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Crowdfunding the Future

Media Industries, Ethics, and Digital Society

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Edited By Lucy Bennett, Bertha Chin and Bethan Jones

The concept of crowdfunding, where grassroots creative projects are funded by the masses through websites such as Kickstarter and Indiegogo, has been steadily gaining attention over the last few years. Crowdfunding the Future undertakes a dynamic interdisciplinary approach to the examination of the new, and growing, phenomenon of crowdfunding and its encompassment of digital society and media industries. The book offers a wide range of perspectives and empirical research, providing analyses of crowdfunded projects, the interaction between producers and audiences, and the role that websites such as Kickstarter play in discussions around fan agency and exploitation, as well as the ethics of crowdfunding. With a series of chapters covering a global range of disciplines and topics, this volume offers a comprehensive overview on crowdfunding, examining and unraveling the international debates around this increasingly popular practice. The book is suitable for courses covering media studies, fandom, digital media, sociology, film production, anthropology, audience, and cultural studies.
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12. Crowdfunding and Transmedia Storytelling: A Tale of Two Spanish Projects

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12. Crowdfunding and Transmedia Storytelling: A Tale of Two Spanish Projects

CARLOS A. SCOLARI AND ANTONI ROIG TELO

Introduction

The aim of this chapter is to introduce and analyse two Spanish transmedia projects that have included crowdfunding in their financial strategies: The Cosmonaut and Panzer Chocolate. Both projects are considered examples of transmedia storytelling initiatives relying on crowdfunding to different degrees. Many different strategies can be found under the name of crowdfunding, from platforms that treat funds as microdonations like Verkami (http://www.verkami.com/) or Goteo (http://goteo.org) – also known as micropatronage – to entrepreneurs who consider crowdfunding as a good way of securing investments. The two initiatives discussed here have explored the different dimensions of crowdfunding, even changing their approach during the development of the respective projects. As we’ll see through this chapter, creators involved in the development of crowdfunding strategies for both projects show an ambivalent perspective: they all acknowledge favourable aspects particularly in terms of public impact and community building, but they also stress different hurdles, like the huge efforts that must be undertaken in order to manage the processes along time (with generally small teams) and, for audiovisual productions, the limitations in strict budgeting terms.

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