What is the future of the bbfc
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The BBFC is adapting to provide content ratings for online videos in order to remain relevant as viewing habits change. They have created a voluntary "Watch and Rate" system for directly uploaded online content and over 15 platforms use their ratings system by paying a licensing fee. However, much online viewing now occurs via sites like YouTube featuring user-generated content, which the BBFC does not currently rate. As viewing shifts more online, the BBFC's role in content ratings may diminish if they do not expand their system to include all types of online video content.
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Section b contemporary media regulation press film case studies
Contemporary media regulation in the UK has evolved over time to adapt to social changes and new technologies. Two key regulatory bodies are examined - the BBFC, which classifies and regulates films, and the PCC, which handles press complaints. While both organizations have effectively adapted some of their practices over time, new issues have also emerged that challenge their regulatory powers, particularly regarding new digital technologies. Overall, the effectiveness of these regulatory bodies has remained relatively consistent as they both strive to adapt to a changing media landscape and society, though the rise of web 2.0 presents significant difficulties for effective regulation going forward.
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This document discusses various challenges facing media regulators in the UK due to social and technological changes. It notes how the growth of new technologies like on-demand TV, social media, and the internet have made regulation more complex and fragmented efforts across different platforms and media. Several issues are highlighted like the struggle to monitor children's content consumption online, the difficulty regulating live or reality TV, and the need for film and game ratings to adapt to changing social views over time. Overall, the document examines how regulators must keep up with evolving media landscapes and societal trends to continue effectively protecting audiences.
Regulation arguments
This document discusses arguments for and against regulation of different types of media in the UK by organizations such as OFCOM (broadcast media), BBFC (film), PEGI (video games), and PCC/IPSO (print media). The main points made are that media regulation aims to protect audiences, especially vulnerable groups, from inappropriate, exploitative, or misleading content, but can also be seen as restricting freedom of expression or becoming less effective in the modern media landscape where content is easily accessible online.
Regulation effectiveness
This document discusses the effectiveness of various media regulators in the UK, including OFCOM, BBFC, PEGI, and PCC/IPSO. It provides arguments for and against their effectiveness based on factors like their ability to protect vulnerable groups, enforce codes of conduct, regulate new technologies and formats, and adapt to social changes over time. Overall it examines whether these bodies are adequately fulfilling their aims of regulating media content and business practices while balancing freedom of expression.
Byron review worksheet
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Regulation previous practices
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Contemporary media regulation in the UK has evolved over time to adapt to social changes and new technologies. Two key regulatory bodies are examined - the BBFC, which classifies and regulates films, and the PCC, which handles press complaints. While both organizations have effectively adapted some of their practices over time, new issues have also emerged that challenge their regulatory powers, particularly regarding new digital technologies. Overall, the effectiveness of these regulatory bodies has remained relatively consistent as they both strive to adapt to a changing media landscape and society, though the rise of web 2.0 presents significant difficulties for effective regulation going forward.
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This document discusses arguments for and against regulation of different types of media in the UK by organizations such as OFCOM (broadcast media), BBFC (film), PEGI (video games), and PCC/IPSO (print media). The main points made are that media regulation aims to protect audiences, especially vulnerable groups, from inappropriate, exploitative, or misleading content, but can also be seen as restricting freedom of expression or becoming less effective in the modern media landscape where content is easily accessible online.
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[The Impact of the Internet on the Video Rental Industry.docx
[The Impact of the Internet on the Video Rental
Industry: Blockbuster vs. Netflix]
2
Table of Contents
INTRODUCTION 3
VIDEO RENTAL INDUSTRY ANALYSIS 5
BLOCKBUSTER BUSINESS DESCRIPTION 7
BLOCKBUSTER BUSINESS MODEL 7
BLOCKBUSTER HISTORY 8
BLOCKBUSTER SWOT ANALYSIS 10
NETFLIX BUSINESS DESCRIPTION 14
NETFLIX BUSINESS MODEL 14
NETFLIX HISTORY 15
COMPETING ONLINE SERVICES 16
FINANCIAL ANALYSIS 18
THE FUTURE OF THE VIDEO RENTAL INDUSTRY 24
CONCLUSION 25
REFERENCES 26
3
The Impact of the Internet on Video
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to $300 million in operating income the first year the policy was enacted (Halkias). This
is not counting the increased number of new releases the company needed to purchase to
meet customer demand due to the policy. Under the "no late fees" program, a customer
was charged the purchase price for a movie if it was kept longer than 14 days. The charge
was dropped if it was returned within 30 days, and the customer was then charged a $1.25
restocking fee (Halkias). Blockbuster then created Blockbuster Total Access in attempts
to compete in the online video rental market. With Blockbuster Total Access, customers
would pay a subscription fee of $24.99 a month and rent up to 2 movies online at a time.
4
Netflix, the online DVD rental pioneer, sold a similar service for $21.99 a month.
Company CEO, John Antioco, said the overall online subscriber market is about 3
million to 5 million households, and he believes Blockbuster can attract a 30 percent
market share (Halkias). Blockbuster spent between 70 and 90 million dollars on the Total
Access program in hopes of reinventing itself. Program costs and continued decline in
rentals caused the company’s 2004 earnings to fall about 10 percent below the $1.48 a
share earned in 2003 (Halkias). The company will have to continue developing in this $8
billion dollar a year industry as it continues to change. Within another four years,
customers are expected to spend about $1.7 billion getting movies from cable to watch at
their convenience (Cohen). The video rental industry is also moving to legal downloading
sites such as CinemaNow Inc. Founded in 1999, the service lets people download movies
as a rental with a viewing window, or buy the film outright and burn it on a di.
Going Native | integrating native video into your content marketing strategy
The rise of mobile and native video is undoubtedly changing the very way in which we create, distribute and consume video content. So, the question is – can your content stand up to the video evolution revolution?
Commissioning process
The commissioning process involves planning, documenting, testing, adjusting, verifying, and training to deliver a fully functional facility that meets the owner's requirements. Commissioning should begin early to influence design and construction. BBC Three aims to enrich lives through informative, educational, and entertaining programs. It focuses on 16-34 year olds and innovating across genres and platforms. Producers can pitch ideas to commissioners, who collaborate with channels on greenlighting productions based on strengths and fit within priorities and schedules. Funding comes from TV licenses, with production budgets negotiated upfront in stages.
Commissioning process
The document discusses the commissioning process at BBC Three. It explains that BBC Three aims to enrich peoples' lives through entertaining and educational programming as a publicly funded broadcaster. It outlines BBC Three's priorities around young audiences, innovation, and talent development. The commissioning process involves pitching ideas that fit the channel's priorities to commissioning editors who work with the channel controller to schedule programming. Funding comes from the TV license fee.
Panel Iii Video Symposium
The document summarizes a panel discussion on the state and future of online video. The panelists represent different facets of the online video industry, including media technology companies, internet TV companies, and ad networks. The document provides statistics on the growth of online video viewership and advertising revenues. It also discusses current models for distributing and monetizing online video content as well as partnerships and acquisitions between traditional media and internet companies in the online video space.
Achieving Video Nirvana!
Please check out this exclusive presentation from Cisco's Pankaj Gupta, Director of Video Solutions for SP Marketing, on "Achieving Video Nirvana!" presented at OTTcon.
Consumer behavior, content consumption and business models are changing across the video ecosystem, and online video appears to be the primary source of disruption. In fact, Cisco's annual market research report discloses that, by 2013, ninety percent of all consumer IP traffic will be video. In this presentation, the Cisco speaker will address the real-world dilemmas for service provider company executives as they confront the transformations taking place in the video market. The speaker will cite real-world examples of how service providers and their ecosystem partners are developing strategies to address and profit from the coming dominance of online video.
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More from Holly Taylor
Section b essay plan
This document provides guidance for a media regulation exam question worth 50% of the final grade. It outlines that students will answer a question comparing regulatory practices across different media. The essay should: introduce the forms of media and regulators analyzed, discuss a past example, and use terms from the question. The main body should make arguments for and against regulation using case studies and theory to support each paragraph. The conclusion should summarize the argument and discuss the future of regulation.
Contemporary media regulation
Contemporary Media Regulation discusses prompts and past exam questions on the topic. The prompts focus on comparing current and past practices of media regulation, arguments for and against specific regulations, and the effectiveness and wider social issues related to regulation. Sample past exam questions ask about the effectiveness of regulating contemporary media, how changes in regulation reflect broader social changes, the extent regulation is now more or less effective than previously, and discussing the need for media regulation.
Video games intro
This document discusses the regulation of contemporary media, specifically comparing video games to film and outlining some of the same debates around their active versus passive consumption and issues of censorship. It also outlines the roles of the PEGI and BBFC rating systems in the UK and notes some controversial video game titles and case studies that will be examined.
Contemporary Media Regulation intro
This document provides an overview of key concepts and case studies to be covered regarding media regulation. It discusses debates around contemporary regulation compared to past practices and arguments for and against regulation. Examples of regulatory bodies like the BBFC and controversial films/games like Grotesque are presented to illustrate effective analysis of issues around censorship and social impacts of media.
Semiology ruth and caroline
This document discusses potential deeper meanings and interpretations of signs and symbols in two music videos. In the first video about a family breaking up, props like boxes and bags represent packing up lives, a teddy bear implies childhood innocence, and mirrors are used to reflect issues with identity as the family breaks apart. Locations filmed represent remembering childhood and leaving things behind. In the second thriller video, fingerprints left at a crime scene imply the criminal has committed crimes before, evidence being reviewed shows the detective knows the area well, and a mental health book represents researching an unstable criminal's mind. The stressed detective has dealt with the criminal before and finds it hard to believe they are committing more crimes.
Semiology Liam, joe
This document discusses signs and their potential meanings in two different film genres: thriller and children's film. For the thriller, signs discussed include a newspaper that may indicate a significant story, a house that could be the main murder location, and a notepad where an important message may be written. For the children's film, goalkeeper gloves are mentioned as relating to the title "Safe Hands", and saving the ball signifies an incredible goalkeeper.
Semiology Lewis and Matt
The document discusses various signs and their interpretations found in a music video. It analyzes newspaper clippings, a sleeping bag on the street, a chapel location, and a drum as signifiers that respectively signify being current, homelessness concerns in the area, a non-urban location fitting the genre of music, and a band member's drum playing skills. The signs and their meanings provide context and relate to the genre of music portrayed in the video.
Jade and louella
The document discusses the use of various symbols and signs in music videos and films to convey deeper meanings. It provides examples of how signs like a scrapbook representing memories, a mirror representing reflection on the past, a ripped photo representing a torn apart family, and a dog representing freedom and moving on from family issues can be used to tell a story and provide context. Shots like driving away can symbolize leaving the past behind. Elements such as a book title and newspaper are also discussed as a way to give the audience clues about what to expect in the video or film.
Ben and samanda
This document analyzes various signifiers and their signified meanings and significance in a music video. It discusses shots from a distance to portray that the character is being watched, a lift opening to represent venturing into the unknown, and running used to depict running away from a nightmare or fear. It also analyzes the lead singer writing lyrics to provide meaning, a girl walking off while texting to show frustration at the singer being late, the singer running to meet the girl but being frustrated at his lateness, and singing but looking down a lot to show he's troubled or depressed.
Semiology Sam and Michael
A document discusses clues found in a thriller video and music video. The thriller video shows a dead body that was possibly dumped, suggesting a murder. Suspect pictures are also shown but it's unclear if any are the actual killer. The video then depicts a detective overlooking the body as an investigation into the murder begins. The music video features a mask, indicating the character feels shame about their identity or actions.
Semiology holly and georgina
This document analyzes various signs and their meanings across three different media works - a music video, another music video, and the film Thriller. For each media work, it identifies several signifiers, what each signifier signifies, and the sign or meaning that can be derived from pairing the signifier and signified. The analysis uses a semiotic approach to uncover deeper meanings and themes within the visual elements of the media works.
Roland barthes
Roland Barthes was a scholar who researched how audiences interpret visual narratives. He argued that audiences look for signs and deeper meanings in stories, based on their prior knowledge of conventions from old tales and myths. His theory of semiology examines the relationship between the signifier (the object or image) and the signified (the meaning or interpretation). For example, a stop sign can be interpreted not just as a traffic sign, but also as representing restrictions on a community's freedom of movement. This document applies Barthes' semiological theory to analyzing representations and deeper meanings in film.
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This document discusses different theories of genre from several scholars. Steve Neale and John Hartley argue that genres are defined by conventions of content but can change over time and between cultures. David Buckingham asserts that genre is constantly negotiated and changing. John Fiske views genre as structuring media texts and meanings for audiences and producers. The document raises questions about how genres may be defined through structure versus content, whether they are culturally fluid, and how audience and economics impact genres.
Question 7
1. The preliminary task helped the student learn basic camera shots and editing but the cinematography was poor and only basic cuts were used.
2. For the full thriller film, the student included more advanced shots like panning and POV shots. They also learned to use more advanced editing techniques like motion keys.
3. Going through this process has made the student more confident in their editing skills and they want to continue improving by using all the techniques they learned on future projects.
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The film Undetected is a 2012 British political thriller directed by Owen Trewartha and starring Trewartha and Teddy Fisher. The film follows a secret agent (Fisher) who must stop a terrorist (Trewartha) planning an attack on a busy shopping center in Cambridge. As the terrorist leaves his bag unattended in the shopping center, it becomes a race against time for the agent to find the bag and stop the attack before harm can be done. The low-budget independent film was produced by Dystopian Productions and filmed on location in Cambridge, England.
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The document discusses theories of participatory culture, the long tail effect, and crowd-sourcing in media in the online age. It provides examples of how YouTube allows everyone to create and share videos, how niche media products can collectively earn as much as blockbusters online, and how people get free support for ideas by putting them on the internet. The document also discusses how global media companies have become dominant online players that spread Western culture, while individual media producers now create and stream content online as "prosumers."
Media and collective identity revision
This document provides guidance for writing an exam answering questions about media and collective identity in Britain. It instructs the student to choose two media (TV and film), analyze key scenes applying relevant theory, and refer to representations from the past, present and future. The student should use a TEA structure (Theory, Example, Analysis). Sample questions focus on how contemporary representations of a social group mirror current attitudes or compare to past representations. The document lists relevant social groups and time periods to draw case studies from, as well as theories by Stryker, Althusser, Marcuse, and Barthes to apply in the analysis.
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What is the future of the bbfc
- 1. What is the Future of the BBFC ? David Cooke (Director of the BBFC): ‘We have an exciting part to play in the film and video industry’s digital future’ The BBFC claim to be adapting to meet the demands of the online world. Since 2008 the BBFC have been making an attempt to provide a content labelling system for film and video content supplied via the internet. As part of this initiative, they created a new ‘Watch an Rate’ system specifically for straight-to-online content where content can be voluntarily submitted by individuals for rating. At least 15 online platforms and e-tailers already use the system and they pay a licensing fee to the BBFC so that all of their content has a BBFC certificate. Most who are using the system are not streaming/selling straight-to-online content and have previously received a BBFC certificate for cinema or dvd release. The only selling point the BBFC seem to offer for this service is “peace of mind”for platform owners that their content is legal and holds trusted ratings. BUTThere has been a proliferation of pro-sumer content on online community sites such as YouTube. There has been and perhaps will continue to be a dramatic shift in consuming habbits and a change in the media forms that are being demanded (short home made videos rather than just features or TV programmes) The BBFC claim: ‘90% of parents wish to see the BBFC’s symbols on film downloads’
- 2. Questions to develop your own voice: 1. What percentage of your viewing is content via online community websites such as YouTube, Facebook etc? 2. What percentage is cinema and dvd/blueray? 3. Do you see this changing in the future for yourself or for others your age? Why and what impact might this have on the BBFC’s role and power?