Media Convergence: Music Video Online

Media convergence has dramatically altered the way in which music videos are now presented and available today in the 21^st century. The convergence of media platforms has enabled music videos to advance from television channels to online websites, and be distributed in ways which were once thought unimaginable. From MTV to YouTube, the music industry has taken a dramatic turn.

Media convergence as defined by Encyclopedia Britannica: a phenomenon involving the interlocking of computing and information technology companies, telecommunications networks, and content providers from the publishing worlds of newspapers, magazines, music, radio, television, films, and entertainment software. Media convergence brings together the “three Cs”—computing, communications, and content.

The launch of MTV in August 1981 saw a company whose desire was to considerably influence popular culture. (Brief History of MTV, 2012). Although today, what was once a television channel primarily circled around providing music videos is now focused on reality television shows. The accessibility of free music online caused CD sales to rapidly decrease as well as limiting on air music video times.  With the introduction of You Tube in 2005, Vevo and the MTV online video website recognised that they needed to begin showing music videos online. (Brief History of MTV, 2012).

YouTube has had a massive impact upon the music industry, and the way in which it operates today, as it provides free uploading and watching of online videos to anyone with access of the internet onto devices such as a laptop, mobile phone, and iPad. YouTube is “at the forefront of web video” (Hilderbrand, 2007). The accessibility of music videos online has lead to instantaneous exposure and recognition of many famous, low-key and upcoming music stars, such as Justin Beiber who was discovered through his homemade videos on You Tube.

With just a simple hand held camera, songs can be transformed into music videos, and within seconds uploaded to YouTube for the rest of the world to see. YouTube receives “tens of millions of visitors daily” (Hilderbrand, 2007). This instant exposure provides a fast, free, form of publicity, allowing fans and many individuals to view it. YouTube also provides a cost effective way for bands and other musical groups and individuals which may not have the money to spend on expensive film clips and advertising, to also present their material to the public.

Eric Prydz, ‘Call On Me’ film clip, is video of a group of girls performing aerobics. This simple, yet raunchy music video with almost limited to no special effects using only the swapping of camera angles, has attracted over 33 million views in the past 3 years. Other simple and effective music videos include OK Go - Here It Goes Again, which became a viral hit, and Vampire Weekend - Cousins .

                                                        Erik Prydz - Call On Me

The emergence of YouTube is described by Hilderbrand as a "go to website for finding topical and obscure streaming video clips" (Hilderbrand, 2007). The introduction of You Tube has enabled the majority of music videos to become published on there, while social media sites, such as Facebook also allow music videos to be easily shared through links, once again allowing musicians to require minimal advertising. Online music videos provide much easier access through the many ways they are available, and at any time. With people being able to jump onto youtube, and play a music video 24 hours, 7 days of the week, it is evident how convenient music videos online can be.

‘Amongst these changes are the arrival of wirelessness and wireless networks, the growth of pervasive and embedded computing alongside screen-focussed media ecologies, the rise of networks and services that are ‘smarter’ or at least ‘more’ semantically informed than previously, the rise of a networked (media) economy increasingly based on social capital rather than (as well as) traditional content. We also see that these innovations are bound up with shifts in the political economy of information systems, that they produce transformations of the (new) media industries, and that they find their significance and form in relation to cultures of production and in relation to their everyday use.’ (The Fibreculture Journal, 2008)

As the appetite and interests of society will continue to change over time, and so too will the technology advancements in media convergence. The rise in technology has already seen vast amounts of improvements and additions in the past centuries, through the introduction of MTV, and the YouTube revolution.

References

Britannica.com (2012) media convergence -- Britannica Online Encyclopedia. [online] Available at: http://www.britannica.com/EBchecked/topic/1425043/media-convergence [Accessed: 30 Mar 2012].

Socialtimes.com (2010) A Brief History Of MTV, Vevo, YouTube and the Online Music Video - SocialTimes. [online] Available at: http://socialtimes.com/mtv-vevo-youtube-online-music-video-history_b23698 [Accessed: 30 Mar 2012].

Thirteen.fibreculturejournal.org (2008) The Fibreculture Journal : 13. [online] Available at: http://thirteen.fibreculturejournal.org/ [Accessed: 30 Mar 2012].

Hildebrand, L (2007), Film Quarterly Vol 61, YouTube: Where Cultural Memory and Copyright Converge.

Digital Media Convergence in relation to Advertising & New Media

Digital Media Convergence in relation to Advertising & New Media

Convergence is the new paradigm shift as what Dwyer defines the process whereby new technologies are accommodated by existing media and communication industries and cultures. (Dwyer 2010) It is the enhancement in the structure of media with the merging of mass communication outlets such as print, television, radio and the Internet. Thus, convergence can be seemed as the new dominant method for representing, storing, and communicating information. (Flew 2008) In fact digital convergence is the profound change that does not occurs only technologically, but also in industrial, cultural, and social platforms. Since this shift is happening so close to us, it is something that impacts our lives as well. Thus society adapts and changes according to media convergence. (Dwyer 2010) However, the significance of this innovation is not something that remains with the redeveloping of the medium with the same material; instead, it is the creation or a fusion of an entirely new medium. For instance, we can now access entertainment, contacts, news and plans while on the move with our iPhones with just a click. Microsoft’s XBOX 360 is not just a device to play games on, but the centerpiece of all home entertainment.

Due to its impact across diverse platforms, learning how to use new media and technology as an advantage has become essential for advertising industries as they are forced to accept this change. (Spurgeon 2008) What advertisers now focus is to look for new strategies in order to utilize interaction between new media and its consumers. Since the traditional way of advertising is old school and often avoided by the general public, advertising agencies are putting their heads together to think about creative ways to endorse brands and seek revenue. (Flew 2008) Since media convergence allows advertisers to present information and entertainment using a variety of media it provides multiple tools for advertisement arranging from the average iPhones to Youtube. Thus, the advertising combined with new digital media technologies become more persuasive for consumers. (Spurgeon 2008) Some of their ways of creating new types of marketing in relation to new media include integrating products into shows, naming segments, giveaways, adventorials, live sell’s, pop-up bar’s on shows and many more. (Meikle &Young 2011)

Following the success of some advertisements online, questions of the effects of new media advertising has been put in light. It is estimated that 48 hours of video are uploaded every minute onto YouTube, and three billion videos are viewed every day worldwide from that site alone. (Cocotas 2012) According to the research taken from Business Inside, Youtube with huge audience demographic, has so far offered purchase intent increase by 14 % than the average television advertisement. Furthermore, a 15 % increase to recommend a brand that has been advertised on Youtube. (Cocotas 2012) What makes advertisements on Youtube so successful is the point that consumers are engaged with the ads more than they actually realize. Since they spend a lot of time watching video than they would do on a normal website, it is inevitable that they absorb the ads without actually noticing it. (Flew 2008)

Of all the strategies taken to sell more products, the ads shown on the mastheads of Youtube have shown a bigger impact on its consumers. Advertisers have chosen an outlet like Youtube since the effect of a homepage takeover is very powerful. Here, the interesting case study of the homepage takeover by one of the X-men series, ‘X-Men Origins : Wolverine’ can be seen. As it was Youtube’s biggest ever homepage takeover deal, it was very successful in the fact that the percentage to share the content was over 20 % which means that 1 in 5 users were doing so. (Meikle &Young 2011)  Furthermore, despite high baseline levels of awareness, the Wolverine masthead on YouTube successfully drove incremental lifts to unaided awareness in both markets, thus, proved equally successful across all age demographics. (Cocotas 2012) Since then Youtube’s masthead made huge gains over the course of recent years as it was sold out most of the year. As this shows, the tendency of modern media creations to attract a much greater degree of audience participation is higher than before.

To conclude, the new shift in media has brought media formats and information systems to become one. As convergence has brought simultaneous change across different platforms, the media industry is no longer structured by traditional broadcasting. (Meikle &Young 2011) Thus, media corporations as well as advertising agencies have to rethink in order to face and understand how consumers interact with new media. Furthermore, it has made both advertising and media industries to become cooperative with one another. (Spurgeon 2008)

Media Convergence article  at Henry Jenkins blog ( Henry Jenkins is the Director of  the Comparative Media Studies  Program at MIT)
http://web.mit.edu/cms/People/henry3/
http://web.mit.edu/cms/People/henry3/converge.html


Media Convergence debate from Standford University
http://graphics.stanford.edu/~bjohanso/cs448/






Sources:

Burgess, J, and Green, J. (2009) Youtube: Online Video and Participatory Culture.  Polity Press.

Cocotas, Alex. (2012) Online Video Advertising Takes Off, Business Insider

Dwyer, T. (2010) Media Convergence, McGraw Hill, Berksire, pp 1-23

Meikle, G and Young, S. (2011) Media Convergence: Networked Digital Media in Everyday Life

Jenkins, H. (2006) Convergence Culture, New York, New York University Press, pp 1-24.

Spurgeon, C. (2008) Advertising and New Media, Oxon, Routledge, pp 24-45.

Flew, T. (2008) New Media: An Introduction, 3^rd Edition, 22

42727731 Michael Choo

* Due to certain problems, I was unable to receive the invitation letter for Lab 4

Thus I borrowed my friend, Matthew's account in order to post my Assignment 1.

Benjamin_Rombola_Assignment1

What is digital media convergence?

To converge can be defined as ‘to tend to meet in a point or line’ (Dictionary.com 2012), so when it is applied to digital media, it is the process of bringing both new technologies and old technologies into a central point, converging the old media systems to accommodate for the rising of new technologies in today’s society.

Digital media convergence is where already existing media accommodates new technologies. This term can be used to explain the adaptation and merging together of new and old technologies, which shows just how important digital convergence is, as it is what brings together everything into a common ground.

Media Convergence has a number of different levels to it, including cultural, industrial, technological, and regulatory. Media convergence on a cultural level has increased the ability to function on the move, bringing access to multiple media types through a single device (eg. Smartphone, tablets, etc.).  (Dwyer 2010)

How has it impacted on Music videos?

Music videos have been a part of a changing industry. They have been subjected to the onslaught of the rapidly increasing amounts of new technology, causing it to need to undergo digital media convergence. This convergence with the new technologies has changed music videos from the classic Michael Jackson’s thriller to the well-known online video of OK Go – hereit goes again.

Media convergence has brought together music videos to multiple media forms, but has also diversified music videos in the process. The modern age of having the ability to access music video’s anywhere you go, through the Internet and multiple television channels hasn’t always been available to the music industry. This is caused not only to the increasing use of the internet, with increasing speeds and accessibility throughout the world, but also to the increase in new technologies allowing small personal computers to process and function at the levels required for music videos. The change to the more online oriented music videos have shown a change in the creation process and brought more creativity to the industry. The traditional television music videos were made with expensive budgets and produced a high quality output, with large casts and intended for large audiences. For instance, Michael Jackson’s – Thriller Music Video was all out incredible. It had a large amount of actors, and had multiple cameras, a backing track and more!

 Whereas, the shift to online music videos has brought in some new elements to the production of these videos. One of the main online music video channels is VEVO, which has both the more modern online music videos as well as the traditional television clips.

The online music videos are generally made with a lower budget, and intended to be viewed on a personal computer. For example OK Go’s – here it goes again was created from a low budget, had a cast of four people, which meant that one of the actors had to start the music. There was only one camera used in the creation of this clip, and only one scene from beginning to the end of the video.

Mobile Media

Mobile media is another key example of digital media convergence. With the increasing use of mobile devices to deliver media to the users, mobile TV has started to take off as well. “Different standards for mobile TV have evolved around the world, and the term refers to various technologies and forms. There are two main technological forms: streaming and broadcast.” (Orgad 2009) These forms bring music videos to a whole different audience. The streaming of digital media is usually performed through the mobile 3G network and has allowed users to gain access to multimedia on the go.

Even though this is a newly emerging technology, media convergence is still evident. The music videos are a great example of this through bringing out mobile applications and streaming their videos to an even wider audience.

 This includes the ability to create games and other apps to capture new audiences and new markets. For instance, the creation of Tap Tap Revenge (Smartphone application) has brought benefit to the music industry, converging it with the already existing media. The broadcasting has also influenced digital media, and is thought to be even better than streaming. This is because of the capacity issues that streaming has. When a multitude of viewers are watching the same thing, streaming will start to struggle, whereas, broadcasting doesn’t have this limitation.

 

“ ‘TV in your pocket’, ‘in your hands’, ‘on the go’, ‘anytime, anywhere’, ‘enhanced TV’, ‘beyond broadcasting’ (Meikle and Young, 2008), and ‘delivering the future of broadcasting’, are some of the terms and concepts being used to describe and market mobile TV services.” (Orgad 2009). The introduction of mobile TV is the current new technology which digital media is adapting to bring into sync with the current technologies out. Music videos will have to adapt to another level to bring the same types of results. The online music video has already adapted quite a lot from the original television videos that were made. They will also need to change in some element to provide fast and effective results on mobile TV, which will help converge this new technology.

References

Dictionary.com 2012, Converge, viewed 30 March 2012, <http://dictionary.reference.com/browse/converge?s=t>

Dwyer, T 2010, 'Media Convergence', McGraw Hill, Berkshire, pp. 1-23

Orgad, Shani 2009, 'Mobile TV: Old and new in the construction of an emergent technology' Convergence, vol. 15, no. 2, pp. 197-214

Image 1, <http://www.hollywoodreporter.com/sites/default/files/2011/12/vevo-logo-l.jpg>

Image 2, <http://www.mcmmedia.com.au/media/Take_40_mobile_app_product_page_tile_2012.jpg>

Image 3, <http://mexico.cnn.com/media/2011/09/27/rock-band-videojuegos-musica-tapulous-tap-tap-revenge.jpg>

DIGITAL MEDIA CONVERGENCE

Music Video Online

The phenomenon of digital media convergence is a relatively new concept but extremely viral and influential. It can simply be defined as “the process whereby new technologies are accommodated by existing media and communication industries and cultures” (Jenkins: 2006, pg. 2).  Convergence can occur technologically, culturally and socially. Unlike traditional analogue media, digital media is not bound by materiality. It can be converted into many different mediums, it can be easily transmitted and distributed globally and can also be cheaply and easily altered to allow home users to produce and distribute their own content and works. A fine example of all these aspects of digital media is YouTube.com, more specifically, the music video online industry.

Technological convergence
in digital media refers to the coming together of formerly separate technologies in one place, platform, or device. A fine example of this is Apple’s iPhone, which acts as many purposes such as a music player, camera, GPS, movie player and a phone. The below video is an example of recent television adverts advertising the Apple iPhone and providing great emphasis on it’s many functions.

Due to technological convergence, there is a great shift in the importance of older media forms. These older media forms, such as the film industry, are not technically dying off, however they are being incorporated into newer forms. “Old media are not being displace. Rather, their functions and status are being shifted by the introduction of new technologies” (Jenkins, 2006: 14)


Technological convergence has had a great affect in the music video online market. After the 1980s when music video was a popular scene, opportunities were given to more artists that could contribute greatly to the music scene in a more visual sense. For example, through music video Madonna influenced a changed idea of women. She produced music videos that transcended what women should look like. In the music video for her 1989 single “Express Yourself” she portrayed herself as a sexual woman but also one who was in control of these men dancing in an objectifying way. Madonna took advantage of the convergence between music and video and created an audio product that gained attention visually.

Cultural convergence 
refers to the breaking down, or blurring of the lines between different cultural groups and formations. In digital media this can be seen in four ways. 
The first is the lack of the distinction between local and foreign media. As there is an increased accessibility to a variety of media forms around the world, differences start to become nonexistent. For example, Facebook, Twitter and YouTube will look the same to anyone accessing it through all parts of the globe. 



Cultural convergence in digital media also spurs on a lack of distinction between public and private content on the internet. Using the example of Facebook again, a significantly amount of content shared over Facebook can be publically accessed.


Differences between the socially advantaged and disadvantaged also become less distinguished. Through digital media anyone can be broadcasted publically as long as they have internet connection and a means of capturing their content. As a result of this, there are more opportunities for people to get their viewpoints publically recognized. A recent example of this is the KONY 2012 phenomenon. Through social media sites such as Facebook, people had access to this content even though it initially was not a topic largely discussed or broadcasted in the Australian news industry.


The final way cultural convergence is made evident in digital media is through the blurred distinction between the producer and consumer. Through the use of self-broadcasting sites such as YouTube, people who were once only consumers are now able to produce and publish their own content publically. This can be seen as amateurs post their own works on YouTube, especially in the music video scene. These amateurs only have to build up a fan base for their videos to become viral. A great example of this is teen pop singer sensation Justin Bieber who started off posting home made videos of him singing. He is now the Number 1 Highest Paid Teenager in Hollywood (2011).

The music video online industry has benefited greatly from cultural convergence in digital media. As YouTube is easily accessible to anyone with internet connection, anyone can appreciate music being broadcasted online. “Online users also enjoy the confidence of authorship as they create content for themselves and others, then share that content as entertainment and information” (Jenkins, 2006). A great benefit of YouTube is that it encourages low budget music videos. Not a lot of money is needed to allow a music video to become viral.











Social convergence 
is the last means by which convergence in digital media can occur through. Social convergence is the creation of new spaces where people can come together and engage and socialize. These places have all been created through digital media, for example Facebook, Twitter and Tumblr. Social convergence can quite easily occur through digital media as sites are easily accessible to most people and common interests are easily shared. For example, in the music video online industry, Rebecca Black’s infamous “Friday” video became a viral topic shared through means such as Facebook and Twitter. With an astonishing 27 million YouTube views, it is clear that music videos such as this have been appreciated and enjoyed by a vast population and variety of people.

To conclude, the phenomenon of digital media has brought great benefits to all media industries. Through technological, cultural and social processes digital convergence has occurred to make media industries such as music video online much more accessible, affordable and enjoyable to the general public. Through the aid of social networking sites such as Facebook and Twitter, and self broadcasting sites such as YouTube, amateur musicians have been able to produce, broadcast and control their own music in the digital media scene. This has in turn significantly revolutionized the music video online industry and allowed for much greater opportunities.




REFERENCES
Books and Articles

1. Jenkins, H. (2006) Convergence Culture: Where New and Old Media Collide, New York Univerity Press, pp 1-24
2. 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.
3. Sheehan, Kim and Morrison, Deborah (2009) Beyond convergence: Confluence culture and the role of the advertising agency in a changing world in  First Monday vol 14 no 3
   
   
   
   

YouTube

1. Apple Iphone TV Ads http://www.youtube.com/watch?v=0lfmlKYZ-vU  [Accessed 30th March]
2. Madonna Express Yourself http://www.youtube.com/watch?v=GsVcUzP_O_8&ob=av2e [Accessed 30th March]
3. With You - Chris Brown Cover - Justin Bieber Singing http://www.youtube.com/watch?v=eQOFRZ1wNLw [Access 30th March]
4. Rebecca Black - Friday - Official Music Video http://www.youtube.com/watch?v=kfVsfOSbJY0 [Accessed 30th March] 

Task 1. Convergent Media Short Online Essay. Jacqueline Gibson.

Digital Media Convergence and its Effects on Advertising with New Media

Introduction

Digital media convergence is the process whereby the content of media previously restricted to one or two mediums is now able to transcend many platforms and be accessed by more consumers than ever before. However, the potential of media providers to attract a large audience base is challenged by the rise of the sovereign consumer. In accordance with the need to attract demanding consumers and their new methods of consumption, there has been a transformation in the production of media. Advertising provides an excellent example of this phenomenon. New media is manipulated to form internet search advertising, viral campaigns and branded content. These are prominent features of the digitally converged advertising industry. Evidently the integration of various media technologies has culminated in a substantial change in the relationship between producer and consumer and in the advertising industry this has posed questions of advertising ethics. 

Sovereign Consumers and the Movement to Internet Search Advertising

Reference: Burton, G. (2009) Old Media is a Monologue

Sovereign consumers have been derived from the movement of individuals from passive spectators to an interactive audience, as an outcome of digital media convergence. Media providers aim to convert this interactive aspect into a participatory one (Jenkins, 2006: 18) increasing the likelihood of their profits benefiting from the release of new media content. The problem lies in the creation, due to digital media convergence, of an array of choices for media consumption. Choices are equal to freedom and within this freedom audiences hold an authority over the advertiser. Effectively, the consumer has become nomadic in nature (Jenkins, 2006: 18). As a result, advertisers have had to revolutionise the methods by which they  disseminate their product's information and appeal. An example is search terms advertising. This is a form of internet advertising which has proved effective in its simplicity of offering a consumer who plugs a certain term into a search engine, advertising results which are at least somewhat related. Small and local businesses have particularly benefited from this development as well as large corporations. Google is a popular search engine for search term marketing becoming 'the powerhouse in advertising' (Dwyer, 2010: 18).  From 2008 to 2009 Google's brand value increased by 25% (O'Guinn, Allen and Semenik, 2012; 25) revealing the extremity of this industry's boom due to the consumers movement to digitalised and converged media.

The Rise of the Viral Advertisement and Multi-platform Campaigns

Conversely, viral advertisement has become more popular for larger companies looking to promote their product or service to a large audience in the world of new media convergence. Admittedly, the art of the viral advertisement is difficult to accomplish. Nonetheless, many agencies have attempted to employ this technique, and in doing so they have morphed the world of advertising development as it was previously known. Production has become the main sector of a budget and distribution is now only a small portion. For example BMW Films spent 90% on production and only 10% on distribution (Spurgeon, 2008: 40) Distribution now requires tactical and strategic decisions to be made by the advertisers to ensure their creative content becomes a viral success. Social networking sites are the form of new media at the heart of this transformation, as they are a poignant convergence media.

Regularly, a viral advertisement doesn't only occur on the social media platform but is marketed through a multi-platform campaign. M&M's -Find Red is an example of a successful multi-platform campaign run in Canada in 2010. Multiple platforms were integrated with mediums such as Google Street view, Youtube, QR codes, posters, a dedicated advertising website, and twitter used collaboratively. Campaign results revealed 15,600,000 impressions were made by the marketing strategy and despite being a national campaign it reached a global audience. Multi-platform is an initiative which when skilfully constructed can be successful in the world of digital media convergence. Ethics in advertising are evident in this area though, as there are hesitations to introduce the mass mobile advertising platform. As Wilken and Sinclair (2009) state, 'Given the degree to which concern over users’ resistance appears to be responsible for the evident reluctance in the nascent industry to fully exploit its new commercial technology, there seems to be a certain shift in the balance of power between producers and consumers, at least in comparison to traditional mass media.'. This ties in with the challenged presented by the sovereign consumer as well as regulations, such as the Spam Act 2003 (Cth) in Australia which legislates the need for consumer consent, imposed on mobile advertising. Ultimately, convergence is still a process though, and advertising through new media is also in the process of developing. Hence, many new practices are expected to arise and the 'kiss of life' (Wilken and Sinclair, 2009: 427) for mobile platform advertising is just one of these.

 Reference: proximityworldwide. (2010) M&M's - Find Red

Branded Content within Entertainment Media

Reference: Svadilfari, S. (2008) Coca-Cola

Branded content has become a new element in entertainment media due to digital media convergence, rather than just a placement of a product within the frame. (Hudson and Hudson, 2006: 489). Ethical issues concerning the fabrication of advertisement as pure entertainment need to be addressed as this becomes a dominate trend. Digital media convergence has been the force behind this shift. The consumer's disinterest in blatant advertising is combated by the merging of a product seamlessly into the content of a  media such as a television show, movie, webisode or magazine. A more positive reaction can be established by associating the advertised product with the entertainment the consumer enjoys. This removes the hassle of needing to lure the consumer into actively engaging with an advertisement. Simple product placement has been modernised so that it is almost unrecognisable in its current form, of almost flawless sensationalism of products, woven into the storyline. An example of branded content in entertainment is Coca-Cola which according to Nielson Media Research managed 2,260 product placements or mentions in the first season of their monitoring of branded content effectiveness. (Hudson and Hudson, 2006: 498) Apparent in this statistic is the value of branded content within  digitally converged media, as dictated by the sovereign consumer.

Principles of advertising are unmapped in the territory of branded content advertising in entertainment media. Whilst there are often still some indicators of where the two media types converge, such as a manifold of close up shots of the product and an unrealistic gleam added visually or conceptually, the integrity of passing off an advertisement as part of leisure media is questionable. Hudson and Hudson (2006), briefly explore the ethics which are inextricably linked to this new form of media cross over. Debated areas include, subliminal messages, branded content in media aimed at children and the inclusion of controversial products such as tobacco and guns. In accordance with concern over subliminal messages, the music industry is under fire for allowing brands to be interlaced within traditional lyrics. Further development of branded content will demand greater regulation, so that a balance is met between advertising objectives and social interests in the new integrated media industry.

Conclusion


Digital media convergence is the shift of media once restricted to certain mediums being able to be shared across a range of platforms. The sovereign consumer has been born in this era of emerging technologies and merging media. Consequently, advertisers have suffered. To contest this internet search term advertising has been introduced targeting the consumer's requirements and desires. Viral advertising and multi-platform campaigns are also being increasingly employed. Ethical issues can be considered in relation to these marketing strategies as well as branded content in entertainment media. As there is constant evolution and advertising exploitation of this new media, due to convergence, there needs to be a simultaneous revision of the principles that are acceptable. Overall, as long as there are points of reflection and subsequent amendments, many new and exciting opportunities will arise from digital convergence for consumers and producers.


Bibliography

Burton, G. (2009) Old Media is a Monologue, Flickr (Creative Commons). Available at http://www.flickr.com/photos/wakingtiger/3157621862/. [Accessed 30 March 2012]

Dwyer, T. (2010) Media Convergence, McGraw Hill, Berkshire, pp 1-23

Hudson, S. and Hudson, D. (2006) Branded Entertainment: A New Advertising Technique or Product Placement in Disguise, Journal of Marketing and Management, 22: 5-6, pp 489-504

Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide, New York University Press, pp 1-24

O'Guinn, T., Allen, C., Semenik, R (2010) Advertising and Integrated Brand Promotion in Business and Society.  In: Advertising and Integrated Brand Promotion, 6e, South Western Cengage Learning, pp 4-158

proximityworldwide. (2010) M&M's -find Red,  Youtube. Available at http://www.youtube.com/watch?v=_pXX277TKzw. [ Accessed 29 March 2012]

Spurgeon, C. (2008) Advertising and New Media, Oxon, Routledge, pp 24-45

Svadilfari, S. (2008) Coca-Cola, Flickr (Creative Commons). Available at http://www.flickr.com/photos/22280677@N07/2510532872/. [Accessed 30 March 2012]

Wilken, R & Sinclair, J. (2009) 'Waiting for the Kiss of Life': Mobile Media and Advertising, Convergence: The International Journal of Research into New Media Technologies, Vol 15. No. 4, pp 427-445

Assessment One - Lara Balken

Music Video in the Digital Age:
Music Video Online and Digital Media Convergence

Lara Balken, Student No. 42859123

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