During the last few weeks we discussed and analyzed media as it exists on different platforms, often by the same companies, and how the media industry tries to cope with changed consumer behaviour on new digital platforms. This week our readings focused on multiple viewpoints, from the changing music video industry and culture to the practices of industry convergence (of which we spoke earlier) and its effect on media, to the amazing adaptive nature of the Lego brand in narrative as well as (digital) platforms worldwide.
Maura Edmond (2014) had some interesting insights about the changing music video industry. The changed cultural practice of music videos changed, according to Edmond, because of lowered income out of broadcasting rights which also meant production budget went down.[1] The fast pace of new media development at the beginning of the 21st century meant changing audiences and more importantly, an audience that began to behave differently in using this type of media.[2] In contrast to the heyday of the celebrated art of music videos on TV-channels like MTV and for instance the Dutch broadcaster TMF, people were starting to get used to watching videos on-demand via the internet and in the long run wanted to participate and be part of different online communities in combination with social media. Audiences started sharing and creating new content while participating. Eventually the industry has responded to this immersion and reproduction of material by fans by simultaneously making use of the obligatory low budget cost factor by their studio overlords and at the same time zoom in at this particular aspect by making videos easy to mimic and reproduce.[3] Key factor in low cost-producing these videos would be having a specific memorability that sets it apart. In our opinion these characteristics in videoclips that have a certain quirkiness or hook that often hold close to idea of authenticity.
While we are on the subject of authenticity, or at least fans of certain (online) communities longing for it, Derek Johnson (2012) wrote an interesting article on how economic and creative independence ‘can be culturally negotiated’.[4] Taking the example of the Marvel company, the biggest comic book publisher in the world, Johnson explains how a changing media convergence in comics, namely by bringing Marvel's comic book heroes to the celluloid world, does not necessarily mean Marvel is leaving its core values but instead can lead to new cultural highlights as well.[5] While Johnson himself emphasizes the struggles Marvel experienced in the early days of this transformation to the silver screen, we found the new ways comic book fans can experience the stories most compelling to further investigate. As Johnson mentions, when making use of the new media of film (from a comic book standpoint), Marvel discovered it could create narratives on multiple levels on film that could interconnect in different ways when put next to each other and analyzed in detail. By doing so, Marvel stimulated multiple viewings by fans who are thus triggered to (digitally) buy the material or for instance occasional impulsive viewers by using streaming services. [6]
During class on the Media course we were challenged on finding new ways in reaching a certain goal.[7] By dividing us in five groups and given case studies consequently, we could use examples that were in the texts the past weeks or just use our imagination and creative brains to come up with ideas. In case of the food blog, the group needed to see how they could expand through uses of media. This forced us to think of expandability in forms of creating new unfamiliar categories to the blog or creating certain products ourselves. We were also given examples on new forms of media involvement experiments with famous bands, for instance Radiohead who used 30 second material of fans in their own music video. This is an excellent example of simultaneously engaging interactively with your fans which creates a level of authenticity, because it creates the illusion of being on the same level or playground, and at the same time making use of low-cost production values (although it might also demystify the band’s properties on another level).
In all the above examples, media convergence has had a strong impact. Music videos, to a world in which material of the public is democratized to the same level and importance as production work from big studios like VEVO, to a traditional comic book publisher who has made new ways of mass-producing works in a world that is not solely based on papyrus any more.
The example of Marvel is important, since media convergence strategies will likely be happening more and more now just a few studios seem to own whole ranges of Intellectual Property that they are able to sort out and spread on multiple levels of (digital) media or interactive platforms. While we did not have the chance to speak on the example of Lego in this blog, we also recognize the multi-layered complexities that come into play as virtual bricks and Lego shaped IP’s become just as important as the original bricks from the 50’s once were.[8]
Can we negotiate with ourselves, the cultural importance of this changing and all-fulfilling media landscape? Or is it all, in the words of Johnson (2012) ‘legitimized in the era of industrial convergence’? [9] Let’s find out.
Can we negotiate with ourselves, the cultural importance of this changing and all-fulfilling media landscape? Or is it all, in the words of Johnson (2012) ‘legitimized in the era of industrial convergence’? [9] Let’s find out.
[1] Maura Edmond (2014), ‘Here We Go Again: Music Videos after YouTube’, in: Television & New Media 15 (4), pp. 307-312.
[2] Ibid.
[3] Ibid.
[4] Derek Johnson (2012), ‘Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence’, in: Cinema Journal 52 (1), pp. 5-6.
[6] Derek Johnson (2012), ‘Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence’, in: Cinema Journal 52 (1), pp. 15-17.
[7] Stevens, Martijn. Class part of Media Course Creative Industries Radboud University, September 27th 2016.
[8] Aaron Smith (2011), ‘Beyond the Brick: Narrativizing LEGO in the Digital Age’ (paper presented at the seventh Media in Transition conference in Boston).
[9] Derek Johnson (2012), ‘Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence’, in: Cinema Journal 52 (1), pp. 20-24.
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