Written very much from a traditional perspective. He does acknowledge the gigantic problems the film industry is facing, but he still tries to find a way out from the inside instead of from ground zero.

183-194
He basically just mentions that new business models are needed, but doesn’t give any advice.

187
“Ironically, it has been academic and journalistic work, research and non-film practitioners who have offered fresh thinking and added to the critical debate about the Internet and new business models.”

211
Out of the various theatrical windows, he says, only 2 will survive:

1. Theatrical release
2. Video-on-demand via the Internet

92

Pool man Jonathon’s article.

166
“Greece has a long history of art patronage dating back at least to the golden days of Pericles”

History of the Halo movie that never happened. Including financing, which studios, Peter Jackson, Neil Blomkamp, Steven Spielberg.

17:54
Definition-story arc:
“analogous to chapter in a novel” -> so in his terminology arcs cannot overlap? -> Not my understanding of story arcs.

Story Arcs

19:48
They started off with influencable stories that branched out, were complicated, and depended on how the audience interacted with them. Later on the stories became much more linear, because these a easier to play. “Leave the story to us… but we’ll still change it anyway.” (slide text) if the audience likes a character, for example -> not player-directed but player-influenced story.

20:16
People like seeing new websites/content.

ARGs require new skill sets -> everything has to happen faster -> storytellers work under a constant deadline -> they’re not used to that, have to adapt

30:48
Mind Candy didn’t create a storyworld bible, but the audience created a Wiki and a Google Maps mashup that became the de facto bible!

The ONLY (!!!) peer-reviewed journal article Business Source Elite can find as of 19.10.2010 that mentions freemium.

140-143
Description of various online video business models, not summarised in categories (or so) though.

126f
4 generic business models + mix of them exist:

• Advertiser-supported
• Sales / micro-charges / rent
• Sales / micro-charges / buy
• Subscription

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.”