Abstract

Crowdfunding represents a mechanism of growing importance for the financing of artistic and cultural projects, both nationally and internationally (Valeri 2017; De Voldere and Zeqo, 2017). Nonetheless, in 2019 still only 51% of Italian donation and reward campaigns – the two predominant crowdfunding model for cultural projects – reached their goal (Starteed, 2019). This evidence indicates that the enthusiasm for the new opportunities of distributed microfinancing corresponds to many critical issues, related to campaign management and the involvement of supporters. The article presents the results of a research on 319 campaigns, aimed both at detecting any differences in the potential of crowdfunding for different types of promoters and cultural projects, and at formulating or verifying hypotheses regarding the incidence of specific factors in the production of such differences.