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Archive for the ‘Web Culture’ Category

Instagram, 500 Days Old, Sells for $1 Billion To Facebook

Monday, April 9th, 2012

Instagram, a photo sharing app that has been up and running for less than 500 days, has just been purchased by Facebook for $1 billion. Basically a photo filter, which customizes your photos for that Michael Bay look before you post them on the web, Instagram is further proof we are becoming a predominantly visual culture, and that images are the new social currency.

As Mike Isaac writes in Wired, “Facebook’s acquisition of the immensely popular photo-sharing service Instagram for $1 billion is far and away the largest acquisition in the history of the world’s largest social network. But for CEO Kevin Systrom and company, it’s a windfall payday like none other.

CEO Systrom owns 40 percent of Instagram, according to a source close to the company, who provided Wired with figures from 2011. That will net Systrom $400 million to take home as a result of the deal. Co-founder Mike Krieger holds about a 10 percent stake, and will net around $100 million. Benchmark Capital, the venture capital firm which led Instagram’s Series A funding round in 2011, has about an 18 percent stake, netting roughly $180 million from the deal. Andreessen Horowitz and Baseline Ventures, two investment firms backing Instagram, each have about a 10 percent stake, netting just under $100 million apiece.

The rest of the company’s 13 full-time employees will each get a portion of a nearly $100 million pool, with specific amounts awarded by how long the employee has worked at Instagram.

Announced early Monday, Instagram’s acquisition by Facebook is a huge win for a small, young company with a massive user base. In the two years since Systrom and Krieger founded Instagram, the photo-sharing app has exploded to a user base of over 30 million on iOS alone. Last week, the app finally became available to Android users for the first time, prompting over 1 million new user signups in the first 12 hours of release.”

As Instagram’s download site says, “It’s a fast, beautiful and fun way to share your photos with friends and family. Snap a picture, choose a filter to transform its look and feel, then post to Instagram. Share to Facebook, Twitter, and Tumblr too – it’s as easy as pie. It’s photo sharing, reinvented.”

You can read the whole story here.

Now if someone can figure out a similar app for cellphone videos . . .

Variety Goes on The Block

Tuesday, March 27th, 2012

The news that Variety, the iconic showbiz daily, is up for sale, comes as no surprise, but is still a shock. Yet ironically, this could be the best thing that could possibly happen to the daily.

Ever since it left its original offices and shifted owners, Variety has been losing ground against the competition, notably the website Deadline Hollywood, which is now the industry leader. Yet Variety could come back under new ownership, providing that it does three things:

*gets rid of the print edition, and goes entirely digital;

*gets rid of the paywall, so it can compete with other web-based showbiz journals;

*hires a group of dedicated 20-somethings to run the paper, who are willing to pound the keyboard 24/7, and have copious industry contacts.

I’d like to see Variety emerge from the ashes; I’d also like to see Todd McCarthy rehired, and the review section restored to its former glory. An all-digital, 24-hour rolling deadline Variety — trading partly, as a starting point, on the value of its name brand recognition — is the only way the journal can come back. When Sime Silverman founded Variety in 1905, he noted that the business was based on “constant change” — a sentiment echoed by Lew Wasserman many years later, when he described the entertainment business as one that was constantly being reborn with each new technological shift, and that one simply had to keep up with the times or get plowed under. Hollywood is big enough for several entertainment sources; it’s just that Variety has been falling down on the job of late, when it was once the showbiz journal of record. Bring it into the digital era, and the brand may yet regain its former prominence within the field.

So put Variety up for sale, and let’s hope the right people buy it, staff it, and put it back on track.

Hollywood Moves to The Web

Sunday, February 26th, 2012

Hollywood’s theatrical fortunes continue to decline, as the ever-reliable Brooks Barnes reports in The New York Times, but it seems they have a fix on how to move to the web, and make it pay.

As Barnes reports, “Movie attendance hit a 16-year low in 2011. Star wattage continues to dim. DVD sales keep plunging. Almost none of the films being honored at Sunday’s Academy Awards have struck a mainstream nerve.
Yet Hollywood has a noticeable spring in its step. After all, it’s not the music business.

Instead of Hollywood suffering its own Napster moment — the kind of digital death trap that decimated music labels first through the illegal downloading of files and then by a migration to legal downloads almost solely through iTunes — several deals announced this month have it feeling more in control.

While studios still consider piracy a huge problem and feel stymied by Silicon Valley (and Washington politics), they nevertheless control their content. And now the Web is coming to them.

Google is developing a home entertainment device and several media companies have announced plans for new online streaming services. Taken together, the moves mean no supplier will have a monopoly over the distribution of films and television on the Internet. With more buyers comes leverage, and higher prices for content

‘The mood has shifted from,”Oh, my God, our business models are broken and we’re going to be cannibalized” to something resembling euphoria,’ said Peter Guber, a former chairman of Columbia Pictures who is now chief executive of the Mandalay Entertainment Group, which has interests in movies, TV and sports. ‘Studios see a robust, accelerating online market.’”

It makes sense; with admissions at a 16 year low, the viewers have to be somewhere, and unlike the music business, it seems that Hollywood has figured this out in time for a variety of reasons.

Read the whole piece here; more evidence of the ever changing landscape of cinema.

Information Overload?

Wednesday, February 8th, 2012

As Matt Richtel notes in The New York Times, “workers in the digital era can feel at times as if they are playing a video game, battling the barrage of e-mails and instant messages, juggling documents, Web sites and online calendars. To cope, people have become swift with the mouse, toggling among dozens of overlapping windows on a single monitor. But there is a growing new tactic for countering the data assault: the addition of a second computer screen. Or a third. This proliferation of displays is the latest workplace upgrade, and it is responsible for the new look at companies and home offices — they are starting to resemble mission control.

For multiscreen multitaskers, a single monitor can seem as outdated as dial-up Internet. ‘You go back to one, and you feel slow,’ said Jackie Cohen, 42, who uses three 17-inch monitors in her home office in San Francisco, where she edits a blog about Facebook. Her center screen shows what she is writing or editing, along with e-mail and instant messages; the left and right monitors display news sites, blogs and Twitter feeds, and she keeps 3 to 10 tabs open on each. One monitor recently broke, and she felt hamstrung. ‘I don’t want to miss seeing something,’ Ms. Cohen said.”

God forbid! With all this information coming at you from all directions, it’s a wonder that anyone can focus at all. And how much of it is really useful? How much of it is pure noise? How much information can we be bombarded with before all of it melds together into one inchoate mass of numbers, data and text, and we have no time left to think, or originate new material?

You can read Matt Richtel’s entire article by clicking here, or on the image at the top of this page.

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 numerous books and more than 70 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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/