Abstract
Participants in the Creative and Cultural Industries (the “CCI”) are increasingly looking to crowdfunding as a new and innovative form of Direct-to-Fan (D2F) financing. The tri-party crowdfunding model - involving only the creative, their fans, and the crowdfunding platform - represents the shortest financial path between a creative and their consumers/fans, reducing the importance of gatekeepers and intermediaries, and acting as a democratising force in the CCI.This manuscript brings together four distinct but related papers, written during the author’s enrolment as a PhD candidate, of relevance to further understanding CCI crowdfunding generally, and specifically to understanding issues relevant to each of the actors involved in the tri-party relationship. The first paper introduces the CCI and its relationship with crowdfunding and the D2F model, together with providing a data-driven overview of CCI crowdfunding. The following three papers each explore a different aspect of crowdfunding of relevance to the CCI: the second considers the importance of the founder’s various online communication channels and social ties to their crowdfunding outcomes; the third paper considers the role and motivations of the funder whose unique contribution causes a crowdfunding campaign to transition from the state of unfunded to funded; and the final paper considers the impact of fatigue among repeat crowdfunding funders and its impact on the long-term viability of the crowdfunding model.
Taken either individually, or collectively as they are presented here, they represent a unique contribution to the extant literature, with implications for theory and practice specific to the CCI’s crowdfunding activities, but also to broader crowdfunding as a whole.
| Date of Award | 8 Jul 2022 |
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| Original language | English |
| Awarding Institution |
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| Supervisor | Joe Cox (Supervisor), Eun Young Oh (Supervisor) & Tat Thang Nguyen (Supervisor) |