Avanca 2011 Communication (English version)

THE CULTURAL REVOLUTION IN
AUDIOVISUAL CONTENT’S
CONSUMPTION, PRODUCTION
AND DISTRIBUTION
Leonardo Pereira • leonardpeartree@gmail.com
Faculdade de Belas Artes da Universidade do Porto • 23rd July, 2011

Leonardo Pereira • The Cultural Revolution in Audiovisual Content’s Consumption, Production and Distribution

So what am I gona talk to you about today?

About the way we can, today, produce and distribute
Audiovisual Content;

About the way the most of us consume, today,
Audiovisual Content;

Contact • leonardpeartree@gmail.com


And why?
Because the means of access and distribution to
AV Content changed, wich triggered a cultural
revolution in:

1. The consumer’s role in the media’s ecossystem;
2. In how AV Content is today consumed.



But first things first...
So how was the general media’s ecossystem before this
cultural revolution took place?



In the past...
The traditional media’s distribution and consumption
system had the two main and following features:



1
Each type of media was distributed and consumed over it’s
own specific medium:

Press Radio Television & AV C.

Newspappers magazines, Radio Television sets
books, etc... devices; & movie Theaters



2
And it was a vertical system:

Big Media Corporations - “The ruling power”

Passive Consumers - Dominated by the BMC



But today...
the Big Media Corporations and the “TV set tirany”
lost part of their rulling power over the consumer...

...but why?



In the first place...
this loss of power comes from the rising of new digital
platforms, which increased AV Content’s distribution and
consumption means of access.

“Online like” Interactive TV platforms “home like“ ITV Platforms

Mobile Web & Mobile TV “Facebook and Youtube like” platforms



Secondly...
the loss of power comes from the different consumption
patterns of AV Content.



We’ve entered in the
fractioned consumption
patterns Era...

“Among consumers worldwide, the
traditional television set is increasingly
regarded as just one option among
several for consuming video content (...)”
Source: Sonnabend, 2008: 02



Examples of the fractioned
consumption patterns

In 2008, when Tina Fey satiryzed Sarah In Brazil, the series was mostly consumed
Palin, only a third of the Americans watched Internet over the internet:
the video on TV. The remaining spectators
saw it online or on a DVD. TV: 38 000 spectators per minute;
Internet: 70,000 downloads per minute.
Source: Boggie & Sonnabend, 2009: 01 Source: Albuquerque, 2009: 09



3000000000 views per day!
In May 2011 Youtube reaches 3 bilion views per day.
Source: http://whiteandwong.org/youtube-hits-3-billion-views-per-day/

The entire planet has almost 7 bilion people!



therefore...
we consume AV content, where we want, how we want
and when we want to!

We are no longer “tied up” to the Tv set’s
Tyranny!



thirdly...
the BMC’s loss of power comes from the new consumer’s
active and participatory role, both in AV Content’s
production and distribution.



The “Participatory Culture” rises...
With the rise of free online platforms, such as “blogs“,
“Youtubes” and “Facebooks”, we can now do what in the
past, only BMCs could do!

Wich is to Produce and Distribute AV content!



BMCs Prosumer

=
These platforms, because of their free publishing and sharing features,
blured some of the differences between consumers and BMCs, in terms of
AV Content’s production and distribution.



The Consumer is, today, a distributor...
This new consumer distributes, both User Generated Content
and Third party content, actively contributing to it’s success
or failure - Viral Effect.

Embed
Share

Upload

re-Share
Consumer


This means...
That if, in the past, content’s distribution and success depended only of
the BMCs, today it also depends of the consumer’s active role on social
networks and video sharing plarforms.



But the consumer is also a Producer...
If before the rise of youtube like platforms, most of the consumed content
was professionally produced, today a significant part is user generated
content .

And we, consumers, love what our “coleague consumers“ produce
and upload to video saring platforms!



The figures and numbers don’t lie...

93.2 bilion
views
65.5%

49.1 bilion
views 34.5%

Profissionai AV Content vs User Generated Content

2009’s online video consumption figures
Source: http://www.kikabink.com/news/professional-and-user-generated-video-ugv-views-up-36-percent-in-2009/



User generated viral cases

“Keenan Cahill”

http://www.youtube.com/watch?v=lm_n3hg-Gbg&feature=relmfu
http://www.youtube.com/watch?v=Dwimc4cvUmQ

“Great Depression cooking”
94 year old grandmother Clara

http://www.youtube.com/watch?v=WAa4-cctmDk



Charlie bit my finger
Youtube’s most viewed video in 2009 - 148000000 views!
Source: Richard Macmanus em http://www.readwriteweb.com/archives/top_10_youtube_videos_of_all_time.php

Triviality;
Very scarce production resources.

Views it has today...

Video: http://www.youtube.com/watch?v=_OBlgSz8sSM

Only surpassed by Lady Gaga’s “Bad Romance“ video in May, 2010!


Ultimate Dog Tease
In only 2 months (2011) - reaches almost 47000000 views!

Video: http://www.youtube.com/watch?v=nGeKSiCQkPw



Amongst others that suddenly explode over the net.

http://www.youtube.com/watch?v=8OU1mW0Ty_Y&feature=player_embedded

Even days ago, among the eight most viral
videos on Twitter, two were “homemade.”
And one was in the first place, in front of
Justin Bieber and Beyonce!

http://www.youtube.com/watch?v=JgEa2tUtm0M

Source (09th of July, 2011): http://viralvideochart.unrulymedia.com/?platform=twitter



So...
As we’ve seen, the Media’s consumption, production
and distribution’s system has changed... a lot!

Mainly because Consumers aren’t passive anymore:
• They have greater control over what, where and when they consume AV content;
• They have fractioned consumption patterns over several platforms;
• They want to take part on the Media’s Ecossystem both as
producers and as distributors.



Given this new Media landscape scenario...
Isn’t it advisable, for those who produce professional AV Content, to
adapt their production and distribution strategies to this new reality?



I believe so... But how?
Is it enough to deliver and repeat the same content over different
platforms, in a simulcast distribution model?

The same content delivered over:
• TV?
• Mobile TV?
• Youtube like platforms?
• other platforms?



Maybe! But it may not be enough...
According to a study, on AV Content’s consumption habits,
consumers tend to expect to have access to different content from
platform to platform.
Source: Boggie & Sonnabend, 2009: 10-11



Solution?
Transmedia Storytelling

According to Henry Jenkins “in a Transmedia Project the story or
experience is spread across a variety of media platforms, not in a way
that’s redundant but rather in a way that’s complementary, so that
each platform contributes in what it does best.”
Source: Jenkins, 2009: T.C.: 3:00 – 3:14



Transmedia Audiovisual Products
“Matrix”
This supposedly movie and its story was spread over several media platforms:

• 3 Movies
• Several Anime short movies
• 20 Comic Books
• 3 Videogames
• and fan fiction productions such as Lego Matrix:

http://www.youtube.com/watch?v=N5EeVkhRCC8&feature=related

But there was no redundancy. Instead there was complementarity between the
content distributed across different platforms. For example, billboards that appeared
in some of the movies’ shots contained codes that unlocked the access to specific
levels of videogames.
Source: Jenkins, 2008: 99



“Lost”
This series and its story was also spread across several media platforms:

• Television series;
• 13 Mobile TV Mobisodes - Missing Pieces;
• Games;
• Wiki - collaboratively produced by fans.

Mobisódio “The Deal“: http://www.youtube.com/watch?v=OVBObv13O6c&feature=related

Once again the content spread over the different platforms was complementary
instead of redundant. For example, the Mobisodes showed not shown scenes on
the TV series. One Mobisode shows the specific scene where Michael betrays his
friends in exchange for his son’s freedom.
Fonte: Albuquerque, 2009: 08



“Magnum Gold” campaign
This campaign was also spread across several media platforms:

http://www.youtube.com/watch?v=o1f1mRRugHw&feature=related

• Press ads;
• One promotional website - offline
with an online challenge: “As good as gold“;
• Short video Ads for TV: http://www.youtube.com/watch?v=7NGg2feEhHs&feature=related
• One fake Movie trailer ad for movie theaters exhibition.



“Magnum Gold” campaign
But what made this campaign a transmedia one was, in addition to the complemen-
tary character, the fact that the content took advantage of each platform’s available
communication features, so each platform contributed in what it did best.

Challenge “As good as Gold“: Movie theater trailer ad:
• Consumer takes part of a 3rd movie; This Ad used the tipical Hollywood Movie
• Consumer shares his movie with Trailer aesthetics, therefore causing
friends. surprise when it was expected to be a
Movie trailer instead of an ice cream ad.


Conclusion...
Using the Transmedia Storytelling strategy the Producers of Matrix, Lost and the
Magnum Gold Campaign, fed the consumer’s interest and led him to “move” through
the different entry points into the story or narrative of these products,
thus ensuring their success witin their audience.



To what extent does the Transmedia strategy offer a better
answer than the Unimediatic one, to the new cultural
revolution described before?

As shown:

• It responds to the new user’s fractionated consumption patterns;

• It responds to the active and participatory relationship with Media that consumers
today demand and want to have;

• It responds to the consumer’s expectation of finding different and complementary
content across different media platforms.



Thank you very much
for your attention!



References
• ALBUQUERQUE Afonso (2009) – Lost e a ficção Transmídia. Curitiba, Brasil, Intercom – Sociedade Brasileira de estudos interdisciplinares de comunicação, 12 pp. Paper
submetido ao XXXII Congresso Brasileiro de Ciências da Comunicação – Curitiba

• BARLOW Aaron (2005) – The DVD Revolution: Movies Culture & Technology. Westport USA, Praeger Publishers, ISBN-13: 978-0275983871, 200 pp.

• BOGGIE Matt, SONNABEND Ross (2009) – Television: Entering the era of mass-fragmentation. Accenture USA, Accenture Consumer Broadcast Survey 2009, 17 pp.

• DAMÁSIO, Manuel J. (2007) – A experiência de uso e consumo dos novos media em ambientes de multimedia distribuídos. Braga, Portugal, SOPCOM 16 pp.
Paper submetido ao 5º Congresso da SOPCOM, “Comunicação e Cidadania”, Universidade do Minho, Braga.

• JENKINS Henry (2006) – Convergence Culture. Where Old and New Media collide. New York and London, New York University Press, ISBN-13: 978-0814742815,
336 pp.

• JENKINS Henry (2009) – “Henry Jenkins”, in www.youtube.com, Setembro de 2009. http://www.youtube.com/watch?v=ibJaqXVaOaI

• JENKINS Henry (2010) – “Hollywood goes Transmedia”, in Confessions of an Aca-Fan. The Official weblog of Henry Jenkins, Abril de 2010.
http://henryjenkins.org/2010/04/hollywood_goes_transmedia.html

• MARRS, Scott D., LYND John W. (2006) – “Viral videos publicize – but infringe”, in The National Law Journal, Houston, Maio de 2006.
http://www.bmpllp.com/files/1155314768.pdf

• NIELSEN WIRE (2010) – “Americans Using TV and Internet Together 35% More Than A Year Ago”, in www.BlogNielsen.com, Março de 2010.
http://blog.nielsen.com/nielsenwire/online_mobile/three-screen-report-q409/

• O’BRIEN Kevin J. (2008) – “Mobile TV Spreading in Europe and to the U.S”, in Yahoo Finance, Maio de 2008.
http://biz.yahoo.com/nytimes/080506/1194771946810.html?.v=18

• PARR, Ben (2010) – “YouTube Surpasses Two Billion Video Views Daily”, in www.mashable.com, Maio de 2010.
http://mashable.com/2010/05/17/youtube-2-billion-views/

• PATO, Luis M. (s.d.). Crossmedia: A cultura do nomadismo audiovisual na implementação das “Smart Mobs”,
Coimbra, Portugal, Escola superior de Educação de Coimbra, 26 pp.

• SONNABEND Ross (2008) – Television in Transition: Evolving consumption habits in broadcast media worldwide.
Accenture USA, Accenture Consumer Broadcast Survey 2008, 24 pp.


Avanca 2011 Communication (English version)

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