From Web Documentaries to Virtual Reality: The Structuration of a Production Space Defined by Disruption and Continuity
This article is based on long-term fieldwork undertaken in the 2010s among producers in the “new media” sector. The aim of this work was to investigate a new space of production spanning from the earliest web documentaries to the most recent virtual reality projects, whose models of production might...
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| Publicado en: | URI:https://journals.openedition.org/bssg, |
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| Autor Principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
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Biens Symboliques / Symbolic Goods
2025
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | This article is based on long-term fieldwork undertaken in the 2010s among producers in the “new media” sector. The aim of this work was to investigate a new space of production spanning from the earliest web documentaries to the most recent virtual reality projects, whose models of production might reflect a broader movement reshaping professional logics and manufacturing chains for audiovisual goods. My analysis focuses on the profiles of professionals working in the production of new media and on their capacity to maintain their businesses while contributing to the development of these content. The institutionalization of such productions via the support of the CNC [Centre national du cinéma et de l’image animée; National Centre for Cinema and the Moving Image] and their increasing visibility has gone along with a quest for sustainable economic and organizational models—for despite the emergence of new career opportunities and prospects, the digital creation sector continues to remain dependent on an earlier version of the content market. Although transformations in the audiovisual landscape shift the frontlines of innovation and modify the space of possibilities, continuities can also be seen, and are part of new media actors’ representations and predictions. |
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