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Copy of g322teachingfilm

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Jennifer Walsh

on 31 January 2014

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Transcript of Copy of g322teachingfilm

G322
Case Studies
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...
changing
“…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.”

Danah Boyd
Cannes Film Festival Opening Forum:
"Cinema: The Audiences of Tomorrow" May 16, 2007
TRANSLATION
LOCALIZATION
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
Production
SKILLSET
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 2011 slate includes "The Hangover Part II," "Green Lantern," "Harry Potter and the Deathly Hallows - Part 2," "Happy Feet 2" and "Sherlock Holmes II."
Horizontal Integration
Vertical Integration
Technology
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
Casting
Marketing
£125, 000,000
£4,000,000
On the other hand....
Viral/ARG
Offline
Cross-promotion
Media
On the other hand....
Distribution
Marketability
Playability
15.07.11
4,957 cinemas
07.05.10
115 screens
18 cinemas US
Exhibition
The Film Value Chain
Cinema
DVD/Blu-Ray
Download
Subscription TV
FTA TV
Digital distribution
DSN
Piracy
Technology
Institutions and Audiences
CO-OPTION
changing
High production values
Action-based, three act narrative
£250,000,000
$250-300,000,000
£500,000
20.07.12
4,404 US cinemas
594 UK Cinemas
3.09.11 (uk)
47 UK Cinemas
3.02.12 (US)
2cinemas
Full transcript