Tuesday, 8 March 2016
Monday, 7 March 2016
Ze Frank
http://www.zefrank.com/
Ze has been exploring online collaborative creativity for several years. It began in March 2001 when he sent an online invitation to his birthday party, asking people to send it on to others. Within days it had been viewed thousands of times. How to Dance Properly.
In 2006 Ze became (one of) the first vloggers, uploading an episode of The Show every day for a year. Many more familiar vloggers regard him as their inspiration: see A Brief History of Ze Frank.
One episode featured an audio file sent as a MySpace message, that Ze and his audience turned into a series of remixes: read the story here http://www.zefrank.com/theshow/whipass/ . The original audio file is track 28 on https://soundcloud.com/zefrank/sets/whipass_remixes, where you can also hear the remixes.
He is now president of Buzzfeed Motion Pictures. Its products receive billions of views a year.
He has delivered a number of TED talks and other presentations on what is happening with online media / consumption / creativity:
How is Ze Frank relevant to our topic of Media in the Online Age?
His first TED talk discusses what people do when online. Does what he described there and what you did when let loose on his site demonstrate that we do distract / entertain ourselves with online activities when we are meant to be working and in our leisure time? That those online activities do not come from the traditional media institutions? That maybe some of us do it a lot? That we maybe do this sort of stuff when previously we may have been engaging with mass media in traditional ways?
How do his collaborative online activities (which ones) support Henry Jenkins's ideas about participatory culture?
How do they support David Gauntlett's ideas about creativity in the online age?
How do they support Chris Anderson's Long Tail theory if we think about what people do when they are online and where we find our entertainment? Ze Frank's participating audience is just a niche, but does all the activity in all such creative niches (all those fandoms, all those tribute videos on YouTube...) in the long tail of online activity add up to as much as the tall head of online activity consumption of mass media products?
And perhaps most importantly - VLOGGING. A phenomenon of the online age. Coinciding with the emergence of social media / video hosting sites, the availability of low-cost videoing technologies has enabled a form of media that could not have existed before. Henry Jenkins discusses people's creation of low-cost printed media products in the past, but there was no way they could reach such large audiences as today's vloggers. Ze was a pioneer with The Show.
... See vlogging post ...
Worked hard? Hungry? Make yourself a sandwich.
Ze has been exploring online collaborative creativity for several years. It began in March 2001 when he sent an online invitation to his birthday party, asking people to send it on to others. Within days it had been viewed thousands of times. How to Dance Properly.
In 2006 Ze became (one of) the first vloggers, uploading an episode of The Show every day for a year. Many more familiar vloggers regard him as their inspiration: see A Brief History of Ze Frank.
One episode featured an audio file sent as a MySpace message, that Ze and his audience turned into a series of remixes: read the story here http://www.zefrank.com/theshow/whipass/ . The original audio file is track 28 on https://soundcloud.com/zefrank/sets/whipass_remixes, where you can also hear the remixes.
He is now president of Buzzfeed Motion Pictures. Its products receive billions of views a year.
He has delivered a number of TED talks and other presentations on what is happening with online media / consumption / creativity:
How is Ze Frank relevant to our topic of Media in the Online Age?
His first TED talk discusses what people do when online. Does what he described there and what you did when let loose on his site demonstrate that we do distract / entertain ourselves with online activities when we are meant to be working and in our leisure time? That those online activities do not come from the traditional media institutions? That maybe some of us do it a lot? That we maybe do this sort of stuff when previously we may have been engaging with mass media in traditional ways?
How do his collaborative online activities (which ones) support Henry Jenkins's ideas about participatory culture?
How do they support David Gauntlett's ideas about creativity in the online age?
How do they support Chris Anderson's Long Tail theory if we think about what people do when they are online and where we find our entertainment? Ze Frank's participating audience is just a niche, but does all the activity in all such creative niches (all those fandoms, all those tribute videos on YouTube...) in the long tail of online activity add up to as much as the tall head of online activity consumption of mass media products?
And perhaps most importantly - VLOGGING. A phenomenon of the online age. Coinciding with the emergence of social media / video hosting sites, the availability of low-cost videoing technologies has enabled a form of media that could not have existed before. Henry Jenkins discusses people's creation of low-cost printed media products in the past, but there was no way they could reach such large audiences as today's vloggers. Ze was a pioneer with The Show.
... See vlogging post ...
Worked hard? Hungry? Make yourself a sandwich.
Chris Anderson's Long Tail theory
How would you apply Anderson's theory to film / cinema?
How much do we watch mainstream, blockbusting film (on whatever platform / in whatever place)? Look back at the BFI Statistical Yearbook 2016 and other years for evidence.
How much do we watch niche film?
We can find mainstream film in a wide variety of places. Where can we find niche film? Does your local multiplex screen any? Local cinema? Where would you have to go in order to see a niche film in a cinema?
Anderson's theory was about online shops (Amazon etc.). What titles are in Amazon UK's best sellers? Do major studios productions dominate the chart? Any independent productions? To back up Anderson's theory, what niche films can you find on Amazon?
Does the same apply to Amazon Prime, as it does to the shop?
What about streaming services? Netflix? Sky Movies? Other film apps on your phone / tablet / computer / TV?
An easy read https://tombobadoodle.wordpress.com/step-2-examples-of-the-long-tail-theory/
Some interesting reads, ideas and alternative perspectives;
http://www.huffingtonpost.co.uk/christopher-goodfellow/netflixs-long-tail-is-for_b_4716228.html
http://hbswk.hbs.edu/item/will-the-long-tail-work-for-hollywood
http://knowledge.wharton.upenn.edu/article/rethinking-the-long-tail-theory-how-to-define-hits-and-niches/
https://techcrunch.com/2008/07/02/poking-holes-in-the-long-tail-theory/
Secret Cinema / Pop-up Cinema
MediaMagazine has several relevant articles on film / cinema / online age.
Here are two to get you started.
You may need to log in to MediaMagazine - user name mediamagazine123, password media123
https://www.englishandmedia.co.uk/media-magazine/articles/16900
Here are two to get you started.
You may need to log in to MediaMagazine - user name mediamagazine123, password media123
https://www.englishandmedia.co.uk/media-magazine/articles/16900
Pop-Up Cinema: Independent Distribution
Secrets, Hidden Identities and the Village Movie
Wednesday, 2 March 2016
Lesson 5. High Challenge and Extension
Exemplar essays available to read over the weekend! Make sure you pop into 009 and pick yours up!
This is a really good watch too!
We have the paperback in the classroom as well if you want to read more on this.
Tuesday, 1 March 2016
Lesson 4. High Challenge and Extension
Watch and make notes from the following videos.
Consider how you can incorporate some of these more complex ideas into our study of the impact of the internet on media areas. What are the advantages and disadvantages for both audience and institution?
This last one (below) is about film and cinema in terms of audiences, the past, the present and the future. (Remember you have to cover all 3 in your answer, so this is ideal). Here Jenkins argues that film / cinema has always been a participatory medium - that what we see in today's fans is not really new.
According to HJ (from 18:00 onwards)
The future of cinema :
Consider how you can incorporate some of these more complex ideas into our study of the impact of the internet on media areas. What are the advantages and disadvantages for both audience and institution?
This last one (below) is about film and cinema in terms of audiences, the past, the present and the future. (Remember you have to cover all 3 in your answer, so this is ideal). Here Jenkins argues that film / cinema has always been a participatory medium - that what we see in today's fans is not really new.
According to HJ (from 18:00 onwards)
The future of cinema :
- a trans-media phenomenon, as it has been in the past
- with story-telling extending across every available platform
The future of film-going (audience consumption of film):
- film will be experienced in multiple venues
- as an event, and as an everyday activity
- film will be something we participate in and help create, as well as simply something we watch
- film will be trans-media: a driver of the entertainment experiences we have across media platforms
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