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Presentacion cervantes toniroig

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Presentacion cervantes toniroig

  1. 1. Cultura digital y tendencias actuales en creación audiovisual Remix Cinema. Instituto Cervantes, 23 rd March, 2011 Antoni Roig Director of the Audiovisual Media Undergraduate Programme and the Media Innovation Postgraduate Programme UOC/ Digitalent Universitat Oberta de Catalunya (UOC) Digital Culture and Current Trends in Audiovisual Creation
  2. 2. <ul><li>Digital culture and current tendencies in audiovisual creation: participatory media projects </li></ul><ul><li>Overview of changes in media content creation </li></ul><ul><li>Dimensions of aperture and key terms </li></ul><ul><li>On participation </li></ul><ul><li>La Wikipeli (The Wikimovie) </li></ul><ul><li>El Cosmonauta (The Cosmonaut) </li></ul><ul><li>Panzer Chocolate </li></ul><ul><li>Malviviendo (Living badly) </li></ul><ul><li>Arros movie (Rice Movie) </li></ul><ul><li>Conclusions </li></ul>1 Remix Cinema. Instituto Cervantes
  3. 3. <ul><li>Changes in media content creation (1/2) </li></ul><ul><li>Notions like ‘audiences’ ‘spectators’ or ‘receivers’ become insufficient to describe contemporary media uses. </li></ul><ul><li>‘ Consumer’ as ‘collaborator’. </li></ul><ul><li>Involvement of individuals or communities into certain products -> end of a ‘massified’ and ‘distanced’ approach to content production. </li></ul><ul><li>‘ Implication’ as opportunity to be turned into value. </li></ul><ul><li>Dissolution of the distance between creators and consumers. </li></ul><ul><li>Lose of control over properties and crisis of pre-existent models </li></ul><ul><li>Coexistence and hibridation of different models. </li></ul>2 Remix Cinema. Instituto Cervantes
  4. 4. 3 V Jornada del Programa Compartim <ul><li>Changes in media content creation (2/2) </li></ul><ul><li>Content creators inside and outside the industry (not all creators want to be ‘recruited’). </li></ul><ul><li>Multiple motivations for implication (not only profit). </li></ul><ul><li>Wider diversity because of flexibilization of use and implication of communities. </li></ul><ul><li>From models based on licences to models based on services. </li></ul><ul><li>Value of crossmedia: flexibility in its relation between creators and engaged publics. </li></ul><ul><li>Adapted from the Think Tank Report </li></ul><ul><li>(Power To The Pixel, 2009) </li></ul>
  5. 5. Great diversity of innovative projects... Remix Cinema. Instituto Cervantes 4 ... under a context of uncertainty
  6. 6. 5 Remix Cinema. Instituto Cervantes <ul><ul><li>Some key terms: </li></ul></ul><ul><ul><li>Participation Collaboration </li></ul></ul><ul><ul><li>Media convergence </li></ul></ul><ul><ul><li>Co-creation </li></ul></ul><ul><ul><li>Innovation </li></ul></ul><ul><ul><li>Copyright </li></ul></ul><ul><ul><li>Voluntary work </li></ul></ul><ul><ul><li>Remix </li></ul></ul><ul><ul><li>Appropriation </li></ul></ul><ul><ul><li>Crossmedia </li></ul></ul><ul><ul><li>Transmedia </li></ul></ul><ul><ul><li>Hybrid models </li></ul></ul><ul><ul><li>Crowdfunding </li></ul></ul><ul><ul><li>Crowdsourcing </li></ul></ul><ul><ul><li>Participatory culture </li></ul></ul><ul><ul><li>Open source… </li></ul></ul>Aperture of access Aperture of experience Aperture of processes Aperture of technology
  7. 7. On participation Participation ≠ Participation as a process in which different agents are involved, and where they recognize and influence each other over and above established hierarchical levels -> Always related to decision-making. Remix Cinema. Instituto Cervantes 6 Access Information diffusion Opinion through voting Interaction
  8. 8. 7 Remix Cinema. Instituto Cervantes La Wikipeli (The Wikimovie)
  9. 9. 8 Remix Cinema. Instituto Cervantes La Wikipeli
  10. 10. 9 Remix Cinema. Instituto Cervantes La Wikipeli. Some relevant data: <ul><li>Two editions, 2009 (‘Universes’) and 2010 (‘Fear‘). </li></ul><ul><li>Linked to the brand image of brewing company Mahou (support to Spanish Cinema). </li></ul><ul><li>‘ Fear’ trailer still appears by default in the main page of Mahou.es. </li></ul><ul><li>Concept of La Wikipeli developed by prestigious advertising agency DoubleYou. </li></ul><ul><li>Young actors from TV primetime hits (appeal to young audiences) </li></ul><ul><li>3257 ‘co-directors’ in its first edition, leaded by José Corbacho and Juan Cruz (‘Tapas’). </li></ul><ul><li>6034 ‘co-directors’ in its second edition, leaded by Jaume Balagueró (‘REC’). </li></ul><ul><li>Uncertainty about a third edition. </li></ul>
  11. 11. 10 Remix Cinema. Instituto Cervantes El Cosmonauta (The Cosmonaut)
  12. 12. 11 Remix Cinema. Instituto Cervantes El Cosmonauta. The ‘plan’:
  13. 13. 12 Remix Cinema. Instituto Cervantes El Cosmonauta. Some relevant data: <ul><li>Project presented in spring 2009. </li></ul><ul><li>Press coverage through the main mainstream media in Spain. </li></ul><ul><li>Winner of the first INVI Prizes (RTVE) in October 2009. </li></ul><ul><li>International Support (Europe and the USA). </li></ul><ul><li>Selected among the most innovative european projects in the Pixel Pitch, Power To The Pixel 2010. </li></ul><ul><li>Spring 2010: presentation of ‘The plan’, its business model. </li></ul><ul><li>November 2010: project enters in pre-production stage (funding deals achieved) </li></ul><ul><li>Spring 2011: shooting scheduled. </li></ul><ul><li>Close to 3000 ‘producers’. </li></ul><ul><li>Their core team is still to finish their undergraduate media studies. </li></ul>
  14. 14. 13 Remix Cinema. Instituto Cervantes Panzer Chocolate
  15. 15. 14 Remix Cinema. Instituto Cervantes
  16. 16. 15 Remix Cinema. Instituto Cervantes
  17. 17. 16 Remix Cinema. Instituto Cervantes Conclusions: <ul><li>Spain is witnessing different innovative initatives in users’ engagement in the development, financing and promotion of projects -> It is possible and it’s happening . </li></ul><ul><li>Even if they are mostly restricted formulas. </li></ul><ul><li>Notions like ‘participation’, ‘collaboration’ or ‘crossmedia’ are overused in order to present projects as innovative. </li></ul><ul><li>Web and social media as key drivers (mainstream media is playing its part from a distance). </li></ul><ul><li>Uncertainty in a conservative industry (business models, copyright...) </li></ul><ul><li>Financing as the weakest link: emerging new mediators (project curating, crowdfunding…). </li></ul>
  18. 18. Gracias por su atención/ Thanks for your attention [email_address]

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