Advertising and New Media - Natalia Mierzwa 43052258

 Advertising and New Media                                                  Natalia Mierzwa 43052258

“Discuss the phenomenon of digital media convergence in relation to Advertising & New Media”

 

Digital media convergence is the process whereby new technologies are accommodated by existing media and communication industries (Jenkins 2006). This phenomenon and merging together of online media has provided companies to explore new and creative ways of sharing product information within digital media platforms (Dwyer 2010). In the advertising industry, digital media convergence has heavily impacted the area of online multimedia and social networking in the contemporary world as opposed to being limited to traditional media such as newspapers, TV and radio (Jenkins 2006). This essay will explore the extent on how digital media convergence has lead to the exponential growth of advertising in search engine websites; social networking websites and how advertisers encourage the formation of consumers to create viral content for consumers to access around the world. Consumers in the contemporary context are nomadic in nature in that they have are no longer confined in one place due to a shift in media platforms.

Search Engines such as Google has become one of the fastest growing segments of online advertising, many of which were not possible before (Banister 2004). The Google search engine allows a user to refine their search and find a piece of information they were looking for. This form of new media advertising involves placing related advertisements in the form of banners or hyperlinks reflective to that of the search inquiry of the individual. According to Jenkins 2006, this form of advertisement has become a key element in e-commerce.  Online search engines advertisements can also benefit smaller business as the can pay to advertise the business, on the top of searched pages. Along with search engines, generated websites such as www.livingsocial.com.au utilise incorporating new media as a way to advertise and benefit from targeting local consumers. This platform makes it the ultimate place for small advertisers in local areas to generate online special promotions, which effectively compete with larger competitors. Using your email, or browse through different categories and even share with other users on Facebook and Twitter is a reflects of different media content on this website. This form of advertising effectively demonstrates how advertising has successfully combined together with the Internet and businesses in terms of effective marketing.

Online broadcasting sites such as YouTube utilise convergence by enabling the broadcast of digital media that ultimately creates new opportunities for advertisers. YouTube kick-started the user made video phenomenon, becoming the world’s number one site for online video streaming generating over 800 million unique users visits each month (YouTube 2012). Thus, Consumers are creating content that allows them to see whatever they want, whenever and on which ever screen (Woods 2012). With reference to the amount of hits YouTube generate a month, it is evident that YouTube is an ideal location for advertisers to promote their product in terms of new media.

In addition, Banister 2004 states that the Internet has rapidly became a locus of user created content. Appropriating original and mashes of copyrighted materials such as online video advertisements is an example of “procosumerism” in which has become highly anticipated by users to create a response to viral videos on YouTube (Collins 2010). User generated videos are more enjoyable at grabbing consumers attention instantly, while also providing a compelling vehicle for advertisers to utilise into marketing communication (Maymi 2012). An example of a ‘Parody’ video would be the recreation of a ‘voice-over’ of the latest iPhone 4 ad situated below. This advertisement starts off as a usual commercial but then integrates into jargon, which is a immediate form of short entertainment for users to then share virally. In general with using both type of videos, professional and consumer generated will ultimately generate improvement in the communication of the intended message.

Moreover, social networking sites such as Facebook and Twitter enable users to connect with others through an overabundance of media forms to share. In today’s context, consumers are less brand–loyal than ever before and pay more attention to the recommendations of friends and family than they do to marketing messages (Sheehan 2009). This possesses an opportunity for advertisers to invest in other forms of digital media convergence platforms, in a way that will differentiate itself from other companies. Sheehan 2009 argues that advertisers must recognise confluence culture and consider new techniques that allow consumers to be participants in the creation and distribution of messages. As the video below suggests, Tiger Airlines had recently repositioned itself through a new advertising campaign that incorporated a plane load of interested Facebook fans to take part in the relaunch of the airline. This interaction with its Facebook fans made it a successfully effective attempt at the participation of the new airlines message “fun, colloquial, honest and real” (mUmBRELLA 2012). As you can see from the ‘Behind the scenes video’, the comments generated from the users were substantially positive from the engagement the users had with the airline. Thus, allowing consumer’s to participate and take part in these types of opportunities serves as an important aspect in new media, as it would have been impossible to generate with traditional media.  

This essay has studied three aspects within the context of digital media convergence and its effect on advertising with new media in today’s society. It had first observed convergence in how using online search engines such as Google and generated websites such as Livingsocial help produce advertisements while making it an even playing field for small and big businesses, which previously was restricted in traditional forms of media. Further it had explored online broadcasting sites such as YouTube that utilises convergence by enabling the broadcast of online user content such as parodies of original advertisements that ultimately spreads the communication of the advertisement. Finally, the essay had concluded with using social networking websites such as Facebook and Twitter in order for an business to communicate with consumer’s serves as an important aspect in new media, that was once restricted in traditional forms of media. Thus it is clear that new media online is transforming the consumer from a passive recipient into a valuable area that needs to be taken into consideration particularly in today’s environment.  As Banister 2004 suggests, ‘we are no longer just ‘consumers’ but also producers, marketers and distributors, unrestricted by geographical limitations’.  

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Jenkins, H, 2006, Convergence Culture, New York University Press.

Dwyer, T 2010, Media Convergence, McGraw Hill. Berkshire, pp.8.

Wood, K 2012, ‘Unilever chief Keith Weed on how brands must adapt to 'evolution by consumer selection', Marketing Magazine, 29 February, viewed 29 August 2012, <http://www.marketingmagazine.co.uk/news/1119423/Unilever-chief-Keith-Weed-brands-adapt-evolution-consumer-selection/>.

Banister, J 2004, Word of mouse: the new age of networked media.

Collins, S 2010, ‘Digital Fair: prosumption and the fair defence’, Sage Publications, Vol. 10, No, 1, pp.37-55, viewed 29 August 2012, <http://minerva.mq.edu.au:8080/vital/access/manager/Repository/mq:14481>.

Maymi, L 2012, The George Lucas in me. Pro Video vs Consumer Video, viewed 30 August 2012, < http://www.lomaymi.com/social-video-marketing/george-lucas-pro-video-consumer-video/>.

Sheehan, K and Morrison, D 2009, Beyond convergence: Confluence culture and the role of the advertising agency in a changing world, First Monday, Vol. 14, No. 3, viewed 29 August 2012,<http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/2239/2121>.

mUmBRELLA 2012, ‘Tiger Airways returns to TV advertising to woo wintering Aussies’, viewed 30 August 2012, < http://mumbrella.com.au/tiger-airways-returns-to-tv-advertising-to-woo-wintering-aussies-100968#more-100968>.

mUmBRELLA 2012, ‘Tiger Airways returns to advertising in Australia’, viewed 30 August 2012, < http://mumbrella.com.au/tiger-airways-returns-to-advertising-in-australia-61750>. 

Word Count: 1048

42104475 Christian Lancuba Assessment 1 Online Essay, 20%

Did the Internet kill the Video Music Star?

The onset of digital media convergence has raised a few ideas of thought on new digital media. One of these is that digital media will replace or make redundant, older forms of media, such as film, radio and in my particular case study, music videos. However by discussing the phenomenon of digital media convergence I look to uncover some of the real implications of digital convergence and its impact on music videos.

To begin this discussion I will talk about what digital convergence is and then give examples as to how it has affected music videos.

Digital Media Convergence

Digital media convergence is the overlapping and blending of how information is delivered and where. However, digital media convergence is not only limited to the change in distribution methods. From a content perspective, all digital content is digitized into products of millions of formatted ones and zeros, making the physical content all the same. Where the audience once were only able to read the news buy buying a physical copy of the paper, that had been printed via a printing press the night before, they can now read it on an Iphone or Ipad on their way to work. Digital media convergence has given the ability of consumers to obtain multiple services on a single platform or device or obtain any given service on multiple platforms or devices. (Dwyer 2010)

Dwyer (2010) suggest that higher bandwidth Internet will only see it more and more common for people to access their favorite TV shows or Internet sites no matter where they are. In the same way, where once the people had to tune into their cable TV prescription to watch broadcast selected music videos on MTV, channel V and other music stations, they can now watch them on streaming sites, such as YouTube, in the context of their own demand. This raises the important question. Did the phenomenon of digital media convergence kill the music video star?

Who Killed the Video Star?

Whilst digital media convergence in theory may not have killed the music video star, its main side effect of giving power to the user, has changed the role played.

Before digital media convergence, music videos were mainly used as advertisements for music or the artist. Music videos used to be profitable and effective because when the consumer watched a music television broadcast station, such as MTV, the nature of the station forced the viewer to watch whatever music videos they put on the video playlist. What this created was an unsolicited sales pitch of all kinds of music, genres and artists. Much like a stream of television ads, specific for music. (LAvideoFilmmaker 2012)

Due to the change in nature of viewing music videos, there is no longer the ability to make real money from music videos. This is as post digital media convergence music videos are often made by artists as vanity projects, in hope that they go viral. The reason it has less advertising power for the artist and possibly their music labels, is because if you put a music video on YouTube, it is more than likely that the audience were looking for that specific artist. As less music videos are found by accident, it is unlikely that the video will generate net growth of the fan base.

So has digital media convergence killed the video star completely? 

Whilst there is less appeal in making music videos for advertising purposes, the artistic value of the music video for entertainment purposes may still exist.

An example is the music video by Gotye that went viral, receiving 2 million hits on Youtube, in the initial stages of the video being uploaded. This was after his song had gone number one in the US. Therefore, almost in reverse, the publicity of the song generated interest for the music video, the artists in it and also for the filmmaker Natasha Pincus. (ABC 2012) 

Somebody That I Used To Know Video

 

http://www.youtube.com/watch?v=8UVNT4wvIGY 

Future for the Music Video Star

By looking at how the convergence of digital media has affected the mass media market, we can see that music videos still have a place in it.

Twenty years ago, most people thought that digitalisation would lead to a mass consolidation and merger of all media infrastructures into one vertically integrated monopoly. Hence creating a one-stop shop for all mediums of communication. Whilst device wise this may be happening, content wise the exact opposite can be said. Cheap, abundant processing power is promoting disintegration and specialization along the communications value chain.  (Mueller 1999)

Successful firms are moving away from end-to-end, vertical integration to focus on specialized, horizontal segments of the market. This results in abut a completely new media system that accommodates to the specificity of individual consumer needs. (Mueller 1999)

MTV Website

This has paved the way for integrated music video viewing, on sites and blogs, specific to music. For example, the MTV website hosts many music videos as well as music news and other artist information, providing the audience with an online music channel experience that is user friendly and user controlled. This is also a unique way for music that is not yet on the radar of certain audiences, to by discovered and marketed.

In conclusion, it is evident that the phenomena of digital media convergence has not necessarily killed the music star, however changed the role played in the distribution of music. Due to the power of control shifting to the user, music videos are more an artistic or entertaining extension of an artist’s music rather than a marketing tool for their music.

Reference List

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-       Mueller, M 1999, Digital Convergence and its Consequences, The Public Vol.6, http://javnost-thepublic.org/article/pdf/1999/3/2/ viewed 31 August 2012

-       Dwyer, T 2010, Media Convergence, Mcgraw Hill, Berkshire, pp: 1-23

-       ABC; Radio National 2012, Gotye's Music Video Goes Viral, Australia, viewed 31 August 2012, http://www.abc.net.au/radionational/programs/booksandartsdaily/gotye27s-music-video-goes-viral/3968410

-       LAvideoFilmmaker 2012, Why Music Videos are Dead, LA, viewed 31 August 2012 http://www.lavideofilmmaker.com/business/why-music-videos-are-dead.html

Media Convergence 42847818 Rob Coy

Discuss the phenomenon of digital media convergence in relation the following: Music Video Online

Media convergence is the intersection of old and new media. Henry Jenkins defines it as "the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences."[1]. Howard Rheingold believes that technological convergence can alter the "social-side effects," in that "the virtual, social and physical world are colliding, merging and coordinating."[2] In recent years, one of the most significant examples of media convergence in relation to music video online is that of the development of the Apple Corporation’s iTunes. iTunes is a media player computer program initially released on January the 9^th, 2001, developed for playing, downloading, storing, and organizing digital music and video files on desktop or laptop personal computers. As a program, it has revolutionized the way society uses music, music video and film in relation to convergence.

Media convergence can be studied at a number of distinct levels including cultural, industrial, technological, or regulatory levels. The phenomenon of digital media convergence is one, which has evolved significantly over the past decade. The ways people are using media are fragmenting. At the end of the first decade of the third millennium, profits and revenue from newspaper circulation, TV audiences and advertising began a slow decline. This partially explains why traditional media has been so keen to expand into online and mobile formats.[3] In the last five to six years, we have witnessed the emergence of a huge amount of ‘on demand’ video services on the Internet, specific ‘internet TV’ channels and ‘time shifted’ versions of parts of programs from traditional broadcasters. Furthermore, broadband operators deliver IPTV services in their managed IP networks.[4] 

There are many common threads emerging across the patterns of media convergence. One is distinction – where are the edges, the ends, the distinctions between different elements, modes, activities, spaces, technological actions and human ones, in ‘new’ new media systems? As a part of this we have asked not only what makes ’2.0′ distinct from ‘what came before’ but also how it will be understood in the future. We ask this question not least because we are somewhat alarmed by visions of proliferating version control as 2.0 merges with 3.0 and 4.0 looms on the horizon. [5]

Now in accordance to what has been defined at media convergence, we must analyze the curious significance of iTunes and music video online. iTunes was introduced by Apple Inc. on January 9, 2001. It is a media player computer program, developed for playing, downloading, storing, and organizing digital music and video files on desktop or laptop personal computers and more recently, smartphones and tablets.[6]  What made iTunes significant in terms of its relationship to music videos is the introduction of video support. On May 9, 2005, video support was introduced to iTunes with the release of iTunes 4.8. Users can drag and drop video clips from the computer into the iTunes Library for cataloguing and organization. They can be viewed in a small frame in the main iTunes display, in a separate window, or full screen. Before version 7 provided separate libraries for media types, videos were only distinguished from audio in the Library by a small icon resembling a TV screen and grouped with music in the library, organized by the same musical categories. On October 12, 2005, Apple introduced iTunes 6.0, which added support for purchasing and viewing of video content from the iTunes Music Store. The iTunes Music Store initially offered a selection of thousands of Music Videos and songs.[7] As apple began to release such products as the iPod touch and the iPhone, it made it possible for customers to purchase products online with their wireless devices. This was revolutionary because of Apples gargantuan variety of content and data.

http://itunes.apple.com/au/genre/music/id34

2005 saw the launch of the YouTube, which made the viewing of online video much faster and easier than its rivals such as Google Videos, Yahoo! Video, Facebook and MySpace's video functionality, which uses similar technology. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. One astounding example was that of teen music sensation, Justin Bieber. Bieber, a Canadian singer/songwriter was discovered in 2008 by American talent manager Scooter Braun,[8] who came across Bieber's videos on YouTube and later became his manager. Part of his uncompromising musical success has been due to his use of YouTube. Bieber currently has the websites most viewed video, exceeding 774,000 hits.[9]

http://www.youtube.com/watch?v=kffacxfA7G4

He has also the largest twitter and Facebook following of any male musician, exceeding over 100 million followers worldwide.

https://twitter.com/justinbieber

Undoubtedly, the Apple Corporation and YouTube owe each other a certain degree of credit for the success of the other. YouTube has been responsible for the success of many artists, which would have resulted in their success on Apple’s iTunes store. Apple has also developed such products as the iPod, iPad and iPhone, which allow customers to wirelessly view YouTube on the cleverly designed app. Both are incredible examples of how modern media has converged over a variety of mediums and platforms. Media convergence is an integral part of the evolution of media in the 21^st century.

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[1] Jenkins, Henry, Convergence Culture: Where Old and New Media Collide, pg 2

[2] Rheingold, Howard (2000) Smart Mobs: the next social revolution, Perseus, Cambridge, Massachusetts, pp 157–82

[3] Dwyer, T. (2010) Media Convergence, McGraw Hill, Berksire, pp 1-23

[4] Henton, A. Tadayoni, R. (2008) ‘The impact of the internet on media technology, platforms and innovation pp 57

[5] FibreCulture Journal Issue 13: After Convergence - http://thirteen.fibreculturejournal.org/ 

[6] "Apple Introduces iTunes — World’s Best and Easiest To Use Jukebox Software" (Press release). Apple Inc.. 2001-01-09. Retrieved 2008-04-20., at Apple's September 2010 "Music", iTunes 10 was announced.

[7] A Brief History of Apple's iTunes. Wall St. Cheat Sheet (2011-06-16)

[8] Collar, Matt; Leahey, Andrew. "allmusic ((( Justin Bieber > Overview )))". Macrovision Corporation.

[9] Montgomery, James (August 3, 2010). "Jared Leto 'Blown Away' By 30 Seconds To Mars' VMA Noms". MTV (MTV Networks)

42868416 - Joel Evans

YouTube and Convergent Media:

How Convergence has evolved Music Video

Many have claimed that with the demise of MTV’s devotion to music video, music television and music videos in general have simply become extinct. However the music industry is still producing music videos, but the ways in which the content is created, distributed and consumed has evolved from a primarily televisual means into a diverse online industry. Music industry professionals and music artists have had to rethink and reinvent the ways in which they create music videos, in order to adapt to distribution online. The convergence of media technologies has been particularly instrumental in placing the tools of production into the hands of the users, giving rise to a new participatory culture in music video.

The music industry has had to adapt the ways in which it creates music videos to accommodate for the parameters of online viewing. Audiences are constantly bombarded with choices online, so a music video needs to capture the attention of a user, to make them want to click on it and watch the entire video. As argued by Meikle and Young, the strategy around the creation and distribution of media content, has been to cultivate audience “attachment and engagement” (2012, 108). The appeal of a Lo Fi approach is that these music videos offer a quirky and original experience, and it is from this category of music video that videos typically go viral through social media. Hilderbrand lists OK Go’s music video for “Here I Go Again” as third on the list of viral videos that make up the essence of a YouTube “canon” (2007, 36). The video received over 14 000 000 (YouTube, accessed 29^th August 2012) views and has inspired a hoard of parodies since its debut. It is videos such as this that are a testament to the impact of technological convergence on media creation professionally. MTV and music television would never have regarded this video as being of the quality necessary for broadcasting; however Lo Fi videos are friendly to data streaming and bandwidth. Convergent media and digitalisation have nurtured the perfect means by which Lo Fi music videos could flourish in unprecedented ways, and artists such as OK Go have responded by embracing these changes.

"Here it Goes Again" by OK Go...



Moreover, in addition to creating Lo Fi videos, the industry has also adapted its creation of Hi Fi spectacle videos for online audiences. The concept of the spectacle has survived digitalisation, and the supposed death of music television. Beebe and Middleton argue that online music spectacles have exceeded the limitations of music television (2007, 3). Online distribution has lifted the restrictions of time slots, and opened up the creative scope for those creating spectacular music videos. In the tradition of Michael Jackson’s short film approach with Thriller, Katy Perry released her own spectacle music video “Last Friday Night” online.  It debuted on the website Funny or Die, Katy Perry’s social media pages and then on her own YouTube channel; KatyPerryVEVO. “Last Friday Night” was a phenomenal success on YouTube, attracting over 188 000 000 views (YouTube, accessed 29^th August 2012). This video illustrates the industrial convergence of the film and music industries, and the successful results of utilising convergent media to distribute official music videos. Although “Last Friday Night” is considered a spectacle, the video is easy is replicate like Lo Fi videos, as is evidenced by the crude parody “Last Sunday Night.” Thus the concept of a spectacle has evolved within the music industry. New spectacles are aiming to converge the capacity for replication and original experiences offered by Lo Fi music videos, and offer the same glossy appearance of the traditional spectacle.

"Last Friday Night" by Katy Perry

"Last Sunday Night" A parody by Steve Dawson

Technological convergence has moulded various media technologies into single devices, which has been instrumental in the rise of participatory culture. The wide availability of media technologies in the contemporary world has led to the blurring of lines between audience and producer. According to Jenkins these two players in the media market operate under completely new sets of rules in relation to the creation of media content (2006).  Everyone with a computer, or an iPad and iPhone can interact with and respond to media. With the appropriate software and equipment fans are creating their own music videos either by filming them themselves, or by editing together a series of video clips with a particular song. Not only does this converge the role of user and producer, but it also creates a cross industry interaction between music and video content. A YouTube user Brokendoll7 uploaded a music video combining clips from the 2005 film “Pride and Prejudice" with Hoobastank’s song “The Reason”. Meikle and Young argue that such activity amongst fans has become more widely “mainstream and accepted” (2012, 108). Such activity is an ever-growing trend on YouTube, where users recognise the relevance of a film to a particular song, and repurpose both of these media to create a new experience. Other users on YouTube or other video sharing sites can then seek out these fan made videos, to satisfy their interest in either the song or the film in a new and meaningful way. Furthermore Dwyer sees participatory culture as a double sided coin, acting as both a blessing and a challenge. Dwyer argues that participatory culture gives rise to issues of copyright and lost profits through the uploading of copyrighted content (2010, 11). However most of these uploads are forms of creative expression, and as noted in the case of the “Pride and Prejudice” video all the rightful owners are acknowledged in the videos description.

 

Embedding Disabled on "Pride and Prejudice - The Reason"
To view see the link in references.

 

In conclusion convergence has not meant the downfall of music video. As Jenkins states “old media never die” (2006, 13) and this is true for music video. The media form has merely evolved in response to the changes in technology and culture introduced by convergence. Studios and professionals have had to alter the ways in which they create music videos to accommodate for the changes introduced by convergence. Participatory culture is a phenomenon brought about by the convergence of media technologies, and has significantly influenced the uprising of a fan culture in the creation, distribution and consumption of music videos.


Reference List

Unit Reader:

Dwyer, T. (2010) 'Media Convergence' McGraw Hall, Berkshire, pp1-23

Hilderbrand, L. (2007), 'Youtube: Where Cultural Memory and Copyright Converge', Film Quarterly, Vol 61, pp. 48-57

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. p. 11, New York University Press

Recommended Reading:

Meikle, G., Young (2012), Media Convergence: Networked Digital Media in Everyday Life, Palgrave Macmillan, Great Britain

Independent Reading:

Beebe, R., Middleton, J. (2007), Medium Cool: Music Videos from Soundies to Cellphones, Duke University Press, United States of America

Real World Examples:

Brokendoll37 (2008) “Pride and Prejudice – The Reason, Fan made video on YouTube http://www.youtube.com/watch?v=c0Ax7J6f2B4&feature=related

Katy Perry (2010) "Last Friday Night", music video on Youtube http://www.youtube.com/watch?v=KlyXNRrsk4A

OK Go, “ Here it Goes Again” (2009), music video on http://www.youtube.com/watch?v=dTAAsCNK7RA

Shane Dawson (2010) “Last Sunday Night”, parody on YouTube http://www.youtube.com/watch?v=PaVQIu7i1Lc