Film in Media Landscape - Essay Example

Film in Media Landscape Analysis Student’s Name Institutional Affiliation The level of film media landscape has faced lots of changes for the past decade or so. The emergence of smartphones; 4G coverage and social media and digital films have all proliferated and been altered in a way that consume media functionalities. The TV industry, as a whole, which has been conventionally resilient to aspects of change, now than ever face lots of radical digital disruptions just as the other sections of the media industry (Drotner, 2000). However, minutes spent in watching TV shows has continued to dwindle over time due to such notable alternative options like the popularity of personal video recorders (PVR). The focus of this paper lies in examining film in new media landscapes in relation to how the disseminate such important aspects as citizen-based journalism; news media content as well as a condition of a given democracy. Research indicates that the notable shift from watching TV programmes and local channels has been brought about as a result of audiences shifting their focus from a conventional linear TV product to on-demand contents that are presented in both short and long-term forms and later distributed over the internet. (Drotner, 2000) It is indicated that people that are aged from 11 to 24 are currently consuming only less than half of video content live on TV while the rest of the largest percentage are focused on consuming You Tube, Snapchat and Facebook videos. Despite the fact that this younger generation might still be engaging in the consumption of conventional broadcasts, they have been seen to be wary of engaging wholly into TV habit consumption as previous generations but instead focused on Netflix forms of media (Jensen, 2008). They have also moved away from engaging their time watching films in cinemas and instead channelled their resources towards streaming series, short and long films in already paid subscription channels. Following this line of reasoning, it can easily be ascertained that the commercial and social viability of a given medium are entirely based on the media landscape’s ability to secure a pertinent share of citizen’s available time and attention, as well as its overall capacity to meet the entire needs of the citizen’s for public-level connection in a broader sense (Carles, Barrio & de Lucio, 1999). This basically means that whenever people are restricted from fitting into a medium time schedule; then it will not be effectively consumed despite the fact that it can fulfil the overall need for public connection. Certainly, in the event that it is established that people would have enough time in the course of the day, then a medium can easily penetrate into a spatio-temporal situation, which is a factor that can make it indispensable within the context (Arsenault & Castells, 2008). It should be emphasised that the concept of worthwhileness is directly linked to rational individualised needs for particular media-related resource-materials but with socially-generated, routinized meaning processes and procedures for which people can make sensible of the day-to-day lives (Arsenault & Castells, 2008). It will be unrealistic to indicate that the changed media landscape as well as the formulation of social media has not affected conventional forms of media like newspapers, magazines and even TVs. Research studies indicate that there has been a significant decline in printed forms of media circulations since 2003 and there has been a further decrease over time. Statistically, it has been noted that 24 out of 25 newspapers in America posted a major decline in newspaper circulation while newspaper websites continued to attract more than 73M unique daily visitors each and every month (Arsenault & Castells, 2008). It is important to note that the new media environment has indeed interrupted the conventional role of film in media landscape as a fundamental gatekeeper and undermined theories of viewers’ ownership (Jaworski, & Thurlow, 2010). Notably, the new media landscape has resulted to an imminent increase in the volume levels and speed of disseminating information that can be gathered and transmitted; allowed a greater level of chance for interactivity that exists between the consumer and producer; formulated a platform that enhances the element of community-based growth online as well as permitted the end consumer to transform into becoming a producer (Jensen, 2008). Of great importance to note, information related to real-time World Wide Web can be published instantly; overshadowing mainstream press platforms that have continued to result to a competition of their immediate position and issues related to it being a gatekeeper (Gould & Silverman, 2013). Now more than ever, each and every individual consumer possesses the possibility to own and thus, generate content. This ability allowed for the public as a whole to formulate and produce own content and, thereafter, input news has resulted to an online phenomenon that is basically referred to citizenship journalism. It is further suggested that the overall online media has contributed to the democratisation of film in media thereby allowing the opportunity and role of publishing to the public (Jensen, 2008). Literature further notes that the audience has increasingly transformed into becoming relevant stakeholders in the news process through their roles of interactivity as well as immediate response with media platforms that extends to the comments and reviews section- an aspect that can possess the potential of either undermining the overall’s media agenda or even add value to it altogether (Gould & Silverman, 2013). In relation to this, it can be noted that the entire media’s agenda has continually been intercepted by the alterations of the changing landscape. Statistically, it has been ascertained that at least 63% of the consumers that were surveyed own a smartphone in 2014 meaning that there is a change in the way that potential users navigate the underlying internet framework. It is emphasised that the aspect related to income or even education appears to be the sole driver of uptake of digital media devices, which indicates that there is a higher level of impact of more affordable smart devices as well as their immediate adoption in a wider degree of entertainment media. Currently smartphones in the film industry are used as tools for actors like in James Bond’s movies (Jensen, 2008). On the contrast, however, Linear TV will not certainly be scrapped-off anytime soon. For instance, in regards to major events like sporting and latest trends like in the case of must watch series; the TV will likely remain to be a major social rallying point. For the older generation, TV broadcasts will remain the fundamental pillar of entertainment experiences that will be broadened and thereafter; augmented by notable smart devices as well as conventional media platforms like radio and newspapers. For the younger generation, the smartphone will likely become the overall centre of their immediate media experiences and TV will be its extension (Thussu, 2006). In a broadened perspective, it is set to become a fixed anchor within a world that is, time and again, becoming distracted and mobile. The capacity to persuade them on the value of the linear as well as a professionally developed TV would turn out as a hard nut to crack. The current continual shift of power within the online media platform showcases what is considered to be the most significant changes being witnessed within the film media landscape, which basically shows the ever-shifting relationship that exists between the medium platform and audience (Lister, 2009). In essence, the conventional model of a hierarchy of information and overall control of the mainstream media has changed towards the new media ecosystem while the influence of the underlying public has resulted to a more apparent and impressionable aspect of the media as a whole (Thussu, 2006). As a result of this ever-shifting relationship that exists between the conventional model of producer and the end user within the digital arena indicate that these alterations will indeed result to an ultimate affection of media relations that exists between public relations’ professionals; the film industry sector as well as the audiences (Lister, 2009). Notwithstanding, it can be noted that the immediate decline of this communication hierarchy has resulted to the immediate decline of a well laid-out, control and the resultant influence that they impact on the overall information supply chain. In consequence, it has been noted that the ever-changing media landscape has resulted to a shift in both the target and focus of media relations in two notable ways that include; first, the overall increase in the imminent desire of journalists working with practitioners since they will be compelled to engage in social media aspect (Lister, 2009). Secondly, it is noted that the film-based practitioners would now incline towards shifting their roles and duties to a central position of the emerging landscape and, thus comprehend the immediate influencers of their respective target media as opposed to solely basing their target towards media outlets (Schrøder & Steeg Larsen, 2010). Certainly, the process related to the overall film industry adopting and even embracing the overall new media landscape; or reluctantly adopting or ignoring it altogether, has yet to be established. On a positive note though, since the immediate flourishing of the new film media and the launching of the internet, it has been argued that most film practitioners have made significant level of efforts to adapt to their communication models related to these new media landscape (Schrøder & Steeg Larsen, 2010). In fact, it can be noted that just as the mainstream media platform has continued to evolve, the overall planned strategies; tactics and models of communication have flourished and have been enhanced in media relations practice as a whole thereby curtailing possible growth in such other conventional media platform as mail and faxes by changing them to electronic mail and virtual chatting features. Most importantly, it is noted that the new media landscape has continued to focus its strategy towards formulation of favourable platforms for discussion; community and interaction, which when applied to theory will result to a mixed motive two-way approach (Schrøder & Steeg Larsen, 2010). The immediate effect resulting to the newer patterns in the new film ecosystem, most of the practitioners have resulted to matching their practices to perfectly suit the new media environment as well as meet the overall needs of the viewers in virtual landscape. The growth and development witnessed within online film streaming companies and media-based web sites have further broadened the access of film (Moggridge, 2010). It can therefore be safely ascertained that with the flourishing of the new film media, tactics as opposed to other conventional TV broadcasts have continued to be subjected to intensive exploration; adoption and for some cases; ensured the strengthening the underlying media landscape as a whole. The process of utilising new media landscape as an avenue for building a company’s overall reputation and relationship management, a company such as the American cable company like Comcast; has continued to translate client relation into media relation (Moggridge, 2010). Through the use of Twitter platform, the firm has managed to get any level of complaints to engage with unsatisfied customers for purposes of helping them come up with efficient solutions. To sum up the discussion above, it can be noted that the existing literature on the ever-changing aspects witnessed in film in media landscape indicates that there will be a new way of conducting practices; roles and relationships in all media practitioners. The online transformation has led to a reconstruction of strategic viewership of many forms of films; both short and long in nature; and while the media landscape evolves and moves onto a more digitally sound platform, it is indicated that the aspects related to the dynamics; purpose and tactics of public relation practice has significantly been altered while the connections linking the practice has continued to be refocused. References Arsenault, A. H., & Castells, M. (2008). The structure and dynamics of global multi-media business networks. International Journal of Communication, 2, 43. Carles, J. L., Barrio, I. L., & de Lucio, J. V. (1999). Sound influence on landscape values. Landscape And Urban Planning, 43(4), 191-200. Drotner, K. (2000). Difference and diversity: trends in young Danes' media uses. Media, Culture & Society, 22(2), 149-166. Gould, M. R., & Silverman, R. E. (2013). Stumbling upon history: collective memory and the urban landscape. GeoJournal, 78(5), 791-801. Jensen, J. F. (2008). The concept of interactivity--revisited: four new typologies for a new media landscape. In Proceedings of the 1st international conference on Designing interactive user experiences for TV and video (pp. 129-132). ACM. Jaworski, A., & Thurlow, C. (Eds.). (2010). Semiotic landscapes: Language, image, space. A&C Black. Lister, M. (2009). New media: A critical introduction. Taylor & Francis. Moggridge, B. (2010). Designing media. MIT Press. Schrøder, K. C., & Steeg Larsen, B. (2010). The shifting cross-media news landscape: Challenges for news producers. Journalism Studies, 11(4), 524-534. Thussu, D. K (2006). Media on the move: global flow and contra-flow. Rutledge. Read More

Certainly, in the event that it is established that people would have enough time in the course of the day, then a medium can easily penetrate into a spatio-temporal situation, which is a factor that can make it indispensable within the context (Arsenault & Castells, 2008). It should be emphasised that the concept of worthwhileness is directly linked to rational individualised needs for particular media-related resource-materials but with socially-generated, routinized meaning processes and procedures for which people can make sensible of the day-to-day lives (Arsenault & Castells, 2008).

It will be unrealistic to indicate that the changed media landscape as well as the formulation of social media has not affected conventional forms of media like newspapers, magazines and even TVs. Research studies indicate that there has been a significant decline in printed forms of media circulations since 2003 and there has been a further decrease over time. Statistically, it has been noted that 24 out of 25 newspapers in America posted a major decline in newspaper circulation while newspaper websites continued to attract more than 73M unique daily visitors each and every month (Arsenault & Castells, 2008).

It is important to note that the new media environment has indeed interrupted the conventional role of film in media landscape as a fundamental gatekeeper and undermined theories of viewers’ ownership (Jaworski, & Thurlow, 2010). Notably, the new media landscape has resulted to an imminent increase in the volume levels and speed of disseminating information that can be gathered and transmitted; allowed a greater level of chance for interactivity that exists between the consumer and producer; formulated a platform that enhances the element of community-based growth online as well as permitted the end consumer to transform into becoming a producer (Jensen, 2008).

Of great importance to note, information related to real-time World Wide Web can be published instantly; overshadowing mainstream press platforms that have continued to result to a competition of their immediate position and issues related to it being a gatekeeper (Gould & Silverman, 2013). Now more than ever, each and every individual consumer possesses the possibility to own and thus, generate content. This ability allowed for the public as a whole to formulate and produce own content and, thereafter, input news has resulted to an online phenomenon that is basically referred to citizenship journalism.

It is further suggested that the overall online media has contributed to the democratisation of film in media thereby allowing the opportunity and role of publishing to the public (Jensen, 2008). Literature further notes that the audience has increasingly transformed into becoming relevant stakeholders in the news process through their roles of interactivity as well as immediate response with media platforms that extends to the comments and reviews section- an aspect that can possess the potential of either undermining the overall’s media agenda or even add value to it altogether (Gould & Silverman, 2013).

In relation to this, it can be noted that the entire media’s agenda has continually been intercepted by the alterations of the changing landscape. Statistically, it has been ascertained that at least 63% of the consumers that were surveyed own a smartphone in 2014 meaning that there is a change in the way that potential users navigate the underlying internet framework. It is emphasised that the aspect related to income or even education appears to be the sole driver of uptake of digital media devices, which indicates that there is a higher level of impact of more affordable smart devices as well as their immediate adoption in a wider degree of entertainment media.

Currently smartphones in the film industry are used as tools for actors like in James Bond’s movies (Jensen, 2008). On the contrast, however, Linear TV will not certainly be scrapped-off anytime soon.

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