Ryan Madden 22358188

MED3207 Global Convergences

CW2 - 3000 Word Reflective Essay which analyses one student production from another
course in relation to two issues discussed in the module.

Question 4 - What role might new technologies play in creating new markets for your
chosen production?

In my third academic year, I was involved in the production of a short film titled, Number
39, Give us a Line. The film centred on the drug-abused underworld of a bingo hall.
Throughout this essay I will explore what is meant by the term new technology, and
discuss whether these technologies are actually new, or simply recycled ideas. I will then
look into how new technologies could potentially open and create new markets for my
chosen production of Number 39, Give us a Line (Later to be referred to as simply
Number 39). I will divide the new technologies into three areas, Online Streaming, Online
Presence, and new and advancing Equipment. Finally, I will evaluate and discuss an
audience study which asks audiences about the potential reaches of a short film, and what
technologies can do to create newer markets.

What is New Media? Or new technologies? Livingstone suggests that that simple
question is often answered by listing new technological developments (Livingstone:
1999). Livingstone is being very broad here, but she implies that its not a difficult task to
determine whats new in the technological world. What appears to be a difficult question

on this topic however, is just how a new technological advancement is adopted into the
widespread community with success, while alternatives languish (Munir: 2005, 1665);
with Munir et al stating its a question that has troubled researchers for some time.
There is a proposed precedented reasoning for how these technologies can be
successfully integrated into current culture however. Hargadon and Douglas (2001) have
argued that when interpreting a radically new technology, actors largely choose from the
set of understandings available to them (Munir: 2005, 1665). The implication of this from
Hargadon et al is that consumers alike must have some basic knowledge of how to
function the technology. They go on to state that in order to enhance the chance of a
new technology or practice being adopted, institutional entrepreneurs would try to alter
these understandings or schemas and scripts to their advantage (Munir: 2005, 1665).
In essence, the institutions which house the new technologies will alter existing
technologies so that consumers already familiar with the older versions will be able to
accept, convert and adopt the new technology. In Media Literacy, theres an approach
that explains the behaviour of consumers in this instance, and why institutions might
adopt this method of advancing their technologies - The Protectionist Approach. While
the approach is criticised for over-simplifying the complexity of our relationship with the
media (Kellner: 2007), its still an applicable approach. It suggests that consumers absorb
information via media, and in turn learn the information. This could be applied to
consumers absorbing the information of how to function previous iterations of
technologies, and so in turn are literate enough to function the new technologies.

New technology in media is largely embraced, as some of it are huge advancements in

the industry. Another positive new technology receives however is the increased markets
it opens for the industry. In the MPAAs Theatrical Market Statistics Report for 2014, it is
clear certain technologies have increased the quantity of cinema-goers. In 2010, there
was a total of 22,385 3D screens globally. In 2014, there was combined total of 64,905 3D
screens globally. In just four years, this new iteration of the technology almost tripled in
its figures, and ultimately complimented to the global box office of $36.4 million in
2014, up 1% over 2013s total (MPAA Market Statistics: 2015). Another statistic of note
regarding advancing technologies is that now over 90% of the worlds cinema screens
are now digital (MPAA Stats: 2015). The statistic states that the primary cinema format
prior the millennium, Analogue, now only occupies 10% of global screens. These two
statistics agree with Hargadon and Douglas suggestion for why advancing technologies
can be a success. Both 3D and Digital projections are updated versions of past
technologies; both have the same core of the visual medium being projected to the
consumers eyes, but now the technologies have simply advanced to give consumers a
more immersive experience.

New and advancing technologies can and do create new markets for the industry, but its
important to note that these technologies expand markets of texts that have already
substantial financial and public backing. As stated, 3D and Digital Projection has vastly
increased in markets over the past five years, but these technologies wouldnt create new
markets for the likes of Number 39, Give us a Line, as its a student film, meaning it has
neither financial or public backing, rendering a 3D converted digital projection of it quite

futile. However, there are several other areas of new and advancing technologies that
could benefit the film and create new markets.

This first area that could create new markets is that of Online Streaming. Most notably
that of YouTube, Vimeo and Netflix. Online streaming has taken huge strides in
expanding its market in recent years. In 2009, 44 million US citizens participated in
watching online television. In just six years, the figure has more than doubled, with 2015
projected at housing 99.2 million US citizens watching online television (statista.com:
2016). With such a substantially sized growing market, its fair to say theres precedent for
it to be utilised by Number 39 to expand its reach.

YouTube is a video sharing website that established in 2005 and was one of the
pioneering websites of the Web 2.0 transition. As stated earlier, online video growth is
significant, and YouTube has had a large part to add to that. From 2003 to 2009 the
online video audience grew 339% and the amount of time spent viewing video online
grew 1,905% and in 2009 YouTube was ranked as the third most popular website
according to Web traffic statistics. In May of 2009, video was being uploaded at the
rate 20 hours of video per minute (Snelson: 2009, 3). These figures on YouTube alone
suggest theres a consumer market Number 39 could reach, with the latest figures stating
the number of people watching YouTube each day has increased by 40% since March
2014 (YouTube: 2015). With such an abundance of potential consumers available,
Number 39 could gain a public following, which in turn could lead to further financial

benefits for future productions. Which is the next positive of YouTube as an advancing
technology to a production of Number 39s model - the finance of it.

YouTube offers both free access to content and an easy to use distribution
system (Snelson: 2009, 14), which is a positive to students and young filmmakers. The
ability to showcase productions to new, previously unreachable markets for no charge is
of course beneficial, with the finances now allowed to be spent wisely on the rest of the
production, raising production values.

YouTube also offers the opportunity for marketing and promotion of a product, not just
showcasing the entirety of the production. Cunningham suggests that many producers
use YouTube for trailers, and typically cross-promote their films online (Cunningham:
2010, 125). Again, it enables the creator to gain access to once unreachable consumers,
but also enables free advertising and promotion, and allows the creator to potentially
showcase the production on a more professional stage, such as a film festival, or Vimeo.

Some believe Vimeo is a more professional digital service to showcase productions. Peter
Rea believes that with the introduction of Vimeo, visual artists are now using the internet
as a viable distribution outlet for their short works (2015, 402). As opposed to YouTube,
Vimeo offers a PRO package, which offers the creator more storage, greater bandwidth,
professional tools, and no advertising over the creators videos (Vimeo: 2016). From its
availability, its clear Vimeo is marketing itself as a smaller, more professional video service
to showcase visual content. Number 39 could benefit from this, with Vimeo potentially

creating a market for more professional consumers, a potential niche market. Number 39
would not benefit from the loss of financials paid in order to obtain this professional
market via a paid PRO package however.

Netflix is the worlds leading Internet television network with over 69 million members in
over 60 countries enjoying more than 100 million hours of TV shows and movies per
day (Netflix: 2016). The statistics and figures that showcase what success Netflix is are
unmatched and incomparable, especially to its two predecessors in this essay. Although
Netflix is synonymous with streaming big budget films, the company also has quietly
become the exclusive distributor of more than 100 indie films (Biba: 2013). This is a
positive for young filmmakers who dont have big budgets, that big corporations still
support up and coming cinema. However, it is definitely worth noting even the
Independent films of Netflix have a budget that casts a large shadow over the likes of
Number 39. While Netflix could assist in reaching a large market for Number 39, its very
unlikely it would have the public knowledge or traction behind it to gain the attention of a
major corporation. Ultimately, self-distribution would be the best recommendation for
gaining a larger market for Number 39.

Livingstone believes of all the new technologies, the Internet attracts the most interest
(Livingstone, 1999). Her suggestion does have validity, with the internet currently housing
over 3.25 billion users (Internet Live Stats: 2016). With just under half the population
accessing the internet, a productions Online Presence alone could create numerous new
markets. This area of advancing technology enables creators with several new markets for

their productions. One, naturally, is a greater quantity of consumer market for the
production to reach. Another one, is reaching a market of quality.

A greater market could be reached by maximising the storytelling of Number 39, using
the convergence of the advancing technology of the internet. Transmedia storytelling is a
concept from post-Millennium which enables creators to use multi-platforms to tell a
broader, more immersive story. Jenkins, who popularised the concept, suggested it
represents a process where integral elements of a fiction get dispersed systematically
across multiple delivery channels for the purpose of creating a unified and coordinated
entertainment experience (Jenkins, 2006: 95). BBC show Spooks provided a very
successful transmedia package, for example, alongside the television episodes a number
of games have been created for the programmes website (www.bbc.co.uk/drama/
spooks), set within the same diegetic world as the series (Evans: 2007). This concept is
also driven by the aforementioned Protectionist Approach, which enables consumers to
learn their media while engaging with it. Its worth noting that this concept of storytelling
doesnt always engage its consumers, with some consumers simply not identifying with it.
Evans ran a focus group to find the success or failures of Spooks transmedia packages
and found it not be to identifiable with its audience. She found that participants do not
want to step inside the fictional world, but would rather the fictional characters continue
their narrative from the TV show, so in turn, they [the audience] reject the kind of viewing
position offered by the games in favour of one more familiar to them from the
series (Evans: 2007). While the transmedia packages enhance the storytelling

experience, evidence suggests theres potential to lose and close potential markets when
executed poorly.

Online presence is a very substantial asset for creating new mass markets for a
productions promotion and marketing also. Cunningham found that many filmmakers use
YouTube and Vimeo for trailers, and typically cross-promote their films online using
Facebook and Twitter (Cunningham: 2010, 125). The power and reach social media can
produce is at times unmatched, with even larger corporations regarding the technology
as imperative to marketing in todays culture. Both organizations [P&G and GE]
acknowledged the importance of incorporating social media into their IMC [integrated
marketing communications] strategies and promotional efforts (Mangold: 2009, 358). Its
clear that social media is a powerful tool in creating new markets for all industries, so
Number 39 could definitely benefit from reaching a broader, mass market.

Lastly, theres another area of new technology to make note of, the equipment. Although
there are countless pieces of equipment being released each month, Im going to put a
small focus on the Panasonic GH4 as a piece of an advancing technology to assist
Number 39. This piece of equipment, released in Mid-2014, is a great asset to low
budget short films for several reasons. At the time of writing, [it] was the only 4K-enabled
DSLR available on the market (Valle: 2015, 10). The camera ranges from around 700,
and produces a 4K image, something which some higher budgeted films dont currently
match. With the high quality product coming at a reasonable price, its suggestible for a

film of Number 39s standard to utilise this piece of equipment in order to raise its
production value, which creates a more quality-driven market.

I ran an audience study to evaluate and discuss what audiences perception of new
technology was. I did this via a questionnaire, but unfortunately I only received 10
questionnaires back. Although I would have liked the number to have been greater, I
think theres a good focus on my participants to gather a valid representation of a short
film audience. I asked participants if they could list any new technologies that have
recently became known. This was asked to evaluate whether audiences had an interest in
new technologies, which would allow me to know if simply having new technologies on
Number 39 would create new markets. The answers were of similar tone, and mainstream.
One participant quoted 3d, netflix, 4k, 8k (Participant 3), while another suggested 4K,
Netflix, 3D, IMAX (Participant 9). What was clear to me here, was that this audience had
in interest in how they watch their content, and the quality the content was presented to
them in. This aligns with my earlier suggestions that 4K Production Values could create a
market for a more quality-driven market. Unfortunately for Number 39, this audience has
a substantial interest in projections of content that this short film could not aspire to. As
quoted earlier, theres neither to financial nor public backing to get Number 39 in
theatres or on Netflix.

I later asked my participants what they thought was the best Online Streaming service was
that would benefit student films. YouTube was the best ranked at 3.00, almost doubling
Vimeos 1.80. Netflix was at 1.20. This is a positive sign for Number 39s market, as my

audience know that when looking for a short/student film, YouTube and Vimeo are the
two most likely forms of distribution.

Regarding the Online Presence of a product, I asked my participants what they

considered to be the best social media for promoting a short film. Facebook came out on
top with a score of 2.70, with Twitter close behind with 2.30. Vine scored a 1.00. I asked
my participants why they picket their number ones, and the answers were divided
between the top two social medias. Three participants suggested Facebook was simply
more popular, while two participants suggested the power and reach of hashtags on
Twitter was substantially greater. These answers bode well for Number 39s promotion, as
all participants agree in social medias importance in promotion, and its a financially
sound choice of promotion.

Lastly, regarding a question asking about new equipment, four of my participants claimed
they had no idea what new equipment had came out, and only one participant referenced
a 4K quality. This juxtaposes my findings with Question One slightly, but gives me a more
solid understanding of my audience. They have a large interest in the quality the content
is shown in, but have almost no interest in what equipment provides that quality.

In conclusion, I found that new technologies are predominantly based on existing

technologies, with each iteration adding potential to create a new market for their
products. While I found the likes of 3D, IMAX and Netflix a futile option for distribution of
my short film, I found the likes of YouTube and Vimeo to be a very logical and successful

approach to self distribution, with Vimeo even adding a potential to aim for a more
professionally-driven market. My audience study gave positives towards the distribution
of short films also as it was found audiences know where to look for short or student films,
ensuring a maximised market. It was found and vastly agreed that social media is a very
substantially important role in modern day marketing. This boded well again for Number
39 as social media comes at no cost other than your time. My audience study confirmed
that audiences have next to no interest in what equipment is used on productions, only
the quality of the content. This supports my suggestion of a GH4 for Number 39 which
provides a 4KHD quality image at an affordable price, raising the production values. This
is positive as I found from my audience study that the quality of 4K images was desired.

Overall, Ive found there are many new and advancing technologies that could assist in
creating and expanding new markets for Number 39 to a high standard, rendering this
study a success.

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