This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.

In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences.

It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.

This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.

In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences.

It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.

This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.

In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences.

It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.