no shit

22
Explains technology as a driver for economic growth.
Explains demand as a driver for eonomic growth.

157
Digitization and convergence generate two great opportunities: innovation and new business models.

160
They differentiate between:
digital enablers
digital communications
digital content
digital transactions

162
There are 3 types of digital convergence:
technological convergence – a shift in patterns of ownership of media, such as film, television, music and games,
media convergence9 – allowing users to consume different media at the same time using a single personal computer,
access convergence – all production and distribution of media and services are being re-engineered to work on a distributed network platform, i.e., everything is becoming available or doable on the Internet.

164
“In the long term, however, the potential for monopoly profits are reduced, hence posing a threat to the current media structure. Significantly, this opens up possibilities for small producers. Under such a system of direct micro-payments, it may be that profits are simply spread thinly and hence little traditional benefit from the creative economy will be realized. Clearly, this is a huge area for future debate.”

165
“The more concentrated the audiovisual and music markets become in the hands of a few transnational conglomerates, the more alternative business models emerge.”

“there is potential instability for all cultural producers in the years ahead as well as huge potential growth.”

166
“Without doubt, the challenge for the creative economy will be to actively engage with this debate. The danger is that, in the absence of this debate, the financial power and the pressure of the risk-minimizing “old model” may create a future for creative production that is as narrow as, or even narrower than, that which we currently have.”

If there are no monopoly profits, then the super profits that buoy the creative economy will not exist. Thus, in this period of growing consumption, a step change must be effected to achieve some modest redistribution. Arguably, this change is a complex cocktail of regulation and governance; it will not be achieved by the total clampdown on piracy or via a global cultural commons.”

169
“The creative industries are clearly well placed to benefit enormously from the development of ICTs.”

“The use of ICTs to develop a wider public discourse on art and culture could be a marvelous dividend for the digital age.”

The bible: “a document containing backstory information that film and TV writers rely on for building plots and characters”

Transmedia [storytelling] takes the concept of the bible to an extensive new level.”

“Starlight Runner creates “megabibles and mythologies” contained in oversized binders full of images, chronologies, storylines, character profiles and descriptions of such details as geography, vehicles and weapons.”

“We’re all challenged to find new ways to make money, a cross-platform approach to narrative exploitation is a great opportunity for those who know how to do it right.”

Variety ~ Transmedia storytelling is future of biz (29.06.2009)

category: PhD sources
tags:

“Technology tends to build on itself in a not quite logarithmic scale. If you have two things you can have a third and you suddenly have five. So it goes on and on and it speeds up. And more importantly, because it’s logarithmic, the speed-up speeds up. It is very difficult to predict the future because all these technologies start to roll together and cross reference each other. So what’s driving the future is the human intellect, the more and more assistance we get from computer codes and computer technology and with half the world’s population living in cities you have more and more enclosed architectural complexes.” (Syd Mead)

“We’ve got to be willing to build a different set of muscles in this business. The way we operate has been dissected and reassembled in front of our eyes. The other day my friend Glen Bazner told me that everything we’ve learned about financing films over the last 15 years we now have to forget, which of course is uncomfortable. But it’s a window of opportunity to develop the muscles we’re going to need to dance this new dance in the coming years.”

During Q&A he talks about coming changes in storytelling because of iPhone, webisodes, etc.

http://pod.lafilmfest.com/?p=88

Instead of GDP he introduces SKUs (stock-keeping units) as a measure of economic complexity -> the economy is far more complex now than even relatively recently.

The economy has evolved through the interaction of three processes:

The evolution of physical technology (after the industrial revolution).
The evolution of social technology (money, markets, rule of law).
The evolution of businesses (entities that live, die, and replicate in the economic world, therefore business models are of central interest).

(Potts UQ lecture 2-3, p15)

category: PhD sources
tags: ,

The creative industries cannot be defined using an industrial classification, because they are not really industries. Instead, they offer “a new market-based definition in terms of the extent to which both demand and supply operate in complex social networks.”

category: PhD sources
tags:

Study of contracting and rewarding practices between producers and other freelance professionals in the Dutch project-based film industry.
It builds on Starkey et al. (2000).

Results:

flexibility is highly prized
the incompleteness of contracts is not seen as a disadvantage
rewards that are uncertain in respect to value and timing are not an exception

Film professionals are not merely looking for short-term gain in isolated projects, but can be committed and loyal to a latent organization.

“[...] implicit relational contracts – the ones that govern the latent organization – are at the basis of relations among film professionals and that the actual explicit contracts – the ones that govern relations within the PBO – follow from them.”

“Project managers or other short-term contractors can benefit from flexibility in contracting and rewarding only if they have a reputation of being a loyal contractor who values long-term relations and remembers whom to reward in future projects for extra efforts made in past projects.”

It’s not 4 screens, it’s 3 devices! (although he doesn’t mention cinema)

handheld device – useful for audio communication or small messages
active device – the personal computer
entertainment device – big screen TV

They fulfil different functions but are complementary.

Transcript:
There are 3 fundamental types of devices that people use and want and I think will continue to exist. They are the handheld device which is useful for audio communication or small messages. There is the active device which is the personal computer. And there is the entertainment device which is the consumer electronics, big screen TV. Those devices occupy separate spaces, they fulfil different functions. They should be, and are increasingly going to be, complementary. You can get the Internet on you big screen TV. You can do all sorts of video conferencing or messaging with your PC as well as interactive content creation. And your handheld device is increasingly an Internet device. I don’t see really challenges between them. I see them as complementary and bringing capability to the end consumer. You know, how many of us are going to give away our PC and try to write a text on our cell phone? How many of us are going to give away our TV and watch TV on a PC? They are complementary devices and I don’t think we should confuse them by saying one is going to dominate. They all fulfil separate functions.
[…]
We are going to have our personal devices and those are the ones we carry with us all the time. And they allow us access to information and communication. We are going to have those devices that allow us to create and deal with rich content, that’s the PC. And then we are going to have those devices that basically entertain us, the big screen television. Now, they will interact with each other and we will be able to move information from one to the other and that will be one of the beauties. They will be stove piped, they won’t be isolated applications, but we will be able to move things from our PC to our television set to our handheld device and vice versa. So, I think that this is the way for the future. You will carry devices with you. You will have devices which you will use routinely in your work to create content, to create innovation. And then we will always want the entertainment part of it.

BBC World Service ~ Global Business: Craig Barrett (19.06.2009)

category: PhD sources
tags: ,

Analyse the relationship between the creative industries and the whole economy. They suggest and analyse 4 potential models:

The welfare model
The competition model
The growth model
The innovation model

Their evidence favours models 3 and 4, but cultural policy is traditionally based on model 1. Therefore it needs to adapt.

category: PhD sources
tags:

“In the next 10 years, we’re going to see all the forms of entertainment—film, television, video, games, and print—melding into a single-platform “story engine.” The Model T of this new platform is the PS3. The moment you connect creative output with a public story engine, a narrative can continue over a period of months or years. It’s going to rewrite the rules of fiction.”

Wired ~ Q&A: Hobbit Director Guillermo del Toro on the Future of Film (15.06.2009)