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Crowdfunding the Future

Media Industries, Ethics, and Digital Society


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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14. Building a Better Kickstarter: Crowdfunding My So-Called Secret Identity


14. Building a Better Kickstarter: Crowdfunding My So-Called Secret Identity


I sometimes put things in writing, in public, to force myself – my future self – to live up to those promises. I made a number of claims in the Times Higher Education magazine when I was appointed editor of Cinema Journal, in summer 2011, about the broader platform and wider engagement that we’d offer under my tenure, and I’ve tried to stick to those ideas. A little later, in autumn of that year, I set out a series of aims for a project called My So-Called Secret Identity, concluding with the pledge that we were “building a better Batgirl.”

It was a rash pledge, considering that all I had at the time was a rough storyline and a selection of sketches and costume designs; and it was complicated by the fact that, while Barbara “Batgirl” Gordon had not been historically well-served by scripts or art, Gail Simone and her creative team had just started a run on the character that did more with her, and did her better, than I’d ever imagined. But rash, bold pledges can be useful: they mean you can’t easily back out.

Over the next 18 months, I – and an ever-increasing number of other people – developed My So-Called Secret Identity from a concept and a handful of script and sketch scraps into a five-episode story arc, a full set of characters and, ultimately, a 22-page...

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