A taxonomy of pornographic companies

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Table of contents

CHAPTER 1. INTRODUCTION
1.1. DIGITISATION AND THE DISTRIBUTION OF CREATIVE CONTENTS
1.2. CULTURAL PRODUCTION REGIME IN THE DIGITAL ERA
1.3. OUTLINE OF THE THESIS
PART I. PORNOGRAPHY AS A CREATIVE INDUSTRY
CHAPTER 2. THE PORNOGRAPHIC INDUSTRY
SUMMARY OF CHAPTER 2
2.1. DEFINING THE PORNOGRAPHIC INDUSTRY AS A RESEARCH SUBJECT
2.1.1. A HISTORY OF THE PORNOGRAPHIC INDUSTRY
2.1.2. INSTITUTIONAL DEFINITION
2.1.3. PARADIGM SHIFT: CONTEXTUALISATION IN PORNOGRAPHY RESEARCH
2.1.4. “GOOD” PORNOGRAPHY VS “BAD” PORNOGRAPHY
2.1.5. A NECESSARY DISTANCE AND AN INTERDISCIPLINARY APPROACH
2.2. THE ECONOMICS OF THE ADULT FILM INDUSTRY
2.2.1. PORNOGRAPHY, THE “OTHER HOLLYWOOD”
2.2.1.1. A TAXONOMY OF PORNOGRAPHIC COMPANIES
2.2.1.1.1. Historic players
2.2.1.1.2. Niche entrepreneurs
2.2.1.1.3. New major players
2.2.1.2. MAINSTREAM, ALTERNATIVE AND INDIE
2.2.2. DEMAND FOR PORNOGRAPHIES
2.2.2.1. Consumers of pornography in the literature
2.2.2.2. Elements of value of pornographic consumption
2.2.3. NETPORN: PARTICIPATION, INTERACTION AND ACCESS
2.2.3.1. Participation: porn 2.0. and user-generated content
2.2.3.2. Interactivity: using user data to develop new online products and services
2.2.3.3. Internet access to porn: the avalanche of fantasies
2.2.3.4. From amateurism to entrepreneurship
2.3. ONLINE PORNOGRAPHY, A WEAK IP REGIME
2.3.1. CHARACTERISING A WEAK IP ENFORCEMENT REGIME
2.3.2. LOW APPROPRIABILITY IN THE ONLINE ADULT ENTERTAINMENT INDUSTRY
2.3.3 THE SWITCH TOWARDS ALTERNATIVE BUSINESS MODELS
2.4. CONCLUSION TO CHAPTER 2
CHAPTER 3. PORNOGRAPHIC SUB-CULTURES, COMMUNITIES AND ENTREPRENEURSHIP
SUMMARY OF CHAPTER 3
3.1. COMMUNITIES AND PORN SUB-CULTURES
3.1.1. ALTERNATIVE PORNOGRAPHIES
3.1.1.1. Feminist porn
3.1.1.2. Alt-porn
3.1.1.3. LGBT+ and Queer pornography
3.1.1.4. BDSM pornography
3.2.1.5. Post pornography
3.1.1.6. Sex-positive pornography
3.1.2. DEFINING COMMUNITIES
3.1.3. COMMUNITIES AND COLLECTIVE CREATIVITY
3.1.3.1. Knowledge building
3.1.3.2. Community places and creative spaces
3.2. PORN ENTREPRENEURSHIP
3.2.1. DEFINING ENTREPRENEURSHIP
3.2.2. CAN A PORNOGRAPHER BE AN ENTREPRENEUR?
3.2.3.1 The illegitimacy of pornography as a professional occupation
3.2.3.2. The alt-entreporneur: a creator with a mission
3.3.3. A COMMUNITY COORDINATOR AND AMBASSADOR
3.4. CONCLUSION TO CHAPTER 3
PART II. THE ROLE OF COMMUNITIES AND ENTREPRENEURSHIP IN THE APPROPRIATION OF DIGITAL CONTENT: THE CASE OF SEX POSITIVE PORNOGRAPHY
CHAPTER 4. RESEARCH DESIGN AND DATA
SUMMARY OF CHAPTER 4
4.1. EVIDENCE BUILDING FROM CASE STUDIES
4.1.1. SAMPLING OF CASES
4.1.2. EXPLORATORY PHASE
4.1.3. FOCUS ON COMMUNITIES IN SEX-POSITIVE PORNOGRAPHY
4.2. FIELDWORK AND OBSERVATION: LA FÊTE DU SLIP FESTIVAL
4.3. QUESTIONNAIRES AND INTERVIEWS
4.4. SECONDARY SOURCES
4.5. INTERPRETING INTERVIEWS
4.6. CONCLUSION TO CHAPTER 4
CHAPTER 5. RESULTS. INFORMAL APPROPRIATION IN WEAK INTELLECTUAL PROPERTY REGIMES: THE CASE OF SEX POSITIVE PORNOGRAPHY
SUMMARY OF CHAPTER 5
5.1. COMMUNITIES IN THE PRODUCTION OF CONTENT IN SEX-POSITIVE PORNOGRAPHY
5.1.1. INCENTIVES FOR MAKING PORNOGRAPHIC CONTENT
5.1.2. PRODUCTION AND APPROPRIATION IN SEX-POSITIVE PORNOGRAPHY
5.1.2.1. Producing content
5.1.2.2. Validating content
5.1.2.3. Sharing content
5.1.2.4. Monetising content
5.1.3. THE ROLE OF THE SEX-POSITIVE COMMUNITY IN BUILDING KNOWLEDGE
5.1.3.1. The role of the community in building visibility
5.1.3.2. A space for social activities to support the community
5.1.3.3. A space of co-creation and innovation
5.2. ENTREPRENEURSHIP IN SEX-POSITIVE PORNOGRAPHY
5.2.1. A DEFINITION OF ENTREPRENEURSHIP IN SEX-POSITIVE PORNOGRAPHY
5.2.1.1. A SEX-POSITIVE EXPERT
5.2.1.2 BUSINESS MODELS: ORIGINALITY AND AUTHENTICITY AS THE CORNERSTONES OF BRANDING FOR NEW PORNOGRAPHIES
5.2.2. LEGITIMATION OF ALT PORNOGRAPHY AS A CREATIVE ACTIVITY AND A BUSINESS
5.2.2.1. WORK ETHICS
5.2.2.1.1. Self-exploitation and resilience
5.2.2.1.2. “Learning in public”
5.2.2.1.3. Legitimisation of the professional occupation
5.2.2.2. ENTREPORNEURS AND INFORMAL INTELLECTUAL PROPERTY BASED BUSINESS MODELS
5.2.2.2.1. Copyright entrepreneurs vs. small business owners
5.2.2.2.2. Differentiation without trademark: ethical branding and authorship
5.2.3. APPROPRIATION IN SEX-POSITIVE ENTREPORNEURSHIP
5.2.3.1 IDENTITY, OWNERSHIP AND ACHIEVEMENT
5.2.3.2. COMMUNITIES AS A RESOURCE FOR THE ENTREPORNEUR
5.2.3.3. ENTREPRENEURIAL ACTIVITY AS A PRECURSOR OF ROUTINES FOR AN EMERGENT ORGANISATION
5.3. CONCLUSION TO CHAPTER 5: COMMUNITIES AND ENTREPRENEURS IN ALT PORNOGRAPHY
CHAPTER 6. CONCLUSION TO THE THESIS
CHAPTER 7. ABOUT THE NOTION OF GRATUITÉ – L’ÉVIDENCE DE LA GRATUITÉ DE LA PORNOGRAPHIE EN LIGNE
7.1. ILLÉGITIMITÉ DE LA PORNOGRAPHIE COMME GENRE CINÉMATOGRAPHIQUE 173
7.2. LE COÛT DE LA PORNOGRAPHIE
7.3. FAUX AMATEURISME
7.4. LA POST-PORNOGRAPHIE: LA STRUCTURATION D’UNE PRODUCTION DE NICHE
7.5. ÉCHANGES SYMBOLIQUES DANS LA POST-PORNOGRAPHIE
7.6. PROFESSIONNALISATION ET MONÉTISATION DE LA NICHE
7.7. CONCLUSION DU CHAPITRE 7
CHAPTER 8. FRENCH SUMMARY – RÉSUMÉ DE LA THÈSE