The Relationship Between Audience and Institution
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In the early 2010s, on line streaming services offered audiences documentaries, films and box-sets that they could subscribe to and watch on demand. This has provided access to older media products, and to products not originally broadcast by the subscribers’ local institutions.
Institution And Audiences In The Digital Age:
As the digital landscape has developed, audiences’ relationships with institutions have continued to change. Audiences now have more freedom to access media products when they choose, rather than when they are told. Mobile technology allows audiences to carry TV programmes, films, music and all that is on offer on the internet on tablets and smartphones. Modern audiences now expect to be able to communicate directly with institutions, and to be able to construct their own media products for themselves. The ability to download and/or stream films and music on demand has led to a change of attitudes regarding media products; contemporary audiences do not see them as having much monetary value, since they are so widely and freely available.
SOLUTION:
The movie industry has invested enormous sums of money into 3D technology, in order to encourage audiences into cinemas.
Spot(ify) the Difference
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Spotify explains,the free tier that 75% of users are experiencing contains adverts, all of which advertisers have paid to place there. This revenue all goes into Spotify’s coffers, as do the subscription fees for the paid tier, and it pays 70% of the overall revenue they collect to rights holders – in other words, to the artists. According to its figures, the amount of royalties that Spotify pays to artists doubled from 2013 to 2014, from half a billion to a cool billion US dollars.
With the news that 50 million songs were streamed in January 2015 (double the previous January’s), and that from February 2015, the UK album chart (as well as the singles chart) now factors in streams, the business models of platforms like Spotify, and indeed YouTube, will be incredibly important – and increasingly under scrutiny – as the landscape changes permanently and streaming becomes the norm. Whether all artists and all labels – majors and indies – get fairly recompensed is a question that lingers.
Too much information:Studio 60 on the Sunset Strip
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Audience viewing habits have changed beyond all recognition due to the availability of on-demandTV and digital recording and streaming. Viewers can watch shows when it suits them, and issues like timeslot winners, overnight ratings and shareholder/advertising pressure (ironically, issues discussed in Studio 60) could completely change.
Making the most of your AQA MEST1 multi-platform case study
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- Webisodes
- UGC in YouTube (parodies, fan-videos etc.)
- Streaming or downloadable trailers
- Review sites
- Official marketing sites
- Fan-constructed sites, fiction-related
- social networking, blogs, podcasts etc.
- On-demand/download services
- Star/actor sites
- Fan fiction
- Forums/chat-rooms
- Online databases
- TV/film tie-ins with gaming
Wedding-watching
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26.2 million unique UK viewers watched Kate and Wills wed live across five host channels (BBC1, ITV1, Sky News, Sky Living, and the BBC News channel) – fewer than for 1981. BUT ... with modern online coverage factored in, BBC statistics suggest that iPlayer and online streaming pushed UK figures past 34 million – even though BBC streams crashed due to an overload of viewers attempting to access coverage.
New Ideas for Media Studies needed
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American Networks such as CSI and Lost and the more adult-oriented extended narrative drama created by cable networks such as The Wire, The Shield, Mad Men and Breaking Bad. DVD (replaced in part now by streaming and downloading) was crucial in the development of these shows: the box-set allowed audiences to watch complex narratives at their own pace, and the revenue from sales fed into producers’profits.
A Digital Technologies Case Study: PRIMEWIRE.AG
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One of the UK’s most popular linking sites for streaming films and TV shows is Primewire.ag.
Primewire.ag, reportedly hosted in Estonia, is an aggregator of video streaming websites. In other words it offers users the ability to search for films and TV shows, then provides them with a list of links that forwards them to another website, streaming the content to their browser without the need to download it to the hard drive. Primewire.ag does not host any copyrighted content themselves, but makes it easy for audiences to find it.
Primewire.ag is funded by advertising.Little in the way of officially published information exists on advertising revenues for Primewire.ag; but one english and media centre | February 2014 | MediaMagazine 37 per 1000 views of a film or TV show. Whilst this sounds barely worth it, these $1s or $2s can add up for a dedicated link sharer. Torrentfreak.com interviewed one such user who allegedly owns links to 30,000 films and TV shows spread across 12 different file-hosting sites, and claimed to making a good living from it.
The links appearing on the website are provided by other users. You may wonder what motivates some users to spend time providing links to films and TV shows, and the answer is very simple: money. A user can either simply find an existing stream of a film or TV show on one of the ‘cloud storage’ streaming sites such as PutLocker or Sharesix, or they can upload it there themselves, then place a link to it on Primewire.ag. At that point, the user ‘owns’ the link, and they can collect a small share of the advertising revenue generated from that page.
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