Wheeler Winston Dickson
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813142173
- eISBN:
- 9780813142555
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142173.001.0001
- Subject:
- Film, Television and Radio, Film
Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, ...
More
Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, disseminated, and consumed by contemporary audiences, and the manner in which this process, or series of processes, is constantly being revised. Readers will gain from the book a better understanding of the enormous shift that this switch to digital will make in the habits of viewers, who can now see films on everything from cell phones to conventional theatre screens. Streaming: Movies, Media and Instant Access will chart the ways in which the Hollywood model of embracing digital production is spreading around the world, while still maintaining an almost monolithic grip on the international market. Streaming: Movies, Media and Instant Access will thus focus on Hollywood production, as the model that still informs international film production in both a genre and star-based model, but show how this model is now spreading throughout the planet. In addition, Streaming: Movies, Media and Instant Access will examine how the new digital world impacts how we access music, books, and also how digital culture, through surveillance devices and facial recognition systems, documents every facet of our everyday life.Less
Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, disseminated, and consumed by contemporary audiences, and the manner in which this process, or series of processes, is constantly being revised. Readers will gain from the book a better understanding of the enormous shift that this switch to digital will make in the habits of viewers, who can now see films on everything from cell phones to conventional theatre screens. Streaming: Movies, Media and Instant Access will chart the ways in which the Hollywood model of embracing digital production is spreading around the world, while still maintaining an almost monolithic grip on the international market. Streaming: Movies, Media and Instant Access will thus focus on Hollywood production, as the model that still informs international film production in both a genre and star-based model, but show how this model is now spreading throughout the planet. In addition, Streaming: Movies, Media and Instant Access will examine how the new digital world impacts how we access music, books, and also how digital culture, through surveillance devices and facial recognition systems, documents every facet of our everyday life.
Aaron Perzanowski and Jason Schultz
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262035019
- eISBN:
- 9780262335959
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035019.003.0003
- Subject:
- Information Science, Library Science
This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were ...
More
This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were distributed through tangible copies. In the early 2000s, the first transformation took place through the rise of digital downloads. Second, remote cloud storage allowed consumers to access remote copies through high-speed data connections. The third major shift, to subscription streaming services, is now underway. With each step in this progression, consumers have sacrificed permanence and stability for lower prices and convenience. More importantly, copyright law has failed to keep up with the development of these new technologies. Copyright law has focused on the copy/work distinction to delineate the rights of copyright holders and consumers, but the traditional tangible copy is disappearing from the marketplace.Less
This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were distributed through tangible copies. In the early 2000s, the first transformation took place through the rise of digital downloads. Second, remote cloud storage allowed consumers to access remote copies through high-speed data connections. The third major shift, to subscription streaming services, is now underway. With each step in this progression, consumers have sacrificed permanence and stability for lower prices and convenience. More importantly, copyright law has failed to keep up with the development of these new technologies. Copyright law has focused on the copy/work distinction to delineate the rights of copyright holders and consumers, but the traditional tangible copy is disappearing from the marketplace.
Wheeler Winston Dixon
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813142173
- eISBN:
- 9780813142555
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142173.003.0001
- Subject:
- Film, Television and Radio, Film
The latest development in motion picture delivery is a complete move away from DVDs, into streaming-only territory. Netflix built its business model on delivering DVDs to the doorstep of its’ ...
More
The latest development in motion picture delivery is a complete move away from DVDs, into streaming-only territory. Netflix built its business model on delivering DVDs to the doorstep of its’ customers; this effectively killed Blockbuster Video’s brick-and-mortar, “go to the store” model, just as Amazon did with books, thus wiping out a large number of independent bookstores, even large chains, throughout the world. Clearly, Netflix wants to do away with DVDs altogether. As Netflix’s CEO, Reed Hastings, said in a statement of company policy on that date, “we are now primarily a streaming video company delivering a wide selection of TV shows and films over the Internet.” But streaming video has many drawbacks, and DVDs remain robust despite this new technology.Less
The latest development in motion picture delivery is a complete move away from DVDs, into streaming-only territory. Netflix built its business model on delivering DVDs to the doorstep of its’ customers; this effectively killed Blockbuster Video’s brick-and-mortar, “go to the store” model, just as Amazon did with books, thus wiping out a large number of independent bookstores, even large chains, throughout the world. Clearly, Netflix wants to do away with DVDs altogether. As Netflix’s CEO, Reed Hastings, said in a statement of company policy on that date, “we are now primarily a streaming video company delivering a wide selection of TV shows and films over the Internet.” But streaming video has many drawbacks, and DVDs remain robust despite this new technology.
Wheeler Winston Dixon
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813142173
- eISBN:
- 9780813142555
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142173.003.0003
- Subject:
- Film, Television and Radio, Film
With the switch to streaming video, a whole host or royalty, content, and distribution issues need to be addressed. In addition, there is a plethora of programming designed specifically for the web. ...
More
With the switch to streaming video, a whole host or royalty, content, and distribution issues need to be addressed. In addition, there is a plethora of programming designed specifically for the web. Some come and go like mayflies, and die a quick death; others build up a long-term audience, and keep coming back year after year to a cadre of loyal viewers. Web Therapy, for example, has now amassed 46 episodes, with Meryl Streep featured as a recent guest star in a three-episode story arc. Syfy Television (formerly Sci-fi, until the need to copyright the channel’s name forced the somewhat awkward switch to Syfy) has been churning out 10 minute segments of a web serial entitled Riese, with an eye to combining the sections into a two hour TV pilot for the network; and Showtime has oddly created an animated web companion for its hit live action serial killer television show Dexter, entitled Dark Echo, which offers brief (3 to 6 minute) of additional back-story on the series for its numerous devotees.Less
With the switch to streaming video, a whole host or royalty, content, and distribution issues need to be addressed. In addition, there is a plethora of programming designed specifically for the web. Some come and go like mayflies, and die a quick death; others build up a long-term audience, and keep coming back year after year to a cadre of loyal viewers. Web Therapy, for example, has now amassed 46 episodes, with Meryl Streep featured as a recent guest star in a three-episode story arc. Syfy Television (formerly Sci-fi, until the need to copyright the channel’s name forced the somewhat awkward switch to Syfy) has been churning out 10 minute segments of a web serial entitled Riese, with an eye to combining the sections into a two hour TV pilot for the network; and Showtime has oddly created an animated web companion for its hit live action serial killer television show Dexter, entitled Dark Echo, which offers brief (3 to 6 minute) of additional back-story on the series for its numerous devotees.
Wheeler Winston Dixon
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813142173
- eISBN:
- 9780813142555
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142173.003.0005
- Subject:
- Film, Television and Radio, Film
While film itself may vanish, for most audiences, the “films” themselves will remain, and audiences, now adjusted to viewing moving images in a variety of different ways, will still want to see their ...
More
While film itself may vanish, for most audiences, the “films” themselves will remain, and audiences, now adjusted to viewing moving images in a variety of different ways, will still want to see their dreams and desires projected on a large screen for the visceral thrill of the spectacle, as well as the communal aspect inherent in any public performance. Film is indeed disappearing, but movies are not. If anything, they are more robust than ever, and are shot in a multiplicity of formats that boggle the mind; analog video, digital video, conventional film, high definition video, on cell phones and pocket-size hard drive fixed focus, auto exposure cameras, and a host of other platforms now just emerging from the workshop of image making. With more films, videos, television programs, and Internet films being produced now than ever before, and with international image boundaries crumbling thanks to the pervasive influence of the world wide web, we will see in the coming years an explosion of voices from around the globe, in a more democratic process which allows a voice to even the most marginalized factions of society.Less
While film itself may vanish, for most audiences, the “films” themselves will remain, and audiences, now adjusted to viewing moving images in a variety of different ways, will still want to see their dreams and desires projected on a large screen for the visceral thrill of the spectacle, as well as the communal aspect inherent in any public performance. Film is indeed disappearing, but movies are not. If anything, they are more robust than ever, and are shot in a multiplicity of formats that boggle the mind; analog video, digital video, conventional film, high definition video, on cell phones and pocket-size hard drive fixed focus, auto exposure cameras, and a host of other platforms now just emerging from the workshop of image making. With more films, videos, television programs, and Internet films being produced now than ever before, and with international image boundaries crumbling thanks to the pervasive influence of the world wide web, we will see in the coming years an explosion of voices from around the globe, in a more democratic process which allows a voice to even the most marginalized factions of society.
Martine Beugnet
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748676118
- eISBN:
- 9780748695096
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748676118.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter, written by Martine Beugnet, responds to the common complaint that watching movies on a smartphone is ‘uncinematic’, and investigates precisely the cinematicity particular to such ...
More
This chapter, written by Martine Beugnet, responds to the common complaint that watching movies on a smartphone is ‘uncinematic’, and investigates precisely the cinematicity particular to such devices. While, for instance, the tiny screen of an iPhone is paradigmatic of spectatorial habits in the digital age, it is equally redolent of the kinetoscope’s peephole apparatus prior to the emergence of the film theatre. Although the very antithesis of the collective viewing practices of cinema audiences, the iPhone as a screening device envelops these practices within a broader and more individuated experience of cinematicity. Beugnet proposes to leave the debate about ‘proper’ ways of screening films to one side, and to concentrate instead on the specific characteristics of watching films on very small screens and with sound-isolating devices. Drawing on haptic theories of visuality as well as on the history and aesthetics of miniature art forms and the curio, the chapter examines issues of mobility, manipulability and distracted-versus-attentive viewing, before focusing on the effect of miniaturization on the film image itself.Less
This chapter, written by Martine Beugnet, responds to the common complaint that watching movies on a smartphone is ‘uncinematic’, and investigates precisely the cinematicity particular to such devices. While, for instance, the tiny screen of an iPhone is paradigmatic of spectatorial habits in the digital age, it is equally redolent of the kinetoscope’s peephole apparatus prior to the emergence of the film theatre. Although the very antithesis of the collective viewing practices of cinema audiences, the iPhone as a screening device envelops these practices within a broader and more individuated experience of cinematicity. Beugnet proposes to leave the debate about ‘proper’ ways of screening films to one side, and to concentrate instead on the specific characteristics of watching films on very small screens and with sound-isolating devices. Drawing on haptic theories of visuality as well as on the history and aesthetics of miniature art forms and the curio, the chapter examines issues of mobility, manipulability and distracted-versus-attentive viewing, before focusing on the effect of miniaturization on the film image itself.
Jennifer Gillan
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474419222
- eISBN:
- 9781474464802
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419222.003.0009
- Subject:
- Film, Television and Radio, Film
Jennifer Gillan’s chapter looks at how television sitcoms have become another promotional arm by which parent companies prop up their franchises. She considers how sitcoms can play a part in what she ...
More
Jennifer Gillan’s chapter looks at how television sitcoms have become another promotional arm by which parent companies prop up their franchises. She considers how sitcoms can play a part in what she calls ‘transmedia marketing circuits,’ looking specifically at the content-as-promotion strategies connected to Black-ish (ABC, 2014-Present) and Parks and Recreation (NBC, 2009-2015). The essay demonstrates that, with the rapid spread of subscription video on demand services that are either directly owned by or are supplied with content from the studios, television content is but one group of repurposable and reusable assets in massive, integrated platforms.Less
Jennifer Gillan’s chapter looks at how television sitcoms have become another promotional arm by which parent companies prop up their franchises. She considers how sitcoms can play a part in what she calls ‘transmedia marketing circuits,’ looking specifically at the content-as-promotion strategies connected to Black-ish (ABC, 2014-Present) and Parks and Recreation (NBC, 2009-2015). The essay demonstrates that, with the rapid spread of subscription video on demand services that are either directly owned by or are supplied with content from the studios, television content is but one group of repurposable and reusable assets in massive, integrated platforms.
Monica Sandler
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474419222
- eISBN:
- 9781474464802
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419222.003.0010
- Subject:
- Film, Television and Radio, Film
Monica Sandler focuses on subscription video on demand services, using the case study of Comcast NBCUniversal’s failed SeeSo platform. Her essay examines how television networks themselves can ...
More
Monica Sandler focuses on subscription video on demand services, using the case study of Comcast NBCUniversal’s failed SeeSo platform. Her essay examines how television networks themselves can cultivate a franchise identity for themselves by expanding their brand into emerging formats. The essay questions how old media incumbents like NBC can compete against big data-based entertainment companies like Netflix and Amazon.Less
Monica Sandler focuses on subscription video on demand services, using the case study of Comcast NBCUniversal’s failed SeeSo platform. Her essay examines how television networks themselves can cultivate a franchise identity for themselves by expanding their brand into emerging formats. The essay questions how old media incumbents like NBC can compete against big data-based entertainment companies like Netflix and Amazon.