Mail Online grew advertising revenue by 51% year on year in the five months to the end of February, pulling in £23 million, putting it just behind the £5 million-a-month average needed to hit its target of £60 million in revenue this financial year. Mail Online made an average of £4.6 million a month in revenue in the five-month period covered by a trading update published on Thursday, short of the £5 million-a-month run rate required across the year to hit the target. Mail Online missed its £45 million revenue target in the last financial year – hitting £41 million – and requires an average of 46% growth on that figure across 2014 to hit £60 million. Mail Online grew digital ad revenues by £8 million, from £15 million to £23 million, while the Daily Mail and Mail on Sunday saw print ad revenues fall £2 million from £86 million to £84 million. The newspaper operations form part of DMG Media, the division which also includes operations such as recruitment business Evenbase and deals service Wowcher, DMG Media reported an overall revenues fall of 1% in the five months to the end of February. Within this, advertising revenues rose 3% year on year, while circulation income fell 4%. In the four weeks since 23 February, total underlying ad revenue fell 7% year on year. DMGT said this is in part due to the fact that Easter falls three weeks later in 2014 than in 2013.
- Mail Online grew advertising revenue by 51% year on year.
- Mail Online made an average of £4.6 million a month in revenue.
- Mail Online missed its £45 million revenue target in the last financial year.
- Mail Online grew digital ad revenues by £8 million, from £15 million to £23 million, while the Daily Mail and Mail on Sunday saw print ad revenues fall £2 million from £86 million to £84 million.
- In the four weeks since 23 February, total underlying ad revenue fell 7% year on year.
I think the Mail Online has decided to increase their revenues because their Daily Mail print advertising is decreasing. This is due to the fact many audiences are accessing the news online therefore would be using smartphones, tablets, android devices to read the mail online using apps and the Daily Mail's website. This could benefit the Mail online as they would have an increase of online users therefore increasing subscribers however their print advertisement would be in jeopardy as audiences would hardly be buying newspapers any more.
The oldest UK online film service is now owned by Amazon but its roots are more pedestrian. In the early 2000s Paul Gardner and Graham Bosher launched Online Rentals, trading as DVDsOnTap in Harlow, Essex, while William Reeve and Alex Chesterman founded ScreenSelect in Acton, London. The two competed fiercely, their customers ordering DVDs via the internet that would then be sent to them by post. After a string of small acquisitions, ScreenSelect bought its rival, now rebranded as LoveFilm, and adopted its name. Two years later Amazon merged its DVD rental business with LoveFilm and became its biggest shareholder, and in 2011 the US company bought LoveFilm outright. Though LoveFilm still sends discs out in the post, it started streaming films in 2010. With more than two million subscribers, LoveFilm is Netflix's biggest direct competitor in Britain. It has more, and more recent, films than its rival but less impressive TV offerings. The LoveFilm Instant streaming service costs £5.99 a month but those who still like a physical DVD can pay £7.99 for three discs a month, or combine the two from £9.99 a month.
NOW TV
BSkyB's entry into the streaming market launched in July 2012 and is available on computers, mobile devices, some games consoles and set-top boxes. It has been available on Sky services since last year, but you do not have to be a Sky subscriber to join. The service offers live streaming and content on demand, covering movies, entertainment and sport. One of Now's big advantages is that thanks to Sky's existing movie rights, it can show the latest blockbusters months before its rivals. This comes at a higher price, though: £8.99 a month for films and £4.99 a month for TV programmes. Those who want to watch a particular football match or other Sky-only event without signing up for the channel's full package can pay £9.99 for a 24-hour "day pass" to all Sky's sports channels. LikeApple TV, it offers a set-top box that lets you stream your Now TV purchases to a TV as well as BBC iPlayer and other catch-up services.
BLINKBOX
Blinkbox is Tesco's rival to iTunes, allowing customers to rent or buy films online. It was founded by former Channel 4 and Vodafone executives Michael Comish and Adrian Letts, backed by venture capital firms. Tesco bought 80% of Blinkbox nearly three years ago and Comish became head of the retailer's digital operations, which also include the free Clubcard TV for cardholders. Blinkbox started with movies and TV shows, but it has used Tesco's cash to expand into books and a music service to rival Spotify. Its services can be viewed on consoles, tablets, smart TVs, computers, Blu-ray players and set-top boxes. Blinkbox charges £3.49 for a recent release. It no longer carries free films on the service – these have been migrated to Clubcard TV. Blinkbox has rentals starting from 99p. Its big marketing advantage is its ability to tap Tesco's vast customer base, which may be less tech-savvy than iTunes' but is catching up fast. Another selling point is that customers can buy what they want instead of committing to a Netflix or LoveFilm subscription.
APPLE TV
With Apple's iTunes, customers can stream and download films and TV shows as well as music It costs £4.49 to rent a recent film and in the region of £10 to buy it. TV shows must be bought rather than rented, either as individual episodes or for a whole series using a "season pass". Like Blinkbox, iTunes gets films earlier than Netflix or LoveFilm but later than Now TV. Now, with the Apple TV set-top box, customers can stream material on to their TV screens. Steve Jobs, the late Apple founder, unveiled an early version of Apple TV, then called iTV, in 2006; the name was changed after British broadcaster ITV threatened legal action. The first version simply allowed customers to sync material on iTunes on to a TV. By the third generation, launched in 2012, viewers could stream direct from iTunes to their TV and get internet access to YouTube, Netflix and other providers.
- 2011 the US company bought LoveFilm outright.
- LoveFilm Instant streaming service costs £5.99 a month.
- DVD can pay £7.99 for three discs a month, or combine the two from £9.99 a month.
- BSkyB's entry into the streaming market launched in July 2012.
- £8.99 a month for films and £4.99 a month for TV programmes.
- Tesco bought 80% of Blinkbox.
- Blinkbox charges £3.49 for a recent release.
- £4.49 to rent a recent film and in the region of £10 to buy it.
- Steve Jobs, the late Apple founder, unveiled an early version of Apple TV, then called iTV, in 2006.
I think there are many rivals when it comes to online streaming as new media social networks are launched almost every year which become successful for different types of media's such as music, films, and TV programmes. The social networks attract a large demographic audience therefore increasing revenues for the company. However as new social networks do launch the older networks have an impact on revenues as they decrease hence the new ones are getting the audiences.
The Impact of New & Digital Media in the Film Industry...
1. Has new and digital media had an impact upon ownership and control of the media institution(s) involved in your case study area? Explain in detail any impact and what exactly has changed.
The campaign above features a range of films to watch, suggesting Netflix has all films available on the site for different demographic audiences to watch. The website is available to anyone subscribed to the network allowing them to watch as many films they wish. The film industry has developed it's technology by making block buster films to be watched at home rather than cinema's which is in good quality too. Furthermore Netflix has a one month free subscription for audiences to see how the network works therefore the audiences would have an insight and would like to pay the following month to carry on this subscription. Most of the Netflix adverts feature previous block buster films to attract the audiences attention so that they could be interested in the network.
Moreover there are also other film providers such as LoveFilm another network were audience would have to subscribe to, to watch as many films they would want. Also the film industry has changed a lot over the years as DVD and Blu Rays were popular, audiences used to buy these products after a film was released onto DVD however now most audiences rather wait now for it to become available on networks like Netflix and LoveFilm, saving them more money as it's quite cheap too.
2. What impact has there been on the way in which the audience now consume the media products/ texts involved in your case study? How does it differ from what went before? Consider (SHEP)
Success often breeds copycats, and the rapid ascent of Netflix is no exception. Its initial model of sharing products by mail has attracted a wave of startups and big retailers hoping to be the Netflix of toys (Spark Box Toys), books (Booksfree), fashion (CoutureSqd, Le Tote, Rent the Runway), designer jewelry (RocksBox) and more. Some of these companies charge a membership fee, just like Netflix, while others offer pay-per-use online rentals. All are part of the sharing economy: they make money by sharing the same products instead of by selling more products. The sharing economy also includes Airbnb, which rents private rooms, apartments and homes; and Zipcar, which charges a monthly fee to members who share cars instead of owning them. Without doing credible lifecycle analyses, many of these companies that embrace the model are banking on the intuitive belief that it’s more environmentally friendly to reuse the same stuff over and over, by different people, rather than to sell new products that will most likely sit unused in a closet corner. The idea, simplified, is “less stuff is better.”
That is certainly a philosophy to which Max Gover, owner of Spark Box Toys in Newark, New Jersey, subscribes. The company, founded in 2012, charges members a fee for a box of toys designed for children under the age of four. A box arrives every four, six or eight weeks, and parents can opt to buy the toys.
“Educational toys have a short life because children develop so quickly, so what happens is you have this incredible amount of waste by accumulating them,“ Gover said. “A child could get attached to a teddy bear. But a toy that teaches scales will serve very little purpose after that [skill] has been acquired.“ A study by the University of Massachusetts found that streaming a movie requires 78% of the energy needed to ship a DVD, but accumulates a carbon footprint that’s roughly 100% higher. The higher carbon impact comes from the intensive energy use – caused by inefficient equipment – of data centers that store movies and pipe them into homes.
The study focused only on Netflix, however, which ships thin, lightweight DVDs or sends content electronically. But some entrepreneurs attracted to the Netflix model are often offering larger products, some of which come in odd, harder-to-ship shapes and sizes. Shipping goods over longer distances would certainly seem to require more energy, and a bigger carbon footprint, than driving to a local video store.
The Guardian Article: Social impact
Aside from environmental impact, there’s also social impact to consider. The Netflix model does lead eliminate jobs, if it’s successful, Clinton said. In Netflix’s case, the company first beat competitors who operate retail outlets and then embraced streaming services that reduced the number of video distribution centers, she said. “It loses social sustainability on that front,“ she said.
3. What impact has there been on how the media institution now has to produce the texts and the way in which the texts/ products are distributed and exhibited? This should involve a detailed textual analysis of at least 3 texts to demonstrate the point.
Text One: Netflix
Netflix has been one of the most successful Film/TV product over the past year as the revenue for this product has increased by subscribers. Netflix was founded in 1997 an American provider of on-demand Internet streaming media available to viewers to watch as many films they would like. The provider is available to large demographic audiences targeting film fanatics and nuclear families, as it provides over five hundred films. Film used to be watched on normal television as scheduled and also available on DVD and Blu Ray CD's were audience would buy it, however in today's society there has been many servers/products created to entertain audiences like Netflix being available on TV by subscriptions. Moreover most film providers do not give the opportunity to watch as many films on one provider however this provider allows this therefore attracts a large audience. LoveFilm vs Netflix:
Text two: LoveFilm
LoveFilm is another film provider which allows audiences to subscribe and watch as many films too, it also has the one month free service for the audiences to see an insight of the provider and consider whether they should or not continue with the subscription however paying. It's provider of DVD-by-mail and streaming video on demand in the UK and Germany. The company has started a "watch online" service which offers over 4,700 films available to watch as part of a subscription. This online viewing is available free for subscribers who have opted for one of their unlimited monthly rental plans or the unlimited streaming-only account. In February 2014, Amazon announced that it would add LoveFilm's streaming service to its Instant Video service on 26 February 2014.
Text Three: Blinkbox
Blinkbox is a UK-based video-on-demand (VoD) service available on Macintosh and Microsoft Windows computers, games consoles, tablet computers and Smart TVs. On 20 April 2011, Tesco acquired an 80% stake in Blinkbox from Eden Ventures and Nordic Venture Partners. It intends to use the company to boost its digital entertainment offering. The service has around 2.8 million users a month according to comScore. Blinkbox has content deals with studios including Warner Bros., Universal Studios, Paramount Pictures, Sony Pictures Entertainment, and 20th Century Fox and 16 independent producers including Fremantle Media, All 3 Media, Revolver Entertainment and Aardman Animations.
LoveFilm vs Blinkbox:
4. Is the size of the audience any different now than before the impact of new and digital media (or has the pattern of usage changed)? E.G. consider for the impact of new and digital media on TV broadcasting the change in audience ratings for programmes as a consequence of the deregulation of TV. (Prior to deregulation audience figures could be 20m+ for Eastenders etc to a situation today where, due to the massive number of channels now available, audiences are vastly reduced and fragmented).
Netflix: The provider was founded in 1997, however it did not get recognized a couple of years ago as the audiences impact on films changed. Netflix supplies a wide range of films from New to old for different audience demographics to enjoy watching films at home or wherever they are with their subscription. Cinema revenue's have decreased a large amount due to providers like Netflix as it provides better values towards the audience at an affordable price per month.
For those of us who watch TV online, few irritations compare to the “five most recent episodes” rule. On Hulu and TV-network websites, only the last five episodes to air are typically available for internet streaming. Networks realize this is annoying to viewers, and they want to make binge-watching of current seasons easier. But there’s a surprising source of resistance: Netflix, which would be happy to keep the binge-watching culture it spawned all to itself.The binge-watching is another advantage to Netflix as audiences stated above get annoyed when they can not watch one of the last five programmes aired on television, therefore this would allow audiences to stream and watch previous seasons. The new and digital media has made Netflix a large provider since the new gadgets came out such as tablets, smartphones, anroid and more to allow the network to work of these devices a large audience would be attracted to this. Moreover an example could be a young child would be able to stream cartoons for entertainment and educational programmes through the provider by using their new digital device.
LoveFilm:
Blinkbox: Blinkbox is a UK-based video-on-demand (VoD) service available on Macintosh and Microsoft Windows computers, games consoles, tablet computers and Smart TVs. On 20 April 2011, Tesco acquired an 80% stake in Blinkbox from Eden Ventures and Nordic Venture Partners. It intends to use the company to boost its digital entertainment offering. The service has around 2.8 million users a month according to comScore. Blinkbox has content deals with studios including Warner Bros., Universal Studios, Paramount Pictures, Sony Pictures Entertainment, and 20th Century Fox and 16 independent producers including Fremantle Media, All 3 Media, Revolver Entertainment and Aardman Animations.
5. Who are the primary target audience now and has this changed? Who was it before and how do you know?
The target primary target audience would be the age demographics of 16-25 year olds, as the younger teenagers and young adults would be more likely to be interacted by using these catch up social sites. More over the younger generation would be more interested in watching the latest films, TV programmes as they are more likely on new and digital media's. Furthermore I think there would also be an secondary audience of an age demographics of 26 and older as the older generation would watch catch up sites too for entertainment purposes such as nuclear families watching movies with their children.
British Wrestling Historian John Lister pointed out an intriguing factoid that was published by Mashable on December 5: Netflix Is Almost as Popular as Cable Among Young Adults: Among 18-36 year-old adults, 46% subscribed to Cable TV while 43% subscribed to Netflix.
The inverse directions (by age) for Cable TV versus Netflix/Hulu Plus/Amazon Prime really say a lot about who is (and is not) embracing streaming technology. Combined with the information from Nielsen on how people are watching over-the-top video, the point has really been hammered home about how differently people watch streaming content (for instance, almost half of subscribers were watching Netflix directly on a computer).
- 10.4% of video watched in US homes that subscribe to Netflix is watched on DVRs, compared to 9.2% for homes without Netflix.
6. How have the audience responded to the changes? Is there more customer choice? Is there evidence of a more pluralistic model? What evidence do you have to support this?
The new and digital media has changed how audiences access social networks. Netflix is now access with a wide range of new and digital media's such as smartphones, tablets, iplayer and more. Audiences are able to interact freely at a time that suits them as they are able not to follow the time shifted programmes, moreover user generated content is available for audiences to share their opinions and interact too.
"This past weekend, while many Americans were snowed in their homes, over 5 million of them did the exact same thing (minds out of the gutter, kids) — they watched at least one episode of Netflix’s “House of Cards,” Season 2. Somewhat incredibly, over 1 million of those subscribers watched at least five episodes over the weekend, participating in the modern phenomenon we call “binge watching."
7. What concerns/ considerations are there (if any) for the media institutions involved in your case study as a result of the impact of new and digital media? (e.g. deskilling or multi-skilling of the workforce/ decline in workforce etc)
Netflix Turns a Blind Eye to Illegal Use by School Libraries:
"Schools have been illegally showing videos in schools for educational purposes forever. But now universities are taking advantage of Netflix rentals and streaming video to supplement their media collections. The practice recently gained attention after some first person accounts of the cost-saving wonders of Netflix showed up in a library trade…"Adrianne Jeffries September 20, 2010
Schools have been illegally showing videos in schools for educational purposes forever. But now universities are taking advantage of Netflix rentals and streaming video to supplement their media collections. The practice recently gained attention after some first person accounts of the cost-saving wonders of Netflix showed up in a library trade publication and on a blog. Apparently, letting faculty members rent DVDs to show in the classroom and allowing students to watch streaming video from a library Netflix account can save a school library thousands of dollars.
Scheele Memorial Library Concordia College in New York saved around $3,000 by buying two Netflix subscriptions, which gave the library 16 rentals at a time in addition to being able to stream content online.
"The streaming movies have been a great success; instead of students waiting for the one DVD on reserve, they can go to the computer or into the library's film viewing room, where we have a Roku player set up, and watch the movies on our flat screen TV. The amount we save just having the instant play is significant; it's almost like having multiple copies of the movie on reserve,"librarian Rebecca Fitzgerald said. The Netflix subscription takes care of popular titles that students want so the library can spend its budget on "more acadamic materials," she said. Netflix isn't thrilled about this. The films are protected by copyright against anything but "personal and non-commercial use," and Netflix does not offer institutional subscriptions, a representative told the Chronicle of Higher Education.
Netflix "frowns upon" this type of use, said Steve Swasey, Netflix' vice president of corporate communications, but indicated no plans to enforce the rules. "We just don't want to be pursuing libraries," he said. "We appreciate libraries and we value them, but we expect that they follow the terms of agreement." But the libraries turning to Netflix are not just at small schools. The University of Washington, which has more than 47,000 students, is among schools advertising their Netflix subscriptions on library websites, The Chronicle of Higher Education reported (the page has since been taken down). With so many schools stuck for funding in the current recession, Netflix may feel pressured to act more aggressively to keep this from becoming a widespread trend - and that could end up costing libraries dearly.
Per the Netflix Terms of Use agreed to by any one subscribing to their service, “use of the Netflix service … is solely for your personal and non-commercial use.” This indicates that use of the Netflix service by an institution to circulate videos to their service population is a violation of these terms, which in essence is a breach of contract. Academic copyright expert and attorney Kevin Smith agrees.
- As quoted in theChronicle, Smith states: “My personal opinion is that the risk of a contract problem makes it not worthwhile for us to have a program to lend discs that we borrow from Netflix. It’s not a copyright issue. It’s an issue of the contract between the user and Netflix.” Further, Netflix does not offer institutional subscriptions and “frowns upon” libraries loaning Netflix DVDs or video stream to faculty members to share with students.
The Internet killed the video store?: Netflix came and broke our heart. On-demand tore it apart. In my mind we lost the store. Be kind rewind forever more.
The display obscures the immense impact video rental retailers had in inaugurating a new era of home entertainment and the upheaval they themselves had ignited within the media and entertainment industries.
With the success of this new service, Netflix amassed a subscriber base of more than twenty million, with seven million joining in 2010 alone. This made it one of the largest subscriber services in the country, comparable to cable providers such as Comcast and premium cable networks such as Home Box Office. The company’s size provided it with leverage both as it prepared to expand internationally and as it worked with manufacturers to establish its streaming software as a standard feature on hundreds of consumer electronic devices. The success of the new service also had its drawbacks as Netflix had to negotiate a new and very different set of distribution rights with content producers. The major media and entertainment conglomerates were eager to embrace the benefits of Netflix’s new streaming technology, but they were also extremely wary of the company’s instrumental position at the center of a rapidly changing and increasingly competitive home entertainment market.
The first Blockbuster video store opened in 1985. In 1992, after a period of aggressive expansion, there were over 2000 outlets and Blockbuster was the clear market leader in the rental business. It maintained its dominant position throughout the 1990s and early 2000s.
Beginning in 2008, Netflix initiated partnerships with several consumer electronics manufacturers to ensure that their devices supported streaming software. Set-top boxes like Roku serve as a digital media receiver, which allow customers to access Internet-based streaming services through their televisions.
In 2010, Netflix announced the launch of a “one-click access” feature whereby a red Netflix button providing direct access to the service would be physically integrated into the remote control for various consumer electronic devices.
By 2010, a growing number of televisions, following Blu-ray players and video game consoles, were able to connect directly to the Internet or to a Wifi signal. This new generation of smart TVs adopted the idea of the “app store” that had been popularized by the proliferation of smartphones and digital tablets.
8. What are the political and social implications of the new technologies and the methods of their consumption? E.g. moral panics etc?
"The motivation could be to get Netflix to pay fees to stop this degradation," the company said.
"Were this draconian scenario to unfold with some, we would vigorously protest and encourage our members to demand the open Internet they are paying their ISP to deliver."
Success often breeds copycats, and the rapid ascent of Netflix is no exception. Its initial model of sharing products by mail has attracted a wave of startups and big retailers hoping to be the Netflix of toys (Spark Box Toys), books (Booksfree), fashion (CoutureSqd, Le Tote, Rent the Runway), designer jewelry (RocksBox) and more. Some of these companies charge a membership fee, just like Netflix, while others offer pay-per-use online rentals. All are part of the sharing economy: they make money by sharing the same products instead of by selling more products. The sharing economy also includes Airbnb, which rents private rooms, apartments and homes; and Zipcar, which charges a monthly fee to members who share cars instead of owning them. Without doing credible lifecycle analyses, many of these companies that embrace the model are banking on the intuitive belief that it’s more environmentally friendly to reuse the same stuff over and over, by different people, rather than to sell new products that will most likely sit unused in a closet corner. The idea, simplified, is “less stuff is better.”
That is certainly a philosophy to which Max Gover, owner of Spark Box Toys in Newark, New Jersey, subscribes. The company, founded in 2012, charges members a fee for a box of toys designed for children under the age of four. A box arrives every four, six or eight weeks, and parents can opt to buy the toys.
“Educational toys have a short life because children develop so quickly, so what happens is you have this incredible amount of waste by accumulating them,“ Gover said. “A child could get attached to a teddy bear. But a toy that teaches scales will serve very little purpose after that [skill] has been acquired.“ A study by the University of Massachusetts found that streaming a movie requires 78% of the energy needed to ship a DVD, but accumulates a carbon footprint that’s roughly 100% higher. The higher carbon impact comes from the intensive energy use – caused by inefficient equipment – of data centres that store movies and pipe them into homes.
9. Consider the effects so far, and possible effects in the future, on media institutions involved in your case study (media production).
A federal appellate court decision on Tuesday raises the prospect that Netflix Inc.NFLX -5.20% and other bandwidth-hogging websites may have to pay tolls to broadband providers to ensure quality service, a change that would throw a wrench into their business models and potentially raise prices for consumers.
The ruling by the U.S. Court of Appeals for the District of Columbia struck down the Federal Communications Commission's so-called "open Internet" rules that had required equal treatment of Internet traffic and prohibited broadband providers from blocking traffic, favoring certain sites or charging special fees to companies that account for the most traffic.
"A year and a half ago, we found out that Walmart.com doesn't want to work withus, but work on us," - Hastings.
Today, about 30 million Netflix accounts exist, serving about a quarter of America. Netflix’s first round of original series won critical plaudits and were the first purely video-on-demand television series to win Emmy awards. The concept of “binge watching” became popular largely because of Netflix. Because it offers a rich library of old and new TV shows for a modest sum per month, the service has even helped grow the number of “cord cutters,” who watch “television” only through the Internet.
10. What issues may there be regarding media effects and /or regulation/ censorship as a result of changes due to new and digital media?
In terms of Regulation and Censorship the BBC are still in control because people pay for the content that the Netflix provides. Netflix has a one month free trail for audiences to experience the provider which allows you to experience the same results as a normal subscriber. In addition after the free trail, you would obviously have to pay every month to access the site to view films whenever, therefore Netflix do charge for their content provided. Netflix is normally targeted for a wide range of audiences to enjoy and watch films at a time that was suitable for them (Time-shifting).
Netflix has warnings as every film has a age certificate alerting audiences what films are suitable, responsibilities such as religious content, violence abuse, and gruesome content etc. would be alerted before films before audiences watch it.
11. Are there any cross-cultural factors and /or effects of globalisation involved in the impact of new technology on your case study? E.g. the internet has been said to be ‘globalising culture’ through its promotion of the English language.
The internet being the new way audiences watch Television means our content has become viral, being able to watch programmes from all around the world. Netflix has become one of the most subscribed film sources across the globalisation, providing entertainment for many demographic audiences.
“Internationally, we’re starting to get better in every country, whether it’s Brazil, Ireland or Sweden, there’s a lot of stuff we’re learning and doing better at as we expand.” - Hastings.
Netflix Instant has more streamable movies available than you could watch in an entire lifetime, but depending on where you are in the world, that selection of movies might only be available in that country or region. Programming on Netflix varies from region to region because of how TV shows and movies are licensed. Organizations that own the rights to different TV shows and movies license the rights by geography, so Netflix has to acquire rights on a territory-by-territory basis. For this reason, what’s available in the U.S. isn’t always the same as what’s available in other countries, and vice-versa.
However, thanks to the technological magic of the Internet, you can easily trick Netflix into thinking you’re in a different part of the world, and thereby gain access to hundreds – if not thousands – of different movies that you wouldn’t otherwise be able to see. There are a number of different ways to do this, but when you get down to it all they all do the same thing, which is change your IP address so it looks like you’re in another country. Some use proxy servers, others use VPNs, and there are hundreds of different options in each category. But arguably the easiest way to unblock movies on Netflix and take a peek at what’s available in other regions is to install a browser extension called Hola.
12. Consider theoretical perspectives in relation to the impact of new/ digital media in your case study. E.g. Representation of certain groups as a result of changes, Marxism & Hegemony, Liberal Pluralism, colonialism, audience theories etc.
Marxism is a hegemonic leader that has control over the audience, the power of the media and society takes control of different audiences to influence the media is under their control. On the other hand a Pluralist's perspective would be the audiences believing what they want to watch and having full control over the media, allowing them to watch programmes and more at any time they want such as time-shifting. Moreover audiences are able to access media sites Netflix to watch movies of their choice at any time.
The Daily Star and Daily Express websites have been published for the first time, ranking them bottom in the national newspaper online market. The two website's debut figures from the Audit Bureau of Circulations show that dailystar.co.uk had 5,796,064 monthly browsers and express.co.uk 9,369,809 in February. In February, the number of daily average unique browsers to dailystar.co.uk was 327,098 and 441,032 to express.co.uk. Across the rest of the market, Mail Online continues to dominate, registering 165,886,627 monthly browsers, although this was down 12.47% on the previous month. Theguardian.com, the Guardian News & Media website network which includes Theguardian.com/media, reported a monthly browser figure of 91,106,978, up 0.86% on the month, while its average daily browser figure was 5,393,452, up 7.85%. According to Guardian News & Media, the traffic to the site was largely driven by overseas users while the recent Snowden revelations proved popular online.
- Dailystar.co.uk had 5,796,064 monthly browsers and express.co.uk 9,369,809 in February.
- Third placed Telegraph.co.uk fell back in February, reporting 59,703,051 monthly browsers, down 12.67% and 3,154,540 average daily users, down 6.76% on the month.
- The Independent website, Independent.co.uk reported 29,794,956 monthly bowsers, down 13.08% and 1,426,702 daily browsers, down 8.02.
- The Mirror Group digital network of websites, which includes mirror.co.uk and 3am.co.uk, held steady, reporting 47,143,014 monthly users, up 1.19%, and 2,454,756 average daily users, up 0.20%.
I personally think print newspapers are in decline therefore online websites are becoming popular towards the audience as audiences have new gadgets such as smartphones, tablets and more to access this. Moreover the article claims there is a larger audience accessing these news websites who are off overseas which benefit the ranking of newspapers online.
Google’s Chromecast is a small dongle that plugs into a spare HDMI port on your TV to stream media from the internet to the living room screen using your smartphone, tablet or computer as a remote.The tiny stick requires a connection to your home Wi-Fi network, and is powered by USB like most smartphones and tablet computers. It promises to stream content like Netflix, YouTube and the BBC iPlayer straight from the internet using your Android, iPhone, iPad or computer as a remote. It looks like a big USB flash drive, is discreet and is designed to be plugged into the back of a TV and forgotten about. It comes with a USB power adapter, but can be powered directly by USB ports on most TVs, saving the need for yet another power plug. Setting up the Chromecast is straightforward. An app called Chromecast is available for iOS or Android that connects to the streaming stick via Wi-Fi and allows you to configure the settings for your home Wi-Fi network. From there, the Chromecast automatically logs on to the internet via Wi-Fi and waits until you command it to do something with one of your other devices.
Netflix, YouTube, BBC iPlayer Google Play and RealPlayer Cloud
- What the Chromecast does, it does very well. Streaming from Netflix or YouTube is easy and works great, and so does streaming music from Google Play music or other Chromecast-enabled apps like RealPlayer Cloud or Plex.
- However, what you can do with Chromecast is quite limited at the moment. Beyond Netflix, YouTube, BBC iPlayer and a small handful of apps like Real Player Cloud, your options are currently limited. There is no ITV player, 4oD or Amazon Prime Instant video streaming for instance, or any of the other catch up services right now.
- The Chromecast is capable of mirroring a Chrome browser window from a computer, however, which makes it possible to display video from unsupported services or anything else that can be viewed in Chrome on the TV.
- In practice, the video quality is low and the display can lag and skip frames, so it is not a real alternative to a dedicated streaming app for things like 4oD.
I think this is a great opportunity for social networks such as players Netfilix, YouTube, BBC iPlayer and more as the USB allows your TV to access these sites via wifi. This would increase the number of subscriptions and attract a larger audience to get the USB so that they can experience the new social players.
The article is about the old Barbie doll and how negatively it can influence young girls. The study proved that young teenagers who play with Barbie dolls can not do the same jobs as boys can therefore they were more likely to be taking jobs in their careers. However young girls who played with Mr Potato had admitted they could take up as many jobs as boys could too. The old Barbie doll has been redesigned to a much realistic females body.
2. Little Mix's food habits are GROSS (but amazing): "Just sprinkle the wotsits on the top of a Pot Noodle..."...
The article above focuses on an interview with the famous X-Factor girl group called Little Mix. They share their life before X-Factor and what career paths they were going before joining the band. All four successful artists are inspirations to many young females and their music.
This article focuses on the issue of equality between men and women occurring in 2030. Women believe in true equality in every field will become a reality in another 16 years, it also reveals the top 10 women who are the most likely inspire other women and girls who have been successful in their ambitions.
4.Lady Gaga opens up on overcoming her eating disorder and depression...
The article above focuses on a interview with Lady Gaga who talks about her eating disorder and depression. She states that she is getting better with food and is not letting anyone take advantage of her and therefore she is cherishing her talents and health. This influences the female audiences as they could look up to the strong pop artist and could relate to her by dealing the same problems.
5. Cameron Diaz "Women should be allowed to age"...
This article focuses on Cameron Diaz an actress who is 41 and still looks fabulous, healthy and does not stress over looking good with make-up. She discusses how actresses who get discriminated for not wearing make-up get put down, creating pressure to look younger whereas Diaz has had enough as she embraces her natural beauty. She states "Our culture is obsessed with not growing into who you were really meant to be", Oprah said. To which Cameron agreed, "this is true". Cameron added that "women don't allow other women to age gracefully," and that "And we don't give ourselves permission to age gracefully."
My case study will be focusing on the impact of New and Digital media in the film industry (Studio/Netflix).
2. Why I chose this topic...
The reason I chose to focus on the film industry is because the audiences are choosing to watch new released films on social providers (alternative) rather than going to the cinema's (traditional). New and digital media have produced many servers such as Netflix, Love film and more where audiences are able to watch brand new films from home rather than paying to go to the cinema's. These servers usually have subscriptions allowing the audience to pay for the server and watch as many movies they like whereas going to the cinema's would make audiences pay for each film they watch. I will be focusing on a specific studio such as Warner Brothers, Fox etc and film server for this case study. Audiences are watching films on Netflix and Lovefilm rather than demanding it on Box offices.
LR: Timing! You must write more for question 3 and another two paragraphs making reference to other texts.
Q3: Do you think that official and unofficial websites contribute to a film’s box office success? You should refer to other media products to support your answer.
Official websites contribute to film's box office success, as it gives the audiences a chance to see a peak of the film which would engage them to watch it. There are many examples provided on the official websites for a blockbuster film such as the official trailer, film poster, teaser trailers, images and more, this allows the audience to interact and share their opinions about the insight of the film as most of the broadcast examples are established onto YouTube therefore audiences are able to user generate their content on social media sites. The use of synergy allows promoting to the film as the audiences interactivity would feel more involved and engaged about the film. Many official websites also promote merchandises for fans, for example the Twilight Eclipse film would have franchises for their audiences creating a larger target audience and making the film become successful as more would want to watch it.
On the other hand unofficial websites are less contributed to a film's box office success as unofficial websites could provide copyright material or illegal links to the official materials to a film. In contrast to this, this could result the risk of new films being ruined as the film industry could lose profit as audiences would be downloading illegal materials of the film for free and therefore the film would be gaining no profit overall. Many unofficial websites could release unreliable resources or information about the film giving inaccurate information towards the audience ruining the whole excitement and experiences for audiences who want to watch it in cinema's.
The article argues whether advertising or paywalls would be better for revenues. Mike Darcey has called the Guardian and Daily Mail digital "minnows" – despite the publishers' boasting a combined monthly online readership of almost 300 million – in the latest round of the debate about finding a sustainable model for professional journalism. Darcey, who also criticised his rivals last month in a speech defending News UK's strategic decision to back the digital paywall model, offered a back-handed compliment about the Guardian's "digital first" strategy. Darcey argued that the open digital strategy – coupled with cover price rises – will hasten the demise of print editions. "Chasing online advertising revenue at scale requires a deep, free online proposition and this in turn undermines the incentive for people to pay for print editions," said Darcey, speaking at the Digital Media Strategies conference on Wednesday. "The Guardian web proposition is so good I wonder why anyone continues to buy the Guardian edition in print at all. They must be very wealthy people." He added that aiming to rely on online advertising as the primary revenue stream was a dangerous strategy, putting newspaper publishers in direct competition with global giants such as Google and Facebook.
-11% of men use concealer
- 30% of men shave or wax their body hair
- men are now using female beauty products
- 1% of men are using foundation
I think there would be problems if companies replied on online advertising as their revenues could decrease, this would effect many news providers ever though they don't have paywalls. However the online advertising could benefit from attracting a larger audience.
Jasmine Gardner: News travels fast in cyberspace but can we trust it? Social media is now a major source of information. The challenge is ensure that it is reliable and correct...
Rumour mill: according to social media, Manchester United manager David Moyes was sacked this week
Morgan Freeman has died three times: once on Twitter, twice on Facebook. Social media rumour — much to the relief, of Moyes, who had been tabled by tweeters to be losing his job at 2:30pm on Wednesday, after Manchester United’s 2-0 defeat in the Champions’ League to Olympiakos the day before.
The gossip spread quickly among fans: by midweek, bookmakers had 8/11 odds on Moyes being the next Premier League manager to leave his job. Moyes will be comforted to discover that a new project involving King’s College London called Pheme is attempting, over the next 18 months, to build a web app that would work out how likely a Twitter statement is to be true or false. Until then working out whose news you wish to repeat online will be an ever-growing. In the US a third of all adults under 30 are said to get their news from social media, with half of all Twitter users receiving their newsflashes in 140 characters. On Wednesday even talkSPORT presenter Andy Goldstein helped carry the whispers of Moyes’s departure, tweeting “Don’t know how true but NYSE apparently been told Moyes has been sacked.” Who to trust? Web companies such as PeerIndex and Klout have attempted to answer this, giving social media users a rating based on their influence across the web. Yet while being trustworthy could enhance your influence, so too can fame, which reduces the usefulness of these services in assessing reliability. In his TED talk on the subject, internet activist Eli Pariser said: “Instead of a balanced information diet you can end up surrounded by information junk food” — where everything we see online is only what we enjoy believing. On Facebook, unsurprisingly, most people’s news consumption comes through friends and family.
- Manchester United’s 2-0 defeat in the Champions’ League to Olympiakos
- Adults under 30 are said to get their news from social media
- A survey late last year by market researcher Populous showed that in Britain, Twitter is now an everyday news source for 55 per cent of opinion formers.
I think the social media has impacted a large audience, many people rely on the social media a lot and therefore think it is reliable. Social networks such as Facebook, Twitter and more allow people to interact with many people around the world but also can have negative points such as false information and targeting people. The audience should reply on main news providers such as The Guardian, The Mirror and many more as they would be reliable sources whereas the internet could contain false information that many can believe.
Prada Spring/Summer Advert - This advert is clearly aimed at the Female audience as the brand 'Prada' is a popular wealthy brand for mostly middle class teenagers. The advert features only females, who are portraying fashion and advertising their brand.
Bend It Like Beckham - The main character in the film is a Indian female who has a passion to play football. This is the alternative reading as the audience would expect male characters to play football as it's a sport males would play however this film reinforces this stereotype. The female character is also of Indian race, so it also relates to multiculturalism and how society of different ethnicity are portrayed.
Female Print:
The Cosmo magazine cover establishes the traditional stereotype of females to look feminine, it attracts a large female demographic due to the colours and style of the cover, for example big funky fonts and the colour pink which associates to females. On the other hand the women's fitness magazine cover portrays the alternative gender performance of a female as she associates with sports, which commonly is referred to males. Moreover as she is holding weights and exposing her body muscles, this suggests that she is muscular and could promote female fitness in a positive way rather than just males.
This is a online shopping website called Missguided targeted at a large female demographic. The website is of an traditional stereotype of females as they want to look in fashion, sexy and have the new trends, the campaign image of Nicole Scherzinger strongly helps as advertising as she is a successful female artist therefore females would inspire of her and her fashion. It also convinces young females wanting to be like her therefore this could relate to Marxism's theory of the media manipulating audiences through the media.
Charlie's Angels PS2 Game - The Charlie's Angels play station 2 game portrays three female characters in action which is the alternative stereotype as the audience would expect males to be in action games that involves fighting. Furthermore as the Play station 2 is more attracted to males the game to be produced suggests females also play it too. This reinforces the stereotype of females and embraces the female muscular side. This challenges females performances as they do not need to follow female society.
Male: Broadcast
Nike Commercial - The Nike advert establishes the traditional stereotype of males as it's associated with sports, also the males portrayed are being active connoting they are masculine. The advert focuses on males majority of the time therefore show they are more dominant than females in sports/brand.
The Fifth Element - This scene from the film shows a male comedian actor who is portrayed in the alternative way of males, as he is dressed and acts like a female. This could more likely attract the female demographic more than males as the stereotype of the actor is alternative to males.
Male Print:
The first magazine cover of Men's Health features David Beckham, he is represented in the traditional gender performance as he is looking dominant and muscular. He mostly subverts the alternative stereotype of males as he can relate to males fitness too. However the second magazine cover shows the alternative stereotype of males as the male is mostly revealing his built body, he is also positing in a sexual way therefore challenging the different gender performances.
Male E-Media:
The Lucky One - The trailer conveys the traditional stereotype of males as it is associated with war and masculine. The character Zac Efron portrays a typical male man who has survived in war and fallen in love, his masculinity and passion to find his love encourages males to behave how they should.
However in this scene of High School Musical 3 shows Zac Efron in a more alternative way of males as he is dancing and singing alone. It reinforces the male stereotype as traditionally females would be preferred to be heard singing, whereas in this film series it subverts the attitudes and audiences are able to see males sing too.
Americans can't live without the web – but social media is a different story. New Pew study shows US an increasingly digital society, but Americans view social media and the internet very differently...
Eight in 10 US adults say they use computers somewhere in their daily lives, and nine out of 10 use cell phones to get on the internet, according to Pew.
New data from the Pew Research Internet Project illustrates America’s embrace of and increasing reliance on the internet since the 1990s. More than half of Americans 53% admit they would find the internet “very hard” to give up, compared with 38% who thought so in 2006.
The survey also shows that Americans may still view participating in social media, accessing the internet and using email as entirely different experiences. For example, when people talk about “digital detoxing”, the internet as a means of consuming information isn’t on the receiving end of the vitriol – just the parts of it that serve as a means to communicate with others. But, paradoxically, communicating with others is what Americans appear to enjoy most about the internet. Seventy percent of internet users say they have been treated kindly by others online, while a quarter of people reported having experienced abuse. Women tend to experience more of the extremes, while people age 18-29 seem have seen it all, indicating a unique adaptability among younger Americans. In other words, America, don’t believe all of the bad headlines you read about the internet ruining our lives, making us dumber and destroying our social relationships. We couldn’t live without it if we tried.
- Internet since the 1990s.
- More than half of Americans 53% admit they would find the internet “very hard” to give up.
- Digital detoxing.
Nearly, almost every country has access to the internet and is available across the world. The common demographics attracted to the internet is mostly teenagers commonly using popular social media sites such as Facebook, Twitter etc. I think it would be hard to give up the internet as it has become the most important source of everyday life, it can impact an individual in many different ways for example teenagers access the internet for social sites, working people for their business work and more. Moreover using the internet could have its advantages and disadvantages too as it could be used for good purposes such as work, educations, making friends or a negative effect to some such as abuse, paedophilia, bullying.
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