The And Implementation Of Web

Multi threading in the media world began in 1981 with the arrival of the show “Hill Street Blues”. This new structure of television

Jenkins argues that American popular culture will be redefined by the struggles over convergence and media. With the idea of profit in mind,

In 2007, Netflix, an online video rental service founded in the late 1990s, changed courses and began to offer a video on demand streaming service that, though not the first of its kind, profoundly altered the way in which viewers watch and categorize televisual texts in the Post-Network Era of streaming and individualization of television viewing. This influence warrants a reconfiguration of Raymond Williams’ classic theory of flow as well as of Ethan Thompson’s more recent theory, which makes necessary advances by correctly accounting for a shift toward catering to audience tastes, but fails to address the particularities of the streaming platform. This essay argues that what I call “streaming flow”, still encourages continual viewing, but

The television industry is one of the most rapidly changing media industries to date. Its evolution from black and white, to colour, to digital and now three-dimensional viewing, there is nothing slow about its development. Focusing particularly on commercial free-to-air (FTA) television, the FTA television industry plays a critical role in the Australian ecosystem. Due to its free delivery, it generates $3.2 billion per annum in economic and advertising surplus (Venture Consulting, 2015). This is why the value of commercial FTA television to the Australian public remains high whereby FTA television is watched by more than 14 million Australians daily (Free TV Australia, 2014). However, television nowadays is much more than a medium of entertainment and information. It is also used as a method for engaging in social interaction (Morely, 1986, p. 22), and this digital divide of interaction is what harms the television industry. The launch of streaming services not only confronts the traditional ‘linear’ TV format by allowing users to select what they want to watch and when they want it, it also broadens the offering to almost any device (Spooner, 2015). The research methods in the television industry despite its strength as a medium, must however, walk hand in hand with the fast progression of new technology and challenge the rise of digital omnivores.

As television viewers, we tend to slouch in front of this electrical box after a long day’s work, many of us don’t think or know about how much television programming has changed since our parent’s childhood. In “Thinking outside the Idiot Box” by Dana Stevens and “Watching TV Makes You Smarter” by Steven Johnson, both writers give their thoughts and opinions about how television programming has evolved over the last three decades. These gentlemen recognize that the days of slap-stick comedy were over and replace by more sophisticated stories. This new brand of programs have provide a step stoning for the evolution of television to gain momentum.

In ‘How Netflix is Deepening our Cultural Echo Chambers’, Farhad Manjoo uses the remake of “One Day at a Time” to emphasize the imperative shift of an era focused on streaming that entails a narrow set of refined references. By first exhibiting a remade show on a platform such as Netflix, the re-examination of reality is displayed to be evolving the mainstream identity of millions. From broadcasting, cable then to streaming the secular depiction of being a “vast wasteland” emerges into the view of a “bubbling sea of creativity” that allows for collective groups of individuals to be recognized. Manjoo insinuates that through the shared references viewers attained through television, nothing thereafter will have the direct mass impact of a singular movement of culture that the medium television had at its peak. Although seemingly

Do you know the guiltiest pleasure of the American public? Two simple words reveal all—reality TV. This new segment of the TV industry began with pioneering shows like MTV’s The Real World and CBS’s Survivor. Switch on primetime television nowadays, and you will become bombarded by and addicted to numerous shows all based on “real” life. There are the heartwarming tales of childbirth on TLC, melodramas of second-rate celebrities on Celebrity Mole, and a look into a completely dysfunctional family on The Osbornes. Yet, out of all these entertaining reality shows arises the newest low for popular culture, a program based on the idea of a rich man or woman in search of

“Media change does not necessarily result in equilibrium. It sometimes creates more than it destroys. Sometimes, it is the other way around. We must be careful in praising or condemning because the future may hold surprises for us” (Postman 29). Media critic Neil Postman published those words in 1985 in his book, Amusing Ourselves to Death: Public Discourse in the Age of Show Business. Yet, as we find ourselves in 2015, his insight seems written for today. In our age where society is still elusively trying to grasp and figure out what place new media and technology hold within our lives, and where debating the merits and flaws of an increasingly technological society seems to be a hot-button issue, Postman had already commented on such

Since the introduction of YouTube almost 10 years ago, the site has grow well past a simple website that comes and goes with trends. YouTube has now become a major player in entertainment media. It now attracts thousands of advertisers and business’ in attempt to grab the attention of the growing Internet audience. The difference between television productions and YouTube productions is who is on the other end of the camera. The creator, actor, editor, and marketing person are all in one individual. An array of people are now taking their career’s into their own hands and attracting their own audiences. These people now find themselves in a new era of media in which everyone including their income is coming to them from comfort of their homes. In my paper, I plan to discuss how the internet has created a new form of fame that as well gives those who are famous an income, and career that could last long past their three minute video post.

Television is one of the newest, fastest growing forms of entertainment to come along in the last one-hundred years. While many argue that the rapid expansion of this genre has caused an increase in lower quality programs (or too much television), others believe that this event is part of the development to coincide with its new audience. Two such articles address different opinions on this issue. Linda Holmes, author of “Television 2015: Is There Really Too Much TV?”, published her article under the popular culture section on NPR’s website. Holmes’s opinion surrounds the premise that due to an immense growth in television programming, it has resulted in a multitude of lesser quality shows. While she agrees that this volume of shows is an undertaking for any individual to watch, Holmes argues it is impossible for a single genre to have too much content.

In our society, there are many forms of mediated texts ranging from newspapers and magazines to films and television shows. Each of these media forms can be seen from different theoretical perspectives and analyzed to understand the different concepts that may influence them. Television shows are one of the most popular media texts with approximately 400 new shows airing each year (Ryan, 2016). However, it is often very unlikely for these television shows to strive as 65% are cancelled after their first season (Ocasio, 2012). This then, brings Marxist scholars into the picture as they are interested in how economic factors affect the production and distribution of media content (Mack & Ott, 2016). The Marxist theoretical perspective allows Marxist scholars to study television shows in order to understand why they were cancelled and how certain roles in the media lead to this.

The impacts on the Film and Television industry by discussing the positive and negative socio-economic effects of streaming services and pay-tv on sectors such as retail, exhibition and free-to-air television.

According to Jenkins ‘Convergence Culture: Where Old and New Media Collide’, It spectacles that the entertainment industry has taken the advantage of harnessing ‘New Media’ on traditional formats by focussing on the logistics and practices. This evidently helps to increase the popularity and the availability of audience participation through the use of updated technology. This is denoted through old technological formats via applying new interactive media to heighten the participation for numerous audiences. For instance, back in the day many industries i.e. entertainment had to depend on broadcasting and radio for the viewers to receive their audio or visual content. To do these industries had to send out signals globally through a large transmitter so that people can receive their content. Transmitting these signals

Today, digital technology and the Internet are deeply reshaping the motion picture industry with a trend toward the digitalisation and disintermediation (Zhu, 2010). Media streaming services are an example of this current restructuration. Providing an access to a wide collection of entertainment online at a cheap price, they have penetrated the monopoly that cinema once enjoyed (Herberg, 2017). A significant example can be found in the US company ‘Netflix’, source of nearly a third of all North American downstream internet traffic at peak hours (Hallinan & Striphas, 2016). Once a small DVD subscription service created in 1997, it offers today to its subscribers to watch its own produced movies and shows as well as content of other

Old media like broadcasting, print, and film created a consumer culture in the public. Participants would consume the media they could find, and that was the extent of their engagement with a piece of media. But during the digital age, participatory culture has exploded. Participatory culture is a concept coined by Henry Jenkins where consumers take part in both the consumption and the production of media. The advent of computers facilitates a low barrier of entry for creation of digital media and its propagation. With the availability of personal computers and consumer level software to manipulate media as well as the popularity of the internet to spread content, fans have become more engaged with the media they consume. In turn, participants can create forms of that media that comment and expand upon the original content. Participants who used to only consume media now have the avenues to become producers of media. In this essay, I will explore participatory culture through the lense of Lev Manovich’s Five Principles of New Media: Numerical Representation, Modularity, Automation, Variability, and Transcoding.