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| Presenting my paper on "New Media and Freedom of Expression: Empowering Cinema and Television" at the 14th international conference of the Global Communication Association at Jaipur (11-12 October 2018). Below is a text of the paper. |
#GCAJaipur #newmedia #masscommunication #GCA #digitalinbound #digitalmedia #Jaipur #India
Introduction
The way movies and
television content are produced has changed drastically in the last few years.
The explosion in information technology and the internet has not just given rise
to a platform and voice to talk about arts and culture, it has given rise to new
avenues to produce, promote and distribute them. Information technology is now being used to
produce content for cinema and television, and the internet and new media are being
used to promote and distribute the content.
The way
consumers access audio-visual content, that is, cinema and television content,
is also changing in a major way. The television and broadcasting sectors have been
undergoing significant technological and structural changes, which have given
consumers access to a great variety of communications and media services.
Convergence is changing the way in which consumers use communication services
and consume content, as it is available on new platforms and on various
wireless portable devices. The penetration of new technologies and the dynamic
effects of convergence are changing the way that consumers access and view
audio-visual content (OECD, 2013). Nowadays, it can be provided via multiple
platforms: analogue or digital terrestrial broadcasts, satellite, cable or
internet protocol (IP), over-the-top (OTT) or video-on-demand (VoD) services, video
streaming services, and apps.
More and more audio-visual
(AV) content – both in cinema and television – is being provided through
non-conventional channels like OTT services and apps. Big-budget cinema has
witnessed the advance of digital cinematography and the ever-increasing
emergence of 3D in the past few years, but equally fundamental
changes have taken place on a smaller scale (Mooney, 2010). There is even an
annual “New media film festival” that is held in Los Angeles; significantly,
its tenth edition will be held in June 2019.
The festival features 20 different categories, right from new media,
streaming and web series to virtual reality, drone, documentary, made on
mobile/tablet, animation, apps and digital comics (Submit now, 2018). The growth in various
video platforms on the web has spawned a new category of AV content – web
series. The growth in various video platforms on the web has spawned a new
category of AV content – web series. A web series is a series of scripted
videos, generally in episodic form, released on the Internet or also by mobile
or cellular phone, and part of the newly emerging medium called web television.
A single instance of a web series programme is called an episode or webisode.
Broadly speaking, the three kinds of recurring video content delivered on the
web are vloggers/personalities, commentaries and tutorials, and narrative web
series. Narrative web series are providing an unparalleled opportunity for
young, aspiring film makers. There has never been a time when it was this easy
for talented young film makers to get their work out there (Schwartz, What the F&$k
is a Web Series, Anyway?, 2015).
Thus,
new technologies have empowered and enabled creators outside of a studio or
network system to make their own movies and develop cutting-edge entertainment.
Affordable cameras and editing software allow artistes to create and express
their skills for a multitude of new distribution platforms. Storytelling is
being redefined in the 21st century (Modine, 2017).
Growth
Historically,
most major film and television technology has been introduced in the production
sector; for example, synchronized sound production. We now have technologies
like shooting on digital media, which obviates the need for the presence of a
“physical” film (celluloid) or tape – the shots are all stored as soft copy on
the hard disk of a computer. Now, technology is also changing the way AV
content is promoted and distributed.
The distribution
part of the movie business could not have remained untouched with the advent of
digital technology, especially since it has long been the most powerful and
profitable sector of the film industry (Bordwell & Thompson,
2007).
A quick look at
the figures will tell its story – in 2000, the world had about 1,64,000 cinema screens,
and only 30 of them were digital. In 2005, 848 were digital. At the end of
2010, however, 36,103 screens were digital, which was about 30 percent of the
total, and by 2013, nearly half of them. The new multiplexes opening in Chinado
not contain reels, “splicers,” or a scrap of photographic film (Bordwell & Thompson, 2007).
There was a
major leap in 2011, when in the United Kingdom alone, nearly 80 percent of the titles
released were in digital format. A lot
of movies in digital format were screened at the Cannes Film Festival that
year, even of films shot in 35mm (Bordwell & Thompson, 2007).
Film prints are
now a thing of the past; it’s all in digital format now. Major Hollywood studios like 20th Century Fox
have already done away with film prints, and the Indian film industry,
popularly also known as Bollywood (Gulzar, Nihalani, & Chatterjee, 2003), has also gone
digital. Even digital “prints” now don’t
need to be distributed so as to reach the theatres physically; movies are now
increasingly being distributed over satellite, as UFO Moviez does. This is also called “e-cinema” (UFO Moviez India Ltd., 2014).
As David
Bordwell, Professor of Film Studies, Department of Communication Arts,
University of Wisconsin, says: “The change isn’t simply a matter of new
technology, or hardware turning into software. It isn’t simply a matter of
fancy gear or even the look and sound of images. It involves social processes,
the way institutions like filmmaking and film exhibition work. Technology
affects relations of power, along with the choices that moviemakers and
filmgoers are offered. As films become files, cinema changes in subtle,
far-reaching ways. People may not have noticed the difference between a 35-mm
image and a digital one, but as movie-going becomes different, so does our
sense of what films are, and have been (Bordwell & Thompson, 2007).
Streaming television is the digital
distribution of television content, such as television shows, as streaming
video delivered over the internet. Television programmes began to be available
on the internet in the mid-2000s. ITunes began offering
select television programs and series in 2005, available for download after
direct payment. The video-sharing site YouTube was launched in 2005, allowing
users to share illegally posted television programmes (Waterman, Sherman, & Ji,
2013).
A few years later, television networks and other independent services began
creating sites where shows and programmes could be streamed online. Amazon
Video began in the United States as Amazon Unbox in 2006, but did not launch
worldwide until 2016 (Amazon, 2016). Netflix, a website
originally created for DVD rentals and sales, began providing streaming content
in 2007 (Netflix, 2017). In 2008, Hulu,
owned by NBC and Fox, was launched, followed by tv.com in 2009 and owned by CBS.
Digital media players also began to become available to the public during this
time. The first generation Apple TV was released in 2007, and in 2008, the
first generation Roku streaming device was announced (HH Editor, 2008). Amazon’s version of
a digital media player, Amazon Fire TV, was offered to the public in 2014 (Horn, 2014). These digital media
players have continued to be updated and new generations released. Access to
television programming has evolved from computer and television access, to also
include mobile devices such as smart-phones and tablet computers. Apps for
mobile devices started to become available via app stores in 2008. These mobile
apps allow users to view content on mobile devices that support the apps. In
2017, YouTube launched YouTube TV, a streaming service that allows users to
watch live television programmes from popular cable or network channels, and
record shows to stream anywhere, anytime. After 2010, traditional cable and
satellite television providers began to offer services such as Sling TV, owned
by Dish Network of the US, which was unveiled in January 2015 (Brustein, 2015). DirecTV, another
satellite television provider based in the US and owned by AT&T, launched
their own streaming service, DirecTV Now, in 2016 (Spangler, 2016). Netflix is now the
world’s largest streaming TV network and also the world’s largest internet
media and entertainment company with 117 million paid subscribers, and by
revenue and market cap (Balakrishnan A. , 2018).
The OTT market
in India is expected to grow in leaps and bounds. Consultancy firm PwC expects
India’s OTT market to grow from the current Rupees 2000 crore to Rupees 5000
crore by 2022. The number of mobile broadband subscribers is expected to shoot
up from 270 million at present to 500 million in the next five years (Balakrishnan P. ,
2018).
Technology
There
is no doubt that content-creators are starting to realise that films can be
well made using digital technology, including smart-phones. Sean Baker’s “Tangerine” was
shot on an iPhone ... even though they have big limitations when it comes to
cinema-level filmmaking, smart-phones are incredibly powerful tools now, and ...
film-makers are working with them (Renee, 2015).
Smart-phones
have taken over our lives so it should come as no surprise that there are
actually movies being filmed on these devices. These are not just short videos,
but real movies with actors, plots, directors and musical scores. Some are
promotional tools for the phone-maker, but others are true films. The internet now
has a number of sites that provide information on making movies with just a
smart-phone. Smartphone manufacturers are taking note and so are app
developers. Special movie-making apps are now being released for smart-phones
on the market (Lings, 2012).
The
web site www.techattitude.com lists several movies as the top movies that have
been filmed on smart-phones. These are
Olive, Pearls, The Swarm, Night Fishing, Apple of My Eye, Dragonfly Love,
Arrival, and Splitscreen: A Love Story (Lings, 2012).
Internet release
is still new when it comes to the film distribution platform. The volume of
downloaded movies is difficult to find but none compares to the even more
problematical discovery of their origin (McDonald & Wasko, 2008).
Streaming is the
digital distribution of AV content over the internet, as in contrast to
terrestrial transmission, cable transmission and satellite transmission. VoD is
a programming system that allows users to select and watch/listen to AV content
such as movies and TV shows whenever they choose, rather than at a scheduled
broadcast time, the method with the conventional systems of broadcast. VoD
commonly uses IPTC technology to deliver content to television sets, desktop
computers, laptop computers and portable devices. The content is offered either
as streaming, in which a user selects a video programme and it begins to play
on the device, or as downloading, in which a user downloads the content to a
computer or a portable device, for viewing in the future. Internet television,
which uses the internet, is an increasingly popular form of VoD. An online
video platform (OVP), provided by a video
hosting service, enables users to upload, convert, store and play back
video content over the internet. Users
generally upload video content via the hosting service’s website, mobile or
desktop application, or other interface. The content may range from shorts to
full-length television shows (Drier, 2013). OTT is a term used
to refer to content providers that distribute streaming media as a stand-alone
product directly to viewers over the internet, bypassing conventional
telecommunication, multi-channel television and broadcast television channels,
which traditionally act as the controller or distribution of such content (Jarvey, 2017). The term is most
synonymous with subscription-based VoD services that offer access to film and
television content (including existing series acquired from other producers, as
well as original content produced specifically for the service), like Netflix
and Amazon Prime, as well ‘skinny’ television services that offer access to
live streams of linear channels similar to a traditional satellite or cable
television provider, but streamed over the public internet instead of over a
closed, private network with proprietary equipment such as set-top boxes. OTT
services are typically accessed via websites on desktop computers, apps on
portable devices such as smart-phones and tablets, digital media players, and
smart television sets. In 2011, the Canadian Radio-Television and
Telecommunications Commission (CRTC) stated that it ‘considers that internet
access to programming independent of a facility or network dedicated to its
delivery (via, for example, cable or satellite) is the defining feature of what
have been termed OTT services.’ Some OTT
services require that a video be downloaded first and then played, while other
OTT players offer content that starts playing before the download completes, which
is streaming (CRTC, 2011).
Content
AV content on
new media varies from full-length feature films produced by major studios to short
videos and very short videos produced by individuals and amateurs. Feature
films are usually released over existing content platforms. Video content can
either be linear content, which is content released over a conventional
television channel first and then becomes available over a new media platform
like a VoD platform or an app on a portable device, or content specifically
produced for and distributed over new media platforms. Most major television
channels have new media platforms. Some legacy channels have experimented with stand-alone
content, or web series, which is available exclusively over their new media
outlets. One example is the sitcom ‘Sarabhai vs Sarabhai.’ The first season of
the sitcom had an extremely successful and popular run of 70 episodes on Star
One. Season 2 was released as a web series on the Star network’s digital
platform Hotstar in May 2017 (Hingorani, 2017).
‘Sacred Games’ was
the first Netflix original from India. Its first season had 8 episodes, and was
released in July 2018. Inside Edge was the first Amazon Prime original from
India. Its first season had 10 episodes, and was released in July 2017. The
second season of this series has been confirmed (PTI, 2018). Even Shabana Azmi,
known for her powerful roles in parallel cinema, is set to do a web series
titled ‘Moghuls,’ based on the life of Babur.
Then there are
independent artistes who produce their own content. Actor Gaurav Gera created and
played the characters of Chutki and Shopkeeper in his ‘Chutki and Shopkeeper,’
which first appeared on conventional television channels as fillers, but has
since been released on new media as short videos. Gera later created the series
‘Billi Maasi,’ for which he has created and plays characters like Billi Maasi,
Aadu, Barsat, Dadi and Mausaji. Snapchat has given him exclusive ‘filters’ for
the characters in the show. There are plans to convert the series into an
animation series to be released on new media platforms.
Several other
artistes have made a mark through new media with their independently produced
short videos on a variety of genres, including music, comedy, cookery, health
advice and short tales. YouTube stardom is a new phenomenon in India. The sharp
growth in internet connections, a surge in smart-phone sales and the emergence
of YouTube role models like AIB and The Viral Factory (TVF) worked as
catalysts. The active internet user base in India nearly trebled from 120
million in 2012 to 343 million in 2015. India’s top YouTube superstars include
Tanmay Goyal, who co-founded All India Bakchod (AIB), Sahil Khattar, who
features in Being Indian, Bhuvan Bam, who does music as well as short comedy
videos, Sanjay Thumma and Nisha Madhulika, who do cookery shows, Sanam Puri, who does music, Shruti Anand, who
does a make-up show, Kanan Gill, who does comedy, Ranjit Kumar, who reviews
gadgets, and Vikram Yadav, who does a health show (Goyal, 2016). The list is
actually endless, and is not even the tip of the proverbial iceberg; and it is
growing.
Marketing
New media is also important for marketing of AV
content because a lot of people use new media, including YouTube, Facebook,
Twitter and Instagram. Marketers can use
these platforms to reach out to several types of audiences. Instead of simply uploading a movie trailer to YouTube,
a marketer can tweet about it, or post videos and pictures from the movie, the
production and behind-the-scenes movements on the web site dedicated to the
movie, and on Facebook and Instagram. Marketers can use these new media bases
to reach out to several types of audiences.
New media provides many different avenues for
movie marketing. Marketers can choose one specific platform or use several.
New media has
dramatically cut into the costs of promotion for movies, in an age where promotion
and costs are everything. Costs come
down because social media does a lot of the early leg-work almost for free. This is important because cinema budgets are
growing with each passing day, and the financier would want to keep in check
the money that he spends on promoting a movie even while he strives to reach
out to as many people as possible.
Social media is
lucrative for movie marketers for the same reasons it appeals to many: the
ability to measure and interact with the audience on a two-way street of
communication, and the lucrative allure of going viral. If the marketer can
convince fans and movie-goers to talk about the movie on social media, the
audience expands. This is the reason why film-makers and film marketers must
take new media and social media into account when promoting a movie.
For example, the
Hollywood movie The Hunger Games posted two versions of a popular song
on YouTube, and these received over 20.00 crore views. In 2013, producers of It’s a Disaster decided
to publish the entire movie on a mobile app called Vine[1]
in six-second segments. They issued a
press release, saying on a sarcastic note, “…six-second loops of video … posted
in real time will be the future of film distribution. While we still endeavour
to release films via some other methods, we didn’t want to be left out in the
cold and we are proud to be an early adopter of tomorrow.” Similarly, An ARG was created for The Girl
with the Dragon Tattoo by 42 Entertainment, a marketing and entertainment
company. It was called “Mouth Taped Shut”.
In India, movies
like Bajrangi Bhaijaan, Prem Ratan Dhan Payo and Bajrao Mastani used new media for
promotions. Bajrangi Bhaijaan had a
Facebook page, a Twitter account and an Instagram account. The hero of the film, Salman Khan, even
participated in a chat session on Facebook (Jha L. , Salman
Khan Films goes all out to promote Bajrangi Bhaijaan, 2015). There was an
official Bajrangi Bhaijaan game also,
available on Google’s app store, where it got an average rating of 4.3 on a
scale of 1 to 5. The official trailer
was uploaded on YouTube. There was no
official web site, though, and one web site was purportedly “designed by Salman
Lovers.”Prem Ratan Dhan Payo used social media platforms like Twitter and apps like Dubsmash[2] to engage with the audience.
However, the focus remained on conventional marketing. The star cast appeared on several television
shows to promote the movie (Malvania, 2015). Also, just like Bajrangi Bhaijaan, Prem Ratan
Dhan Payo also had no official web site, but just an unofficial web site
also put up by the same group as Bajrangi
Bhaijaan– Salman Khan Lovers.
The trailer of the movie Bajirao
Mastani was uploaded on YouTube, and it had a presence of Facebook. Members of the
cast had a series of chat sessions with influential figures, recounting their
journey and memories of the difficult film. The distributor aired these on
multiple television channels and online (Jha L. , Bajirao Mastani and
Dilwale in 2015's biggest Bollywood marketing war, 2015). The producers of Bajirao Mastani did dabble a little with social media. A short while before its release, the distributors launched
an animated web series on their web site in which the characters of Bajirao,
Mastani and Kashibai were represented in an animated format. The producers later
launched a video game in which players could defeat enemies, just as Bajirao
does in the movie (IANS, 2015).
Distribution
Several new media distribution platforms are available for AV
content. These platforms either offer content from their libraries, or content
produced in-house, or a combination of the two. Netflix is an American OTT services provider, founded in 1997. The company’s
primary business is its subscription-based streaming service, which offers
online streaming of a library of films and television programmes, including
those produced in-house (Pogue, 2007). Netflix also plans to provide video adventure
games over the service.
Amazon Video is
a VoD service that was launched by Amazon.com in September 2006. It offers
television shows and films for rent or purchase, as well as original content
and licensed acquisitions included in its Prime subscription.
The other digital entertainment services
available in India include Hotstar, Voot, Ozee and ALTBalaji.
Hotstar was launched by Star India on February
6, 2015. It is owned by Novi Digital Entertainment, a
wholly owned subsidiary of Star India, and is available as an app and as a
desktop website. Voot, launched in 2016, forms the digital arm of Viacom 18. It
is Viacom’s advertising-led VoD platform, and is available as an app and as a
desktop website (PTI, 2016). OZEE is an Indian digital online platform
that was launched in February 2016 by Zee Entertainment Enterprises (Pai, 2016). The service was
integrated with Zee5 in February 2018.
ALTBalaji is a
subscription-based VoD platform owned by Balaji Telefilms Ltd., which was
launched in April 2017 (Jha & Gupta, Balaji
launches online streaming platform ALTBalaji, 2017). It is available on
multiple platforms, including as an app and as a desktop website. SonyLIV is a
VoD service launched by Sony Pictures Networks India Pvt. Ltd. in January 2013.
Eros Now is Eros International’s on-demand Bollywood and regional entertainment
network that was launched in August 2004. It is available on multiple
platforms, including as an app and as a desktop website (News Bureau, 2016). The video streaming
space has been one of the most successful avenues in the Indian content market,
and is poised for rapid development.
The market size
is estimated to be around almost Rupees 2,000 crore ($ 280 million), with more
than 10 crore Indians streaming across content areas. Streaming does have a
long way to go in India but with local and international players giving Indian
consumers what they want, the space is poised for rapid development (Khera, 2018).
Discussion
New media has
become is a major tool for content-creators and marketers. New media is being put
to good use by producers, content-creators, marketers and distributors to reach
out to a larger chunk of the audience, that too directly, without having to go
through the hassles of the conventional channels. This has given a very powerful tool in their
hands to express themselves, which strengthens freedom of expression and, in
turn, democracy itself, thereby empowering cinema and television.
The audiences now
also have a wider range of platforms to watch AV content on, which are
different from the conventional channels like theatres and television, and
include mobile apps and online web sites like YouTube. They also have a wider range of the kind of
content that they want to watch, ranging from full-length features films to
licensed content to custom-produced content to independent content to content
produced by amateurs. This has not only improved access to content, including
movies and television content, but also enhanced audience experience because of
the variety of content available at a click of the mouse or a tap on the screen
of a portable device.
A major fall-out
of the advent of new media has been that content-creators can express
themselves in a better, more powerful and a more penetrating way without having
to bother about the nitty-gritty of distribution and the legal procedures that
come with it. Their voice is heard by a greater number of people without the
authorities watching over the shoulder, a big boost to freedom of expression
and to democracy itself.
Content-creators need no longer be worried about the shackles and can
work unfettered to take their message to the masses. They have really benefitted from the new
media milieu.
The concept of
freedom of expression has acquired a new dimension with the advent of
interactive storytelling, which has become possible only because of new media. Interactive
storytelling (also known as interactive
drama) is a form of digital entertainment in which the storyline is not
predetermined. The author creates the setting, characters and situation that
the narrative must address, but the user (also reader or player) experiences a
unique story based on their interactions with the story world. The architecture
of an interactive storytelling programme includes a drama manager, user model,
and agent model to control, respectively, aspects of narrative production,
player uniqueness, and character knowledge and behaviour. Together, these
systems generate characters that act ‘human,’ alter the world in real-time
reactions to the player, and ensure that new narrative events unfold
comprehensibly (Bostan & Marsh, 2012).
OTT is likely to
evolve as a complimentary screen, given that more than 97 per cent of the TV
market consists of single TV households, as per industry estimates. OTT feeds
off of this latent demand and positions itself as an individual screen allowing
viewers the flexibility of ‘anytime, anywhere’ media consumption over and above
the traditional family appointment viewing on TV. The popularity of live and
catch-up content on OTT bears testimony (Ramnath, 2018).
Conclusion
The biggest
change that new media has brought for movie and television producers is the
liberation from the restrains of censorship. Content-creators now don’t need to
– if they choose – get their content approved by an institution created by the
government. They can deliver the content directly to their audience, and let
the audience decide what is good and what is bad for them. The internet records
every view, and the numbers so generated will reveal whether the audience have
accepted the content in question or not. The fact that content can now be delivered
directly to the audience has enabled content-creators to be bolder and more
realistic in their approach, and they are willing to explore newer horizons.
Content-creators are also inclined to explore the possibilities of exploring
new media as an additional channel of distribution beyond the conventional
channels like theatres and television.
New media has
given the audiences a wider range of content itself, and more options access
this content. This has improved accessibility and variety of content available
for the audience. Interactive storytelling now enables audience to be a
participant rather than being a mere passive observer in the content that they
access.
Content-creators
are expressing in more powerful and a more penetrating ways without having to
bother about the nitty-gritty, and their voice is being heard by a greater
number of people without the authorities watching over the shoulder, which is a
big boost to freedom of expression and to democracy itself. This is the benefit of the new media milieu.
New media is
helping content-creators to reach out to a larger chunk of the audience
directly, giving them very powerful tool to express themselves, which
strengthens freedom of expression and, in turn, democracy itself, thereby
empowering cinema and television.
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[1]Vine is a
short-form video sharing service where users can share six-second-long looping
video clips. Vine enables users to
record short video clips up to around six seconds long while recording through
its in-app camera. The camera records only while the screen is being touched,
enabling users to edit on the fly or create stop motion effects. It has since
been acquired by Twitter. Vine competes with other apps such as Viddy,
Cineverse and Mobli.
[2]Dubsmash is a video
messaging application for iOS and Android that allows users to choose an audio
recording or sound-bite from movies, shows, music and Internet trends, and then
record a video of themselves dubbing that piece of audio.
