Jürgen Sienel
Alberto León Martín
Carlos Baladrón Zorita
Laurent-Walter Goix
Álvaro Martínez Reol
Belén Carro Martínez
2009
OPUCE: A Telco-Driven Service Mash-Up Approach
The ONLY (!!!) peer-reviewed journal article Business Source Elite can find as of 19.10.2010 that mentions freemium.
Yakob, Faris
23.11.2007
The Future of Brands: I Believe the Children Are Our Future
Applies Jenkins’ transmedia storytelling to advertising: “Transmedia Planning”.
Wilson, Fred
04.07.2009
Freemium and Freeconomics (15.10.2010)
Talks about Chris Anderson’s Free (2009).
Talks about freeconomics.
“Free gets you to a place where you can ask to get paid. But if you don’t start with free on the Internet, most companies will never get paid.”
Zelenka, Anne
13.03.2007
Free: a Tactic, not a Business Model (15.10.2010)
Argues that freemium is NOT a business model.
“However, the reason there’s a huge gap between people paying you nothing and people paying you something is because that’s where you go from hobby to business. Between zero revenue and positive revenue lies your business model. Going from zero pay to a penny is where you’ve discovered how to make money–and that’s what businesses are about. The penny gap separates the winners from the losers, economically speaking.”
-> You only have a business (and are sustainable) when you know how to make money despite selling for free.
“To be fair to these VCs, they’re not advocating doing everything without pay. They’re suggesting free as a tactic towards getting paid in other ways: through advertising, or by premium services (as in a freemium model), or maybe even through being acquired by a company with a large wallet. Free is only a tactic, though, not a business model.”
-> Companies still have to make money -> THAT’s the business model.
Juul, Jesper
2005
Half-Real: Video Games Between Real Rules and Fictional Worlds
When Jesper Juul writes about transmedial games, he refers to the fact that games are a transmedial phenomenon: “many games move between media: card games are played on computers, sports continue to be a popular video game genre, and video games occasionally become board games” {Juul, 2005 #270, p. 48}. He gives the example of chess “as one of the most broadly implemented games, since [it] is available as a board game, on computers, and [is] even played blind, where the players keep track of the game state in their head” {Juul, 2005 #270, p. 49}. He points out “there are big differences in the ways that games move between media. Card games on computers should be considered implementations since it is possible to unambiguously map one-to-one correspondences between all the possible game states in the computer version and in the physical card game. Sports games on computers are better described as adaptations, since much detail is lost in the physics model of the computer program because it is a simplification of the real world, and in the interface because the video game player’s body is not part of the games state. Adapting soccer to computers is therefore a highly selective adaptation” {Juul, 2005 #270, p. 49}.
Jenny, Laurent
1982
The strategy of form
In French Literary Theory Today: A Reader
edited by Tzvetan Todorov
translated by R. Carter
44
Definition-intertextuality:
Laurent Jenny characterises intertextuality in the following way: “it introduces a new way of reading which destroys the linearity of the text. Each intertextual reference is the occasion for an alternative: either one continues reading, taking it only as a segment like any other, integrated into the syntagmatic structure of the text, or else one turns to the source text, carrying out a sort of intellectual anamnesis where the intertextual reference appears like a paradigmatic element that has been displaced, deriving from a forgotten structure.”
Ryan, Mark David
Hearn, Greg
2010
Next-Generation ‘Filmmaking’: New Markets, New Methods and New Business Models
140-143
Description of various online video business models, not summarised in categories (or so) though.
Cunningham, Stuart
Silver, Jon
McDonnell, John
2010
Rates of Change: Online Distribution as Disruptive Technology in the Film Industry
126f
4 generic business models + mix of them exist:
Wasko, Janet
1994
Hollywood in the Information Age: Beyond the Silver Screen
Describes the history of change in Hollywood?
2
“the business of entertainment is often not considered serious business by economists and other proponents of an information age.”
“On the other hand, technological components or economic characteristics of entertainment are less important to many media scholars or cultural analysts, who are more interested in studying entertainment products as texts or measuring audiences or the effects of entertainment messages, thus missing the possible connections to fundamental components of this (supposedly) new technological era.”
4
Hollywood has a reputation of being technologically backward.
6
“this book will present a political economic analysis of Hollywood and the latest technologies.”
“Chapter 2 will consider historical treatments of Hollywood and technology, with a brief discussion of specific periods of technological development in film history.
Chapter 3 presents an overview of some of the technological developments in the production of motion pictures, while
chapter 4 details the activities of the dominant Hollywood corporations that link film production with distribution.
Major outlets for the distribution of Hollywood products are considered in the following chapters:
cable (chapter 5),
home video (chapter 6),
and theatrical exhibition (chapter 7).
Hollywood’s marketing and merchandising strategies are detailed in chapter 8,
while global activities are outlined in chapter 9.
Based on these discussions, conclusions will be offered in chapter 10.”
18
“Studying film for film’s sake – A good portion of the academic study of film typically has been insular and self-contained, with little regard to interrelationships between media or media and social context.” She references Thomas H. Guback, 1978, Are we looking at the right things in films?; paper from society for cinema studies conference, philadelpia, penn.
245
“the potential of video, cable and satellite technologies have been developed with profit, rather than expanded communication and/or enlightenment, in mind. In other words, the film industry’s primary motivation has to do with profits, not necessarily with film.”
246
“the dominant use of these new media forms [the ones she talks about throughout the book: VHS, cable, satellite, laser disc, etc.] is entertainment. No, nothing against a good laugh, a good cry, a mindless romp through outer space. The point, again, is that we were promised so much more.”
249-252
3 myths were introduced in chapter 1: the information age (as any other new technology/age before it) promises to bring along
This book showed that all 3 myths are untrue. Hollywood is as dominant es ever. Hollywood is an integrated business, they are not ‘just’ filmmakers. We experience ‘recycled culture’; more outlets simply reair the same existing content.
250f
“Indeed, there are differences in the essences of these various media, as Marshall McLuhan and Harold Innis showed us in their work.
Yet these differences are breaking down and it might behoove us to think in terms of transindustrial activities, emphasizing the overlapping strategies of a relatively few corporations producing and distributing entertainment and cultural products. Again, we might also revisit the notion of a culture industry, as depicted by the Frankfurt School theorists in the 1930s.”
=> chapter transmedia lit review, from an industrial (not content) perspective.
254
“It remains to be seen if the public will ever be offered anything really new or challenging from future technological developments or other industrial changes. But it also remains to be seen how the public ultimately will respond.” => new things HAVE come (The Beast), the public IS responding, EA hopes to unify these two.
Consalvo, Mia
2009
Convergence and Globalization in the Japanese Videogame Industry
Applies Henry Jenkins’ “convergence culture” to Japan.
Some history of and statistics about Japanese video games, video game industry, and the industry’s relationship with “the rest of the world”.
140
“Bandai Namco is moving their strategy beyond localization of Japanese products and the development of overseas content: “Instead of development that is based on the framework of ‘products for Japan’ and ‘products for overseas’ we will emphasize cooperation between Japan and overseas bases and implement worldwide development from the planning stage.” What this might mean is the development of content that in its raw form might draw from common themes, characters, or universes, but is then localized or “culturalized” to respond best to the interests of a variety of markets. Perhaps this indicates the formation of another layer or level to convergence. In addition to a fictional media universe drawing from a theme or character to create a diversity of content across multiple media platforms, convergence might entail that process working across regions and markets as well, carefully adapted not only for a technical platform, but for particular communities or nation states. Convergence just gained another order of complexity.”
-> Worldwide EA launch.
141
“For now, they [Japanese video game companies] continue to struggle with the logics of convergence, in a constantly changing global media universe.”