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Audiences and Institutions G322
Transcript of Audiences and Institutions G322
the issues raised by media ownership in contemporary media practice;
the importance of cross media convergence and synergy in production, distribution and marketing;
the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
the significance of proliferation in hardware and content for institutions and audiences;
the importance of technological convergence for institutions and audiences;
the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
'candidates' own experiences'
The AUDIENCE is...
“…as we think of the audiences of tomorrow, we need to think of ways to engage them, not alienate and control them. There's a lot of creativity in this room. Why put it into trying to maintain status quo rather than taking things to the next level?
By and large, we treat the Internet as another broadcast medium where you push content at people. In other words, we're still aiming to localize rather than to co-opt. A better way of conceiving it is as a public space where people want to pull content in to personalize it, identify with it, and share it. It is no secret that we're not yet sure how to monetize this practice, but efforts to stop it are like trying to build gigantic walls after planes were invented.”
Cannes Film Festival Opening Forum:
"Cinema: The Audiences of Tomorrow" May 16, 2007
Old practices are kept intact and
imported into the new medium
Practices are modified to take
advantage of the technology,
usually to make things more efficient.
New practices emerge that are completely incomprehensible to those who were fluent in the previous culture of film
Warner Bros. Pictures produces and distributes a wide-ranging slate of some 18-22 films each year, employing a business paradigm that mitigates risk while maximizing productivity and capital. Warner Bros. Pictures either fully finances or co-finances the films it produces and maintains worldwide distribution rights. It also monetizes its distribution and marketing operations by distributing films that are totally financed and produced by others. The Studio’s 2010 slate includes “Valentine’s Day,” “Clash of the Titans,” “Sex and the City 2,” “Inception,” “Guardians of Ga’Hoole” and “Harry Potter and the Deathly Hallows, Part I.”
As critics and historians we must not fall for the inevitable argument that positions IMAX as a revolution in cinema technology and aesthetics. So far, IMAX has been with us for forty years and is only now making waves in Hollywood’s swimming pool. As home cinemas become more prevalent and more impressive — and multiplexes become less immersive and impressive – IMAX is a format that continues to “wow” audiences.
Benjamin Wright - On IMAX and Hollywood
On the other hand....
On the other hand....
The Film Value Chain
Subscription TV / Pay Per View
Institutions and Audiences
High production values
Action-based, three act narrative
Worldwide Cinema box office