Wednesday, 11 May 2011
Monday, 9 May 2011
Convergence and Institutions - Peter Csigo
Csigo (2007) suggests that media institutions are no longer interested in keeping the audience together, but in 'triggering engagement' in people. Another way of describing this is the shift from 'push media' to 'pull media' where the consumers decide what they want to do with the media and access it in ways that suits them.
On the other hand, Toby Millers argues that the idea that we have a world where the consumer can exercise authority is absurd and so the film distribution industry [or any other industry] doesn't rely on waiting, listening, responding to what audiences want and then delivering that to them, instead it relies on knowing which part of the world and the media need its product.
Sunday, 8 May 2011
TWITTER & Films - remember what we discussed in class? It's called 'Infodemiology'
So this is what we discussed in class - how TWITTER (which is a great example for all the question areas of this paper) is having an effect on the Film Industry through what is essentially word of mouth at hyper-quick pace! The film that was 'Killed' after the first day (that I couldn't remember!) was "Bruno".
Infodemiology Twitter and Film
Convergence - an article by Gavin Luhrs
Who needs a tv set? - THIS ARTICLE DISCUSSES TV MOSTLY BUT ALL THE POINTS CAN BE RELATED TO THE FILM INDUSTRY, IF NOTHING ELSE BECAUSE WE WATCH FILM ON TV AS A HIGH PERCENTAGE OF OUR FILM VIEWING
Convergence
Convergence: a one-stop shop for all your media needs or a threat to the media forms we know and love? Gavin Luhrs ponders on the implications.
OCR’s Audience and Institutions AS module requires you to consider the way in which technology has altered the production and consumption of media texts. One of the key conceptual ideas relating to this study is convergence.
Convergence is...
...the word we use to describe the process of different technologies coming together in one device: a modern mobile phone – comprising a camera, an MP3 player, a web browser, a games console and even voice calls – is one obvious example. The ‘one box solution’ has been the main focus of much thinking about convergence, and technology companies continue to deliver products that do more. However, to simply restrict your thinking about convergence to hardware would be a mistake; the principle of convergence is affecting all media texts.
In this article I want to consider the way in which the possibilities afforded by new media technologies have encouraged a fresh look at media forms. In the case of television, it’s possible that the days of ‘the box in the living room’ are numbered. As television content is converging with other media forms, the most high profile domestic media form is under attack.
A crisis of identity in the media?
For some time media forms seemed fairly fixed: a television set was used to watch television programmes. New media technologies are increasingly bringing fluidity to many of the media forms you study. Examples of media forms that are suffering an identity crisis aren’t difficult to pick out: the effect of interactive content on television; the influence of film on videogames and vice versa. New media technologies have allowed the removal of the restrictions imposed by scheduling and hardware. Television content can be separated from the television set, instead forming part of a convergent product encompassing video, audio clips, still photographs, interactive animations and text.
Television now faces a fresh challenge. It is not just competing with alternative media forms for audience attention but is also facing competition from media forms that are beginning to look like television. The ‘MySpace generation’ is not watching as much television, but that doesn’t mean moving image content is decreasing in popularity and relevance. As broadband penetration rates rise and bandwidth increases, the Internet is becoming progressively more reliant on video. Removing television content from the context of the traditional television platform has implications for institutions seeking to sell advertising air time. The role of the watershed in an on-demand, portable media context is also an issue to which you should give consideration.
So what’s new – and why?
As well as ‘radio’ content, The Guardian now produces television content. It labels its output as ‘podcasts’, but essentially they are old media forms delivered using new media. The question is: why does a newspaper want to be a radio and television producer? And where does this leave the television platform? Channel 4 has offered episodes from the first series of Lost for free download: it seems even television channels are turning to platforms other than television to reach their audience.
Another implication for television is distribution via other platforms, in particular the rise of Internet-based ‘channels’. Gamespot.com is a website devoted to videogames and is proving that although television programmes about gaming don’t work, videos about gaming can; a subtle difference perhaps, especially considering much of the video content on Gamespot.com is structured ‘programmes’ of reviews or coverage of events such as E3. Is the website becoming a gaming channel without the need for a television?
A more high-profile example of the internet-based television channel is Google Video. As well as home users, existing television channels are offering content via the service, again suggesting that the future of television broadcasting isn’t necessarily tied to the television set as we know it.
And what’s in it for audiences?
The adoption of television programming by other media forms has clear positives for audiences. There is far greater access to content, which can be delivered on demand rather than according to a schedule. Content is now more easily portable (handheld televisions could never be considered a true rival to video iPods). The virtually limitless capacity for content allowed by the Internet also allows niche broadcasters to cater to very specific tastes, something against which even the broad offering of multi-channel digital television would find it difficult to compete.
The convergence of forms is not always seen as positive, however. Many have become excited about the convergence of videogames and films, arguing that a new way of engaging with film is being developed. Certainly there is much evidence that the two are converging in terms of production technology, personnel, actors, narratives and audiences. DVD ‘making of’ documentaries often reveal the use of ‘videogame’ versions of film sequences as a means of planning special effects. Games often have fully scripted and directed cut scenes, with characterisation and narrative development owing much to film. But do the two benefit from becoming closer? Some would argue that the distinctive qualities of videogames are being compromised. As one correspondent to Edge magazine wrote:
If games put all their effort into being like films, they’ll die.
The narrative qualities of Tetris and Mario Kart may be questionable, but that doesn’t mean they’re not great games.
Convergent forms – a good thing?
Here are some questions you should ask yourself:
• Just because the technology allows media forms to converge, does that mean it’s desirable?
• Won’t radio lose something essential if it becomes audio with pictures?
• Will television become devalued if seen as a separate collection of video clips rather than as a structured schedule of varied content?
• Are videogames trying too hard to be cinematic, so turning away from the very qualities which set them apart from more traditional media forms?
Sometimes less can be more...
Glossary
Bandwidth – The capacity available to send data (television pictures, computer files).
Convergence – The process of technologies combining to create a new product: digital television combines moving pictures and computerised, interactive displays.
Hardware – The equipment such as televisions, computers, and DVD players used to access media texts.
Niche broadcasters – Providers of specialist content, usually based on a theme. For example, there are channels devoted to food, travel, money and music.
Platform – The ‘stage’ on which something operates. The use of this depends on the context. For example, you could talk about a gaming platform to mean either a PC or a games console. Or you could talk about both Sky Television or your PC as a platform for the Internet.
Podcasts – Audio, video, still images or text ‘broadcast’ to mobile devices like iPods via the Internet (the rise of multi-function portable devices has meant the term is no longer restricted to audio content).
Scheduling – The process of deciding what is on and when.
Friday, 6 May 2011
Film Distribution and Piracy
Remember that whilst there's no direct question on piracy, piracy is all about hardware, new technology and convergence so it should be mentioned in a question on those topic areas - you'd need to be thinking about how it happens, what the impact is for both the INSTITUTIONS and for the AUDIENCE and what has been done about it. Also remember to think about how this relates to the four sections of PRODUCTION, DISTRIBUTION, MARKETING and EXCHANGE (EXHIBITION)
Wednesday, 4 May 2011
Tuesday, 3 May 2011
Mrs T's starting attempt at the grid - using CONVERGENCE
Year 12 – Convergence Issues – for G322
IDEAS - General
convergence – technological
Tech helps improve communication and media experience
Ind want to GUARANTEE successful viewing figs so use tech to help
Need to communicate between aud – ind effectively – use tech
Convergence mostly about audience – how they can receive info from film makers so affects those areas – primarily, convergence in production is about smaller and fewer devices that are cheaper being able to do many jobs which can help low/no budget film makers. Convergence affects the ways we watch films and receive info/marketing etc about them PLUS how we talk about them after
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Main Areas Relevant
Exhibition/Marketing/Distribution - Use of websites, phones, other portable devices, internet enabled TVs at each level – i.e. NOT film posters/trailers as this traditional
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What Data required?
Budget figures needed – as this affects what can do convergence wise? PA we’re talking VIRAL campaign. AV massive cross media camp – know examples.
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- Specifics -
IN EXHIBITION/EXCHANGE
Places to view – laptops, mobiles, internet at work, iPad, Internet-enabled TV, Love film, BTvision, Sky Anytime+, IMPACT – fractured experience, not so immersive, hold attention?, compete with other media types (like TV, Games etc as ents)- Ultra portable – ISSUES – Piracy, copying, COMBATS in PLACE? DVD protection, BR copy protect, Digital Copy Packages
Case study:
IN DISTRIBUTION
Buying now in many places – and for many formats – cost – IMPACTS? – in buying, in exchanging aftersales, iTunes, LoveFilm – other internet/satellite/on demand
Affect on cinemas? Where were case studies mainly viewed?
Case study:
IN MARKETING
Now have many markets to cover – traditional = TV trailers and Special Guest Spots, PR tours and activities, Red Carpet Premieres etc, Cinema Foyers etc and print work (Posters, ads, billboards, Buses etc)
BUT BUT BUT – how now done in light of convergence?
How to utilise internet, facebook, twitter, (so social networking) virals, YOUTUBE websites for films – create mysteries/own legends etc, develop fan base
To portables – handheld – iPhone, Android Phones, Smart Phones, iPads, That other handheld thingy (FIND OUT), laptops, digital copies
Case study:
IN PRODUCTION
Not really relevant except where smaller devices and cheaper can make films –bit vague and does depend on question – if linked to convergence and production, what would you write about?
Case study:
Short Film - Guide to Marketing it
This is provided to give you an idea/perspective on low budget/no budget film-making in the UK - this is about local film-makers and a UK audience - very specific. Not to be confused with low budget in Hollywood terms, which could mean only a few million!
Short Film Distribution Guide (Raindance) -- Read in "Fullscreen"
Short Film Distribution Guide (Raindance) -- Read in "Fullscreen"
Wednesday, 27 April 2011
Tuesday, 26 April 2011
Saturday, 19 March 2011
Past Papers - AS - Including Exemplar Answers and the Markschemes
At this moment, the past papers and everything exam related are on the 'Help with exams and revision' blog - click the tab above - and then click the relevant label to show what you want; Markschemes, Past Papers, Exemplars
Also, exemplar answers will be uploaded but remember, every year standards get higher as everyone gets more and more used to the exam and how to pass it - this specification started in Sept 2008 so there are only papers from Jan 2009.
Also, exemplar answers will be uploaded but remember, every year standards get higher as everyone gets more and more used to the exam and how to pass it - this specification started in Sept 2008 so there are only papers from Jan 2009.
Friday, 18 March 2011
Saturday, 5 February 2011
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