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Archive for the ‘New Technology’ Category

How We Watch TV Today, According to Nielsen

Thursday, April 23rd, 2015

Neilsen is out with a new report on how we watch TV and web programming today.

While this study concentrates on viewers in New Zealand, as is readily apparent, Nielsen extrapolates the results on a world wide basis. As Tony Boyte, Research Director at Nielsen, the ratings company, writes, “our viewing patterns are shifting and can now watch where we want, when we want. The explosion of devices has given us more access to content and brands than ever before. While the television is still the screen of choice for viewing video content, device proliferation and social-media interaction is shifting the power from the provider to the people.

Two-in-five New Zealanders (40%) say video programs are an important part of their lives, but when it comes to the way we like to watch video programming, size does matter. Over half of respondents (51%) think bigger is better when it comes to screen size, but they also appreciate the convenience and portability of mobile devices. Nearly four-in-10 respondents (37%) think watching video programming on their mobile device is convenient. In addition, the same number (37%) say a tablet is just as good as a PC or laptop computer for watching programming.

Real-time conversations on social media are replacing physical gatherings around the water cooler to talk about our favorite TV show. Live TV has become a social event that goes way beyond the confines of our living rooms. Nearly a third of [New Zealand viewers] (30%) said they like to keep up with shows so they can join the conversation on social media, and a fifth (21%) say they watch live video programming more if it has a social media tie in. Thirty percent of respondents say they engage with social media while watching video programming. And nearly half of respondents (47%) say they browse the Internet while watching video programming.

Social media can increase program awareness, make the experience more enjoyable and keep viewers engaged. Second-screen strategies should include an interactive component that allows users to take part – making them feel involved and deepening their connection to the program. But the content needs to be fresh to maximize time spent and to drive repeat visitation. Designers can not focus on one screen, they need to ensure accessibility wherever users are and that the user experience is enjoyable across all devices.

Whether it is watching a sporting event, news show, documentary or movie, TV remains at the center of video consumption. It is the most frequently cited device for watching nearly all types of programming genres included in the survey—by a wide margin. The exception: short-form video (typically less than 10 minutes long), which is cited as more commonly viewed on computers, mobile phones and tablets.

A computer is the second-most commonly mentioned viewing device for nearly all genres, and it tops the list of devices used to watch short-form content. A smaller, but notable, proportion of consumers watch video content on a mobile phone or tablet, while viewing on e-readers and/or gaming consoles has not yet gained traction.”

You can read the rest of this fascinating article by clicking here, or on the image above.

Columbia University Seminar Presentation – 4/16/15

Monday, April 20th, 2015

I was honored to be invited to deliver a seminar lecture at Columbia University on April 16, 2015.

My talk was entitled “The Current Fate of Experimental Works on 16mm from the 1960s and 1970s in a Digital Age,” with David Sterritt, Chair of the National Society of Film Critics and a Professor of Film Studies at Columbia University serving as the respondent.

The problem we discussed is a serious one – most of the experimental films of the 1960s and 1970s were created on 16mm reversal film, which is now an obsolete format, and many of the artists involved in the era have died, leaving their films as essentially “orphan works.” Even such well known artists as D.A. Pennebaker are searching for archives to take their 16mm original printing materials, and for most independent filmmakers of the 1960s, the films sit on the shelf, unseen and undistributed, where once they commanded a wide audience around the world at colleges, museums, and galleries.

As I noted during my lecture, in part, “with the rise of what is supposedly ’social media,’ a sense of community is gone. I think a better term for it is ‘anti-social’ media, because it locks us all away from each other in our own little cubicle. True, I can communicate with anyone in the world with a few keystrokes, but it’s impersonal, fragmentary, lacking in any real person to person substance.

Skype or Facetime are poor substitutes for actually sitting in a room and talking to a group of people. Vimeo [a premium video sharing site] is supposed to be a haven for artists, as well, but there’s little real interaction – by design – and many of the artists’ sites are ‘ghost sites,’ of videos posted years ago, and viewed only a few times.

Bookstores have vanished, not only in New York City, but around the world. And now, when one goes into a coffee house, instead of discussions, one finds a group of solitary people staring at their iPads or laptops, alone together in a virtual world where the only interaction takes place on the screen. Most people aren’t even aware of it, but our private space is essentially gone . . .

The experimental film work I have discussed in this paper, made for the most part in 16mm format, is also now beyond general use, as 16mm projection and production – to say nothing of 35mm – becomes a thing of the past.

Most of these works will become mere memories, existing only in terrible copies uploaded on the web if they exist at all. These films will never make the jump to DVD or streaming video, and unless one wants to go Anthology Film Archives, they’re almost impossible to see. Indeed, it’s as if they never even existed to an entire new generation of potential artists.”

A difficult problem, for which there is no easy solution; well worth talking about.

Web Changes Everything for Indie Films and TV Series

Monday, April 13th, 2015

This is a key moment – Netflix and other web providers are producing both “TV” series and theatrical films.

As Dina Gachman reports in Studio System News, “Netflix is buying feature films, Woody Allen is making an Amazon show, and A-list Oscar winners have no problem taking a role in a TV show or miniseries, even at the height of their career. In other words, it’s an exciting time for television. The landscape is changing so rapidly it’ll give you whiplash.

That’s all great news for actors, writers, and producers – and maybe not-so-great news for theater chains, whose owners were recently up in arms about Netflix buying Cary Fukunaga’s feature film Beasts of No Nation for a reported $12 million. Features and television are experiencing an indie revolution – just look at the Best Picture Oscar nominees this year. The vast majority of the nominees were made outside of the studio system, with Warner Bros. American Sniper being the oft-cited exception.

In television, the traditional process of getting a pilot made is still the norm, but there are more channels, more online platforms, and more opportunities for writers and producers to get their project made than ever before. Going the independent route and shooting the pilot yourself is one option, and the stigma of making a pilot DIY-style is quickly becoming a thing of the past [and] while it hasn’t become the norm, indie pilots are definitely becoming an increasingly common route for creators who want to get their passion project off the ground, by any means necessary.

Former House EP Katie Jacobs and veteran indie producer Nick Wechsler (Drugstore Cowboy, Reservation Road, Magic Mike) have recently teamed to produce an independent pilot called Dr. Del, with John Hawkes starring and John Sayles writing. They’ll shoot the pilot on their own, with total creative freedom, and then take it to cable and broadcast network.”

As she puts it, “there really is no excuse not to make your pilot anymore.”

The 87th Annual Oscars – A Night of Surprises

Monday, February 23rd, 2015

The 87th Annual Oscars were a night of surprises.

And The Winners Are:

  • Best Picture – Birdman or (The Unexpected Virtue of Ignorance) – a real surprise to me; I thought Boyhood was the one here, but it was neck and neck.
  • Best Actress – Julianne Moore, Still Alice - an excellent film, and a much deserved win, though Marion Cotillard was superb in Two Days, One Night
  • Best Actor – Eddie Redmayne, The Theory of Everything - this was a real upset – everyone thought Michael Keaton had this one in the bag.
  • Directing  – Alejandro G. Iñárritu, Birdman or (The Unexpected Virtue of Ignorance) - if you think the film was good, then Iñárritu wins.
  • Best Supporting Actress – Patricia Arquette, Boyhood – her win was no surprise; but the film was completely shut out in every other category.
  • Best Supporting Actor – J.K. Simmons, Whiplash – absolutely deserved for his performance here, and a lifetime of work.
  • Animated Feature Film - Big Hero 6 – honestly can’t speak to this; not a category I follow.
  • Documentary Feature – Citizenfour - another surprise, and hardly a safe choice, with an impassioned acceptance speech from the stage.
  • Foreign Language Film – Ida (Poland) – I’d go for Two Days, One Night – not enamored of this film at all, but it’s a small, sincere film.
  • Adapted Screenplay – Graham Moore, The Imitation Game – good choice here; Moore’s acceptance speech was raw and honest.
  • Original Screenplay – Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo, Birdman or (The Unexpected Virtue of Ignorance) – OK.
  • Original Score – Alexandre Desplat, The Grand Budapest Hotel – don’t like the film, don’t like Wes Anderson, but he’s a cult favorite, so it wins.
  • Original Song – “Glory” from Selma - the most moving moment of the evening, with an electrifying performance of the song, which got the evening’s first standing ovation & tears in the audience.
  • Film Editing – Whiplash - picked this, and agree with it; in this small scale film, the editing had to be razor sharp, and it was.
  • Production Design – The Grand Budapest Hotel - if you insist.
  • Sound Editing – American Sniper – deserved; whatever you think of the film, the sound editing was utterly complex, and multi-layered.
  • Sound Mixing – Whiplash - again, a great and deserving win for a film about a world of music – harder to mix that one might think.
  • Visual Effects – Interstellar - dull film, average SPFX; I would have preferred Captain America, Winter Soldier here.
  • Cinematography – Emmanuel Lubezki, Birdman or (The Unexpected Virtue of Ignorance) – superb cinematography, and a worthy win.
  • Costume Design – Milena Canonero, The Grand Budapest Hotel - again, if you insist.
  • Makeup and Hairstyling – Frances Hannon and Mark Coulier, The Grand Budapest Hotel - it picks up all these minor awards, but nothing major.
  • Animated Short Film – Feast – haven’t seen it.
  • Live Action Short Film – The Phone Call – haven’t seen it.
  • Documentary Short Subject – Crisis Hotline: Veterans Press 1 - a really good documentary; searing, honest, timely.

Those are my major thoughts; Neil Patrick Harris kept things moving, but the “predictions in a box” bit was lame and over-stretched; he seemed bored with the whole thing, and more or less just pushed things along; the songs keep slowing things down, especially the one after the memorial reel, which should just have been a fade to black; Selma will get a lot of much deserved traction as a result of the Glory performance, which was the standout moment of the evening for raw sincerity and passion; but it’s still not right that the director, Ava DuVernay, wasn’t nominated, but Glory did the most with what it had at hand. I predict that down the line it will get more attention than it has now; it certainly deserves it.

It was nice to see Jean-Claude Carrière win in the Governor’s Awards highlights reel for his many screenplays, especially for his work with the great Luis Buñuel; the tech awards deserve more than 30 seconds, and you could cut some of the endless musical numbers to give them just a bit more space; seen in 100 countries and 24 time zones by roughly half a billion viewers, the telecast of the 87th Oscars once again affirms, more than anything else, the continuing commercial dominance of the American cinema; but at the same time it’s interesting to see that the big budget “tent pole” movies were almost completely ignored in favor of smaller, more personal visions from the margins, where all the best ideas come from anyway.

The studios are stuck in this pattern of releasing big budget spectacles at enormous expense to drag viewers into the theaters, but while the Marvel and DC movies make money, it’s clear that the industry doesn’t really respect them – they want content, and thoughtful filmmaking. All in all, I was surprised by the end of the ceremonies – it’s always an ordeal, but people were allowed to speak their minds on any number of controversial topics from the stage. Some people went on & on forever, and got played off at the start of the ceremonies, but when someone had a real message to deliver, I noticed that the orchestra held back on a number of occasions.

The impassioned speech after the Glory production number was a real stunner, and Patricia Arquette’s call for equal pay and equal rights for women was met with resounding approval from the audience, and a raised fist shout out from Meryl Streep and others in support. However, as much as Julie Andrews is a cinematic icon, I thought the placement of the Sound of Music salute was bizarre to say the least, though Lady Gaga demonstrated that she’s learned a thing or two from Tony Bennett lately, singing the songs rather than belting them. All in all, a mixed bag that kept one thinking. No one film swept the awards, which was great – instead they seemed to be spread out over a number of interesting films, all of which will now get a lift at the box office and on VOD.

All in all, the Academy could have done much worse; glad it’s over until next year. See you then!

New Essay – Humanities in the Digital Era

Friday, February 13th, 2015

I have a new essay on “humanities in the digital era” in the web journal Film International – here’s a link.

As I argue, “We live in the age of the visible invisible; everything is supposedly available to us online, but in fact, only a small fraction of the knowledge and culture of even the most recent past is available on the web. The digitization of our culture is now an accomplished fact; physical media is disappearing, books are being harvested from library shelves and thrown into the anonymity of high density storage, digital facsimiles of these documents are often illegible or hidden behind pay walls. It’s a world of never-ending passwords, permissions, and a whole new group of “gatekeepers,” which the digital revolution was supposed to do away with, in which everyone got a place at the table. In fact, it has created a far more intrusive and much less intuitive group of cultural taste makers in place of the 20th century regime of editors, writers, critics and the like; technology specialists, who, really don’t understand the humanities at all, and are, in fact alarmed by the amorphousness of humanist work – after all, you know, it’s just so unquantifiable.

As Wieseltier notes, in part, in the January 7th issue of the NYT Sunday Book Review, ‘aside from issues of life and death, there is no more urgent task for American intellectuals and writers than to think critically about the salience, even the tyranny, of technology in individual and collective life. All revolutions exaggerate, and the digital revolution is no different. We are still in the middle of the great transformation, but it is not too early to begin to expose the exaggerations, and to sort out the continuities from the discontinuities. The burden of proof falls on the revolutionaries, and their success in the marketplace is not sufficient proof. Presumptions of obsolescence, which are often nothing more than the marketing techniques of corporate behemoths, need to be scrupulously examined. By now we are familiar enough with the magnitude of the changes in all the spheres of our existence to move beyond the futuristic rhapsodies that characterize much of the literature on the subject. We can no longer roll over and celebrate and shop. Every phone in every pocket contains a “picture of ourselves,” and we must ascertain what that picture is and whether we should wish to resist it. Here is a humanist proposition for the age of Google: The processing of information is not the highest aim to which the human spirit can aspire, and neither is competitiveness in a global economy. The character of our society cannot be determined by engineers.’

Needless to say, Wieseltier’s essay has touched a real nerve among both humanists and the digerati - you can read some responses here - some agreeing with him, and some not, but for me, it seems that more often than not, he hits the mark straight on. As one reader, Carl Witonksy, wrote in response, ‘Leon Wieseltier’s essay should be required reading and discussion by all college students, regardless of major. Technology is penetrating every aspect of their lives, and they should come to grips with its pluses and minuses,’ while Cynthia M. Pile, co-chair of the Columbia University Seminar in the Renaissance, added that ‘for the humanities, the library is the laboratory, and books and documents are the petri dishes containing the ideas and records of events under study. We use the Internet, to be sure, and are grateful for it. But its rapid and careless ascent has meant that we cannot rely on it for confirmation of reality or of fact.’

Pile goes on to note that ‘we require direct observation of material (stone, wood, ink, paper and parchment) documents, manuscripts and printed books, which we then subject to critical, historical analysis. We also require that these materials be spread out in front of us to analyze and compare with one another, like the scientific specimens they are. In great research libraries (which used to be the hearts of great universities), these were formerly available on site, so that an idea could be confirmed or contradicted on the spot. Instead, today librarians are taught that a delay of several days while a book is fetched from a warehouse dozens, or even hundreds, of miles away — to the detriment of the book — is irrelevant to our work. This is false. Our work is impeded by these assumptions, based on technological dreams, not on reality.’

I’ve seen the impact of this in many fields of the arts, which are now faced with a crisis unlike anything since the Middle Ages – the cultural work of the past is being relegated to archives, museums, and warehouses, and despite claims to the contrary, is not available in any meaningful way to the general public or students. Great swaths of material have been left unscanned and unindexed, and with the demise of paper copies becomes essentially unobtainable. Browsing through library stacks is not only a pleasurable experience; it is also an essential part of the discovery process and intellectual investigation. You come in, presumably, looking for one book, but now you find another. And another. And another. They’re all together in one section on the shelves. You’re not calling for a specific text, which would give you only one side of any given question – you have immediate access to them all, and can pick and choose from a wide variety of different perspectives. Now, it seems that only the eternal present is with us.

I wrote an essay that touched on some of these issues a few years ago for The College Hill Review about working in New York in the 1960s as part of the community of experimental filmmakers, aptly entitled ‘On The Value of “Worthless” Endeavor,‘ in which I noted – again, in part – that ‘the only art today is making money, it seems; in fact, today, there are plaques all over New York identifying where this artist, or that artist, used to have a studio; today, all the locations are now office buildings or bank . . . it seems that no one has time or money for artistic work, when, in fact, such work would redeem us as a society, as it did in the 1930s when Franklin Roosevelt put artists to work, and then sold that work, to get that segment of the economy moving again. Now, the social conservativism that pervades the nation today belatedly recognizes the power of “outlaw” art, and no longer wishes to support it, as it might well prove — in the long run — dangerous.

Money can create, but it can also destroy. Out of economic privation, and the desperate need to create, the artists [of the 1960s] created works of lasting resonance and beauty with almost no resources at their disposal, other than the good will and assistance of their colleagues; a band of artistic outlaws. These artists broke the mold of stylistic representation . . . and offered something new, brutal, and unvarnished, which confronted audiences with a new kind of beauty, the beauty of the outsider, gesturing towards that which holds real worth in any society that prizes artistic endeavor. It’s only the work that comes from the margins that has any real, lasting value; institutional art, created for a price, or on commission, documents only the powerful and influential, but doesn’t point in a new direction. It’s the work that operates off the grid, without hype or self-promotion, under the most extreme conditions, that has the greatest lasting value, precisely because it was made under such difficult circumstances.’

In his brilliant film Alphaville, Jean-Luc Godard depicted a futuristic dystopia - in 1965! – in which an entire civilization is run by a giant computer, Alpha 60, which directs and supervises the activities of all its inhabitants; a computer that is absolutely incapable of understanding nuance, emotion, or the chance operations of something like, for instance, Surrealism or poetry. As the supervisor of the computer and all its operations, one Professor Von Braun (played by Howard Vernon; the symbolism is obvious) is pitted against the humanist Secret Agent Lemmy Caution (the always excellent Eddie Constantine), who has been sent from the ‘Outerlands’ to destroy the computer and restore humanity to Alphaville. As Von Braun warns Lemmy, ‘men of your type will soon become extinct. You’ll become something worse than dead. You’ll become a legend.’ And as if to confirm this, Alpha 60 instructs his subjects that ‘no one has ever lived in the past. No one will ever live in the future. The present is the form of all life.’

But, of course, it isn’t, and while the end of Alphaville strikes a positive note – technology reined in by Lemmy’s timely intervention, I can’t be so sure that this time, in real life, that there will be a happy ending. When a society no longer has bookstores, or record stores, or theaters because – supposedly – everything is online and streaming – when corporations make decisions, guided by the bottom line alone, as to what materials are disseminated and which remain in oblivion – and when mass culture alone – the popularity index – determines what works are allowed to find any audience, we’re in trouble. If you don’t know something is there, then you can’t search for it. Works buried in an avalanche of digital materials – and please remember that I am someone who contributes to this, and publishes now almost exclusively in the digital world – lose their currency and importance, just as libraries continue to discard books that later wind up on Amazon for one cent, in hardcover editions, where those of us who care about such work snap it up – until it’s gone forever.

What will the future hold for those of us in the humanities? It’s a really serious question – perhaps the most important question facing us as scholars right now. Alpha 60 rightly recognized Lemmy Caution as a threat, and had him brought in for questioning, telling Lemmy that ‘I shall calculate so that failure is impossible,’ to which Lemmy replied ‘I shall fight so that failure is possible.’ The work of technology is valuable and useful, and without it, we would be stuck entirely in the world of physical media, which would mark an unwelcome return to the past. But in the headlong rush to digital technology, we shouldn’t sacrifice the sloppiness, the uncertainty, the messiness that comes from the humanities in all their uncertain glory, representing widely divergent points of view, with the aid of ready access to the works of the past, which, after all, inform and help to create the present, as well as what is to come. As Lemmy Caution tells Alpha 60, ‘the past represents its future. It advances in a straight line, yet it ends by coming full circle.’”

You can read the entire essay by clicking here, or on the image above.

Filmmaking Tips from Mike Leigh

Tuesday, February 10th, 2015

Landon Palmer offers six filmmaking tips from master British realist Mike Leigh in Film School Rejects.

As Palmer writes, “Mike Leigh is one of few filmmakers who could say something like, ‘given the choice of Hollywood and poking steel pins in my eyes, I’d prefer steel pins’ without suggesting even a hint of hyperbole. Leigh is deeply principled in terms of the dramatics, process, and politics of filmmaking, and we’re all the better off for it. The filmmaker made a name for himself with acutely humanist works of British social realism that bore some inheritance to the ‘kitchen sink’ tradition, but imbue drama with a type of wit, spontaneity, and empathy that is simply inimitable. Leigh’s patient, improvisatory, and collaborative process appears seriously counterintuitive from the perspective of commercial filmmaking, and as a result produces human dramas that are deeply felt and strikingly insightful.

And in his early seventies – after making a dozen feature films and even more TV programs – Leigh is still finding new, seemingly unlikely means of representing life through the moving image. His most recent film, Mr. Turner, was his first to be shot digitally. It’s a surprising move for a period piece, but Leigh and longtime cinematographer Dick Pope use the relatively new technology of capturing 21st century images in order to depict how painter J.M.W. Turner found new ways of capturing 18th century images. So here is a bit of free film school (for fans and filmmakers alike) from the guy who has realized the best performances by your favorite British character actors.”

You can read the whole article by clicking here, or on the image above.

Charlie Brooker’s Black Mirror

Thursday, February 5th, 2015

Black Mirror is one of the most original and disturbing visions of Dystopia ever produced for television.

Juts like The Twilight Zone in the 1960s, Charlie Brooker’s British television series Black Mirror, of which there are now six episodes plus one 90 minute multi-part special, White Christmas, starring Jon Hamm of Mad Men, is disturbing and thought provoking television. Designed, like The Twilight Zone, so that every episode has a new premise, a new cast, and a new plot, but consistently offering visions of a totally wired-up future in which there is no freedom or hope, Black Mirror is available on Netflix streaming in the US – or, as I did, you can buy the Region 2 British DVDs of all six episodes. Regarding the structure of the series, Brooker has commented that “each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.” Which, I’m afraid, we are.

The series kicked off in early December 2011 with the truly horrific episode The National Anthem, in which the Prime Minister of Britain is forced by terrorists to disgrace himself on worldwide live television to save the life of a kidnapped member of the Royal Family; followed by 15 Million Merits roughly a week later, in which the future is seen as a world of endless drudgery and nonstop video commercials which are forced upon workers who must ceaselessly toil at meaningless jobs simply to survive. The Entire History of You deals with the endless recording of human existence on cellphones, Twitter and other media, which has reached the point of total immersion, so that everyone knows everything about everyone else – there’s nowhere to hide.

The second season – starting in February of 2013 – picks up on this theme with Be Right Back, in which a young widow finds comfort in an artificially created “web” version of her late husband, which “comes back to life” through the aid of every video, Tweet, e-mail and photo scan, and later a synthetic body, but still brings her no real solace. White Bear, easily the most brutal episode of the entire series, came next, with its tale of a young woman who awakes in strange house, unable to remember her identity. Wandering outside, she discovers that no one will talk to her; rather, they incessantly record her every move with their cellphones. The last regular episode to date, The Waldo Moment, chronicles what happens when a CGI cartoon character is suddenly thrust into a race for a seat in Parliament.

The episodes vary in length, from 44 to 62 minutes, and they’re broadcast on Channel 4 in the UK, which has a history of innovative programming going back to the early 1980s. In this country, you’ll have to watch them online, on buy the DVDs, and there is, of course, an American version of the show in the works, for which I hold out little hope – some things just don’t travel well. London at the moment is a fearfully expensive, fairly Dystopian location itself, and the series makes full use of all the technology that comes with a society under constant surveillance – which is life in the UK today. Black Mirror is a paranoid vision of the near future which comes all too close to probability – if we let tech get out of hand (and I would argue we already have), this is just a sample of the world we can expect to live in.

That said, I don’t think the episodes from season two are as strong as those in season one. With completely uncharted territory to mine, and no real risk of failure – if the series clicked, fine, but if not, it would have been a noble experiment – Brooker and his associates could afford to take nearly any risk to create something really off the charts. Season two is slightly more formulaic, though I enjoyed Be Right Back the best of the lot, having just the right mixture of menace and melancholy in its construction. Still, the entire series is literally light years ahead of anything on American television, with the partial exception of PBS, and I suggest you check it out for yourself- whatever you might think of it, it’s an authentic and original vision of society in collapse, and all of us are the victims. It’s a mixture of satire, prognostication and social criticism that really hits home. But beware – it’s not for the faint of heart. Not at all.

You can get more information on Black Mirror by clicking here, or on the image above.

Variety’s “Broken Hollywood” Series – Harvey Weinstein on the Collapse of The DVD

Monday, February 2nd, 2015

Variety is running a new series called “Broken Hollywood” – Or, How The Industry Must Change To Survive

In a guest opinion piece in Variety on January 28, 2015, Harvey Weinstein, producer extraordinaire, posted these thoughts on the collapse of the DVD market, and what Hollywood has to do to make up for loss of this revenue stream: “Every day we face new technology challenges. We have to look at our models — the theatrical model, the VOD [video on demand] model. We have to think about what we do with the lack of a DVD business. That was once an insurance policy for the industry. How do we deal with the newer technologies that are emerging and with the piracy that’s a part of the new digital age?  Little by little by little, VOD is making up for the DVD business. It’s more challenging, but I think eventually the technology will catch up and equate to what we lost.

Obviously, all of these things weigh in on how much money you’re bidding on projects. You don’t know exactly what everything will be worth, so you have to go with your pure gut. If a movie grossed $5 million in theaters, it used to mean that it would do $5 million on DVD. Now, with EST {Electronic sell-through; a method of media distribution whereby consumers pay a one-time fee to download a media file for storage on a hard drive] and VOD and everything else, who knows what you’re going to carve out? The theatrical business is now the biggest profit center. If you don’t win in theaters, you’re in trouble.

The movie dictates its own release strategy. You have to know what you have and be careful how much you spend on P&A [prints and advertising]. The Internet has become an incredibly effective marketing tool, but it’s also the source of greatest competition. There’s limitless content out there, so it’s easy to stay home and watch all these things. You have make a case for why your movie is compelling. What Radius-TWC [Radius-TWC; a the boutique label dedicated to simultaneous multi-platform VOD and theatrical distribution, started by The Weinstein Company] is doing with VOD is finding new ways to reach an audience. Nobody has time anymore. They’re pulled in so many directions. If they want to see a movie at 11 at night while the kids are asleep, this is the way to do it. It’s become an important source of income.

We’re entering a golden age for television. You can tell a better story there. You have more time. I can’t tell Marco Polo in under 50 hours. I wouldn’t know how to do anything other than offer up an abridged bad version of that. Let’s hope all technology companies follow Netflix’s model and marry content and technology with the same passion.” So, the new things out there are not only VOD, which has been around for a while, but also the actual, and legal downloading of files you store on your hard drive, or electronic sell-through. Already, many sites, such as Vimeo are doing this with HD video; iTunes and Amazon have been doing this in their own way for quite some time. But now it’s taking over the market. It’s the future, as I’ve said before; like it or not, physical media is becoming a niche product – if that.

This is an excellent series of “think pieces” – check out more from Variety’s “Broken Hollywood” series here.

What Does Eric Schmidt Mean When He Says “The Internet Will Disappear?”

Saturday, January 24th, 2015

Google CEO Eric Schmidt thinks the internet, as we now know it, will vanish.

As Luke Dormehl reports in Fast Company, “Google may have played a significant role in establishing the Internet as we know it, but according to its executive chairman Eric Schmidt, the future of the world’s most advanced information network is for it to disappear. Responding to a question about the future of the web during a panel at the World Economic Forum in Davos, Switzerland, Schmidt said, ‘I will answer very simply that the Internet will disappear.’ Schmidt wasn’t referring to the actual disappearance of the World Wide Web, but rather our sense of it as its own technology, separate from everything else. ‘There will be so many IP addresses…so many devices, sensors, things that you are wearing, things that you are interacting with that you won’t even sense it,’ he said, adding that the Internet ‘will be part of your presence all the time.’

As one example, Schmidt described the sensor-equipped room of the future. ‘Imagine you walk into a room, and the room is dynamic,” he said. ‘And with your permission and all of that, you are interacting with the things going on in the room.’ Schmidt concluded by saying that, were such technologies to take hold, ‘A highly personalized, highly interactive and very, very interesting world emerges.’ He additionally touched on the subject of techno-replacement, and the idea that we may all lose our current jobs to machines as computers continue to improve. Schmidt dismissed the concept, and said that instead technology will create new job categories—with 7 out of every 8 being non-technology roles, which will nonetheless be benefited by technology.”

Somehow, I don’t find this all that reassuring – rather than disappearing, the internet will become so much a fabric of our lives that in Schmidt’s world, we’ll be on the grid whether we like it or not. I for, one, don’t really want to live in such a totally immersive, and necessarily intrusive environment- and despite Schmidt’s insistence that no jobs will be lost, it seems obvious that unless you’re a programmer, installing this technology, or else maintaining it, or selling it, or in some other way involved with it, that your horizons have definitely narrowed.

Rather than having my house become part of my consciousness through electronic means, I would much prefer to have an off the grid experience there, using technology only when I wish to, and tuning it out when I don’t. It’s like the old saying – “be here now.” Well, if “here” is so wired up that it in essence becomes a part of your being, then you’re not really any one place at all, but rather scattered throughout what should be a place of refuge, thoughtfulness, and contemplation. I’d rather not live in a “dynamic” house, but rather a restful one, in which I can unplug and find some respite from the digital world.

As for wearable technology, we’ve already seen the collapse of consumer demand for Google glass – for almost precisely the reasons I’ve outlined here – and while some may welcome a world of complete internet integration, I think it will create a world in which we are inextricably intertwined, 24/7, and who knows where all the data collected will wind up? There’s enough of that already – I think we may want to keep this kind of complete immersion in the box, but then again, it may already be too late – or right on time, depending on your point of view.

Really, what he’s saying is this – “the internet will become omnipresent.” And he may very well be right.

Netflix Reaches for Global Domination With 60 Million Subscribers

Wednesday, January 21st, 2015

Why is this man smiling? Reed Hastings, CEO of Netflix.

As Dan Frommer reports in Quartz, “Netflix finished last year with 57.4 million subscribers, up 4.3 million from the third quarter—its strongest subscriber growth all year. Fourth quarter revenue reached $1.48 billion, in line with what analysts were expecting and up 26% year-over-year. Netflix added more streaming subscribers outside the US (2.4 million) than in its home country (1.9 million) for the third quarter in a row. Netflix expects to pass 60 million members for the first time this quarter, finishing Q1 with 61.4 million subscribers worldwide.

The takeaway: Netflix’s international expansion is starting to work. In the company’s Q4 letter to shareholders, CEO Reed Hastings noted that overseas growth exceeded expectations, and the company is now expanding faster than previously anticipated: ‘Our international expansion strategy over the last few years has been to expand as fast as we can while staying profitable on a global basis. Progress has been so strong that we now believe we can complete our global expansion over the next two years, while staying profitable, which is earlier than we expected. We then intend to generate material global profits from 2017 onwards.’

Australia and New Zealand are up next. Hastings says Netflix is still considering its options for China—’all of them modest. With the growth of the Internet over the next 20 years, there will be some amazing entertainment services available globally,’ Hastings wrote. ‘We intend to be one of the leaders.’ What’s interesting: Hastings no longer blames Netflix’s US price increase earlier in the year for its slower subscriber growth. ‘We’ve found our growth in net [subscriber additions] is strongest in the lower income areas of the US, which would not be the case if there was material price sensitivity. Additionally, we implemented a similar price change in Mexico during Q4, and saw no detectable change in net additions.’”

And meanwhile, as this chart from the same article demonstrates, physical media, such as DVDs and Blu-rays, are declining in popularity just as fast as Netflix’s streaming service takes off. So if there’s a particular film that you want in a permanent copy, or at least a semi-permanent copy, I would move quickly now and buy the DVD. Already, Netflix’s offerings are skewing much more heavily to Hollywood pop culture titles, while the Criterion collection streams on Amazon, which offers a much more eclectic selection of classic and foreign films. Netflix is for mainstream movies – it will probably replace theaters for the vast number of viewers within the next ten years – and then DVDs will vanish.

Soon Netflix and Amazon will be the only games in town.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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