Sunday, August 19, 2012

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iPhone 06

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D I G I T A L M E D I A 

C O N V E R G E N C E



Introduction

Digital media is a phenomenon which emerged from technological, industrial, cultural and social convergence. 
“Digital media convergence is the process by which media forms, industries, cultures and practices of use have merged. It is the coming together and combining of various technological, industrial and cultural processes.” (Dwyer T 2010)
The process involved moving away from deteriorating analogue technology to digital technology. It has dealt with issues that bound analogue technology. These issue include being bound to materiality, being industrially specialised, being bound by localised distribution and uni-directionality. Music videos have played a critical role in this development. 

 Analogue vs Digital

edison records
Analogue technology passes information via waves, making it subject to fluctuations and deterioration of data. This means that the more analogue data is copied, the more it will deteriorate due to errors and interference. An example of analogue technology is a vinyl record. 

 Nano iPod CasesDigital technology passes information via a binary system, making it less prone to error. Unlike analogue technology, digital data can be copied infinitely without deterioration. An example of digital technology is an iPod. 


Digital Revolution  

Digital media has changed all aspects of media production. It was a solution to the inadequacies of analogue technology. Its development paralleled the growth in world globalisation and brought social change. The digital revolution has enabled the development of globalised, multinational media conglomerates who can consolidate their data operations. Private users and audiences now have more control of the production and duplication of data. Consequently, digital media has been heavily invested in and widely researched, marked and adopted. Digital media convergence has allowed for the
“flow of content across multiple media platforms, the cooperation between multiple media industries and the migratory behaviour of audiences” (Jenkins 2006). 
MICHAEL JACKSON(a) Michael Jackson

 The digital revolution has transformed media, especially in relation to music videos. Audio visual screen performers really came into their own with music video. It was the birth of a new method for audiences to engage with both music and video. This phenomenon of convergence created new music and screen superstars, such as Michael Jackson. Michael Jackson was someone who targeted this new audience and marketed himself as an audiovisual performer. His performance of 'Thriller' illustrates how he crossed the streams of visual and sound. This music video is able to catch the audience's attention on screen and provide an entertainment spectacular.
“Thriller gives the video audience real thrills - the thrill of tension, anxiety and fear associated with the pleasure offered by the horror genre” (Goodwin and Grossberg 1993).



(b) Technological, Industrial, Cultural and Social Convergence

 The following were issues with analogue technology that were overcome with the development of digital technology:

  • Bound to Materiality and Technological Convergence
With analogue technology, media was only accessible through its physical format. For example, music was only accessible via the vinyl record. Through technological convergence, data has been brought together from formerly separate technologies into one place, platform and device. To watch music videos, for example, the iPhone provides immediate access through applications and downloads. It is now possible to access more than 1000 songs in a single, portable, stand alone device. It is pretty much impossible to not see someone on a train, walking down the street or at university without an iPod. With the release of the iPod in 2001 it transformed the way we listen to music. This advertisement below illustrates how accessible music is using the Ipod, when previously music listeners were bound a larger cumbersome device, such as a record or tape player. The video shows the viewer that accessing music through the different methods of technological convergence of CD to computer to iPod and how electronic transfer to an iPod can be easy and simple. 


Although digital technology has practicality in its physical format, it is important to note that old media forms are not necessarily dying off. They are being incorporated into new ones or surviving as a niche market.
“Old media are not being displaced. Rather their functions and status are being shifted by the introduction of new technologies.” Jenkins 2006
  • Industrial Specialised and Industrial Convergence
Today media industries are no longer separate and isolated. Through industrial convergence media companies can now produce, distribute and combine multiple media formats, products and span multiple media platforms. However, the physical formats of different industries were once separate and unconnected. Companies tended to specialise in particular media forms. Audiences needed different technologies to access a particular media form. For example, it was not simple to combine different formats such as music and video.  It was either viewed live or listeners were tied to a physical format. Countdown was one of the first programs that initiated industrial convergence. Countdown was a program on Australian television during the 70s and 80s that clearly demonstrates that music and video could be brought together. It was successful and influential in producing pop/rock music for Australian youth.
YouTube logo

While initial efforts at music video were low tech, Countdown experimented with this technology and was able to draw audiences together through it. This new technology, however, had massive potential for growth. Soon after the Countdown era, Rage continued developing music video, through the process of industrial convergence. It became renowned for broadcasting unlimited music video art. From Rage, industrial convergence continued with MTV's music television and subsequently the platform YouTube. Artists today, such as Avicii, One Direction, Skrillex, Coldplay, LMFAO and David Guetta all use YouTube to gain exposure and promote themselves. Anyone can easily access the Internet and thus YouTube. It is in essence a enormous broadcasting studio available in your own home. To assist in the spread of popularity of artists, official YouTube profiles are created and are dedicated to sharing their music. Millions of views may be made on particular music or other videos because the viewer finds them funny, quirky or interesting. It is a medium which industrial convergence has developed to share videos, especially music videos.
“Music video were once the most interesting things that happened in the media  landscape in the 80s and 90s. However,  the golden age of the music video is long gone and the Internet has caused the end of music videos as we know them. But music videos are born again, in a new form, and in a new space, youtube” (Sibilla 2010).

Dr Who Tardis
Doctor Who, a brilliant BBC television series which began in 1963, really only became a phenomenon through its industrial convergence  and trans-media strategies. The series in its old format was cancelled in 1989 but was reborn again in 2005. Doctor Who reestablished itself using industrial convergence. BBC Online has 
“spent considerable amounts of money developing its brand-specific products during the first years of the 21st century and this included a section devoted to its ‘cult’ television output.” (Perrymann 2008) 
In contributing to this 'cult' output, BBC has given the public countless trailers, publicity photos, Tardisodes, merchandise, Doctor Who Confidential and not to mention encouraging the craze for the Doctor himself. Since Tom Baker, David Tennant and Matt Smith have become great faces for Doctor Who. Russel T. Davis, the innovative writer for Doctor Who, states 
“This is a show now owned by its fans.” 
Brooker (2001) agrees that 
“The experience of following a favourite TV show has already changed for many viewers. The structures are there to enable an immersive, participatory engagement with the programme that crosses multiple media platforms and invites active contribution; not only from fans, who after all have been engaged in participatory culture around their favoured texts for decades, but also as part of the regular, ‘mainstream’ viewing experience.” 
Industrial convergence encourages the viewing experience of data to be a trans-media experience. 
  • Localised Distribution and Cultural Convergence
Industries were once about the production and distribution of physical artifacts. To preserve the high quality of music it could not be copied. Also, as long distance distribution was expensive and broadcasting was difficult, media industries tended to focus on localised markets because it was inexpensive. Today, YouTube allows for a cheap and easy way of allowing home users to produce and view music video and other content.  Cultural convergence is breaking down the differences between cultural groups and formations and allowing everyone to participate in the sharing of digital data. Media formats are no longer localised and they are accessible.

Sophia Grace and Rosie are an excellent example of publicity through mainstream content on social networks. Their mothers uploaded this video of them singing Nicki Minaj's song 'Superbass'.

Through promotion via the Ellen De Generes show, more than 4 million people watched this trending video of them on YouTube.
  • Uni-Directionality and Social Convergence
facebook logoAnalogue technology suffered from uni-directionality which means that duplication and distribution was difficult. It was expensive to produce and therefore only large companies could reach a mass audience. The individual at home could not easily partake in the production and distribution of media content. Today, data such as music videos can be easily transmitted via YouTube and circulated to a global audience through social media networks such as Facebook, twitter and email. Producer and consumer roles have been broken down as anyone can distribute music videos and watch them.
'Friday' by Rebecca Black had astonishing publicity via YouTube and social networks. This video, to date has received approximately 27 million views. 

Social convergence has changed the way data is shared. Such sharing of data is simple, of the highest quality and done in seconds.


Conclusion

Digital media convergence is the process by which media forms, industries, cultures and practices of use have merged. This phenomenon has brought together technological, industrial, cultural and social processes to overcome the problems with analogue technology. As a result music videos have been highly influenced by these processes via television programs such as Countdown, Rage, MTV and YouTube. Additionally today, YouTube allows for a cheap and easy way of allowing home users to produce and view music video and other content.

References

Books and Articles
  1. A. Goodwin and L. Grossberg, (1993) Sound & Vision: The Music Video Reader, Routledge - Taylor and Francis Group, pp 80-92Dwyer, T. (2010) Media Convergence, McGraw Hill, Berkshire, pp1-23
  2. G. Sibilla, (2010) It's the End of Music Videos as we Know them (but we Feel Fine), Transaction Publishers, pp 225-229
  3. Jenkins, H. (2006) Convergence Culture: Where New and Old Media Collide, New York Univerity Press, pp 1-24
  4. N. Perryman, (2008) 'Doctor Who and the convergence of media : a case study in transmedia storytelling' Convergence: the journal of research into new media, vol 14 no 1 pp 21-39 http://con.sagepub.com.simsrad.net.ocs.mq.edu.au/content/14/1/21.full.pdf+html
  5. W. Brooker, (2001) ‘Living on Dawson’s Creek: Teen Viewers, Cultural Convergence and Television Overflow’, The International Journal of Cultural Studies 4(4): 456–472.
Photos
  1. Cann (2007) Facebook http://www.flickr.com/photos/ajc1/503165914/ [Accessed 30 March 2012]
  2. Erin, 2007, Record Player http://www.flickr.com/photos/erinscissorhands/472457019/ [Accessed 26 March 2012]Lisa Rigby, 2006 Edison Records, http://www.flickr.com/photos/iriswashere/215913415/ [Accessed 27 March 2012]
  3. Ken, 2006, Nano iPod Cases, http://www.flickr.com/photos/12262359@N00/153821496/ [Accessed 27 March 2012]
  4. Joseph G, 2009 Michael Jackson, http://www.flickr.com/photos/josephgranja/3673199444/ [Accessed 27 March 2012]
  5. Unknown, 2011, Dr Who Tardis http://www.flickr.com/photos/life-in-ni/6062563192/ [Accessed 28 March 2012]
  6. Unknown, 2008, YouTube Logo http://www.flickr.com/photos/29158929@N03/2767975617/ [Accessed 28 March 2012]
  7. Yasu, 2008, iPhone 06 http://www.flickr.com/photos/88403964@N00/2662752839/ [Accessed 26 March 2012]
Youtube

  1. ColdplayVEVO (2011) Coldplay Paradise http://www.youtube.com/watch?v=1G4isv_Fylg&ob=av2n [Accessed 30 March 2012]
  2. Davidguettavevo (2011) David Guetta - Titanium ft Sia http://www.youtube.com/watch?v=JRfuAukYTKg&ob=av2e [Accessed 30 March 2012]
  3. LMFAOVEVO (2011) Party Rock Anthem ft Lauren Bennett, GoonRock http://www.youtube.com/watch?v=KQ6zr6kCPj8 [Accessed 30 March 2012]
  4. MusicFree1573 (2001) Avicii - Levels http://www.youtube.com/watch?v=GJ91VPOgasQ [Accessed 29 March 2012]
  5. MusicNationEnt, (2009) Michael Jackson - Thriller [Official Music Video] King of Pop http://www.youtube.com/watch?v=ufVx80xkim8 [Accessed 30 March 2012]
  6. NewOnABCTV, (2011) First Colour Countdown 1 March 1975, ABC TV http://www.youtube.com/watch?v=6-V-3a9HT8w [Accessed 30 March 2012]
  7. OneDirectionVEVO (2012) One Direction - One Thing http://www.youtube.com/watch?v=Y1xs_xPb46M [Accessed 30 March 2012]
  8. TheOfficialSkrillex (2010) Skrillex Scary Monsters and Nice Sprites http://www.youtube.com/watch?v=WSeNSzJ2-Jw [Accessed 30 March 2012]
  9. Rebecca (2011) Rebecca Black - Friday Official Music Video http://www.youtube.com/watch?feature=player_embedded&v=kfVsfOSbJY0 [Accessed 30 March 2012]
  10. RosieGraceMcClelland (2011), Sophia Grace Brownlee raps Super Bass & Rosie Grace McClelland dances!! http://www.youtube.com/watch?feature=player_embedded&v=Vkc_5ZevHy4 [Accessed 27 March 2012]
  11. Xavertic, (2001) First iPod Commercial 2001 http://www.youtube.com/watch?feature=player_embedded&v=mE_bDNaYAr8 [Accessed 29 March 2012]
Websites
  1. Countdown Debuts on ABC TV, ABC Online http://www.abc.net.au/archives/80days/stories/2012/01/19/3411575.htm?WT.srch=1&WT.mc_id=Corp_Innovation-80Days|Day47_AdWords_:ABC%20countdown_b_g_17136773959___1t1&gclid=CJzEouvpja8CFWFNpgodIgKSxw [Accessed 29 March 2012]
  2. Doctor Who - The Offical Site, BBC Online UK, http://www.bbc.co.uk/doctorwho/dw [Accessed 29 March 2012]
  3. The Ellen De Generes Show, http://ellen.warnerbros.com/ [Accessed 30 March 2012]



Digital Media Convergence: The Advertising and New Media Revolution

Digital Media Convergence:
The Advertising and New Media Revolution



Source: K. Hilzinger, Sydney Morning Herald
Digital media convergence is a defining trend of the modern media environment, with its pulling power instigating widespread social and cultural change. Recognised as “the process by which media forms, industries, cultures and practices have merged” (Tulloch, 2012), media convergence has revolutionised advertising and new media, encouraging individuals to seek out new information and interaction among collaborative, participatory mediums such as the Internet (Jenkins 2006: 3). In this way, convergence redefines traditional advertising execution to attract the nomadic audiences of the new media context (Khamis, 2012).


Digital media convergence provides a solution to passive 'traditional media’ constraints (Spurgeon, 2010), allowing producers, consumers and advertisers to participate in the media environment at any place and time. This participatory culture contrasts with past notions of “passive media spectatorship” (Jenkins, 2006), in which access to analogue media was scarce. Only those with specific skills and authority could participate in the production of media content, with information in traditional media flowing in a uni-directional nature: from producers to consumers.

The online community.
Source: PRLOG.com
Nowadays, digital media convergence has created new spaces which enable people to decide where, when and how they consume the content they desire (Deuze, 2006: 692). Dwyer (2010: 18) articulates this revolution, recognising the growing popularity of online advertising to fulfil the limitations of traditional packaging strategies. In effect, advertisers have followed their audiences online, utilising the new media environment to transmit their products electronically, and thus “resting on the realisation of the fragmented mainstream audience” (Sheehan and Morrison, 2009).


The viral campaign phenomenon is evidence of this advertising revolution, as advertisers launch their campaigns on the Internet in the hope that consumers would “actively propel them through social networks” (Spurgeon, 2008: 40). Companies are able to obtain valuable exposure and gain possible economic benefit by eliminating advertising costs which would otherwise be spent on limited old media promotion (Khamis, 2012). The success of these viral campaigns are measured on the back of interactive response unique to new media, with the intensity of online collaboration exemplified through the number of "hits", comments and responses a video attracts. As a result, the act of consuming media has become synonymous with the act of producing media (Deuze, 2006: 696). The convergent "prosumer" has challenged traditional media's distinction between producer and consumer, allowing individuals to engage in discussion and provide feedback for advertisers like never before (Sheehan and Morrison, 2009).
The term "power at your fingertips" embodies
the interactivity of new media.
Source: Samsung Electronics Co


In response to intensifying online activity, Samsung utilised video sharing website YouTube to unveil its new Samsung Galaxy SII model, mirroring advertising's online revolution by generating widespread attention towards its French campaign. "Unleash Your Fingers" (Samsung, 2011) as it was dubbed, reflects the Samsung Galaxy SII’s ability to deliver "power at your fingertips" (Samsung, 2012), toying with the Finger Tutting phenomenon and digital graphics to creatively express this idea. 

Having generated almost seven million views, 6000 comments and countless video responses (YouTube, 2012) since its launch in June 2011, Samsung’s campaign epitomises the idea of social media distribution success and the speaking power of viral advertising when performed effectively, proving successful for both advertisers and the company. This underlines media convergence’s influential role in revolutionising advertising and new media through the thrilling combination of business strategy, audiovisual formats, digital graphics and social media distribution.

The combining power of new media's audio-visual formats and product placement has revolutionised advertising strategies, with many advertisers are now creatively embedding their messages in media flows. This reflects the advertising industry’s acknowledgement of the shift “from an age dominated by mass communication to a future increasingly driven by one on one communication and entertainment channels where power is now with the end user.” (Meachen, 2007) Hence, branded content emerges - the aim to fuse advertising messages and entertainment in a seamless, transparent fashion (Sheehan and Morrison, 2009). As a result, advertisers can now explore new consumer touchpoints and promotional alliances in a way which promotes consumers to share content with others, “aiming to contextualise brand images attractively, (and) thus converging advertising and art” (Spurgeon, 2008: 40).

This is evident in The Guardian’s “Three Little Pigs” advertisement, which develops a compelling modern storyline surrounding the fairytale while communicating the objectives of the newspaper.




Advertisers creatively depict The Guardian’s shift from old to new media formats in the video, highlighting the interactivity of new media through snippets of social media discussion, while stressing this concept of “news at your fingertips” (The Guardian, 2012). Generating wide-spread attention since its launch in February 2012, this campaign emphasises advertisers' ability to “engage with their consumers more deeply”, capitalising convergent new media to facilitate brand stories (Spurgeon, 2008: 40).

Screen Shot of Facebook advertisements
Contrastingly, advertisers are utilising convergence's explosion of user controlled content to capitalise on search advertising, which has, as Dwyer claims, “profound changes in the nature and organisation of contemporary mediated communication” (2010: 5). Convergence enables advertisers to utilise social media and search engines to build and maintain profitable media cultures (Dwyer, 2010: 18), accommodating the increasing versatility of human actions. This is achieved by using the pulling power of Google, Yahoo!, Facebook and other online powerhouses to strategically position ads in response to each user's active search for information. In this way, search advertising facilitates opportunities for economic success by attracting millions of possible users, whilst benefiting them in uniting vast amounts of information with one click. 

Search Culture at its finest.
Source: Charppath

Never before have users been bombarded with the mass and frequency of online advertising. Spurgeon (2008: 25) emphasises this, declaring, “the Internet search engine is, perhaps, the single most important development for informational advertising.” A development of search search culture has arisen in response to this, revolutionising the ways people search for employment, housing, transport and even love (Spurgeon, 2008: 26) and highlighting the power of new media formats in instigating social and cultural change.

Digital media convergence has revolutionised advertising and media, facilitating their continual co-adaption. By redefining how advertisers reach out to their audiences and prosumers respond through engaging in social interaction, convergence has accounted for the creation of collaborative spaces, resulting in profound social and cultural changes in advertising which must be continued to propel its success in the future.
Resource List

Unit Readings:
  • Dwyer, T. (2010). Media Convergence. Berkshire: McGraw Hill. pp. 1-23.
  • Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press. pp. 1-24.
  • Spurgeon, C. (2008) Advertising and New Media. Oxon: Routledge. pp.24-45.


Recommended Readings:


Additional Research:

Lecture Content:
  • Tulloch, R. (2012). Digital Convergence, MAS110. Macquarie University, 8 March.
  • Khamis, S. (2012) Advertising and New Media, MAS110. Macquarie University, 22 March.


Electronic Media:


NB: References outlined according to Harvard Style.
  • School of Nursing and Academic Division of Midwifery (2007) RLO: Referencing your work with Harvard [online]. Available at: http://www.nottingham.ac.uk/nursing/sonet/rlos/studyskills/harvard/index.html [Accessed 30 March 2012]. 
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  • Music Video in the Digital Age:
    Music Video Online and Digital Media Convergence


    The concept of digital media convergence is often heralded as a progressive step towards the future of media production and distribution; instigating social and cultural change, and breaking down the barriers between different forms of media (Dwyer, 2010). Convergent media has brought together various media formats which were previously incompatible, affecting numerous related industries – many of which have struggled to adapt to the drastically changing media environment. The music industry, in particular, has felt the effects of these shifting technologies, becoming inhibited by the pressure of attempting to effectively market a product which has become freely accessible to consumers. However, whilst the entirety of the music industry has undoubtedly been compromised by convergent media, it could be said that music video in its traditional form has been altered the most.

    From the inception of the “talkie”, the realms of the audio and the visual mediums have been inextricably connected. Media convergence has instigated social and cultural change, shifting the cultural paradigm, and the convergence of the audio and the visual has been irrevocably changed (Phelan, 1993). Music video has been an integral element of music distribution for decades – however, many, like former R.E.M. frontman Michael Stipe, believe that the “music video is a dead medium” due to the growing popularity of the internet and various other multimedia platforms. On an international scale, music video is often viewed as unnecessary and has been overshadowed by convergent digital media forms, but it is still important to the local music scene in Australia, supported by programs such as the ABC’s Rage. Nonetheless, while the popularity of music video television has declined in most countries, with channels such as MTV now more focussed on reality television than music, as Sibilla (2008) noted, the form hasn’t disappeared – it has simply moved online.


    In December 2009, an online music video hosting service, Vevo, was formed with the motives of promoting to a more discerning consumer, and successfully moving the music industry into a convergent media platform. Three major record labels – Universal, Sony, and EMI – signed onto the project, which was set to become the most significant step taken by industry professionals with an eye to the importance of new media in the modern age. By grouping together the music videos of artists backed by various record labels, industry giants were able to successfully navigate through convergent digital media and re-connect with their consumer base, using methods previously only popular amongst independent artists and small record companies.

    For many years, aspiring artists with decidedly limited funds have been utilising the internet as a way to distribute their music, releasing online music videos in addition to audio tracks. In this sense, digital media convergence has had a positive effect on the music industry, allowing little-known artists to promote themselves and generate a fan base without the cost of producing and airing a high-quality music video internationally (Keazor, 2006). Instead, low fi music videos like Northlane’s locally-shot ‘Dispossession’, and the simple storyline of Envy on the Coast’s video for ‘Mirrors’, have become popular forms, allowing listeners to develop a connection to the music and the band members through the personal, down-to-earth quality of the videos (Sibilla, 2008). Independent artists are also benefiting from this shift in consumer desires, with artists such as Bella Hemming gaining acclaim by publishing self-made music videos to their personal YouTube channels. Through transferring from televised to online music videos, production values have also shifted, stripping down the theatrics and creating simple videos which allow artists to connect with their audiences on a deeper level.
    Northlane - Dispossession
    In accordance with the artists’ relatively newfound connection with convergent media, multi-faceted music companies with a personal focus, such as We Are Unified (UNFD), have arisen. Such companies are the convergence point of multiple aspects of the music industry – including production, promotion, and management – which make use of shifting cultural paradigms by employing the concept of a musical community, now a dominant take on the music industry. These companies often have YouTube channels which both host and release the online music videos for the artists they represent, following in the stead of small record companies such as Photo Finish Records, who have long been utilising the internet as a way to broadcast their artists’ music. Many artists also have YouTube channels of their own, like alternative rock band, Brand New. They have created a place for fans to upload their own videos of live shows, thus indulging the consumer culture which Jenkins (2006) believes is formed through digital media convergence.

    Previously, the online music video was simply the means to an end – a way for artists with minimal funds to distribute their work on a multimedia platform – however, much as convergent media is shaped equally by the consumer as the producer (Sibilla, 2008), it has recently been evolving into an increasingly open form. Many current artists, rather than viewing a society steeped in convergent digital media as a detrimental force, have chosen instead to embrace the participatory culture which is forming around the media industry. Music video online has become an important element of the contemporary music experience – which is increasingly apparent to artists, who are expanding the format to the point wherein fans can be personally involved in the process of its creation. In 2011, Welsh post-hardcore band, The Blackout, used the internet to invite their fans to upload footage of themselves to be used in an upcoming music video. On their page it recommends that the video be shot on a mobile device, thus combining various forms of convergent digital media – namely, mobile devices and the internet – to create a video which is a clear example of artists embracing Jenkins’ (2006) concept of a participatory culture, and using music video online to their advantage. At a similar time, American pop-punk band Blink-182 compiled an unofficial second video for their new single, ‘Up All Night’, which included fans in an entirely different way. Compiled from fan-made YouTube videos which had used the band’s music without their permission, the video was dubbed “The Blink-182 Film Festival You Didn’t Know You Entered” – an ironic look at copyright infringement in the era of convergent digital media.

    Digital media convergence was once viewed as having the potential to be extremely detrimental to the music industry, causing particular damage to the music video. However, it can now be said that while the introduction of new media has undoubtedly affected the industry and the music video format, this has not had the negative impact that was expected, remaining a prominent part of youth and popular culture. The new concept of music video online was created through a participatory culture, in accordance with the shifting cultural paradigms forming through digital media convergence (Jenkins, 2006), allowing artists more control over their music, and an additional platform on which to connect with their audience.

    References:
    Text
    Burgess, J & Green, J, 2009, Youtube: Online Video and Participatory Culture, Polity Press

    Dwyer, T, 2010, Media Convergence, McGraw Hill, Berkshire

    Hilderbrand, L, 2007, ‘YouTube: Where Cultural Memory and Copyright Converge’, Film Quarterly, Vol. 61
    Jegl, C & Wetzel, K, ‘Future Thrills the Video Star – The Future of Music Video’, in Keazor, H & Wübbena, T (ed.), Rewind, Play, Fast Forward: The Past, Present and Future of The Music Video, Transaction Publishers, London
    Jenkins, H, 2006, Convergence Culture: Where Old and New Media Collide, NY University Press
    Keazor, H & Wübbena, T, 2010, Rewind, Play, Fast Forward: The Past, Present and Future of The Music Video, Transaction Publishers, London
    Phelan, P, 1993, Unmarked: The Politics of Performance, Routledge, London
    Sibilla, G, 2008, ‘It’s the End of Music Videos as We Know Them, But We Feel Fine: The Death and Resurrection of Music Videos in the YouTube Age’, in Keazor, H & Wübbena, T (ed.), Rewind, Play, Fast Forward: The Past, Present and Future of The Music Video, Transaction Publishers, London
    Web
    Associated Press, 2008, R.E.M. Premieres New Video at New York Show, Billboard Press, http://www.billboard.com/news/r-e-m-premieres-new-video-at-new-york-show-1003819312.story#/
    Frucci, A, 2010, Record Labels: Change or Die, Gizmodo, http://gizmodo.com/5481545/record-labels-change-or-die
    Photo Finish Records, 2012, Envy On the Coast, http://my.photofinishrecords.com/
    PureVolume, 2011, Brand New Creates Official YouTube Channel, http://www.purevolume.com/
    Stelter, B, 2009, Music Industry Companies Opening Video Site, The New York Times, http://www.nytimes.com/
    The Blackout, 2011, Be Involved With the Video For ‘You’re Not Alone’, Fan Direct, http://www.theblackout.net/
    The Rolling Stone, 2011, Blink-182 Steal Fan Footage for ‘Up All Night’, http://www.rollingstone.com
    We Are Unified, 2011, UNFD, http://weareunified.com/

    Video

    Dispossession, 2012, online video, Northlane & Elder, C, http://www.youtube.com/watch?feature=player_embedded&v=sIPdH7vLmgQ

    Up All Night, 2011, online video, Blink-182 & AT&T, http://www.youtube.com/watch?feature=player_embedded&v=eabtzkY_jNs 
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  • Media Convergence


    Media convergence this concept meaning refers to various kinds of media presents a multi function integration, is broadcast, television and newspapers and other traditional media interaction between. But when the network as a new media carrier, with its multimedia, interactive, new super trait appears, media convergence has become the Internet as the medium, various media in greater breadth, depth and height on the integration, and through a variety of different types of receiver

    Terminal communication situation, which resulted from the will is different from the previous media forms of new media forms.
    In our country current media environment, can say the media convergence has two big trends: one is the traditional media to make full use of the new spread technology and methods, or passively or actively seek multimedia management, in order to realize their own and rely on the network of various new media integration between; two is the new media -- mainly news website seeking coverage right, make full use of their communication channels on the edge, to play their own multimedia, strong interaction and other congenital strengths were simultaneously acquired in the content channels on the breakthrough, seeking to get rid of the traditional media content control. The academia takes the two trends of representations for the media convergence to a deeper level, i.e. the media organization structural integration. But we must notice is the so-called organization structural integration refers to the same media company or group also owns newspapers, television, radio, magazines, Internet and other media forms, all forms of media in the unified development target contrast to maximize the sharing of content, these media platform to division of labor and cooperation, to maximize the market, gain profit. This organization structural integration essence, will be different between the integration of media ownership. Taking the present conditions, it is still difficult to achieve in a short period of time. But we must recognize, such analysis still remain in the traditional media and new media that $two architectures, and lack of awareness in this phase has been, is bound to have a level of traditional media and new media between the two boundaries of the breakthrough, not only all kinds of different forms of media resources sharing between and the division of labor and cooperation, but also to create a new form of media.
    This new media forms will be one or several integration of previous forms of media, breaking the previous media as the human sensory function portion extends defect, make full use of multimedia to the integration of media forms, these forms of media to make full use of network virtual world media social characteristics, has a very strong interaction and participation, to network as a carrier platform and distribution platforms, ultimately through different types of multimedia terminal equipment show. The terminal device which can be a computer, can also be a MP3, MP4 or mobile phone, can even be in the concept of the other terminal equipment. This new show that these new forms of media is different from any previous media forms of new media.
    Electronic Periodicals: print media integration

    According to Mcluhan's theory, the print media including newspapers and magazines, are merely human visual sense extension, therefore, have extremely strong one-way and extremely weak interaction. However, there have appeared some new forms, relying on the network platform of new media, can not be said to be a result of media integration, even may say that is the integration of a development trend of future, these new forms of media mainly refers to the electronic newspapers and magazines.
    Electronic newspaper and magazine is a multimedia, interactive sex is very strong, has its own distribution channels, and has convenient access (a variety of receiving terminal, is not only the network, such as the previously mentioned) form of communication, which of course is a kind of new media forms. Of course, the current electronic newspapers and magazine development is not mature, we are not able to assert, electronic newspapers and magazines is the plane media and new media conformity to produce a final media forms. But we also can't deny electronic newspapers and magazines are the media convergence condition integrated media morphological features, more and more independent, I thought at least media integration in the new media of a morphological shape.
    Blog: the new media in the content acquiring rights breakthrough attempt
    Blog, since the media era mark. Today, the vigorous development of the blog has become a phenomenon that can not be ignored. Even in America last year, "time" magazine named person of the year, "you are". "Time" magazine says, each using the Internet users are 2006 influential people. This has fully demonstrated that content providers have to blog as the representative of the WEB2.0 times down to each individual. The propagation characteristics of that: each individual become a communicator, have become the content provided by the media. The author thinks: content access rights are start from here made a breakthrough.
    In fact, in the blog before, all kinds of forum news clues and content have become important sources of traditional media news. However, only in the blog appeared later, especially after the emergence of sina celebrity blog, make full use of the celebrities news, many news information issue actually followed a trajectory: blog with news -- Determination of Sina News Value, give a report -- traditional media or copy or follow-up report. Through 2006, newspapers and magazines, we will find many such examples, such as the typical "bread Massacre", "Han Baizhi controversy", "cruel cat to kill order" and "peak begging" event and so on, be too numerous to enumerate.
    This is a breakthrough. Because it actually has broken through the traditional media franchise, and ascertain the redrawing the content provider role delineation of agenda setting, the identity of the clue. Such a reversal of roles, its significance lies in the new media from an awkward role, and has become a powerful amplifier independent main body; the new media in its many advantages on the basis of a breakthrough in the traditional media content resource control, thus the media integration process, through continuous integration, become a true sense of the new independent media.


    The television media: media into the integration stagehttp://www.youtube.com/watch?v=osDZAPZ8hms
    "Understanding of the future of television key, is no longer the TV when watching tv. From the bit perspective on the TV to bring maximum benefit." This is about the television media under the impact of new media and new media, the integration of a typical expression. In fact, from the television media to today's more than half a century, in recent years the change is the most revolutionary, to a new generation of digital technology, radio technology, information technology as the foundation of the new media business as one of the world's high-tech development trends, is to can't be held back the potential for radio and television industry brought tremendous changes. In the strong support network, network television, IPTV, mobile phone TV, satellite TV and other new media continue to rise, showed the rich integration characteristics.
    Including network TV, IPTV, mobile phone TV, satellite TV, all kinds of integration characteristics of the new media forms have strong interaction, multiple receiving terminal and minority communication and dissemination characteristics. These features indicate that the integration of television media than the print media to go farther -- is a kind of media integration of new media, relying on the network platform, through a variety of receiving terminal communication.
    Conclusion
    In fact, in this thesis, the author has been in constant use of a concept: integration of medium. This is the author of media convergence on the. Integrated media, as the author mentioned above: it is the integration of the traditional media and new media's characteristics and advantages, make full use of the characteristics of the network, with strong interaction and participation, to network as a carrier platform and distribution platforms, ultimately through different types of multimedia terminal equipment presented various media forms. Shanghai media group in the survey, the young audiences are rapidly from traditional media market shunt, they are the future integration of media the main users, personalized, professional demand is very strong. In addition, in the terminal, television's growth is very slow. The traditional television is mainly for family entertainment users, using period or in the evening; and with computer and mobile phone as the representative of the receiving terminal is concentrated in an interactive and fun, day and night to have a large number of users in the use of. SMG although investigation is focused on the television media, but this has been shown by integration of media the huge prospects for development. The author believes that: the future of media development, integrated media will be a trend of media convergence. (Jilin University College of Arts / Ho Shan)


    References:
  • The media to promote integration（2003-2004）：http://wenku.baidu.com/view/2a6e227501f69e314332946b.html
  • The media after newspaper reporter: Pioneer era（13/04/2011）：http://news.xinhuanet.com/newmedia/2011-04/13/c_121301137.htm
  • How to treat the media（06/07/2011）：http://www.ebigear.com/news-88-74901.html
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