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By Emma Keltie

This venture bargains a brand new critique of participatory media practices. whereas the idea that of participatory tradition is usually theorised as embodying the potential of a probably utopian way forward for media engagement and participation, this booklet argues that the tradition undefined, because it adapts and alterations, presents moments of authorized participation that play out less than the dominance of the undefined. via a severe recounting of the adventure of making an internet sequence in Australia (with a world viewers) open air of the tradition buildings, this ebook argues< that while participatory tradition utilising convergent media applied sciences permits media shoppers to turn into media manufacturers, this happens via structures managed by means of undefined. The rising structure of the web has created a sequence of structures whereparticipation can happen. it's those structures that develop into areas of managed entry to participatory cultural practices.

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It is this layering of messages, according to Adorno, that allows for overt and subtle messages to coexist (1954, pp. 221–223). The complexities of interpellation and ideology can be seen through audience reactions to television characters. In March 2012, the Paley Center for Media (PCM) in Los Angeles conducted interviews 2 THE CULTURE INDUSTRY AND AUDIENCE AGENCY 29 with the cast and production team of Modern Family (Levitan and Lloyd 2009), an American sitcom that explores the dynamics of relationships between family members.

What was once a single-medium industry has developed from film to television, VHS, DVD and online content, resulting in a “multisector cultural industry: vertically and horizontally integrated, with both cross-media integration and cross-industry integration” (Banks 2010, p. 22). Web series offer a mode of engagement distinct from digital storytelling. Where digital storytelling is about the individual telling their story, Web series use the conventions of television and short film production to create narratives designed to be distributed online.

In this sense, Bourdieu offers a new dimension to Adorno’s analysis and critique of the media as a structure. Unequal access to capital within the field of participatory culture limits the potential agency of participants operating outside of the culture industry. Whilst Adorno and Horkheimer provide little room for agentic responses to media, and the concept of participatory culture is predicated on audience agency, Bourdieu provides a third space to explore this power struggle between agency and structure and the interventions of power, resistance and ownership.

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