Digital Delivery and the Future of Movies
Publication Year: 2013
Chuck Tryon offers a compelling introduction to a world in which movies have become digital files. He navigates the complexities of digital delivery to show how new modes of access—online streaming services like YouTube or Netflix, digital downloads at iTunes, the popular Redbox DVD kiosks in grocery stores, and movie theaters offering digital projection of such 3-D movies as Avatar—are redefining how audiences obtain and consume motion picture entertainment. Tryon also tracks the reinvention of independent movies and film festivals by enterprising artists who have built their own fundraising and distribution models online.
Unique in its focus on the effects of digital technologies on movie distribution, On-Demand Culture offers a corrective to address the rapid changes in the film industry now that movies are available at the click of a button.
Published by: Rutgers University Press
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Writing this book has been both challenging and invigorating. Given that new technologies and movie distribution strategies emerge almost daily, the pace of change invariably seems to surpass the ability to research and document those changes. At the same time, I have been excited not only to observe this moment of media in transition but also to be connected to a vast scholarly network of ...
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...lenge when he sought to watch as many Netflix streaming movies as possible over the course of a single month. Reasoning that he wanted to get the best value possible for his $7.99 per month subscription, Malkoff managed to watch 252 movies— approximately eight per day— bringing his cost per film to an impres-sively low three cents per day. Malkoff ’s well- publicized stunt, which was happily ...
Chapter 1. Coming Soon to a Computer near you. Digital Delivery and Ubiquitous Entertainment
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In an interview discussing the closure of all of the Blockbuster Video stores in Canada, Kaan Yigit, president of Solutions Research Group, com-mented that “this is the Netflix decade for movies. Kids growing up will hardly ever know there was a time you actually went to a store to get a movie.”1 Yigit’s comments underscored the perceived mobility of movies and television shows ...
Chapter 2. Restrictive and Resistant Mobilities. Negotiating Digital Delivery.
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...related to the practices and the business of digital delivery. It starts with the observation that, despite the promises of digital utopians, on- demand culture is characterized not by universal access but by the process of limiting and restrict-ing when and where content is available. Thus, although a number of film crit-ics and cultural observers have fantasized about the possibility of a “celestial ...
Chapter 3. Make any Room your TV Room. Digital Delivery and Media Mobility
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In March 2011, Time Warner Cable launched an iPad application that would allow subscribers to stream some of their television content to their iPad, a total of approximately thirty cable channels, as long as they were connected to a Time Warner wireless router associated with a cable account. Like other digi-tal delivery platforms, the app was announced as a transformative way of watch-...
Chapter 4. Breaking through the Screen. 3D, Avatar, and the Future of Moviegoing
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...the motion picture industry, Avatar and Titanic director James Cameron, in cooperation with Texas Instruments, sought to promote the emerging for-mat of digital projection in theaters. At the time, theater owners were reluc-tant to change over, given that conversion costs were estimated at $100,000 per screen. However, Cameron argued that digital projection could help to launch ...
Chapter 5. Redbox vs Red Envelope, or Closing the Window on the Bricks-and-Mortar Video Store
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The digital delivery of movies seems to democratize access to a wide array of movies, but it also threatens to disrupt some of the traditional ways in which studios have been able to produce revenue, especially after a film leaves movie theaters. Specifically, the persistent availability of movies in streaming catalogs lessens consumers’ need to buy a copy of a film and, in turn, decreases ...
Chapter 6. The Twitter Effect. Social Media and Digital Delivery.
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...demand, movie fans faced the challenge of navigating the different platforms where content was available. At the same time, consumers were introduced to the notion of more personalized and fragmentary media experiences. Rather than promoting the idea of watching collectively, platform mobility seemed to offer the ability to identify and watch movies and television shows that fit an ...
Chapter 7. Indie 2.0. Digital Delivery, Crowdsourcing, and Social Media
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Kevin Smith announced that he would be holding an “auction” for his latest movie, Red State, a low- budget horror film that satirized the homophobic and publicity- hungry Westboro Baptist Church, survivalist groups, and media sen-sationalism, among other targets. Eager for a scoop, members of the entertain-ment press packed into the theater, awaiting the kind of bidding war that had ...
Chapter 8. Reinventing Festivales. Curation, Distriution, and the Creationg of Global Cinephilia
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In J.auly 2010 stalwart directors Ridley Scott and Kevin Macdon-ald engaged in what was billed as “a historic cinematic experiment” when they invited YouTube users to submit video footage for a planned two- hour docu-mentary entitled Life in a Day. The filmmakers stipulated only that the footage had to be recorded on July 24 (which, when delivered in shorthand, appeared as ...
Conclusion. Digital Future.
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Digital delivery not only affects the economic models of the movie industry but also promotes an on- demand culture, in which the practices of moviegoing and the perceptions of media culture are transformed. Movie viewers are now re- imagined as individualized and mobile, able to watch practically anywhere or anytime they wish, while having access to aspects of film culture— such as ...
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About the Author
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Chuck Tryon is an assistant professor in the English department at Fayette-ville State University. He is the author of Reinventing Cinema: Movies in the Age of Media Convergence, published by Rutgers University Press, and has written ar-ticles for Screen, the Journal of Film and Video, Popular Communication, and the ...
Page Count: 272
Publication Year: 2013