The Digital Era of TV and its effect on Content
by John Nordlinger
Skinner Myers
Ruthie Williams
Jackson Flanagan
for USC CTCS 587 “TV Theory” with Aniko Imre
The document discusses the transition from the network era of television to the emerging post-network era enabled by digital technologies. In the network era, television was financed through advertising, distributed through broadcast networks, and viewed linearly on scheduled programming. The post-network era provides more choice, control, and convenience for viewers through on-demand streaming, mobile viewing, and diverse models of financing including subscription services and crowdfunding. While this represents an opportunity for new kinds of programming, it also challenges traditional economic and business models of television production and distribution.
This document provides a summary of the evolution of media from ancient to modern times. It begins with early human communication through symbols, language, drawings and music. The printing press launched the Gutenberg era of mechanical printing and spread of knowledge. Graphic media grew with printmaking and design. Time-based media brought broadcast of images and audio. New media is digital, interactive and personalized across many platforms. Today's media landscape is volatile, challenges authority and generates uncertainty as new forms emerge rapidly. Opportunities exist despite advertising challenges from audience fragmentation across digital venues.
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
What Old Media can teach New Media: Media Convergence & Integration, Social M...Howard Greenstein
The document discusses various topics related to media convergence and integration, social media, and professionalism in digital communications. It provides a history of different media forms and how they have converged. It also discusses how various media, like television, computers, and mobile devices, are integrated and how users consume content across multiple screens. The document advocates for professionalism when creating and sharing content online.
Media convergence brings together previously separate content, computing, and communication technologies. It involves the interlocking of industries like telecommunications, computing, and content providers. Media convergence results in technological, industrial, and cultural convergence. It allows for multimedia experiences that engage users across different modes on a single platform. Transmedia storytelling spreads content across multiple media forms. While opportunities exist like lower costs and enhanced quality, challenges also exist like information overload, lack of skills to use new technologies, and rapid changes obstructing audiences.
The document discusses the development of digital media and the internet. It describes how the internet has evolved from a military communication network to today's vast network that allows access to all forms of media on any connected device. It summarizes key events like the creation of the World Wide Web and popular websites, the rise of social media, and the ongoing convergence of media through mobile devices. The document also examines economic and policy issues regarding ownership and control of the internet, privacy and security concerns, debates around censorship and net neutrality, and efforts to ensure equal digital access.
The document discusses different types of electronic media including their history, advantages, and disadvantages. It provides details on radio, television, telephone, and online/internet advertising. Radio was the earliest form of electronic media beginning in 1795. Electronic media combines various media and allows for quick, wide-reaching communication globally. However, the large amount of available information can be overwhelming and technical errors can cause undelivered data.
The document discusses the transition from the network era of television to the emerging post-network era enabled by digital technologies. In the network era, television was financed through advertising, distributed through broadcast networks, and viewed linearly on scheduled programming. The post-network era provides more choice, control, and convenience for viewers through on-demand streaming, mobile viewing, and diverse models of financing including subscription services and crowdfunding. While this represents an opportunity for new kinds of programming, it also challenges traditional economic and business models of television production and distribution.
This document provides a summary of the evolution of media from ancient to modern times. It begins with early human communication through symbols, language, drawings and music. The printing press launched the Gutenberg era of mechanical printing and spread of knowledge. Graphic media grew with printmaking and design. Time-based media brought broadcast of images and audio. New media is digital, interactive and personalized across many platforms. Today's media landscape is volatile, challenges authority and generates uncertainty as new forms emerge rapidly. Opportunities exist despite advertising challenges from audience fragmentation across digital venues.
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
What Old Media can teach New Media: Media Convergence & Integration, Social M...Howard Greenstein
The document discusses various topics related to media convergence and integration, social media, and professionalism in digital communications. It provides a history of different media forms and how they have converged. It also discusses how various media, like television, computers, and mobile devices, are integrated and how users consume content across multiple screens. The document advocates for professionalism when creating and sharing content online.
Media convergence brings together previously separate content, computing, and communication technologies. It involves the interlocking of industries like telecommunications, computing, and content providers. Media convergence results in technological, industrial, and cultural convergence. It allows for multimedia experiences that engage users across different modes on a single platform. Transmedia storytelling spreads content across multiple media forms. While opportunities exist like lower costs and enhanced quality, challenges also exist like information overload, lack of skills to use new technologies, and rapid changes obstructing audiences.
The document discusses the development of digital media and the internet. It describes how the internet has evolved from a military communication network to today's vast network that allows access to all forms of media on any connected device. It summarizes key events like the creation of the World Wide Web and popular websites, the rise of social media, and the ongoing convergence of media through mobile devices. The document also examines economic and policy issues regarding ownership and control of the internet, privacy and security concerns, debates around censorship and net neutrality, and efforts to ensure equal digital access.
The document discusses different types of electronic media including their history, advantages, and disadvantages. It provides details on radio, television, telephone, and online/internet advertising. Radio was the earliest form of electronic media beginning in 1795. Electronic media combines various media and allows for quick, wide-reaching communication globally. However, the large amount of available information can be overwhelming and technical errors can cause undelivered data.
This document summarizes a research paper that aims to explore motivations for film consumption across different viewing platforms such as cinema, TV, DVD, and online platforms. It discusses how film viewing has changed with technological advances and how audiences now have more options to watch films. The researcher intends to interview 12-16 people to understand what factors influence their choice of viewing platform and what needs they are satisfying by watching films on different devices. The study will analyze the interview responses using a qualitative template approach and compare the findings to existing literature on uses and gratifications theory.
The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
This document summarizes a seminar on the characteristics of electronic media. It defines mass media and electronic media, noting that electronic media uses electricity or digital encoding to convey information through devices like television and radio. The document outlines the major types of electronic media, including radio, TV, and modern media like the internet and CD-ROMs. It describes several key features of electronic media such as its accessibility, low cost, and ability to reach a mass audience. The document concludes that electronic media can report news quickly and provide audiovisual content, making it more accessible and eco-friendly than print media.
New media refers to mass communication technologies that emerged in recent decades, including the internet, websites, and digital/interactive media. It allows for two-way communication and user participation. While some see new media as empowering citizens and democratizing information, others argue it remains consolidated among large media companies and does not replace traditional media. New media also raises questions about privacy, information quality, and how technology shapes human communication and society.
This presentation is a contribution to the definition of the New Media concept. Prepared by Ismail H. Polat. (Instructor in New Media Department @ Kadir Has University, Istanbul.
New and digital media refers to digital devices, citizen journalism, social networking, digital natives, time-shift viewing, the internet, web 2.0, apps, and blogs. Contemporary media issues related to new digital media include privacy concerns from hacking incidents and leaked photos, regulation of new technologies, and the use of social media and online videos in spreading propaganda or recording incidents like police interactions. New terminology includes hardware, software, media technology developments that have impacted industries like film, music, television, radio, and online platforms. Web 1.0 allowed only reading information while web 2.0 enables contributing and changing content. Digital natives are comfortable with technology while digital immigrants had to adapt to changing media.
Has new media democratised the production of media texts by shifting the control of media content away from large media institutions?
Has new media changed the way media texts are consumed and what are the social implications for this?
Has new media technology provided new cross-cultural, global media texts that communicate across national and social boundaries?
How active or interactive are consumers of new media and how significant is this in terms of power?
How has new/digital media impacted on traditional media productions and consumption?
To what extent does new media escape some of the constraints of censorship that traditional media encounters?
Role Of Media In Communication And Types OF MediaAnsar Gill
The document discusses the role of media in communication and provides examples of different types of historical and modern communication media. It begins by defining media and communication. It then covers smoke signals, pigeon post, Pony Express, flag semaphore, and telegraphy as some of the earliest forms of communication media. The document also discusses electronic media and provides a brief history from the telegraph to the internet. It describes uses of electronic media in journalism, news, marketing, education, and entertainment. Finally, the document discusses television as a popular modern media and concludes by suggesting virtual reality, augmented reality, and human cyborgs as potential future communication media.
Types of Media - Media and Information Literacy (MIL)Mark Jhon Oxillo
The document discusses different types of media, including print media such as newspapers and books, broadcast media like television and radio, and digital or new media consisting of online platforms and social media. It explains that media convergence occurs when different media sources combine, allowing content to be distributed across multiple devices. Examples provided include smartphones that converge functions like cameras, maps and web browsing, and internet companies like Google and Facebook that offer diverse converged services and platforms.
eCommunication: The 10 Paradigms of Media in the Digital Age by Jose Luis Orihuela. II A20 COST Conference: Towards New Media Paradigms. Content, Producers, Organizations and Audiences (Pamplona, 27-28 de junio de 2003). Published in: Towards New Media Paradigms: Content, Producers, Organisations and Audiences, Ediciones Eunate, Pamplona, 2004, pp. 129-135.
Technological convergence refers to the tendency of different technologies to perform similar functions. It occurs when new technologies develop that take over tasks previously handled by older technologies. Examples include phones replacing radios for listening to music and the internet allowing access to services once separate such as communication, entertainment, and social interaction. Convergence has advantages for both audiences and institutions but also disadvantages. It provides more convenient access to content and services for audiences while allowing institutions more opportunities for promotion and profit. However, convergence technologies can be expensive both for audiences to access and institutions to develop, potentially limiting their adoption and returns.
The document discusses how the creation of the web has changed audience behavior and interactions with media. It explores the rise of social media and user-generated content, noting that audiences now participate more actively online as "prosumers" who both consume and produce media. This has resulted in a blurred line between audiences and producers. The document also examines concepts like citizen journalism, fake news, and debates different perspectives on the impact of these changes.
This document defines and describes different types of media. It discusses conventional media, such as print media like newspapers and books, television, movies, video games, music, mobile phones, and software. Conventional media refers to forms of mass communication that existed before digital media. The document also defines new media as media that uses electronic devices like mobile phones, laptops, and computers, as well as applications like social media platforms and online content. Both conventional and new media are examples of channels that store and deliver information to people.
This document summarizes the key differences between old media and new media. Old media refers to traditional mass communication forms like books, newspapers, radio, and television that are produced and distributed by large organizations. New media emerged with digital technologies and allows for user-generated content where individuals can produce and share content worldwide for little to no cost by posting videos, statuses, or other information online through platforms. While some newspaper corporations have adapted by also providing online content, new media has fundamentally changed media production and consumption.
Chapter 3: Historical and Cultural ContextVal Bello
This chapter provides a broad overview of the major developments in communication technologies throughout history. It discusses seven milestones: printing, telegraph/telephone, photography/motion pictures, radio/television, digital media, mobile media, and social media. Each new technology had significant cultural impacts by changing how information was shared and consumed.
This document provides a history and overview of electronic media. It begins with the origins of electronic media technologies like the telegraph, telephone, radio, and television. It then defines electronic media as a category used to spread information through electronic devices and digital means. The purpose of electronic media is described as efficiently connecting people worldwide. Key types of electronic media discussed include television, radio, and the internet. The document outlines advantages like widespread accessibility and sharing of information and knowledge, as well as disadvantages such as reduced socialization and potential unsuitable content.
Henry Jenkins argues that new media does not replace old media, but rather old media persists and evolves into new forms. For example, ebooks are a new form of the old medium of books. Jenkins identifies five processes of media convergence: technological, economic, social/organic, cultural, and global. Technological convergence occurs as different media forms are transformed into digital formats. Economic convergence involves media companies expanding into different industries. Social convergence refers to how people engage with multiple media simultaneously. Cultural convergence allows people to participate in archiving and sharing media online. Global convergence means international media content is more accessible worldwide.
This document defines and discusses the concept of media convergence from several perspectives. It begins by explaining the basic meaning of convergence and then outlines four dimensions of convergence according to Meikle: technological, industrial, social, and textual. It also discusses forms of convergence like technological, regulatory, media industry, and convergence culture. Key aspects of convergence culture are participatory media and collective intelligence. The document examines perspectives on convergence from scholars like Jenkins and Miller and notes that convergence is a complex, ongoing process rather than an endpoint. It is both a technological and cultural phenomenon driven by changes in user behavior and media consumption.
Media convergence refers to the merging of computing, telecommunications, and media in a digital environment. This convergence is leading to fundamental changes in how content is produced, distributed, and consumed. It represents a shift to a new paradigm where producers and consumers interact in predictable ways and where old and new media collide. Media convergence is having wide-ranging economic, social, and political implications for industries, governments, and society.
New and digital media encompasses technologies that utilize the internet like social networks, mobile devices, virtual reality, and streaming services. This document discusses key terms related to new media like software, hardware, media technology, and how developments have impacted industries like film, music, television, and radio. It also explores concepts such as technological determinism, convergence, and how new media shapes identity and influences behaviors.
Unearthing the total value of web series the economic, industrial, cultural a...Mark David Ryan
A presentation that establishes a definition and the evolving understanding of web series as a hybrid form of internet television before establishing the concept of total value and how it is conceptualized in this project. The presentation was presented by Associate Professor Mark David Ryan (2019) as a visiting scholar for the Humanities Faculty, the University of Porto Arts (Faculdade de Letras da Universidade do Porto), Porto, Portugal, 25 October, 2019. This research is funded the ARC Linkage project Valuing Web Series: Economic, Industrial, Cultural and Social Value (LP180100626).
This document summarizes a research paper that aims to explore motivations for film consumption across different viewing platforms such as cinema, TV, DVD, and online platforms. It discusses how film viewing has changed with technological advances and how audiences now have more options to watch films. The researcher intends to interview 12-16 people to understand what factors influence their choice of viewing platform and what needs they are satisfying by watching films on different devices. The study will analyze the interview responses using a qualitative template approach and compare the findings to existing literature on uses and gratifications theory.
The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
This document summarizes a seminar on the characteristics of electronic media. It defines mass media and electronic media, noting that electronic media uses electricity or digital encoding to convey information through devices like television and radio. The document outlines the major types of electronic media, including radio, TV, and modern media like the internet and CD-ROMs. It describes several key features of electronic media such as its accessibility, low cost, and ability to reach a mass audience. The document concludes that electronic media can report news quickly and provide audiovisual content, making it more accessible and eco-friendly than print media.
New media refers to mass communication technologies that emerged in recent decades, including the internet, websites, and digital/interactive media. It allows for two-way communication and user participation. While some see new media as empowering citizens and democratizing information, others argue it remains consolidated among large media companies and does not replace traditional media. New media also raises questions about privacy, information quality, and how technology shapes human communication and society.
This presentation is a contribution to the definition of the New Media concept. Prepared by Ismail H. Polat. (Instructor in New Media Department @ Kadir Has University, Istanbul.
New and digital media refers to digital devices, citizen journalism, social networking, digital natives, time-shift viewing, the internet, web 2.0, apps, and blogs. Contemporary media issues related to new digital media include privacy concerns from hacking incidents and leaked photos, regulation of new technologies, and the use of social media and online videos in spreading propaganda or recording incidents like police interactions. New terminology includes hardware, software, media technology developments that have impacted industries like film, music, television, radio, and online platforms. Web 1.0 allowed only reading information while web 2.0 enables contributing and changing content. Digital natives are comfortable with technology while digital immigrants had to adapt to changing media.
Has new media democratised the production of media texts by shifting the control of media content away from large media institutions?
Has new media changed the way media texts are consumed and what are the social implications for this?
Has new media technology provided new cross-cultural, global media texts that communicate across national and social boundaries?
How active or interactive are consumers of new media and how significant is this in terms of power?
How has new/digital media impacted on traditional media productions and consumption?
To what extent does new media escape some of the constraints of censorship that traditional media encounters?
Role Of Media In Communication And Types OF MediaAnsar Gill
The document discusses the role of media in communication and provides examples of different types of historical and modern communication media. It begins by defining media and communication. It then covers smoke signals, pigeon post, Pony Express, flag semaphore, and telegraphy as some of the earliest forms of communication media. The document also discusses electronic media and provides a brief history from the telegraph to the internet. It describes uses of electronic media in journalism, news, marketing, education, and entertainment. Finally, the document discusses television as a popular modern media and concludes by suggesting virtual reality, augmented reality, and human cyborgs as potential future communication media.
Types of Media - Media and Information Literacy (MIL)Mark Jhon Oxillo
The document discusses different types of media, including print media such as newspapers and books, broadcast media like television and radio, and digital or new media consisting of online platforms and social media. It explains that media convergence occurs when different media sources combine, allowing content to be distributed across multiple devices. Examples provided include smartphones that converge functions like cameras, maps and web browsing, and internet companies like Google and Facebook that offer diverse converged services and platforms.
eCommunication: The 10 Paradigms of Media in the Digital Age by Jose Luis Orihuela. II A20 COST Conference: Towards New Media Paradigms. Content, Producers, Organizations and Audiences (Pamplona, 27-28 de junio de 2003). Published in: Towards New Media Paradigms: Content, Producers, Organisations and Audiences, Ediciones Eunate, Pamplona, 2004, pp. 129-135.
Technological convergence refers to the tendency of different technologies to perform similar functions. It occurs when new technologies develop that take over tasks previously handled by older technologies. Examples include phones replacing radios for listening to music and the internet allowing access to services once separate such as communication, entertainment, and social interaction. Convergence has advantages for both audiences and institutions but also disadvantages. It provides more convenient access to content and services for audiences while allowing institutions more opportunities for promotion and profit. However, convergence technologies can be expensive both for audiences to access and institutions to develop, potentially limiting their adoption and returns.
The document discusses how the creation of the web has changed audience behavior and interactions with media. It explores the rise of social media and user-generated content, noting that audiences now participate more actively online as "prosumers" who both consume and produce media. This has resulted in a blurred line between audiences and producers. The document also examines concepts like citizen journalism, fake news, and debates different perspectives on the impact of these changes.
This document defines and describes different types of media. It discusses conventional media, such as print media like newspapers and books, television, movies, video games, music, mobile phones, and software. Conventional media refers to forms of mass communication that existed before digital media. The document also defines new media as media that uses electronic devices like mobile phones, laptops, and computers, as well as applications like social media platforms and online content. Both conventional and new media are examples of channels that store and deliver information to people.
This document summarizes the key differences between old media and new media. Old media refers to traditional mass communication forms like books, newspapers, radio, and television that are produced and distributed by large organizations. New media emerged with digital technologies and allows for user-generated content where individuals can produce and share content worldwide for little to no cost by posting videos, statuses, or other information online through platforms. While some newspaper corporations have adapted by also providing online content, new media has fundamentally changed media production and consumption.
Chapter 3: Historical and Cultural ContextVal Bello
This chapter provides a broad overview of the major developments in communication technologies throughout history. It discusses seven milestones: printing, telegraph/telephone, photography/motion pictures, radio/television, digital media, mobile media, and social media. Each new technology had significant cultural impacts by changing how information was shared and consumed.
This document provides a history and overview of electronic media. It begins with the origins of electronic media technologies like the telegraph, telephone, radio, and television. It then defines electronic media as a category used to spread information through electronic devices and digital means. The purpose of electronic media is described as efficiently connecting people worldwide. Key types of electronic media discussed include television, radio, and the internet. The document outlines advantages like widespread accessibility and sharing of information and knowledge, as well as disadvantages such as reduced socialization and potential unsuitable content.
Henry Jenkins argues that new media does not replace old media, but rather old media persists and evolves into new forms. For example, ebooks are a new form of the old medium of books. Jenkins identifies five processes of media convergence: technological, economic, social/organic, cultural, and global. Technological convergence occurs as different media forms are transformed into digital formats. Economic convergence involves media companies expanding into different industries. Social convergence refers to how people engage with multiple media simultaneously. Cultural convergence allows people to participate in archiving and sharing media online. Global convergence means international media content is more accessible worldwide.
This document defines and discusses the concept of media convergence from several perspectives. It begins by explaining the basic meaning of convergence and then outlines four dimensions of convergence according to Meikle: technological, industrial, social, and textual. It also discusses forms of convergence like technological, regulatory, media industry, and convergence culture. Key aspects of convergence culture are participatory media and collective intelligence. The document examines perspectives on convergence from scholars like Jenkins and Miller and notes that convergence is a complex, ongoing process rather than an endpoint. It is both a technological and cultural phenomenon driven by changes in user behavior and media consumption.
Media convergence refers to the merging of computing, telecommunications, and media in a digital environment. This convergence is leading to fundamental changes in how content is produced, distributed, and consumed. It represents a shift to a new paradigm where producers and consumers interact in predictable ways and where old and new media collide. Media convergence is having wide-ranging economic, social, and political implications for industries, governments, and society.
New and digital media encompasses technologies that utilize the internet like social networks, mobile devices, virtual reality, and streaming services. This document discusses key terms related to new media like software, hardware, media technology, and how developments have impacted industries like film, music, television, and radio. It also explores concepts such as technological determinism, convergence, and how new media shapes identity and influences behaviors.
Unearthing the total value of web series the economic, industrial, cultural a...Mark David Ryan
A presentation that establishes a definition and the evolving understanding of web series as a hybrid form of internet television before establishing the concept of total value and how it is conceptualized in this project. The presentation was presented by Associate Professor Mark David Ryan (2019) as a visiting scholar for the Humanities Faculty, the University of Porto Arts (Faculdade de Letras da Universidade do Porto), Porto, Portugal, 25 October, 2019. This research is funded the ARC Linkage project Valuing Web Series: Economic, Industrial, Cultural and Social Value (LP180100626).
This document discusses transmedia research related to the television show Big Brother and transmedia television. It provides background on transmedia storytelling and how reality TV shows like Big Brother were early adopters of transmedia strategies. Big Brother is used as a case study, with different readings summarized that examine how it incorporated the internet, phones, and other media to engage audiences and allow them to participate in the show across platforms. The readings also discuss how emerging technologies are transforming television and audience engagement with multiplatform texts.
The document discusses media convergence and the changing landscape of journalism. It describes how print, broadcast and online media are converging, with journalists now expected to work across multiple platforms. Examples are given of media companies that have successfully integrated their print, broadcast and online operations. The challenges and opportunities of convergence for both media companies and journalists are also examined.
The document discusses how digital media has fragmented film audiences. It explains that convergent media allows consumers to become more active users who produce their own content. This erodes the boundaries between producers and audiences. Producers now aim to trigger audience engagement across multiple media platforms rather than keep large, unified audiences. Digital media has improved the audience experience by allowing more choice and participation.
Social media communication_lecture_2012GretaMedelyte
1. The document discusses the impact of new media on communication and creativity in advertising. It analyzes how communication models have shifted from mass to personalized media with more audience involvement and engagement.
2. New media allows for a "third layer" of experiential advertising beyond just announcements, through interactive and social campaigns. This has implications for the structure of agencies and the creative process.
3. Mobile devices are increasingly important communication tools, as they allow messages to reach audiences in opportune moments. New forms of viral, user-generated, and socially enabled advertising are emerging that engage audiences in two-way conversations.
The document discusses new media and its history and impact. It defines new media as digital technologies like the internet, websites, and interactive content. New media allows on-demand access from any device and user interactivity. Examples mentioned include social media, CDs, DVDs, and digital technologies transforming old media. The rise of new media has led to increased media fragmentation and availability of content. New media has both positive impacts like more communication and negative impacts like manipulation. In Bangladesh, new media use has grown rapidly via internet and smartphones, influencing public opinion and protests.
The document summarizes the history and development of digital storytelling from its origins in the late 1980s through its adoption in various contexts over time. It traces how digital storytelling was pioneered by artists Dana Atchley and Joe Lambert and later developed at organizations like the Center for Digital Storytelling. It then analyzes the diffusion and adoption of digital storytelling using Rogers' innovation diffusion theory, identifying innovators, early adopters, and categorizing adopters over time. Key factors like perceived attributes and the roles of change agents in its adoption are also discussed.
The document summarizes the history and development of digital storytelling from its origins in the late 1980s through its adoption in various contexts. It traces how digital storytelling was pioneered by artists Dana Atchley and Joe Lambert and developed through their workshops and the founding of the Center for Digital Storytelling. It then discusses the diffusion of digital storytelling through early adopters like community organizations and colleges, followed by the early and late majorities of corporate and nonprofit users. Critical mass was reached in 1999, though K-12 education was slower to adopt, requiring ongoing training. Key factors in adoption rates included the complexity of tools and observability of results.
The document discusses electronic media. It defines electronic media as existing in many forms such as radio, television, computers, and smartphones. The document outlines the history of major electronic media technologies from the telegraph to computers. It also lists some of the traditional types of electronic media such as television, radio, and the internet as well as new hybrid forms like smartphones and digital displays. The document discusses how electronic media is used in education through multimedia presentations to help teach students.
New and traditional media are converging as print, audio, and audiovisual media move online. This convergence involves a shift from one-way communication to participation across communication technologies. New media like social networks and mobile phones allow people to both consume and produce media as "prosumers". This participatory culture has implications for education, identities, and social change.
Contextual studies New & emerging industriesMarc Atkinson
This document discusses multimedia and emerging forms of digital storytelling. It defines multimedia as combining various artistic mediums, and notes the increasing use of nonlinear and interactive formats. Examples of linear and nonlinear multimedia are provided. The development of hypertext and hypermedia are discussed. Cross-platform storytelling is explored through the work of photographer Tim Hetherington. New forms of visual storytelling using virtual reality, social media platforms, and interactive web documentaries are mentioned through the work of Zackary Canepari on Flint, Michigan.
This is a practice-based dissertation that talks about Cinema in the Digital Age: New Financing and Distribution Models.
To explore this topic I have researched books, articles, speeches and movies of relevant authors; I have also interviewed filmmakers and entrepreneurs related to these new models of cinema financing and distribution in the digital age.
In addition I have used my own experience as a creator to produce a meta-documentary that complements this thesis, you can watch it here: https://vimeo.com/34564060
This document discusses the evolution of the internet and multimedia from the 1960s to present day. It traces key developments like the ARPANET project in 1969, the creation of Microsoft and Apple in the 1970s, the establishment of the World Wide Web by Tim Berners-Lee in 1989. It also examines how technological advances and new platforms have changed news consumption and production, requiring newsrooms to adopt converged, multimedia approaches. Journalists now need skills to tell stories across multiple media. The rise of social media and user participation in content creation is also shifting the relationship between audiences and news producers.
This document discusses the use of multimedia and mobile media in public relations. It identifies sources for multimedia elements like text, images, audio and video and analyzes how these different components can be integrated effectively. The document also assesses the strategic value of mobile tactics and discusses how understanding the uses and gratifications of mobile media for publics can help drive PR strategy. Finally, the document stresses the importance of applying ethical values like privacy when handling data obtained from mobile media.
This document summarizes an article about teaching media convergence in undergraduate courses. The author designed a course called "US Media Now" that focuses on television, film, and other media as they are unfolding in real-time. Students track new shows and movies throughout a semester, analyzing marketing strategies and how properties extend across platforms. Assignments ask students to apply concepts of transmedia storytelling, participatory culture, and experiential marketing to course texts. The author finds these assignments that blend critical thinking and industry practice help illuminate media convergence and prepare students for media careers.
(c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6
CHAPTER 2 ○ INTERNET���37
MASS MEDIA AND
THE CULTURAL LANDSCAPE
40
The Evolution of the
Internet
48
The Internet Today:
From Media
Convergence
to Web 3.0
52
Video Games
and Interactive
Environments
56
The Economics and
Issues of the Internet
66
The Internet and
Democracy
The Internet,
Digital Media,
and Media
Convergence
Starting a decade ago, the most famous mar-
keting campaign for mobile phones involved
a Verizon Wireless test technician wearing
horn-rimmed glasses saying “Can you hear me
now?” into his phone from various locations.
These days, the original purpose of a mobile
phone—a voice call—is no longer the main
attraction. Instead, the Blackberry, the iPhone,
and Google’s Android phones lead a growing list
of smartphones that feature options like mobile
broadband, Wi-Fi, texting, GPS navigators,
music players, touch screens, full keyboards,
cameras, and speech recognition. Mobile
phones today represent a “fourth screen” (after
movie screens, televisions, and computers) for
many users, allowing us to go online, watch vid-
eos, or take and send photos wherever we are.
We may be on the go, but now we aren’t discon-
nected from the mass media—we take it with us.
(c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6
38���MASS MEDIA AND THE CULTURAL LANDSCAPE
THE INTERNET, DIGITAL MEDIA,
AND MEDIA CONVERGENCE
The change in the technology and
culture of mobile phones is evident
in current mobile phone marketing.
When HTC released its Droid Incred-
ible smartphone for Verizon in 2010,
voice calls were hardly even a feature
worth promoting. Indeed, the only times
Verizon mentioned voice was in connec-
tion to the voice-enabled keyboard (so
users can speak their text messages in-
stead of typing them) and voice search,
which uses voice recognition to search
Google. The more important features
in the marketing campaign were the
powerful processors, the touch screen,
social networking ease, synced e-mail
accounts, Google Maps, the 8 mega-
pixel camera, and thousands of apps
and widgets from the Android Market
(similar to the iPhone’s App Store).
One of the latest entries, Motorola’s
Bravo (for AT&T) is a smartphone whose
design and features focus on Web
browsing and social networking so much
that most reviews don’t even address
the phone’s call quality. Instead, the
Bravo’s marketing efforts show off its
full HTML browser with Adobe Flash
Lite 3 (for a content-rich surfing experi-
ence) and a large touch screen (making
it better for watching video). The phone
also features MOTOBLUR, a service
that syncs your Facebook, MySpace,
and Twitter updates into a single feed.
However, given the fierce competition
in the market, it can be difficult to know
which of the many new smartphones
will be popular with consumers and have
lasting power.
This shift i ...
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Career Milestones
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Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
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The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
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The Abduction: Unfolding the Dwayne Johnson Kidnapping
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The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
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Tvtech v4
1. The Digital Era of TV and its effect on
Content
John Nordlinger
Ruthie Williams
Skinner Myers
Jackson Flanagan
USC CTCS 587 “TV Theory” with Aniko Imre.
John Nordlinger
Skinner Myers
Ruthie Williams
Jackson Flanagan
2. Production
Component
Network Era
(1950s to 1980s)
Multi-Channel
Transition
(1980s – 2009)
Post Network Era
(after 2009)
Technology Television VCR, remote
Analog Cable
DVR, VOD,
Digital Cable Portable
devices
Creation Deficit financing Fin-syn rules, surge of
independents,
end of fin-syn
conglomeration and
co-production
Multiple financing norms,
variation in cost structure
and aftermarket value,
opportunities for amateur
production
Distribution Bottleneck, definite
windows, exclusivity
Cable increases
possible outlets
Erosion of time between
windows and exclusivity of
content anytime, anywhere.
Advertising .30 ads, upfront market Subscription,
experimentation with
alternatives to .30 sec
ads
Co-existence of multiple
models -- .30sec,placement,
integration, branded
entertainment
Sponsorship, multiple use
supported transactional and
subscription
Audience
Measurement
Audiometers, diaries,
Sampling (Nielsen)
People meters,
Sampling (Nielsen)
Portable People Meters,
census measure
Amanda Lolz, “The Television Will Be Revolutionized”, pg 8, 2007
3. Production
Component
Network Era
(1950s to 1980s)
Multi-Channel and
Digital Transition
(1980s – 2009)
Digital Era
(2010-2013)
Financing Deficit financing Fin-syn rules, surge of
independents,
end of fin-syn
conglomeration and
co-production
Multiple financing norms,
variation in cost structure
and aftermarket value,
opportunities for amateur
production
Development Creation limited to
within stovepipe
system of select
studios.
Studios open up,
Independent efforts
gain note. Cable raises
the quality bar.
Opportunities for amateur
production, tech companies
enter the fray.
Distribution Bottleneck, definite
windows, exclusivity
Cable increases
possible outlets
Erosion of time between
windows and exclusivity of
content anytime, anywhere.
Cable wanes while
broadband waxes.
Advertising .30 ads, upfront market Subscription,
experimentation with
alternatives to .30 sec
ads
Co-existence of multiple
models -- .30sec,placement,
integration, branded
entertainment
Sponsorship, multiple use
supported transactional and
subscription
Audience
Measurement
Audiometers, diaries,
Sampling (Nielsen)
People meters,
Sampling (Nielsen)
Portable People Meters,
census measure ,
4. Video On Demand
Unique Viewers Estimated Subscribers Fall
2012
Google/Youtube 152 Million
Hulu 22 Million 3 Million
Netflix 23 Million
Amazon ??? ??
5. TWC vs. CBS
The Digital Era will
bring commodization
and upset established
entertainment
businesses with
unexpected winners.
6. Wired, Vol 21.04 April, 2013 “How Data Powers the Platinum Age of Television
emmy nominations
7. How does Digital TV, by expanding it reach,
affect how TV is being made and measured?
16. Brief History of Writing and
Technology
• http://www.youtube.com/watch?v=nTPaGfrI2wc
17. How We Think About Writing
• Jim Porter- Author of “Why Technology Matters to Writing
• From the scenic perspective, writing is not only the words
on the page, but it also concerns mechanisms for
production (for example, the writing process, understood
cognitively, socially, and technologically); mechanisms for
distribution or delivery (for example, media); invention,
exploration, research, methodology, and inquiry
procedures; and questions of audience, persuasiveness,
and impact. From the scenic/contextual perspective,
writing technologies play a huge role—especially in terms
of production (process) and distribution (delivery).”
19. Writing Becomes More Transparent
Because of Technology
• Curtin says, “media policies can establish barriers, but just as
importantly they can act as enablers, helping to nurture and
sustain spaces for local voices in a global era.”
• Olson defines transparency “is the capability of certain texts
to seem familiar regardless of their origin, to seem a part of
one’s own culture, even though they have been crafted
elsewhere.”
22. Nelson: “Quality TV Drama”
• Historically, we valued quality (1950’s-1960’s)
• Digital technology is approximating film
• Technology has validated the TV Network era
• Broader economic and cultural impact
• Subscription and premium channels
• Aesthetic and production values appropriate
dramatic code
23. Brundson: “Problem With Quality”
• Quality is “just a word”
• Technology vs. film as an art form
• Judgment on advancing technology is
subjective
• What can be achieved with technology
constraints?
• Can quality be interlinked with money and
technology?
24. Jenkins: “Cultural Logic”
• What is the future of media?
• Commercial Media
• Collective Imagining
• Production vs. Consumption
• Flow of media across different platforms
• Revising audience measurement
• Redesigning the economy
25. “Since Mad Men debuted on AMC in 2007, the cable channel’s subscriptions, licensing
fees, and ad revenue have all grown dramatically. In other words, quality original
programs mean big money”. Wired, Vol 21.04
26. Conclusion
Digital Technology is disrupting the entertainment
industry such that it is entering a new era, accurately
called the Digital Era.
In this era, like any crisis there are dangers and
opportunities. The dangers include piracy, disaffecting
viewers, inferior content and lost historical media
content. The opportunities include, reaching niche and
global audiences, better stories and improved quality.
However, with laissez-faire regulation, it is up to the
cultured consumer to hold TV to a higher standard.
27. Bibliography
• Books:
• Aluetta, Ken, Three Blind Mice :How the TV Networks Lost Their Way
• Lolz, Amanda D. and Gray, “Television Studies”
• Lolz, Amanda D., The Television Will Be Revolutionized., 2007.
• Sepinwall, Alan, The Revolution was Televised, 2012
• Academic Articles:
• Hayles, N. Katherine. (1999). How we became posthuman: Virtual bodies in cybernetics, literature, and informatics. Chicago: The
University of Chicago Press.
• Jenkins, Henry Journal of Cultural Studies 7.1: 33-43. ““The Cultural Logic of Media Convergence”, 2004
• Mittel, Jason “Narrative Complexity in Contemporary American Television”
• Sullivan, Patricia A., & Porter, James E. (1990). How do writers view usability information? A case study of a developing documentation
writer. Asterisk ( now Journal of Computer Documentation), 14, 29–35.
• Warschauer, M. (2007). Technology and writing. In C. Davison & J. Cummins (Eds.), The International Handbook of English Language
Teaching (pp. 907-912). Norwell, MA: Springer.
• Nelson, Robin “Quality TV Drama.” In McCabe and Akass, Quality TV.
• Brunsdon, Charlotte (1990) “Problems with Quality” Screen 31.1
• Industrial Articles:
• Geller, Jonathan, Variety, “How Apple Will Kill Gaming Consoles.” pg 31, May 2013
• “ Hulu’s Fork in The Road“, Wall Street Journal. December 12, 2012 Pp B1-B2
• Wired, “From Netflix to Twitter, Biometrics to Banana Stands. How Data powers the Platinum Age of Television”, 92-103. April 2013, Vol
21.04
• L:A Times, Aug 6th pp “A blackout and a black eye in cable TV feud”, B1,B3, “Viewers see class of the TV titans.”, D1,D5
• The Web:
• http://insidedigitalmedia.com , assorted articles
• http://entertainment.slashdot.org
• http://flowtv.org
• TV Technology website and magazine.– www.tvtechnology.com
• http://insidedigitalmedia.com , assorted articles
• http://entertainment.slashdot.org
• http://flowtv.org
Editor's Notes
Fin-syn -
These trends can be summarized as follows: Broadcasting > NarrowcastingSingular Technology > Multi-platformContent > Rich set of diverse experiences/practicesSponsorship/Spots > Multiple although splintered revenue streams