![]() ![]() ![]() It traces briefly the background on how the media piracy in the Philippines and Vietnam has grown through the years despite the hegemonic pressure of the United States Trade Representative and the government efforts of the Philippines and Vietnam to reform their respective Intellectual Property Rights (IPR) laws and local copyright protection system. This chapter provides an overview of the content of this book. ![]() Crunchyroll’s history of labour exploitation reveals a larger profit model of exploitation in digital media, as social media sites exploit unpaid digital labourers under the pretence of participatory culture. One of Crunchyroll’s earliest website taglines was “anime for the masses!” Yes, anime for the masses, at the expense of the masses. Through a case study of the anime studio Gonzo, I explore the ways Crunchyroll capitalized on the economic effects of piracy to coerce anime creators and distributors into business with the website after it shifted towards legitimacy. Using a Marxian analysis of labour, I investigate how Crunchyroll capitalized on digital labour and developments in digital streaming video to reconfigure the anime industry, expanding digital distribution of anime in the United States and transnational production strategies in Japan. Through archival research of Crunchyroll through, I analyze how Crunchyroll relied on unpaid digital labour of user uploaders, fan translators, and anime creators from its foundation in 2006 to its shift to legal streaming in 2009, examining how this labour enabled Crunchyroll to become the largest anime streaming platform in the world. Crunchyroll is a fascinating nexus between anime production, distribution, and consumption, and its history illuminates how digital piracy rapidly alters media industries and how social media corporations exploit digital labour for their own profit. This paper investigates the exploitation of digital labour on the anime streaming site. ![]()
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