摘要：In Convergence culture, collaborative practices have been commonly understood as exercises located between the amateur and the professional. This characterization involves an implicit underestimation of amateurism because, in a single organization hierarchy, is considered as a preliminary step to the professional world and, therefore, a more imperfect activity. However, if we draw on the categories of bricolage analyzed by Levi Strauss, amateurism and professionalism are constituted as elements of a semantic axis. This shift in the analysis perspective has important consequences: on the one hand, it makes it possible to assess how many of these practices can alter the productive and textual dynamics of professional audiovisual practices and, on the other hand, it helps to better understand the textual specificity of collaborative practices, especially the great dialogical category of parody, an essential genre in the bottom-up dynamics which exist in our audiovisual universe.
关键词：Convergence culture;parody;bricolage;fanfilm;Cultura de la convergencia;parodia;bricolaje;fanfilm
