这本书讲述了不同网络创作者的故事——女性、少数民族和少数民族、酷儿和来自艰苦背景的人——制作了低成本、高文化影响力的网络系列剧，打破了白人男性在电影和电视行业的长期统治。
作者盖伊·希利（Guy Healy）阐述了数字颠覆背景下创作者面临的四个紧迫问题（以及潜在的解决方案），即：数字内容货币化的可持续性和中产阶级艺术职业的上升可能性；算法波动性；随着传统的基于手工艺的指导和专业知识共享机制的崩溃，很难找到人来分享受到严格保护的行业知识；以及在引人注目的故事讲述中缺乏多样性和真实性。它包括九个案例研究，其中五个来自YouTube开发的第二批杰出人才，他们正在过渡到更长的叙事形式，大多数与老牌电视制作人合作，跨越在线和老牌电视文化之间的鸿沟，所有人都来自代表性不足和/或少数族裔背景。平衡点是电影学院和行业专业人士以同样的方式利用YouTube，包括两位美国作家协会新媒体奖得主。这些讲故事的人利用他们的社交网络，通过接触澳大利亚和北美的订阅视频点播平台和主流在线广播的受众，追求可持续的职业生涯。网络时代全球网络系列剧的制作是首次对网络文化和电视文化之间的历史性和解进行纵向研究。其中四个案例是艾美奖获奖案例，一个是艾美奖提名案例。
这本书涵盖了2005—2021页，展示了鲜明的屏幕产业融合新形式，对创作者的职业生涯、屏幕行业、新媒体理论以及更广泛的文化和社会变革具有深远的影响。对于从事网络系列制作和发行的学生、学者和行业专业人士来说，它是必不可少的阅读材料。
The Production of Global Web Series in a Networked Age
This book tells the story of diverse online creators – women, ethnic and racial minorities, queer folk and those from hardscrabble backgrounds – producing low budget, high cultural impact web-series which have disrupted longstanding white male domination of the film and TV industries.
Author Guy Healy addresses four burning problems faced by creators in the context of digital disruption (along with potential solutions), namely: the sustainability of monetizing digital content and the rising possibility of middle-class artistic careers; algorithmic volatility; the difficulty of finding people to share jealously guarded industry knowledge as traditional craft-based mentoring and expertise-sharing mechanisms break down; and the lack of diversity and authenticity in high-profile storytelling. It includes nine case studies, five drawn from a second wave of outstanding YouTube-developed talent, transitioning to longer form narrative, most collaborating with established TV producers working across the divide between online and established television culture, and all from under-represented and/or minority backgrounds. The balance are film-school and industry professionals leveraging YouTube in the same way, including two Writers Guild of America new media award-winners. These storytellers leverage their social networks and chase sustainable careers by reaching audiences of subscription video-on-demand platforms and mainstream online broadcast in Australia and North America. The Production of Global Web-Series in a Networked Age is the first longitudinal study of this historic rapprochement between online and television cultures. Four of the cases are in Emmy-winning contexts, and one in an Emmy nominated context.
Covering 2005–2021, the book reveals distinctive new forms of screen industry convergence with profound implications for creators’ careers, the screen industry in general, new media theory, and broader cultural and social change. It is essential reading for students, academics and industry professionals working on the production and distribution of web series.
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