Abstract
ABSTRACTNetworked information technologies have brought about extensive changes in the production and distribution of creative cultural work. Inspired by the widespread success of Free-Libre/Open Source Software (FLOSS), many proponents of open access advocate reconceptualisation of existing legal protection frameworks in creative works. This paper traces the attempted appropriation of Creative Commons (CC) licences by filmmakers and the consequent formation of an Open Content Filmmaking (OCF) movement. OCF proponents articulated notions of technology-enabled transformation in content creation and distribution, similar to those that inspire the visions of FLOSS and CC advocates. It examines how these creators attempted to address the relevance of openness to their own activities and develop practical open models for filmmaking. Difficulties experienced in establishing viable livelihoods with OCF (as FLOSS developers had done), created tensions between those with a pragmatic or more ideological orientation. The initial vision of a consistent OCF movement, enabled by CC, thus became fragmented. In contrast to FLOSS, where many actors were able to find ways to develop sustainable careers within the industry while contributing to Open Source Software, such generic strategies have not readily emerged for OCF. Drawing insights from Sørensen’s (1996) Social Learning framework (Learning technology, constructing culture. Sociotechnical change as social learning: University of Trondheim, STS working paper 18/96) in this paper we untangle the elaborate but often messy strategies deployed by Open Content Filmmakers (OCFs) and trace the multiple and often partial ways they have worked out to utilise CC elements and tools in producing, monetising and distributing their films.
Highlights
The success of the Free-Libre/Open Source Software (FLOSS) movement has inspired the translation and application of its principles into many diverse areas of cultural production.E
This paper aims to contribute to the examination of such modes of content creation by tracing the development of the open content filmmaking (OCF) movement
Open Content Filmmaking (OCF) can be seen as a branch of a larger, more general movement that mobilises diverse actors and communities, supported by platforms such as the Creative Commons (CC) organisation and Open Culture, and is motivated by a concern that the aggressive reassertion of copyright in the digital ecosystem would significantly diminish access to cultural resources
Summary
The success of the Free-Libre/Open Source Software (FLOSS) movement has inspired the translation and application of its principles into many diverse areas of cultural production. OCF can be seen as a branch of a larger, more general movement that mobilises diverse actors and communities, supported by platforms such as the CC organisation and Open Culture, and is motivated by a concern that the aggressive reassertion of copyright in the digital ecosystem would significantly diminish access to cultural resources In response to these trends, Free/Open Culture advocates seek change through the re-configuration of cultural production and copyright law. In contrast to software, where standards and governance have emerged as to what rules projects must adhere to in order to qualify for the name of ‘free software’, there continues to be substantial ambiguity regarding which principles a film must follow to be considered part of the OCF movement In this regard, the range of options that CC offer can more readily be compared to the whole spectrum of licences provided by FLOSS, than to the considerably more restrictive range of free licences. In the final section we revisit the main points of our analysis, draw links with our theoretical framework and come to some conclusions with regards to the future of OCF
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
