Hi guys,
Please watch these 2 videos, jam-packed with some great information and research for Black Panther as your case study. This will work for Power and the Media (in terms of representation) but also in Media Ecology as we talk about how audiences engage with media envoronments.
Questions to consider - what audience trends did Disney make use of to market and advertise as well as deliver this film to its audience?
An element of power = the ability to tell the stories we want told
Write some notes on ''The Sound of Freedom' as a case study in relation to how independent filmmakers have more autonomy over what types of movies are being made and what stories are being told.
Why do you personally feel it is important for their to be stories like this told through the film industry, rather than just the usual 'cookie- cutter' movies that the Big 5 seem to be churning out?
Look up some more recent stats in relation to how well this film did. What opposition did it face and how well was it recieved in the end? (You can use numbers from Facebook 'likes' on it's fan page as well as Box Office numbers)
| Sound of Freedom | |
|---|---|
 Theatrical release poster | |
| Directed by | Alejandro Monteverde |
| Written by |
|
| Produced by | Eduardo Verástegui |
| Starring | |
| Cinematography |
|
| Edited by | Brian Scofield |
| Music by | Javier Navarrete |
Production company | Santa Fe Films |
| Distributed by | Angel Studios |
Release date |
|
Running time | 131 minutes[1] |
| Country | United States |
| Languages |
|
| Budget | $14.5 million[2] |
| Box office | $182.5 million[3][4] |
Sound of Freedom is a 2023 American action film directed and co-written by Alejandro Monteverde, and starring Jim Caviezel,
The film was released on July 4, 2023, by Angel Studios. It was a sleeper hit, becoming one of the most successful independent films in history.[6] It has grossed $182 million against a $14.5 million budget. It received mixed reviews from critics,[7] while audience reception has been highly positive.
In the entertainment industry, sleeper hit refers to a film, television series, music release, video game, or some other entertainment product that was unpromising on release but became a success later on
The film was completed in 2018 and a distribution deal was made with the Latin American subsidiary of 20th Century Fox.[25] When the studio was purchased by the Walt Disney Company, it shelved the film. Subsequently, the filmmakers bought the distribution rights back from the studio.[26]
Verástegui approached Angel Studios with the release rights. Angel presented the film to an online group of 100,000 investors in its past projects called the Angel Guild, which gave it a "yes" vote within days.[2] In 2023, Angel Studios had acquired the worldwide distribution rights, with a planned release during the second half of 2023.[26] In May of the same year, it received a release date of July 4, 2023.[27]
Angel used equity crowdfunding to raise the funds needed to distribute and market the film. Seven thousand people invested, allowing Angel to meet its $5 million goal in two weeks.[2] They also encouraged patrons to "pay it forward" to allow people who might not otherwise see the film to watch it in theaters for free.[28] Sound of Freedom is Angel Studios' second theatrical release after His Only Son.[29]
On July 26, Angel Studios confirmed that Sound of Freedom would be released in 23 international markets throughout 2023. The film was released in UAE on August 17, in South Africa, Iceland and Lithuania on August 18 and Australia and New Zealand on August 24. The film has been released in Mexico, Guatemala, Honduras, El Salvador, Nicaragua, Belize, Panama, Colombia, Venezuela, Argentina, Uruguay, Paraguay, Bolivia, Chile, Peru, Ecuador, Costa Rica and Croatia[30] on August 31. In addition, the film will be released in the United Kingdom and Ireland on September 1 and Spain on October 11
Let's look at a good example of Power + the Media.
As a result of celebrity culture, celebrities who were once just storytellers, acting out the stories based on ideologies of script-writers and movie-makers, now are powerful enough and have enough of a following that they are creating movies with powerful messages.
Activity
Write a paragraph in response to the question below, using the 'Don't Look UP' move as a case study. Find out when it was released, name the director and a few of the A-list actors involved.
Question;
"The power balance is shifting from institutions to audiences. How far do you agree with this statement?"
Write down some examples to do with Disney in both horiztontal and vertical integration.
Power and the media
3 ‘Audiences now have just as much power as media institutions.’ To what extent do you agree with
this statement?
Use your research from this week to write an essay exploring this question;
Power and the media
3 ‘Now that everyone has a voice in the media, everyone has equal power to influence.’ How far do you agree with this statement? [15]
Revisit this video for revision of the core ideas;
DUE FRIDAY
Use your research from this week to write an essay exploring this question;
Power and the media
3 ‘Now that everyone has a voice in the media, everyone has equal power to influence.’ How far do you agree with this statement? [15]
Revisit this video for revision of the core ideas;
Have a look at this link and make some notes about how YouTube has changed the power balance;
The Golden Age Of The Creator: How The Power Is Shifting In Entertainment
Forbes Councils Member
Ricky Ray Butler is CEO of BEN, an entertainment AI company that places brands into influencer, streaming, TV, music, and film content.
GETTY
The old Hollywood model of entertainment is fundamentally outdated. Gone are the days when a few executives in a boardroom made all the decisions for what content received the green light. Today, the power to produce and publish content across platforms — whether it's shows and movies on streaming services, photos and short-form videos on social media, or podcasts on audio platforms — lies in the hands of independent creators.
These writers, producers, influencers and directors are becoming the next media conglomerates in their own right. With countless distribution channels at their fingertips and the agility of their small teams, there is more opportunity than ever for creatives to ideate and execute on artistic projects, without dealing with major oversight or bureaucratic red tape from studios or networks.
PROMOTED
Content creators — from small production studios, celebrities and screenwriters to podcast hosts, live streamers and social media influencers — are uniquely positioned to challenge the status quo within entertainment. In fact, we're already starting to see the evidence of their star power impacting deals with streaming services and social platforms.
Popular comedian Dave Chappelle successfully hadChappelle’s Show pulled from Netflix and HBO Max after he expressed his frustration over not being compensated by Comedy Central. Three months later, Chappelle, Comedy Central and Netflix reached an agreement on payment, and the show returned to the platform. On the influencer front, YouTube stars The Try Guys left their original parent company, Buzzfeed, in 2018. Since then, the group has launched their own media company and YouTube channel, gone on a nationwide tour, started a podcast, published a book and premiered a documentary. And the D'Amelio family, made famous by sisters Charli's and Dixie's viral TikTok accounts, is getting a reality TV show on Hulu.
MORE FOR YOU
LG Surprisingly Turns To VA Panels For Premium 2024 LCD TVs With Spectacular Results
LG G4 OLED First Look A Promising Tale Of The Unexpected
McIntosh Launches New C55 And C2800 Preamplifiers
These are just a few examples. Dozens of streamers, influencers, producers and more are being courted for exclusivity in live streaming and content creation. With the entertainment business model hanging in the balance, the future of content is on a fast track to change even more dramatically than anticipated.
Audience Loyalty Is Key, and Creators Have Earned It
The pandemic has accelerated the decentralization of content. People no longer have to flock to movie theaters to catch the latest premiere or tune in to shows at the same time every week. Instead, independent creators have filled the holes left by traditional productions being put on hold and release dates for anticipated films and shows being pushed back.
The Power Of Storytellers To ShapeOur World
We're also seeing audiences become increasingly loyal to individual creators versus specific platforms. Viewers will follow stars wherever they make content, whether that's across multiple platforms or only on one, and tapping into that loyalty is key.
For example, producer and screenwriter Shonda Rhimes, whose TV shows under the Shondaland umbrella can be found on network and streaming channels, has no problem attracting viewers to whatever outlet she chooses. Her recent smash hit, Bridgerton, shattered records as the most-watched show in Netflix history, proving the impact of a truly dedicated audience.
The most successful platforms are those that treat their creators well, paving the way for them to monetize their content and create what they want, how they want. Exclusivity contracts are a surefire way for platforms to partner with creators. As a result, these creators will draw in dedicated audiences who are likely to return to a platform again and again to watch the newest content from their favorite stars. Some streaming platforms, like Twitch and YouTube, have already started to take this route, and the trend will continue as platforms look for new ways to boost or secure viewership. Most importantly, all platforms need to learn from successful mediums like YouTube, implementing long-term monetization, compensation and revenue-sharing opportunities that will allow creators to drive earnings and grow their businesses.
The Creator's Kingdom: What the Future Holds
Eventually, I believe creators with massive followings will begin to branch off from large streaming and social platforms in favor of starting their own apps, services and media companies. That way, creators can ensure that all the profits for their content go directly to them and their teams, rather than splitting it with another company that's only loosely affiliated with the creation process.
You may recall the surge in influencer-owned apps, like the Kardashians' ill-fated subscription apps that housed exclusive photos, videos and blogs. Their lack of success was due to limited engagement and reach across their fans, who may have been hesitant to pay $2.99 a month for access. Although these projects didn't succeed at the time, they were a prototype of a form of content distribution that will become more prevalent in the coming years.
Because audiences are already starting to pay creators directly through services like Patreon and Ko-fi and during live streams on platforms like Twitch, they'll be more receptive to following and paying creators on their owned apps in the near future. Brands will also be able to sponsor and support these apps as a fresh new way to get in front of audiences.
For creators who are just starting out, and for micro or mid-tier influencers, the support of platforms will still be important. Finding the best avenues for monetization will be critical for platforms and creators alike, and strategies like making live streaming as engaging as possible, enabling revenue-share opportunities and even creating channels for merch sales, will have the most impact in the future of social media.
As the entertainment space becomes ever more crowded, data collection and analysis will be key, and AI technology will help platforms, brands and creators alike make the best decisions for content distribution, exclusivity contracts, brand sponsorships and partnerships, and more. The future of entertainment will certainly be complex, but one thing is for sure: Creators have the power now, and they'll only wield more as time goes on. The rest of the entertainment industry — from brands to platforms — will need to be flexible and willing to embrace this change if they're going to keep up.
This week you are going to plan your SOCIAL MEDIA minor task.
Include your rough, mock-up of your Instagram page as well as rationale behind your creative choices.
As well as this, please do some research based on the link below, on Richard Dyer's STAR IMAGE theory. Explain your understanding of it and also include (like the link below) an application of this theory to Taylor Swift, specifically.
https://www.slideshare.net/slideshow/richard-dyers-star-theory-revised/73505522
Look at these exemplar blogs and make notes on what they did that conveyed branding for their artist across the Digipack and social media page.
- A2, 48/50: https://sites.google.com/view/kimberlyandreatumbelaka/home
- A2, 48/50: https://sites.google.com/snastu.../charlizemediablog/home
Take a look at this timeline of some important dates in relation to media regulation in NZ with more details about each, in the link, below
Make notes on the yellow highlighted ones.
