Making Media 2019 Creativity Innovation Convergence
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Slides used in the course Making Media at the University of Amsterdam, supported by the Making Media book (AUP, 2019).
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Making Media 2019 Creativity Innovation Convergence
- 1. Making Media: Production, Practices and Professions • platformization • creativity and innovation • startups and entrepreneurship #makingmedia
- 5. “Surviving in the new media landscape will require a change of mindset, recognizing that media production is no longer simply a matter of producing great content. Media producers must take in the whole value chain and reclaim their relationship with media consumers.”
- 9. think big, start small relate the story to the world understand affordances work together study the audience
- 11. entrepreneurship as symbolic form
- 13. company as affordance network
- 14. entrepreneurship as cultural practice
Notas del editor
- Creativity, Innovation, and Convergence – understanding the challenges and opportunities involved with the innovation and digital transformation of media industries, the convergence and platformization of production and consumption cultures. Readings: Chapters 6-8 and 14-15 from the Making Media textbook. 6 Nieborg & Poell: platformization 7 Bilton: disappearing product 8 Bolin: value production 14 Krumsvik et al: innovation 15 Werning: startups
- Over the past decade, media makers such as news organizations and game developers have explored a new mode of production, distribution, and monetization. Typically, developers and publishers start the content production cycle by identifying trending social media topics or popular genres, as well as by calculating production costs and advertising revenue potential. After content has been produced, users are ‘aggregated’ via a wide range of social platforms. These social media circulation efforts, in turn, generate relevant data on user engagement and retention, which are subsequently employed to calculate whether it is profitable to further optimize content and invest in paid-for promotion, or halt the engagement-optimization- retention-acquisition cycle.
- platform logic: content is less important, interchangeable, “disappearing product” dependency network effects + viral posts shift in control and oversight no more direct relationship with audiences - freemium or ‘free-to-play’ business model Instead of controlling the means of production, these new intermediaries understand how to manage the means of consumption. - content is not king: context is king (Bilton)
- slide mbt FAANG: the disappearing product and the rise of the audience as a commodity
- Bilton: Surviving in the new media landscape will require a change of mindset, recogniz- ing that media production is no longer simply a matter of producing great content. Media producers must take in the whole value chain and reclaim their relationship with media consumers. Bolin: combining sign value with market value…
- media innovations are related to (1) product innovation, (2) process innovation, (3) position innovation, (4) paradigmatic innovation, (5) genre innovation, and (6) social innovation. Product innovation relates to changes in the products/services offered by an organization. This may imply the innovation of new media platforms, such as the smartphone, or of new media services, such as content streaming services, Wikipedia or media apps for tablets (Krumsvik et al., 2013). Furthermore, it could also imply the innovation of communication patterns, for example encouraging audience interaction with TV programmes through the use of second screens (cf. De Meulenaere et al., 2015). Process innovation refers to changes in the ways in which products/services are created and delivered. This includes how media businesses organize their activities (Bauman, 2013). It also includes processes outside established institutions, for example, where users are involved in collaborative innovation (cf. Lüders, 2016; see also Hippel, 2005; Tapscott & Williams, 2006). Collaborative initiatives, such as Linux or Wikipedia, are examples of product innovations developed through process innovation. Position innovation involves changes in how products and services are positioned or framed. Media companies who reposition their brands, products, or services are engaging in position innovation. Innovative product positioning involves ‘advertising, marketing, media, packaging and the manipulation of various signals’ (Francis & Bessant, 2005). Typical examples would be a magazine repositioning itself for a new target audience. For example, between 2012 and 2015, the lifestyle magazine Elle repositioned itself as Elle 360, a multiplatform company (Champion, 2015). Another example would be how the BBC in the 1990s repositioned itself as a global media corporation (Francis & Bessant, 2005). Paradigmatic innovation includes changes in mindset, values, and business models. When the music industry shifted from CD sales to streaming services, this represented a paradigmatic innovation. The newspaper industry is in a similar process, where the focus is no longer primarily on print, but rather on online services. Media companies are increasingly more committed in their search for sustainable business models for online services (cf. Barland, 2015). In general, the process of datafication, where user interactions with media content and services are aggregated and analysed for commercial purposes, is a paradigmatic innovation. Datafication follows from other broad processes of change, such as digitalization and mediatization (cf. Schäfer & Van Es, 2017). Genre innovation is a fifth kind of media innovation that is particularly relevant to the media and communication industries. Media products and services can be categorized and developed according to genres. A genre innovation can consist of combining or using elements from existing genres, or developing and introducing new genre elements into a familiar one. Ultimately, genre innovation aims at establishing successful imitations, or iterations, of itself (see also Grøgaard, 2016). Finally, social innovation involves the innovative use of media and communication services for social purposes (Ní Bhroin, 2015). Here, social change is introduced through blending new and/or existing combinations of media products and/or services, for example to produce media that cater to the needs of a linguistic minority. Social innovation meets social needs and improves people’s lives (Mulgan et al., 2007). We therefore add society as a sixth element that can be changed through media. what elements help/hinder innovations? Sociocultural factors and power relations Technological developments Media institutional factors
- Marvel’s unprecedented transmedia practice is an example to follow in an era when people want constant engagement and entertainment. Marvel was aware of the essence of recent popular culture, and created a practice that is the sum of what had been done before in serialized television shows and in comic books. These old practices met the expectations of online communities and, basically, Marvel’s success was granted. It is certain that at least in the next couple of years there is going to be a superhero “coming to a multiplex near you”—as classic movie advertisements would say—and that is something Marvel has accomplished; whether if we are happy about that or not. http://americanaejournal.hu/vol12no1/richter
- Ana Serrano Telleria: Study and understand the audience (both for the story as well as segmented across different media); Put together a team of truly diverse talents and skills, all with a passion for transmedia storytelling; Invest in understanding the unique affordances of each medium used in the transmedia experience; Always test elements of the story to the overall idea(l) of the storyworld; Be ambitious regarding the overall concept (the ‘heart’ of the story), but start small and build out the storyworld gradually, organically – and keep testing whether (parts of) the story still resonate with the audience.
- entrepreneurship and startups as a symbolic form: a panacea, solution a way of thinking about everything: a cycle of conceptualization, prototyping, testing, launching, constant updating, and eventually pivoting or discontinuing.
- the entrepreneur as savior? Financial: save money; risk vs reward, Family: supportive family/significant other; competing commitments (+ Friends/social life) Career: loss of employment security, uncertainty Psychological: failure and rejection, emotional rollercoaster Health: eating/exercising, diet and: no more critique of ‘the system’: everything is on YOU (the individual)
- Reality television covers a wide range of television programming formats, from game or quiz shows which resemble the frantic, often demeaning programmes produced in Japan in the 1980s and 1990s (a modern example is Gaki no tsukai), to surveillance – or voyeurism – focused productions such as Big Brother. consider US Writers Strike of 2006-2008: Exactly if and how the WGA's Minimum Basic Agreement (MBA) should apply to other TV and film categories such as reality television and animation had been inconsistent over the years and were an area of much dispute. Programs such as Real People and That's Incredible!, which were arguably "reality" shows of the 1980s, were covered by the MBA, whereas more recently produced reality shows such as Survivor and America's Next Top Model are not.[39] Many producers of reality programming argue that since these shows are mostly, if not entirely, unscripted, there is no writer. The WGA counters that the process of creating interesting scenarios, culling raw material, and shaping it into a narrative with conflict, character arc, and storyline constitutes writing and should fall under its contract. In the summer of 2006, the WGAW attempted to organize employees of America's Next Top Model.[40][41] The employees voted to join the WGA, but then they were fired and production continued without them.