Avanca 2011 Communication (English version)

THE CULTURAL REVOLUTION IN AUDIOVISUAL CONTENT’S CONSUMPTION, PRODUCTION AND DISTRIBUTIONLeonardo Pereira • [email protected] de Belas Artes da Universidade do Porto • 23rd July, 2011

So what am I gona talk to you about today?

About the way we can, today, produce and distributeAudiovisual Content;

About the way the most of us consume, today, Audiovisual Content;

Contact • [email protected]

Leonardo Pereira • The Cultural Revolution in Audiovisual Content’s Consumption, Production and Distribution

And why?Because the means of access and distribution to AV Content changed, wich triggered a cultural revolution in:

1. The consumer’s role in the media’s ecossystem; 2. In how AV Content is today consumed.



But first things first...So how was the general media’s ecossystem before this cultural revolution took place?



In the past...The traditional media’s distribution and consumption system had the two main and following features:



1Each type of media was distributed and consumed over it’s own specific medium:

Press Radio Television & AV C.

Newspappers magazines, books, etc...

Radiodevices;

Television sets & movie Theaters



2And it was a vertical system:

Big Media Corporations - “The ruling power”

Passive Consumers - Dominated by the BMC



But today... the Big Media Corporations and the “TV set tirany” lost part of their rulling power over the consumer...

...but why?



In the first place...this loss of power comes from the rising of new digital platforms, which increased AV Content’s distribution and consumption means of access.


“home like“ ITV Platforms

“Facebook and Youtube like” platforms

“Online like” Interactive TV platforms

Mobile Web & Mobile TV



Secondly...the loss of power comes from the different consumption patterns of AV Content.



“Among consumers worldwide, the traditional television set is increasinglyregarded as just one option among several for consuming video content (...)” Source: Sonnabend, 2008: 02

We’ve entered in thefractioned consumption patterns Era...



In 2008, when Tina Fey satiryzed Sarah Palin, only a third of the Americans watched the video on TV. The remaining spectators saw it online or on a DVD.

Source: Boggie & Sonnabend, 2009: 01

Examples of the fractioned consumption patterns

In Brazil, the series was mostly consumedInternet over the internet:

TV: 38 000 spectators per minute;Internet: 70,000 downloads per minute.Source: Albuquerque, 2009: 09



In May 2011 Youtube reaches 3 bilion views per day. Source: http://whiteandwong.org/youtube-hits-3-billion-views-per-day/

The entire planet has almost 7 bilion people!

3000000000 views per day!



therefore...we consume AV content, where we want, how we want and when we want to!

We are no longer “tied up” to the Tv set’s Tyranny!



thirdly...the BMC’s loss of power comes from the new consumer’s active and participatory role, both in AV Content’s production and distribution.



The “Participatory Culture” rises...With the rise of free online platforms, such as “blogs“, “Youtubes” and “Facebooks”, we can now do what in the past, only BMCs could do!

Wich is to Produce and Distribute AV content!



These platforms, because of their free publishing and sharing features, blured some of the differences between consumers and BMCs, in terms of

AV Content’s production and distribution.

ProsumerBMCs

=



The Consumer is, today, a distributor...This new consumer distributes, both User Generated Content and Third party content, actively contributing to it’s success or failure - Viral Effect.

Consumer

Upload

EmbedShare

re-Share



This means...That if, in the past, content’s distribution and success depended only of the BMCs, today it also depends of the consumer’s active role on social networks and video sharing plarforms.



But the consumer is also a Producer...If before the rise of youtube like platforms, most of the consumed content was professionally produced, today a significant part is user generated content .

And we, consumers, love what our “coleague consumers“ produce and upload to video saring platforms!



The figures and numbers don’t lie...

Profissionai AV Content vs User Generated Content

2009’s online video consumption figuresSource: http://www.kikabink.com/news/professional-and-user-generated-video-ugv-views-up-36-percent-in-2009/

49.1 bilion views 34.5%

93.2 bilion views65.5%



User generated viral cases

http://www.youtube.com/watch?v=lm_n3hg-Gbg&feature=relmfuhttp://www.youtube.com/watch?v=Dwimc4cvUmQ

“Keenan Cahill”

“Great Depression cooking”94 year old grandmother Clara

http://www.youtube.com/watch?v=WAa4-cctmDk



Charlie bit my fingerYoutube’s most viewed video in 2009 - 148000000 views! Source: Richard Macmanus em http://www.readwriteweb.com/archives/top_10_youtube_videos_of_all_time.php

Triviality; Very scarce production resources.

Views it has today...

Video: http://www.youtube.com/watch?v=_OBlgSz8sSM

Only surpassed by Lady Gaga’s “Bad Romance“ video in May, 2010!



Ultimate Dog TeaseIn only 2 months (2011) - reaches almost 47000000 views!

Video: http://www.youtube.com/watch?v=nGeKSiCQkPw



Amongst others that suddenly explode over the net.

Source (09th of July, 2011): http://viralvideochart.unrulymedia.com/?platform=twitter

Even days ago, among the eight most viral videos on Twitter, two were “homemade.”And one was in the first place, in front of Justin Bieber and Beyonce!

http://www.youtube.com/watch?v=8OU1mW0Ty_Y&feature=player_embedded

http://www.youtube.com/watch?v=JgEa2tUtm0M



So...As we’ve seen, the Media’s consumption, production and distribution’s system has changed... a lot!

Mainly because Consumers aren’t passive anymore:• They have greater control over what, where and when they consume AV content;• They have fractioned consumption patterns over several platforms; • They want to take part on the Media’s Ecossystem both as producers and as distributors.



Given this new Media landscape scenario...Isn’t it advisable, for those who produce professional AV Content, to adapt their production and distribution strategies to this new reality?



I believe so... But how?Is it enough to deliver and repeat the same content over different platforms, in a simulcast distribution model?

The same content delivered over:• TV?• Mobile TV?• Youtube like platforms?• other platforms?



Maybe! But it may not be enough...According to a study, on AV Content’s consumption habits, consumers tend to expect to have access to different content from platform to platform.

Source: Boggie & Sonnabend, 2009: 10-11



Solution? Transmedia Storytelling

According to Henry Jenkins “in a Transmedia Project the story or experience is spread across a variety of media platforms, not in a way that’s redundant but rather in a way that’s complementary, so that each platform contributes in what it does best.” Source: Jenkins, 2009: T.C.: 3:00 – 3:14



Transmedia Audiovisual Products

“Matrix”This supposedly movie and its story was spread over several media platforms:

• 3 Movies • Several Anime short movies • 20 Comic Books • 3 Videogames • and fan fiction productions such as Lego Matrix:

http://www.youtube.com/watch?v=N5EeVkhRCC8&feature=related

But there was no redundancy. Instead there was complementarity between the content distributed across different platforms. For example, billboards that appeared in some of the movies’ shots contained codes that unlocked the access to specific levels of videogames.Source: Jenkins, 2008: 99




“Lost”This series and its story was also spread across several media platforms:

• Television series; • 13 Mobile TV Mobisodes - Missing Pieces; • Games; • Wiki - collaboratively produced by fans.

Mobisódio “The Deal“: http://www.youtube.com/watch?v=OVBObv13O6c&feature=related

Once again the content spread over the different platforms was complementaryinstead of redundant. For example, the Mobisodes showed not shown scenes on the TV series. One Mobisode shows the specific scene where Michael betrays his friends in exchange for his son’s freedom. Fonte: Albuquerque, 2009: 08




“Magnum Gold” campaignThis campaign was also spread across several media platforms:

http://www.youtube.com/watch?v=o1f1mRRugHw&feature=related

• Press ads; • One promotional website - offline with an online challenge: “As good as gold“; • Short video Ads for TV: http://www.youtube.com/watch?v=7NGg2feEhHs&feature=related

• One fake Movie trailer ad for movie theaters exhibition.




“Magnum Gold” campaignBut what made this campaign a transmedia one was, in addition to the complemen-tary character, the fact that the content took advantage of each platform’s available communication features, so each platform contributed in what it did best.

Challenge “As good as Gold“:• Consumer takes part of a 3rd movie;• Consumer shares his movie with friends.

Movie theater trailer ad:This Ad used the tipical Hollywood Movie Trailer aesthetics, therefore causing surprise when it was expected to be a Movie trailer instead of an ice cream ad.



Conclusion...Using the Transmedia Storytelling strategy the Producers of Matrix, Lost and the Magnum Gold Campaign, fed the consumer’s interest and led him to “move” through the different entry points into the story or narrative of these products, thus ensuring their success witin their audience.



To what extent does the Transmedia strategy offer a better answer than the Unimediatic one, to the new cultural revolution described before?

As shown:

• It responds to the new user’s fractionated consumption patterns;

• It responds to the active and participatory relationship with Media that consumers today demand and want to have;

• It responds to the consumer’s expectation of finding different and complementary content across different media platforms.



Thank you very muchfor your attention!



References• ALBUQUERQUE Afonso (2009) – Lost e a ficção Transmídia. Curitiba, Brasil, Intercom – Sociedade Brasileira de estudos interdisciplinares de comunicação, 12 pp. Paper submetido ao XXXII Congresso Brasileiro de Ciências da Comunicação – Curitiba

• BARLOW Aaron (2005) – The DVD Revolution: Movies Culture & Technology. Westport USA, Praeger Publishers, ISBN-13: 978-0275983871, 200 pp.

• BOGGIE Matt, SONNABEND Ross (2009) – Television: Entering the era of mass-fragmentation. Accenture USA, Accenture Consumer Broadcast Survey 2009, 17 pp.

• DAMÁSIO, Manuel J. (2007) – A experiência de uso e consumo dos novos media em ambientes de multimedia distribuídos. Braga, Portugal, SOPCOM 16 pp. Paper submetido ao 5º Congresso da SOPCOM, “Comunicação e Cidadania”, Universidade do Minho, Braga.

• JENKINS Henry (2006) – Convergence Culture. Where Old and New Media collide. New York and London, New York University Press, ISBN-13: 978-0814742815, 336 pp.

• JENKINS Henry (2009) – “Henry Jenkins”, in www.youtube.com, Setembro de 2009. http://www.youtube.com/watch?v=ibJaqXVaOaI

• JENKINS Henry (2010) – “Hollywood goes Transmedia”, in Confessions of an Aca-Fan. The Official weblog of Henry Jenkins, Abril de 2010. http://henryjenkins.org/2010/04/hollywood_goes_transmedia.html

• MARRS, Scott D., LYND John W. (2006) – “Viral videos publicize – but infringe”, in The National Law Journal, Houston, Maio de 2006. http://www.bmpllp.com/files/1155314768.pdf

• NIELSEN WIRE (2010) – “Americans Using TV and Internet Together 35% More Than A Year Ago”, in www.BlogNielsen.com, Março de 2010. http://blog.nielsen.com/nielsenwire/online_mobile/three-screen-report-q409/

• O’BRIEN Kevin J. (2008) – “Mobile TV Spreading in Europe and to the U.S”, in Yahoo Finance, Maio de 2008. http://biz.yahoo.com/nytimes/080506/1194771946810.html?.v=18

• PARR, Ben (2010) – “YouTube Surpasses Two Billion Video Views Daily”, in www.mashable.com, Maio de 2010. http://mashable.com/2010/05/17/youtube-2-billion-views/

• PATO, Luis M. (s.d.). Crossmedia: A cultura do nomadismo audiovisual na implementação das “Smart Mobs”, Coimbra, Portugal, Escola superior de Educação de Coimbra, 26 pp.

• SONNABEND Ross (2008) – Television in Transition: Evolving consumption habits in broadcast media worldwide. Accenture USA, Accenture Consumer Broadcast Survey 2008, 24 pp.


Avanca 2011 Communication (English version)

Technology

Transcript of Avanca 2011 Communication (English version)