years, PV has fostered a heterogeneous community of practice that includes NGOs, scholars, and a number of social transformation collectives in the field of communication for development. This article examines the ways in which the PV community of practice has negotiated the emergence and hegemony of digital video-making, video equipped smartphones, and online video platforms. Methodologically, the text departs from an extended survey among experienced practitioners and focuses on case-studies involving perceived key actors within the PV community in relation to digital culture. The article also critically discusses the role of YouTube as the epitome of contemporary, digital participatory cultures. The overarching hypothesis that pervades this research foregrounds the concern that digital technology might actually be contributing to the transformation of participatory cultures into merely expressive exercises.

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An Editing Room of One's Own: Vidding as Women's Work

Cited by 22 publications

References 1 publication

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

FemTechNet: A Collective Statement on Teaching and Learning Race, Feminism, and Technology

Rethinking participatory video in the times of YouTube

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