{"id":813,"date":"2010-02-10T14:21:11","date_gmt":"2010-02-10T12:21:11","guid":{"rendered":"http:\/\/blog.serialreaders.com\/?p=813"},"modified":"2010-02-10T22:52:30","modified_gmt":"2010-02-10T20:52:30","slug":"industria-cartii-in-plina-criza-cine-si-cum-va-supravietui-revolutiei-tehnologice","status":"publish","type":"post","link":"https:\/\/serialreaders.com\/blog\/industria-cartii-in-plina-criza-cine-si-cum-va-supravietui-revolutiei-tehnologice\/","title":{"rendered":"Industria c\u0103r\u0163ii, \u00een plin\u0103 criz\u0103: cine \u015fi cum va supravie\u0163ui revolu\u0163iei tehnologice?"},"content":{"rendered":"

\"02-100210\"De\u015fi, \u00een perceptia \u00eemp\u0103timi\u0163ilor de lectur\u0103, literatura are o aur\u0103 de transcenden\u0163\u0103 \u015fi pare rupt\u0103 de contextul socio-economic \u00een care a fost creat\u0103, genurile \u015fi chiar stilurile literare au fost modelate de for\u0163e financiare \u015fi depind de starea general\u0103 a economiei \u015fi de evolu\u0163iile tehnologice.<\/p>\n

Romanul a ap\u0103rut \u00een secolul XVIII, atunci c\u00e2nd circumstan\u0163ele financiare \u015fi tehnologice au permis apari\u0163ia sa ca gen. Noile tehnologii de printare la nivel industrial permiteau scoaterea unor tiraje relativ mari la un pre\u0163 sc\u0103zut, iar pia\u0163a capitalist\u0103 emergent\u0103 \u00een acea periad\u0103 a f\u0103cut pentru prima oar\u0103 operele literare accesibile maselor, devenind nu doar o form\u0103 de instruire exersat\u0103 \u00een academii \u015fi scoli, ci \u015fi o form\u0103 de entertainment a clasei mijlocii. Odat\u0103 ce lectura romanelor s-a instaurat ca mod\u0103, aceasta a putut fi transformat\u0103 \u00een business.
\n
\nSchimbarea la fa\u0163\u0103 a autorului<\/strong><\/p>\n

Editurile secolului XX sunt business-uri mult mai complexe dec\u00e2t acum doar c\u00e2teva zeci de ani \u00een urm\u0103, iar industria c\u0103r\u0163ii se aliniaz\u0103 ca modele de afaceri, marketing \u015fi promovare \u00een acela\u015fi r\u00e2nd cu orice alte companii de produc\u0163ie.<\/p>\n

Aparatele de marketing \u015fi PR au schimbat statutul scriitorului din arhetipul boemului genial retras \u00een lumea sa interioar\u0103 \u00een adev\u0103rat pop star care are nu doar un rol de produc\u0103tor, ci \u015fi de entertainer, fiind obligat, pentru a face fa\u0163\u0103 noilor cerin\u0163e, s\u0103 sus\u0163in\u0103 turnee de promovare, \u00eent\u00e2lniri cu cititorii, conferin\u0163e sau evenimente mondene, s\u0103 \u00ee\u015fi creeze strategii de imagine sau s\u0103 injecteze constant con\u0163inut \u00een extensiile online ale c\u0103r\u0163ilor. Agen\u0163ii literari au schimbat natura muncii scriitorului, practic\u00e2nd un soi de impresariat literar \u015fi introduc\u00e2nd \u00eenc\u0103 un rol \u00een industrie.<\/p>\n

\u201eLa fel ca \u015fi \u00een artele vizuale \u015fi performative, \u015fi \u00een domeniul c\u0103r\u0163ii trebuie s\u0103 \u00eenceap\u0103 s\u0103 se vorbeasc\u0103 de “auctorialitate multipl\u0103”. Oricum, exist\u0103 mai mul\u0163i autori “up to date” dec\u00e2t edituri. La noi nu se poate vorbi \u00eenc\u0103 de creativitate editorial\u0103, a\u015fa cum \u00een artele vizuale se vorbe\u015fte de creativitate curatorial\u0103, dar editorul trebuie s\u0103 ac\u0163ioneze ca un curator, s\u0103 imagineze linii \u00eentregi de proiecte, s\u0103 propun\u0103 autorilor proiecte \u00een func\u0163ie de o bun\u0103 cunoa\u015ftere a poten\u0163ialului lor creator. La noi, autorii \u00eenc\u0103 sunt l\u0103sa\u0163i s\u0103 doarm\u0103, s\u0103-\u015fi rumege creativitatea (c\u00e2t\u0103 e) pe calapoadele vechilor genuri: roman, poezie etc. Nu vine s\u0103-i trezeasc\u0103 nimeni, s\u0103-i pun\u0103 la lucru \u015fi, deci, s\u0103-i scoat\u0103 din zona mizeriei, a fantasmei de a fi asista\u0163i, s\u0103-i integreze social \u015fi, deci, pecuniar\u201d, spune teoreticianul Bogdan Ghiu pentru capital.ro. R\u0103zvan Penescu, ini\u0163iatorul proiectului Liternet.ro, vede autorul ca pe o crea\u0163ie a unui om de marketing, \u201eceea ce e trist, de\u015fi unii dintre cei promova\u0163i sunt chiar buni\u201d.<\/p>\n

Ce nu merge \u00een business-ul autohton<\/strong><\/p>\n

Titlurile din presa interna\u0163ional\u0103 anun\u0163\u0103 declinul\u00a0 modelului de business actual \u00een industria c\u0103r\u0163ii, iar recesiunea este doar unul dintre agen\u0163ii acestei schimb\u0103ri. Era digital\u0103 a adus o revolu\u0163ie tehnologic\u0103 \u015fi economic\u0103 asem\u0103n\u0103toare cu cea de la \u00eenceputul perioadei industriale, \u015fi asta se reflect\u0103 deja \u00een forma \u015fi stilul romanelor.<\/p>\n

Edituri mari precum Simon & Schuster, Macmillan, HarperCollins, Doubleday sau Houghton Mifflin Harcourt fac restructur\u0103ri de personal \u015fi \u00ee\u015fi reorganizeaz\u0103 afacerile, a\u015fa cum este \u015fi cazul editurii Nemira din Rom\u00e2nia, care a anun\u0163at c\u0103 intr\u0103 \u00een reorganizare judiciar\u0103 la sf\u00e2r\u015fitul anului trecut.<\/p>\n

Unul dintre punctele nevralgice ale industrei de carte autohton\u0103 este sistemul retrograd de distribu\u0163ie, pentru c\u0103 distribuitorii nu se implic\u0103 \u00een promovarea c\u0103r\u0163ilor at\u00e2ta vreme c\u00e2t pot da la retur ce nu s-a v\u00e2ndut. \u201ePe de o parte este dificl modul de lucru, \u00een sensul \u00een care pl\u0103\u0163ile se fac pe m\u0103sura v\u00e2nz\u0103rilor, exist\u00e2nd astfel dreptul de a returna eventualele exemplare nev\u00e2ndute. \u00cen Germania, spre exemplu, colaborarea cu un distribuitor implic\u0103 o mare responsabilitate din partea acestuia. Neav\u00e2nd dreptul de retur, fiecare libr\u0103rie \u00ee\u015fi dezvolt\u0103 propria strategie de marketing, astfel \u00eenc\u00e2t s\u0103 \u00ee\u015fi v\u00e2nd\u0103 c\u0103r\u0163ile achizi\u0163ionate de la edituri. O alt\u0103 sensibilitate este c\u0103 aproape toate libr\u0103riile seam\u0103n\u0103 perfect \u00eentre ele. Nu sunt diferen\u0163iate, indiferent de brand, majoritatea arat\u0103 la fel. Acest fapt se traduce prin lipsa de atractivitate fa\u0163\u0103 de cititor\u201d, explic\u0103 Bogdan Ungureanu, directorul editurii Publica.<\/p>\n

R\u0103zvan Penescu vorbe\u015fte, la r\u00e2ndul s\u0103u, despre sufocarea cititorului prin aglomerarea pie\u0163ei cu c\u0103r\u0163i prost traduse \u015fi deloc ni\u015fate. \u201eAsta face ca o carte cu poten\u0163ial de 10.000 de exemplare s\u0103 se v\u00e2nd\u0103 \u00een maximum 1.000. Faptul c\u0103 ziarele v\u00e2nd 200-300.000 de exemplare din fiecare volum \u015fi chiar faptul c\u0103 LiterNet are o medie de desc\u0103rc\u0103ri de peste 4.500 de exemplare pe carte electronic\u0103, arat\u0103 c\u0103 pia\u0163a pe care se joac\u0103 editurile e subdezvoltat\u0103\u201d, a comentat Penescu.<\/p>\n

Neintegrarea editurilor pe pia\u0163a actual\u0103 de carte este, \u00een opinia lui Bogdan Ghiu, consecin\u0163a lipsei de curaj \u015fi de anvergur\u0103: \u201eSistemul editorial rom\u00e2nesc nu a devenit o industrie \u015fi de aceea este extrem de fragil. Tocmai de aceea nu-\u015fi permite nici mari gesturi, nici luxul dezvolt\u0103rii unor adev\u0103rate ni\u015fe.<\/p>\n

Cartea nu e moart\u0103, cartea se transform\u0103<\/strong><\/p>\n

\u00cen ceea ce prive\u015fte viitorul c\u0103r\u0163ii, publica\u0163iile tradi\u0163ionale, de renume, se gr\u0103besc s\u0103 anun\u0163e sf\u00e2r\u015fitul afacerilor cu c\u0103r\u0163i, din cauza pirateriei, a recesiunii, a invaziei noilor suporturi de lectur\u0103 sau a concuren\u0163ei pe care produsele de entertainment o fac c\u0103r\u0163ilor, \u00een timp ce blogurile culturale \u015fi publica\u0163iile underground s\u0103rb\u0103toresc \u00eenceputul unei noi ere \u00een literatur\u0103. A\u015fa cum muzica devine din ce \u00een ce mai versatil\u0103, put\u00e2nd fi accesat\u0103 \u00eentr-o diversitate de forme, formate \u015fi pre\u0163uri, romanul se va reinventa \u00een ceva mai ieftin, mai accesibil \u015fi mai prietenos pentru noile genera\u0163ii de cititori.<\/p>\n

Una dintre cele mai folosite metode de marketing const\u0103 \u00een colabor\u0103ri cu industriile de entertainment precum jocurile video sau filmele. \u201eColabor\u0103rile hibrid \u00ee\u015fi arat\u0103 deja poten\u0163ialul pe o pia\u0163\u0103 deezvoltat\u0103, iar modelul Harry Potter este verificat. Dup\u0103 cartea ambalat\u0103 bine cu marketing c\u00e2t cuprinde, urmeaz\u0103 filmul, un blockbuster cu o coloan\u0103 sonor\u0103 de zile mari, special compus\u0103. Evident, urmeaz\u0103 toate produsele de tip suvenire, jocuri etc. C\u0103r\u0163ile hibrid \u00ee\u015fi vor c\u0103uta tot felul de extensii specifice care s\u0103 compenseze pierderile cauzate de piraterie sau de recesiune. Cartea va putea fi continuat\u0103 de cititori pe pagini web, unde ace\u015ftia nu se vor mul\u0163umi doar cu lectura pasiv\u0103, ci vor intra \u00een pielea personajelor, ca \u00een MMORPG-uri. Editorii se vor folosi de realitatea augmentat\u0103, pentru a scoate cartea din dimensiunea clasic\u0103\u201d, explic\u0103 Andra Matzal, reprezentanta editurii Art, pentru capital.ro.<\/a><\/p>\n

Teoreticianul Bogdan Ghiu este \u00eens\u0103 de p\u0103rere c\u0103 Rom\u00e2nia este departe de aceste scenarii care de pe plaiurile mioritice par de doemniul SF. \u201eLa noi? Nu cred c\u0103 vor ar\u0103ta \u00een vreun fel colabor\u0103rile hibrid de carte. Cel pu\u0163in \u00een zona filmului, chiar e vorba de industrie. Poate micro-colabor\u0103ri cu zona web divertismentului. Dar noi continu\u0103m s\u0103 fim o cultur\u0103 tradi\u0163ionalist\u0103, conservatoare, pentru care Cartea este ceva mare \u015fi sf\u00e2nt, ca \u015etefan. Chiar \u015fi cu schimb\u0103rile de genera\u0163ie, genul acesta de colabor\u0103ri va \u0163ine de un model de import\u201d, a subliniat Ghiu \u00eentr-un interviu pentru capital.ro.
\n<\/a>
\nNoile modele de business<\/strong><\/p>\n

Noile modele de afaceri din domeniul c\u0103r\u0163ilor vor fi obligate s\u0103 se orienteze din ce \u00een ce mai mult c\u0103tre zona online \u015fi s\u0103 se diversifice \u00eentr-un mod divers, at\u00e2t sub form\u0103 de con\u0163inut, c\u00e2t \u015fi ca abordare, format, distribu\u0163ie \u015fi chiar interac\u0163iune cu clien\u0163ii. \u201eSe vor folosi din ce \u00een ce mai mult de mediul digital \u015fi, asemenea cinematografelor IMAX, vor trebui s\u0103-i ofere consumatorului ceva \u00een plus. Cred c\u0103 pe pia\u0163a rom\u00e2neasc\u0103 va cre\u015fte (ar trebui, cel pu\u0163in) oferta de literatur\u0103 local\u0103. Scriitorii rom\u00e2ni devin din ce \u00een ce mai interesan\u0163i at\u00e2t pentru edituri, c\u00e2t \u015fi pentru cititori\u201d, spune Andra Matzal.<\/p>\n

Odat\u0103 ce readerele electronice de carte vor deveni la fel de comune \u00een casele oamenilor ca \u015fi computerele personale, multe dintre acestea put\u00e2nd \u00eendeplini inclusiv aceast\u0103 func\u0163ie, cartea se va vinde din ce \u00een ce mai mult online, iar formatele hard-cover se vor vinde pe sistem print-on-demand: editare la cerere a unor titluri epuizate, dar din care ar fi contra-economic s\u0103 se mai imprime un tiraj.<\/p>\n

La nivel de con\u0163inut, juc\u0103torii \u00eenving\u0103tori vor fi aceea care mizeaz\u0103 pe con\u0163inut ni\u015fat \u015fi strategii personalizate de marketing. \u201e\u00cen glum\u0103, dar \u00een serios, editurile viitorului vor sem\u0103na cu modelul Publica. Mai toate vor trebui s\u0103 \u00ee\u015fi restr\u00e2ng\u0103 adresabilitatea la un public mai ni\u015fat. Numai restr\u00e2ng\u00e2nd \u015fi calibr\u00e2nd publicul \u0163int\u0103 te po\u0163i dezvolta. Referitor la modelul de business al editurilor, o editur\u0103 mic\u0103 are \u015fanse reale de supravie\u0163uire. \u00cen momentul \u00een care publici zeci de titluri lunar, destinul acestor c\u0103rti este unul tragic. Pe de o parte pia\u0163a nu are o asemenea putere de asimilare, pe de alta nici tu ca editor nu ai timp suficient la dispozi\u0163ie pentru promovarea \u015fi \u00eengrijirea acestora. \u00cen plus, limit\u00e2ndu-te la un public dintr-o anumit\u0103 zon\u0103 de interes, vei deveni mai dezirabil \u015fi mai \u00eencrez\u0103tor pentru acesta\u201d, comenteaz\u0103 reprezentantul editurii Publica, Bogdan Ungureanu.<\/p>\n","protected":false},"excerpt":{"rendered":"

De\u015fi, \u00een perceptia \u00eemp\u0103timi\u0163ilor de lectur\u0103, literatura are o aur\u0103 de transcenden\u0163\u0103 \u015fi pare rupt\u0103 de contextul socio-economic \u00een care a fost creat\u0103, genurile \u015fi chiar stilurile literare au fost modelate de for\u0163e financiare \u015fi depind de starea general\u0103 a…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5,41],"tags":[24,178,179],"class_list":["post-813","post","type-post","status-publish","format-standard","hentry","category-diverse","category-stiri","tag-carte","tag-industrie","tag-revolutie"],"acf":[],"yoast_head":"\nIndustria c\u0103r\u0163ii, \u00een plin\u0103 criz\u0103: cine \u015fi cum va supravie\u0163ui revolu\u0163iei tehnologice? 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Cititoare in serie (cum altfel?) si pasionata de calatorii, filme si evadari, daca nu o vezi citind, inseamna ca e ori plecata prin cine stie ce locuri, ori la cinema, ori evadeaza din vreun escape room. 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