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Lecture 10

Thorough Notes on Lecture 10

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Ivanka Knezevic

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SOCC44H Media and Society April 012011 Internet: Film Economics and aesthetics of film Because of its elastic demand, producers conceive entertainment as subject to fashionnovelty (change for the sake of change). Audience accepts this conceptualization: this accounts for fashion: small and cyclical change. Change for the sake of change. Not innovative Novelty: change in unimportant aspects of communication ex:change from traditional pop music in the 1940s and 1950s to the inclusion of race music there has to be a sufficient number of people out there who have to see the film (novelty) only for the sake of it being new (accepting the conceptualization of the product as novel) Aesthetic criteria applied to entertainment products change with changes in structural power of producers Other actors in the market (including audiences) accept the change through cultural mechanisms it is not the audiences who create new fashionsnovelty trends their acceptance of newest novelties and fashions only last as long as audience still accepts it as new but they dont control the newest trends that come in, only how long they last what determines the length of a fashion? Availability of alternative: how many other similar things do you have access to Ability of industry to sense which trends are starting to bore audience dry humour in films getting old reading: Hirschs steps for observing fads and fashions it highlights the importance of institutional gatekeepers for success of a product whats consider to be the in-thing is based on successful companies. Other companies then follow. Ex: whatever the most successful film companies were doing, others were following around 1910, one of the big film producers from new york, Martin Lews, figured out that since technology was advancing (so it was possible to produce longer films) he was going to hire a bunch of theatre actors and film a bunch of plays. This became huge because it was a trend away from actualities in the 1950s, musicals were gone because musical studios had to sell their musical holding rights profit for musicals wasnt as high as it was supposed to be so they stopped doing them so the most powerful producers determined whether musicals were to continue or discontinue, they controlled this trend The Studio System In the 1920s technology was available to produce feature length (90 min) films if we wanted to produce fictional films (for which you needed a ton of staff), wed be
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