Bazaar Cinema: Re-purposing Media and debating cultural rights of Youth Communities in London and Mumbai

数字技术在二十年的时间里改变了媒体的生产、传播和体验方式。然而，个人利用官方媒体（如电影），以自己的方式重新制作，并将其分发给同龄人或更多的人，使其在网上更广泛地传播，这些影响已经通过法律利益相关者的狭隘视角进行了公开辩论。这导致了一些声明特别禁止对电影的某些使用，然而文化权利的问题，即我们如何能够在公共领域参与文化，是一个同样重要的框架。将文化权利定义为保护商业实践的法律定义继续在公共领域流传，知识共享协议（Creative Commons）提供了一种与开放许可相反的法律立场。有问题的是，关于公民创造权利的辩论仍然在这一法律框架之外，尤其影响到年轻人。然而，文化权利不是简单的立法，而是颁布，Youtube和Vimeo等空间的活动就证明了这一点。新兴的媒体消费模式和与特设或实验性工具的互动被用来创造媒体世界，以维持身份、社区和网络，特别是处于民主进程边缘的年轻人的身份、社区和网络；例如，许多年轻人不参与投票系统。如果一个年轻人创造的“集市”电影院被置于社会符号领域的边缘，这种边缘定位很可能会对其他符号互动产生影响，正如英国的研究所证明的那样（威利斯，2004年）。正式的管制声明不能管理媒体消费的模式，而创造性重新利用的活动继续以非官方的身份存在，这种矛盾的情况再现了各种形式的文化排斥。研究网络提供了一系列与电影文化有关的官方和非官方团体之间的联系，不仅在英国，而且在跨文化。把研究的重点完全放在文化权利的国家定义上，可能会使研究停留在归化理解的范围内。该研究通过与孟买的合作机构建立国际网络，打破了这些限制。正如目前的学术研究所表明的那样，印度的大城市提供了最丰富的集市电影例证之一（Dudrah et al, 2012）。在项目期间，英国文化产业的利益相关者和相关团体被带入网络，讨论这种国际和多方利益相关者对话的结果。

Digital technologies have in the space of two decades changed the way in which media is produced, distributed and experienced. Yet the implications of individuals taking official media (such as film), re-making it in their own fashion and distributing it to their peers or more making it more widely available online, have been publically debated through a narrow lens in terms of legal stakeholders. This has resulted in statements prohibiting certain uses of film in particular, and yet the issue of cultural rights, of how we are able to engage with culture in the public domain, is an equally important framework. A legal definition of cultural rights as the protection of business practice continues to circulate in the public domain, with the Creative Commons providing a counter-legal position of open licensing. Problematically, a debate on the creative rights of citizens remains external to this legal framework, (dis)affecting a young demographic in particular. However, cultural rights are not simply legislated but enacted, as activity in spaces such as Youtube and Vimeo, evidences. Emergent patterns of media consumption and interaction with ad-hoc or experimental tools are used to create media worlds that sustain identities, communities and networks, particularly those of a young demographic existing at the periphery of democratic processes; many young people, for example, are not engaged with the voting system. If a youth-created 'bazaar' cinema is consigned to the margins of the social-symbolic field, this marginal positioning is likely to have consequences for other symbolic interactions, as research has demonstrated in the UK (Willis, 2004). This paradoxical situation in which formal statements of regulation fail to govern patterns of media consumption, and the activities of creative repurposing continue to exist in an unofficial capacity, reproduces various forms of cultural exclusion. The research network provides a series of linkages between official and unofficial parties involved with film culture, not only in the UK, but cross-culturally. To focus research exclusively on national definitions of cultural rights risks staying within the parameters of naturalized understandings. The research breaks with these limitations by establishing an international network with partner institutions in Mumbai. The megacities of India provide one of the richest illustrations of bazaar cinema, as current scholarship demonstrates (Dudrah et al, 2012). Over the duration of the project, stakeholders in cultural industries and related groups in the UK are brought into the network to debate the outcomes of this international and mulit-stakeholder dialogue.