Technological
evolution is the name of a science and technology studies theory describing
technology development, developed by Czech philosopher Radovan Richta.
Hollywood is a district in Los Angeles, California, famous for its commercial area and entertainment industry, and a name used to represent the motion picture industry of the United States. Let us see how and why technological evolution happened in Hollywood.
Media
audiences are changing. The dynamics of how audiences consume (and now, even produce)
media are changing, as are the ways that media industries make sense of, and
define, their audiences. New technologies are at the heart of all of these
changes. New media technologies that
give audiences increased control and increased choice over when, where, and how
they consume media are transforming the relationship between audiences and the
media. At the same time, new technologies for measuring and monitoring audience
behavior are revealing aspects of how and why audiences consume media that
previously were unknown. These technological changes are
compelling media industries to think differently about their audiences,
undermining traditional conceptual and analytic approaches, while at the same
time opening up new dimensions for conceptualizing audiences. Thus, while in
some ways audiences are becoming more elusive and more unpredictable, in other
ways, new systems of measuring media audiences, of gathering feedback from
them, and of anticipating their tastes and preferences, are making it possible
for media industries to fundamentally redefine what media audiences mean to
them and how they factor into the economics and strategy of their businesses.
George
Walton Lucas, Jr. (born May 14, 1944) is an American film producer,
screenwriter, director, and entrepreneur.
Steven Allan Spielberg is an American film director, screenwriter,
producer, and studio entrepreneur. In a career of more than four decades,
Spielberg's films have covered many themes and genres.
At a talk at USC, the pair agreed that it’s on track to have a
“massive implosion”. At the core of their argument: there just isn’t enough
time in the day for consumers to support all the films released in theaters.
Films are competing with all the content and options that the Internet
provides.
Studios
in Hollywood are the equivalent of venture capital firms of Silicon Valley.
They live and die on the home runs. Each movie could be thought of as a start up.
It all starts with an idea and grows into a team that creates and releases some
piece of content out into the world where it’s loved or hated. When loved, you
get Christopher Nolan’s Batman, and when it’s hated, you get any Ben Affleck
movie from 2000 – 2010.
The
summer is filled with the biggest bets. The cost to produce and market a single
film these days can balloon to over $300 million. The studios need a film to
pull in nearly a billion in box office revenue, the same on DVD and have a
good, multi-year sale to television for it to be considered a success. Sprinkle
in some airplane viewing rights and that’s a win for them.
Lucas
and Spielberg don’t think that’s a sustainable model. Soon, a couple of those
megabudget films are going to nosedive, and everything will change.
They suggest the marketplace will contract because there
isn’t enough time in the week for us to go to the movies anymore. With Netflix
producing top quality content, and video games cutting into weekends, it leaves
little room for date night out at the Cineplex. It’s getting so bad that Lucas
complains about how hard it is even for him to get a film in a theater.
This should probably make producers of films nervous.
The duo says that the studios will be forced to
reevaluate how to distribute films. Perhaps a film like Lincoln will
cost less to see than, say Iron Man? Or perhaps,
we don’t even get movies like Lincoln in
theaters anymore. They will come straight to our homes. And actually going to
the theater? It’s going to change to a model where a movie will cost $50+, but
it’ll become a higher end experience with movies staying in the theater for a
year or more. Or, just don’t make shitty films.
For over a decade, the films that can’t find an audience
in the theater have found their niche on the internet where they can be marketed
and sold on iTunes to those who will love them. Companies like Netflix and Hulu
are able to focus on these niches and program specifically for them, for much
cheaper than the $300 million it cost to release a summer film.
That translates to these Internet companies being able
to take bigger risks on content, similar to HBO’s model. And technology
winning
http://www.grantland.com/blog/hollywood-prospectus/post/_/id/68960/inside-ilm-part-2-the-evolution-of-filmmaking-technology-at-lucas-film
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