Without doubt digital technologies have revolutionised the way global audiences consume products from the film industry. In particular, web 2.0 has facilitated a new interactive and immersive environment for audiences. Like all film institutions, Disney continually is trying to saturate the internet with content and because their budget is incredibly high, it is easy for the institution to exploit this arena. A fantastic example of Disney utilising web 2.0 is…whilst conglomerates such as Disney find web 2.0 very lucrative, independents are also able to take advantage because…example…However, Marxists would contend that there is an illusion of choice because most consumers are creatures of habit and they are drawn to the major online institutions such as Google, Facebook, IMDB where companies such as Disney have a huge adverting presence.
Moreover, web 2.0 is not the only way institutions can encourage audiences to consume in interactive and immersive ways. Disney infinity…Disney life…However, this domination of the digital sphere is often derided by many critics because it is seen as a form of Disneyfication. Not only is Disney dominating the animation industry (horizontal integration), the institution is also able to manipulate other media industries such as TV streaming, online social networks and the gaming industry (vertical integration). This is seen as cultural imperialism and therefore it has the opposite effect of the designs of media pluralism. It is very hard for children to avoid Disney’s reach and it could be argued that there is a lack of variety for children to consume.
PRODUCTION AND CONSUMPTION
Computer animation – global illumination…Nevertheless, it is also a sign of dumbing down because audiences are confined to the imaginary worlds of one institution (albeit one with subsidiaries).
Without doubt production practices are vital for the critical and commercial success of a film. Thanks to the incredible development of technology and its relative low cost, independent film institutions can now feasibly create films that are comparable in quality to those of the big 6. Aardman Animations for example have enjoyed much success with films such as Wallace and Gromit because their stop motion films have had richly formed characters, engaging narratives, attractive animation and fun and heart warming narratives. However, Disney has mad it incredibly difficult for animation companies to match their vfx because the technology they use is so advanced and their budget is so high, audiences have now become accustomed to such high production values. Therefore, often companies such as Aardman need to work in synergy with other larger institutions. Moreover, they are reliant on larger institutions to distribute and market their films because they do not enjoy horizontal or vertical integration like Disney does (ABC TV, ESPN etc.)
The following article provides an excellent explanation of how Disney has become so successful and why one of the big 6, Paramount have been unable to keep up. Here are the key points (if you don’t have time to read the article!):
- Paramount made a $455m (£365m) loss in 2016
- They have turrned to the former chief of Rupert Murdoch’s 20th Century Fox, Jim Gianopulos, whose releases include Fox’s biggest-ever hit Avatar and the X-Men series, to learn the lessons of its rivals
- 6 years ago Paramount was the most successful of the big 6
- Disney is now a template for other studios to follow due to its incredible recent successes
- Disney has spent $15bn building a multi-genre hit machine, buying Finding Nemo and Toy Story creator Pixar, Marvel Comics’ sprawling superhero universe and Lucasfilm, maker of Star Wars and Indiana Jones
- Universal, topped the industry in 2015 taking almost $7bn at the box office, has developed a string of franchises in-house including Fast and Furious, Jurassic Park, Despicable Me and spin-off Minions
- Intellectual property licences are extremely important – studios need to find un-utilised IP. Converting teen books such as The Hunger Games into franchises can help maximise revenues for institutions.
Who knew? Charlotte has been starring in films and is so humble that she has not mentioned this:
Check out ex Hazelwick student, Noah Twine’s burgeoning film portfolio:
Over half term, please answer the question:
Apply theories of narrative to one of your coursework productions.
Use the PP, table and theories sheet to help you do this.
30 minutes prep, 30 minutes to write the response.
P.S some of you need to catch up with the other tables. Please email a table for each of the concepts we have done (language, genre, audience)
I am giving you a week’s extension due to the extra magazine advert and because we lost a lesson because of ATD day. Don’t forget we have catch up after school today.
Please email all of your coursework (besides the evaluation) by the end of half term (email@example.com). For every day I don’t receive the coursework after the deadline, I will dock you one mark, so please email it to me or via online submission before the deadline. Go onto my blog, to see what is required:
B321 (one Word document)
1. CD research
2. CD planning
3. Front and back CD cover
4. Evaluation of CD cover
B324 (one Word document)
1. 3 x logo, magazine advert and billboard research
2. 2 x mock up for logo, magazine advert and billboard
3. Audience feedback
4. Final logo, magazine advert and billboard
5. Evaluation (see attached)