[雙語翻譯]眾籌外文翻譯--創(chuàng)意產(chǎn)業(yè)中眾籌項(xiàng)目的成功管理經(jīng)驗(yàn)（英文）

1、Success in the management of crowdfunding projects in the creative industriesJake Hobbs Centre for Digital Entertainment, Bournemouth University, Bournemouth, UK Georgiana Grigore The Media School, Bournemouth University

2、, Bournemouth, UK, and Mike Molesworth Business School, University of Southampton, Southampton, UKAbstractPurpose – Crowdfunding has become a significant way of funding independent film. However, undertaking a campaign c

3、an be time consuming and risky. The purpose of this paper is to understand the predictors likely to produce a film campaign that meets its funding goal. Design/methodology/approach – This study analyses 100 creative crow

4、dfunding campaigns within the film and video category on crowdfunding website Kickstarter. Campaigns were analysed in relation to a number of variables, followed by a discriminant analysis to highlight the main predictor

5、s of crowdfunding success. Findings – This study finds key predictors of crowdfunding success and investigates differences between successful and failed crowdfunding campaigns. The attributes of these predictors lead us

6、to question the long-term ability of crowdfunding to aid companies poorer in terms of time, financial and personnel resources, and therefore arguably in the greatest need of crowdfunding platforms. Practical implications

7、 – The findings provide insight to practitioners considering the crowdfunding approach and offers knowledge and recommendations so as to avoid what can be naïve and costly mistakes. The findings highlight that crowd

8、funding should not be considered lightly and can be a considerable investment of resources to be successful. Originality/value – The analysis of crowdfunding campaigns provides details on the significant predictors of cr

9、owdfunding success particularly relevant to creative campaigns. The findings provide a critique of previous claims about the benefit of crowdfunding for creative SMEs. Keywords Community, Small-to-medium-sized enterprise

10、s, Crowdsourcing, Engagement, Crowdfunding, Creative industries Paper type Research paperIntroduction Small-to-medium-sized enterprises (SMEs) within the creative industries have a critical role to play in UK economic gr

11、owth. In the UK 84 per cent of creative companies employ fewer than ten people, yet the industry as a whole accounts for 1.5 million jobs and 10.6 per cent of the UK’s export earnings, making it the third highest contrib

12、uting industry (Skillset, 2012). Despite their economic importance, such SMEs struggle to access resources (Tucker and Lean, 2003; Hussain et al., 2006; Boyles, 2011), making it difficult for them to bring original conte

13、nt to market (De Buysere et al., 2012; Kenny and Broughton, 2011), and forcing them to focus on immediate commercial imperatives rather than creativity (Powell and Ennis, 2007). These structural problems have been Intern

14、et Research Vol. 26 No. 1, 2016 pp. 146-166 © Emerald Group Publishing Limited 1066-2243 DOI 10.1108/IntR-08-2014-0202Received 15 August 2014 Revised 5 September 2014 20 January 2015 1 April 2015 2 April 2015 Accept

15、ed 5 April 2015The current issue and full text archive of this journal is available on Emerald Insight at:www.emeraldinsight.com/1066-2243.htmThe authors would like to thank Assistant Professor Umit Alniacik, Kocaeli Uni

16、versity, for his advice regarding data analysis.146INTR 26,1The most recognized crowdfunding model, and our concern here, is the reward- based model (Belleflamme et al., 2012a; Massolution, 2012), used by prominent platf

17、orms like Kickstarter. This enables campaigners to present their idea in the form of an online pitch, accompanied by tiered rewards in exchange for contributions. Campaigners then have a set period of time (usually four

18、to eight weeks) to meet their target financial goal. The popularity of such platforms has been accelerated by a number of stand-out successes, such as OUYA, an Android powered game console that raised $8,596,474 in a mon

19、th from 63,416 backers (Kickstarter, 2012b). Kickstarter claim that nearly half their hosted campaigns successfully meet their goal (Kickstarter, 2013), promoting the approach as low risk and highly attractive compared t

20、o other types of financing. However, for Kickstarter “serious” campaigns that raises $10,266,845[1] bears the same weight as “joke” campaigns that raises $16[2]. Further, Mollick (2012) also found that few projects deliv

21、er on time, and even OUYA faced backlash from backers after failing to deliver all consoles as promised (MacManus, 2013). Despite these caveats, our interest is in how to manage campaigns to meet financial goals. Althoug

22、h the figures presented by Kickstarter suggest an attractive, almost 50:50 chance of success this likely masks very different odds for different types of project. In a previous study of Kickstarter Mollick (2012) uses da

23、ta from nearly 47,000 projects of all types to identify determinants of success, with project quality and size of networks shown as key factors. However, these may seem of limited value to potential campaigners who might

24、 already assume that a good project and lots of “fans” would be beneficial, yet lack knowledge of the complexities of what might work for their specific campaign. So whilst our study also proposes an analysis of Kickstar

25、ter data, we aim to review campaigns in more detail. Mollick’s (2012) study, for example, uses the mere presence of video in a campaign pitch to determine higher quality. However, this disregards the quality of the video

26、 and ignores other possible quality signals. We also specifically focus on filmmaking campaigns, recognizing that by narrowing the focus, characteristics unique to each category may be identified.Crowdfunding and network

27、 management In comparison to other sources of funding, crowdfunding is said to generate small amounts of capital and as such contributions tend to stem from a campaigners family and friends (Mollick, 2012), or what is kn

28、own as the First Degree Network (RocketHub, 2011). Recently, however, we have seen campaigners targeting larger amounts of capital, requiring campaigners to utilize wider networks, defined as the Second (friends of frien

29、ds) and Third (strangers) Degree Networks (RocketHub, 2011). This combination of networks is akin to the balanced composition of strong and weak ties in a start-up’s social capital that is argued to aid its innovation an

30、d performance (Pirolo and Presutti, 2010) and so represents a key factor in gaining financial support. The transition through networks is also similar to how financing (Hussain et al., 2006) and advice (Peltier and Naidu

31、, 2012) are obtained through an SME life-cycle. In early stages SMEs rely heavily more on immediate networks (friends and family) before transitioning to external sources as the firm ages. Thus we may argue that newer co

32、mpanies are likely to find accessing the wider networks more difficult. Transition through networks in crowdfunding is identified by Ordanini et al. (2011) and modelled as a three-stage process. Phase one is described as

33、 “friend funding” where there is an initial quick flow of investment from those directly connected to the campaign. Friend funding therefore stems predominately from First Degree Networks, where the trust of personal con