Review: Key Concepts in Creative Industries (Hartley, Potts, Cunningham, Flew, Keane and Banks) (original) (raw)
Related papers
2008
The humble video store and its enabling technology, the videocassette recorder (VCR), laid the foundation for this world in which movies are tangible consumer goods. In order to understand how consumers came to take for granted the ability not just to possess movies but also to watch them when, First, the story of the VCR has often been couched as the triumph of David over Goliath, with Hollywood playing the part of the giant and home users wielding the metaphorical slingshot. When fi rst introduced by Sony, the Betamax was advertised as a machine that would allow users to assert control of their time, liberated from the fi xed program schedules set by television executives-as one Sony ad proclaimed, "Now you don't have to miss Kojak because you're watching Columbo (or vice versa)!"
International Journal of Media, Journalism and Mass Communications (IJMJMC), 2019
This research article hopes to look at the prolific rise of VHS and home cinema in the 1980s; how it altered the viewing experiences of film-lovers, how the industry adapted to accommodate to this new market and how these viewing habits that started decades ago, still resonate today. The article will be drawing parallels between the VHS based home cinema of the 1980s to the subscription based streaming applications which are prolific today, using Netflix Inc. as the main point of focus.
When obsolete technology meets convergence culture: the case of VHS videocassettes
convergence, 2019
Technological developments have led to a rethinking of how obsolete media should be treated when it becomes relatively inaccessible. This article focuses on VHS videocassettes in digital culture. Using semi-structured interviews undertaken with people who converted their videocassettes into a digital format, this study explores the notion of participatory and convergence culture. It shows how media innovation results in emergent roles and functions for videocassettes, attributing new experiences and meanings to both digital and VHS formats. Specifically, divergence helps videocassette owners control and manage family memories, strengthening ties between family members and relations between friends. This culminates in the creation of an inherited object of memory. The findings indicate a lack of confidence in technology, especially in its ability to preserve family memories. In addition, it was found that a sort of spiritual power is attributed to videocassettes, which prevents their owners from throwing them away. This study offers a model of the divergence process and a set of terms relying on research into religion transformations and human-technology relations. These frameworks can be applied to participatory culture, more accurately accounting for old vs. new media user behaviors.
Format Matters, 2020
Fahle’s/Linseisen's contribution assumes a post-cinematic perspective to reflect on the change of media and its limits. Taking cinemas genuine ability to develop and modify into account, a concretizing, historiographic distinction has to be made: between the persistence and resistance of cinema, cut down to the concepts “medium” and “format”. Formats rely on specific media-technical surroundings. Therefore, Fahle/Linseisen argue, the persistence of a medium is based on the resistance of its formats, that implies generation loss, loss of quality and incompatibilities. Having a closer look on the intersection of two digital formats – high-definition (HD) digital imagery in correlation with and in contrast to qualitative lower digital formats, here recognized through standard definition (SD) – Fahle/Linseisen propose to write a history of cinema and film to come in correlation with a history of formats to overcome.
Electric Blues: The Rise and Fall of Britain's First Pre-recorded Videocassette Distributors
This article charts the first years of the films-on-videocassette market in Britain, from the launch of Sony's Betamax and JVC's VHS systems in 1978 to the beginnings of the British ‘video nasty’ panic in 1982. It is not concerned with revisiting the ‘video nasty’ debate per se; instead it looks at how a link between video and pornography was routinely emphasised long before this controversy took hold and explores how a sense of ‘degeneracy’ surrounding the new technology crossed over from the US to shape media and government hostility towards the medium in Britain. Voices that were strongly resistant to the ‘permissive’ social and cultural changes of the late 1960s began to mobilise in the mid-1970s and found in 1979's incoming Prime Minister Margaret Thatcher a powerful ally. With the burgeoning video market powered, however, by a business ethos that exemplified much of what would soon be called ‘Thatcherite’, the early tensions between the video pioneers and the would-be censors on the right reveal how the entrepreneurial spirit of the times could be seen to blossom only if it fell in line with the new moral order.
‘Reclaiming the ‘vanilla’ DVD: Brand packaging and the Case of Ealing Studios’
Screen, 2014
The article explores the physical packaging and basic features of the 'vanilla' DVD releases, those basic DVD releases that are often overshadowed by flashier special editions with extra features. The article argues that packaging and other features are under-explored within academic studies of DVD, or of the DVD industry, yet these help to create the initial expectations of audiences around traditional concepts such as genre, star or narrative. The main case study (Ealing Studios) develops an argument around the importance of studio branding to DVD packaging, and demonstrates how such branding can reinforce existing characteristics drawn from popular British cinema history.
Product differentiation at the movies. Hollywood 1946 to 1965
Journal of Economic History, 2002
In the post–Second World War period the floor fell out of the market for films in the United States. However, while the average revenue of films fell, the “hit” end of the market sustained itself. The growing inequality in the distribution of revenues meant that the risks associated with high-budget productions could no longer be balanced against the steady earnings of medium-budget films. During the 1950s the “majors” all became distributor–financiers as they reduced their exposure to the risks associated with film production. In doing this, they retained their dominant position in the industry.