DOCSLIB.ORG

“Lizzie's Story Felt Like Home:” Meaning-Making and Narratively

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Lizzie's Story Felt Like Home:” Meaning-Making and Narratively “Lizzie’s Story Felt Like Home:” Meaning-Making and Narratively-Constructed Digital Intimacy in Literary Web Series Meredith C. Dabek A major thesis submitted for the qualification of Doctor of Philosophy in Media Studies Maynooth University Department of Media Studies October 2019 Supervisor: Dr. Jeneen Naji Head of Department: Dr. Kylie Jarrett Table of Contents Abstract .......................................................................................................................................... iii Acknowledgements ........................................................................................................................ iv List of Figures ............................................................................................................................... vii List of Appendices ....................................................................................................................... viii Glossary of Literary Web Series .................................................................................................... ix Chapter 1: Introduction ................................................................................................................... 1 The Evolution of the (Literary) Web Series ...................................................................................... 1 The Lizzie Bennet Diaries ............................................................................................................ 10 Thesis Structure ........................................................................................................................... 24 Chapter 2: Theoretical Foundations of Literary Web Series ........................................................ 27 Preview ....................................................................................................................................... 27 Defining Literary Web Series ....................................................................................................... 27 Literary Web Series in the Convergent Media Environment ............................................................ 33 Literary Web Series as Transmedia Narratives ............................................................................... 41 Literary Web Series as Fanfiction and Digital Literature ................................................................. 57 Review ........................................................................................................................................ 62 Chapter 3: Agency and Affordances in Literary Web Series ....................................................... 64 Preview ....................................................................................................................................... 64 The “Characteristic Pleasures” of Literary Web Series ................................................................... 64 Defining Affordances ................................................................................................................... 67 Affording Intimacy ...................................................................................................................... 81 Review ........................................................................................................................................ 85 Chapter 4: Immersion and Resonance in Literary Web Series ..................................................... 87 Preview ....................................................................................................................................... 87 Defining Immersion ..................................................................................................................... 87 Spatial and Temporal Immersion ................................................................................................... 91 Emotional Immersion ................................................................................................................... 99 Defining Resonance ................................................................................................................... 104 Austen’s Resonant and Intimate Legacy ...................................................................................... 109 i Review ...................................................................................................................................... 113 Chapter 5: Methodology and Data Analysis ............................................................................... 115 Preview ..................................................................................................................................... 115 Research Paradigms ................................................................................................................... 115 The Lizzie Bennet Diaries Reader Survey .................................................................................... 118 Semi-Structured Interviews ........................................................................................................ 142 Review ...................................................................................................................................... 149 Chapter 6: Narratively-Constructed Digital Intimacy in Literary Web Series ........................... 151 Preview ..................................................................................................................................... 151 Defining Narratively-Constructed Digital Intimacy ...................................................................... 151 Narratively-Constructed Digital Intimacy in The Lizzie Bennet Diaries ......................................... 171 Review ...................................................................................................................................... 184 Chapter 7: Conclusions ............................................................................................................... 186 Limitations and Future Research ................................................................................................. 194 Final Thoughts ........................................................................................................................... 198 References ................................................................................................................................... 200 Appendix A: The LBD Reader Survey ....................................................................................... 233 Appendix B: Anonymised Survey Data ...................................................................................... 247 Appendix C: Information Sheet for Interview Subjects ............................................................. 248 Appendix D: Consent Form for Video Interview Subjects ......................................................... 251 Appendix E: Consent Form for Email Interview Subjects ......................................................... 253 ii Abstract This thesis explores readers’ experiences with a genre of digital narratives known as literary (inspired) web series. These narratives present updated, digital retellings of classic literature from the Western canon and arise from the rapid development of the convergent media environment and the evolution of social media platforms. Literary web series draw on a variety of storytelling methods to create interactive, immersive, and emotionally resonant narrative experiences for readers. As hybrid media-literary artefacts, these narratives leverage the affordances of social media platforms to encourage reader participation and interaction, generate forms of narrative immersion to convey an authentic and realistic story, and capitalise on the literary resonance of their source texts to foster the development of an engaged community of readers. These methods of meaning-making help create intimate narrative experiences that provide readers with a significant and lasting connection to the text. Using the literary web series, The Lizzie Bennet Diaries (LBD), as a case study, this thesis explores LBD’s use of the sociotechnical affordances of YouTube, Twitter, and Tumblr; LBD’s creation of narrative immersion for its readers; and the literary resonance of LBD’s source material, Pride and Prejudice. Results from a mixed-methods online survey of LBD readers and follow-up semi- structured interviews with select respondents reveal that readers’ experiences with LBD were deeply meaningful and contributed to readers feeling a sense of intimate connection with the narrative and other readers. Consequently, this thesis will propose that literary web series like LBD can help drive the formation of what I have labelled “narratively-constructed digital intimacy,” an affective feeling stemming from the methods of meaning-making in LBD as well as mediated and narrative intimacies, and para-social interactions. Subsequently, reader experiences of literary web series that include narratively-constructed digital intimacy can provide readers with a “a long-lasting and ineffable sense of significance” (Stockwell, 2009a). iii Acknowledgements “Close your eyes. Feel it. The light… it’s always been there. It will guide you.” (Maz Kanata, Star Wars: The Force Awakens) Undertaking and completing PhD research is a daunting task and it can also be a lonely and isolating experience, particularly in the final few months when you become so intently focused on finishing your thesis.
Load more

Recommended publications
  • The Lizzie Bennet Diaries" Transcends Traditional Reader Response
    University of Northern Iowa UNI ScholarWorks Honors Program Theses Honors Program 2013 Opportunity for engagement : how viewing "The Lizzie Bennet diaries" transcends traditional reader response Molly Hayes University of Northern Iowa Let us know how access to this document benefits ouy Copyright © 2014 Molly Hayes Follow this and additional works at: https://scholarworks.uni.edu/hpt Part of the Film and Media Studies Commons, and the Reading and Language Commons Recommended Citation Hayes, Molly, "Opportunity for engagement : how viewing "The Lizzie Bennet diaries" transcends traditional reader response" (2013). Honors Program Theses. 153. https://scholarworks.uni.edu/hpt/153 This Open Access Honors Program Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. University of Northern Iowa UNI ScholarWorks Honors Program Theses University Honors Program 2013 Opportunity for engagement: how viewing "The Lizzie Bennet Diaries" transcends traditional reader response Molly Hayes Copyright 2014 - Molly Hayes Follow this and additional works at: http://scholarworks.uni.edu/hpt This Open Access Honors Program Thesis is brought to you for free and open access by the University Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. OPPORTUNITY FOR ENGAGEMENT: HOW VIEWING “THE LIZZIE BENNET DIARIES” TRANSCENDS TRADITIONAL READER RESPONSE A Thesis Submitted in Partial Fulfillment of the Requirements for the Designation University Honors with Distinction Molly Hayes University of Northern Iowa December 2013 Hayes 2 For hundreds of years, publishers have worked to understand the relationship between a reader and a text.
    [Show full text]
  • Jan-Mar 2002 High Bandwidth
    I N T H I S I S S U E So You Want It In HD One on One makes the transition to 24P HD Peak Experience HD is up to the challenge with this indie feature N A T P E 2 0 0 2 The Mavericks of Multi-Camera 24P Production “The familiar look and feel of HDW-F900 HDCAM 24P CineAlta™ High Definition camcorder. The digital movie camera.* motion picture film are here.” — GEORGE LUCAS If you want to see a movie pro get future,” says Chuck Barbee, the We shot Star Wars: Episode II excited, ask George Lucas, Chuck director of photography. “The in 61 days in 5 countries in the Barbee, or Mike Figgis about Sony whole process was surprisingly Digital Electronic Cinematography. good. And compared to film, raw rain and desert heat averaging Each is using Sony tools to explore tape stock costs next to noth- new creative possibilities. 36 setups per day without a ing. This really lowers the cost “Star Wars: Episode II is our last giant of getting it in the can, which single camera problem. We have DVW-790WS Digital Betacam® camcorder. step toward Digital Cinema,” says means that more projects The gold standard found the picture quality of the in Widescreen George Lucas, describing his decision can get made.” Standard Definition. to shoot principal photography 24P Digital HD system to be with Panavision-modified Sony Mike Figgis challenges our most indistinguishable from film. HDCAM® 24P camcorders. “The basic conventions of narrative in familiar look and feel of motion Timecode, the movie that follows – George Lucas and picture film are present in this four simultaneous storylines in Rick McCallum digital 24P system.
    [Show full text]
  • Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S
    Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Prepared by Orange Silicon Valley SG/OSV April 5, 2016 Orange Silicon Valley | April 5, 2016 1 Contents 4 Key Takeaway 6 Recommendation: 8 Origin of the Big Content Shift 8 1. New Behaviors -> Transitioning from one form of distribution to another 8 The continuous decline of linear TV 10 The Cort Cutters 11 Economics of Content 12 Mobile Mobile Mobile 14 New Content - the rise of the new creators 15 New Content Approach 16 New Monetization Approach 17 US TELCO RESPONSE 19 Rise of New Studios and New Media Companies 29 Telco and Cable Operator Initiatives 34 Conclusions Orange Silicon Valley | April 5, 2016 2 Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Key Takeaways • Video consumption behaviors are shifting. Live linear TV remains the primary way video content is being consumed but is losing its relevance to over-the-top services such as Netflix, Hulu or Amazon, that are offering consumers access to “Whatever” content they want, “Whenever,” and “Wherever” they want it. • Cracks are appearing in the traditional content distribution model amidst an explosion in mobile-centric content consumption. Content consumption is growing as well as content acquisition cost. • TV is even less relevant to the newer generation of consumers, the millennials (being born from early 1980s to around 2000) and generation Z (being born from early 2000s to 2010), who use primarily smartphones to access video content. • Smartphone users 24 and younger use an average of 6.2 GB of data (cellular and WiFi combined) every month for video streaming versus older smartphone users that use an average of 4.9 GB of data per month.
    [Show full text]
  • Viacom Boosts Direct-To-Consumer Pitch with $340 Million Acquisition
    Publication date: 24 Jan 2019 Author: Kia Ling Teoh Senior Research Analyst, Advertising and Television Media Viacom boosts direct- to-consumer pitch with $340 million acquisition of Pluto TV Brought to you by Informa Tech Viacom boosts direct-to-consumer pitch with 1 $340 million acquisition of Pluto TV Viacom has revealed its intentions to go direct-to-consumer via the acquisition of ad-supported streaming service Pluto TV. The deal is worth a reported $340m and will see Pluto TV operate as an independent subsidiary of Viacom. The transaction is expected to close in the first quarter of 2019. Viacom is the owner of MTV, Comedy Central, Nickelodeon and Paramount Pictures. In 2017, it reported annual revenues of $13 billion from media networks and filmed entertainment businesses. Pluto TV was founded in 2013 and had received several rounds of funding from investors including broadcasters ProsiebenSat.1 and Scripps Networks in 2016. Our analysis The acquisition came at a time when Viacom’s media networks advertising revenues were under pressure. Nearly half of its media networks revenues are advertising and in the first nine months of 2018, advertising revenues dropped 3.5% year-on-year from $3.57 billion to $3.44 billion, largely due to lower linear impressions. The ad-supported streaming market is becoming intensely competitive, with each player trying to counter the influence of global giants Google and Facebook as advertising budgets continue to focus more on cross- border growth. Alongside Awesomeness TV, the youth-targeted video service Viacom acquired in July 2018, Pluto TV will complement Viacom’s advertising strategy.
    [Show full text]
  • Dave Lougee, President and CEO, TEGNA, Inc
    Participant Biographies Ty Ahmad-Taylor, Vice President, Business Product Marketing, Facebook, Inc. As Vice President of Business Product Marketing, Ty leads Facebook’s monetization strategy and global go-to- market efforts for products that connect people and businesses on the platform. Prior to Facebook, Ty served as CEO of THX Ltd., a global media and entertainment company. Ty brings to Facebook 25+ years of information design, 20+ years of consumer-facing software and product development leadership, along with interactive television services development experience. Ty has a diverse portfolio of technology and hardware patents, and has held roles at several startups and large media and consumer electronic companies, including Viacom, Comcast, The New York Times, and Samsung. Kevin Arrix, Senior Vice President, DISH Media Kevin Arrix, Senior Vice President of DISH Media Sales, is responsible for DISH TV’s and Sling TV’s advertising sales, analytics and operations. He leads the team spearheading the company’s advanced advertising initiatives, which include cross-platform addressable, programmatic sales and dynamic ad insertion. Arrix is a seasoned revenue executive with 20+ years of experience leading Sales, Operations, Client Services and Strategy teams. He is a recognized thought-leader fluent in the various disciplines of digital and mobile advertising and marketing. Prior to joining DISH in 2018, Arrix served as Chief Revenue Officer of Verve, leading the mobile marketing platform’s Direct and Enterprise sales, customer success and advertising operations teams. Prior to Verve, Arrix served as Chief Revenue Officer at mobile rewards entertainment platform Viggle, where he arrived prior to product launch to build out the sales team, the operational infrastructure and revenue foundation.
    [Show full text]
  • Celeb Secrets Media
    Celeb Secrets is a digital organization specializing in entertainment. About The media outlet covers breaking news in verticals such as culture, celebrity, fashion, lifestyle, movies, music, politics, sports, and television, making it a one-stop shop for its Millennial and Gen Z the Site audience. The organization also has a website specifically catered to Country news titled Celeb Secrets Country and a YouTube channel, CelebSecretsTV. Our Audience 54.5K+ | 38M+ 50K+ 42K+ 23K+ Age Interests 13-17 Digital & Tech Festivals 35-44 13.1% 10.5% 12.2% 17.3% Beauty & Fashion 11% Travel 11.7% Sports 9.4% Music 25-34 11.9% 26.6% 18-24 Gossip 10.6% 43% Awards Movies & TV 11.6% 11.1% 4 0 8 - 8 0 0 - 2 7 4 8 • c e l e b s e c r e t s . c o m • @ c e l e b s e c r e t s Celeb Secrets Country Celeb Secrets Country sticks to Celeb Secrets' core values, country style. Covering the biggest talent of today and tomorrow, the special vertical features news, exclusive interviews and more. @celebsecretscountry celebsecretscountry.com CelebSecretsTV Celeb Secrets houses over 2,000 short-form videos on their YouTube channel, CelebSecretsTV. Featuring top-tier talent, daily videos include red carpet interviews, exclusive movie, television, sports, and music festival coverage as wells as chats with celebrities at either The YouTube Space or on- location. 54.5K+ subscribers 38M+ views 500K+ monthly visitors @celebsecrets4u About the Owner Created by Juliet Schroder in 2010 at the age of fifteen, the organization has become one of the fastest rising media outlets in its niche, making the homemade project become a bi-coastal business that’s had representation at high-profile media events in North America.
    [Show full text]
  • Estado Diario Subdirección De Marcas 20/05/2021 1
    Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1355767 AZ Y COMPAÑÍA, en representación de Monster Mixta M MONSTER ENERGY CARES Energy Cares 1374851 CLAUS KREBS POULSEN, en representación de Denominativa TIME TO ROLL OXYGENTRACK LLC 1375493 JOHANSSON & LANGLOIS, en representación de Mixta Vital Spaces Sodexo SODEXO 1375693 CARLA ANDREA JACQUELINE MUÑOZ SILVA, Mixta M MUSIL INGENIERIA Y en representación de INGENIERÍA Y CONSTRUCCIÓN CONSTRUCCIÓN MUSIL LIMITADA 1384587 CHRISTIAN GUSTAVO ERNST SUÁREZ, en Denominativa MYSTERY.ORG representación de MYSTERY ORGANIZATION, INC. 1385862 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385863 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385984 CLAUS KREBS POULSEN, en representación de Mixta SONGS for LIFE Apple Inc. 1387395 JUAN ALBERTO LUCIANO DÍAZ WIECHERS, en Mixta QG QATARGAS representación de Qatargas Operating Company Limited 1388637 ESTUDIO CAREY LTDA., en representación de Mixta b: Bazaarvoice, Inc. 1390799 Jacqueline Magaly Cornejo Calderón, en Mixta SINDICATO NACIONAL DE representación de Sindicato Interempresa TRABAJADORES DE LA Nacional de Trabajadores de la Construccion CONSTRUCCION, MONTAJE Y OTROS Montaje y Otros SINTEC -CHile SINTEC CHILE 1396145 MAX FELIPE CANALES CASTRO, en Mixta Alto Impacto representación de MTK Spa 1396759 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1396761 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1 Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1396821 Tomislav Marcelo Vucina Martínez, en Denominativa MEIER representación de Francisco José Rodríguez Lifschitz 1397552 NAYAT SANCHEZ PI, en representación de Inria Denominativa MAIA Chile 1398347 LUCY LORENA ESPINA FERNÁNDEZ Mixta Lorena Pastelería S.A.
    [Show full text]
  • Polysèmes, 23 | 2020 Revamping Carmilla: the Neo-Victorian Transmedia Vlog Adaptation 2
    Polysèmes Revue d’études intertextuelles et intermédiales 23 | 2020 Contemporary Victoriana - Women and Parody Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation Les adaptations néo-victoriennes transmédiatiques en vlog : l’exemple de Carmilla Caroline Duvezin-Caubet Electronic version URL: http://journals.openedition.org/polysemes/6926 DOI: 10.4000/polysemes.6926 ISSN: 2496-4212 Publisher SAIT Electronic reference Caroline Duvezin-Caubet, « Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation », Polysèmes [Online], 23 | 2020, Online since 30 June 2020, connection on 02 July 2020. URL : http:// journals.openedition.org/polysemes/6926 ; DOI : https://doi.org/10.4000/polysemes.6926 This text was automatically generated on 2 July 2020. Polysèmes Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation 1 Revamping Carmilla: The Neo- Victorian Transmedia Vlog Adaptation Les adaptations néo-victoriennes transmédiatiques en vlog : l’exemple de Carmilla Caroline Duvezin-Caubet I was anxious on discovering this paper, to re- open the correspondence commenced […] so many years before, with a person so clever and careful […]. Much to my regret, however, I found that she had died in the interval. She, probably, could have added little to the Narrative which she communicates in the following pages with, so far as I can pronounce, such conscientious particularity. (Le Fanu 242) 1 This is how an anonymous “editor” introduces Joseph Sheridan Le Fanu’s Carmilla (1872), framing the novella as a found manuscript. However, over a century after its initial publication, the “clever and careful” narrator Laura did get to add to her story and re-open her conscientious and particular communication through new media: Youtube and the world-wide web.
    [Show full text]
  • The Lizzie Bennet Diaries”
    “The Lizzie Bennet Diaries”: An Analysis of the online modernized adaptation of Jane Austen's Pride and Prejudice Masterarbeit Zur Erlangung des Grades Master of Arts an der Geisteswissenschaftlichen Fakultät der Karl-Franzens Universität Graz vorgelegt von Silke Simone Mireya JANDL am Institut für Anglistik Begutachter: Ao. Univ. – Prof. Dr. Martin Löschnigg Graz, August 2013 1 Table of Contents 1. Introduction...............................................................................................3 1.1 General Clarifications..........................................................................5 2. Theories and Practices of Adaptation .......................................................7 3. Adaptations of Pride and Prejudice..........................................................9 4. A Note on YouTube...................................................................................13 5. Analyses: Pride and Prejudice and the LBD............................................17 5.1 A New Kind of Adaptation: the LBD..................................................21 5.1.1 Metanarrativity and Authenticity..........................................25 5.1.2 Transmediality......................................................................29 5.1.3 The Power of the Audience..................................................32 5.2 The Setting: Necessities, Goals and Political Realities.......................37 5.2.1 Socio-political Realities........................................................38 5.2.2 Power in the nineteenth
    [Show full text]
  • “Decreasing World Suck”
    Dz dzǣ Fan Communities, Mechanisms of Translation, and Participatory Politics Neta Kligler-Vilenchik A Case Study Report Working Paper Media, Activism and Participatory Politics Project AnnenBerg School for Communication and Journalism University of Southern California June 24, 2013 Executive Summary This report describes the mechani sms of translation through which participatory culture communities extend PHPEHUV¶cultural connections toward civic and political outcomes. The report asks: What mechanisms do groups use to translate cultural interests into political outcomes? What are challenges and obstacles to this translation? May some mechanisms be more conducive towards some participatory political outcomes than others? The report addresses these questions through a comparison between two groups: the Harry Potter Alliance and the Nerdfighters. The Harry Potter Alliance is a civic organization with a strong online component which runs campaigns around human rights issues, often in partnership with other advocacy and nonprofit groups; its membership skews college age and above. Nerdfighters are an informal community formed around a YouTube vlog channel; many of the pDUWLFLSDQWVDUHKLJKVFKRRODJHXQLWHGE\DFRPPRQJRDORI³GHFUHDVLQJZRUOGVXFN.´ These two groups have substantial overlapping membership, yet they differ in their strengths and challenges in terms of forging participatory politics around shared cultural interests. The report discusses three mechanisms that enable such translation: 1. Tapping content worlds and communities ± Scaffolding the connections that group members have through their shared passions for popular culture texts and their relationships with each other toward the development of civic identities and political agendas. 2. Creative production ± Encouraging production and circulation of content, especially for political expression. 3. Informal discussion ± Creating and supporting spaces and opportunities for conversations about current events and political issues.
    [Show full text]
  • WICT Pulse: the Inside Scoop on Educational Opportunities & More
    Click here to view this email in your web browser In this issue: NEWS FROM WICT GLOBAL WICT Celebrates 40 Years at the Signature Luncheon Nominate Outstanding Leaders for WICT's 2019 Woman of the Year and Woman to Watch Awards Meet the 2019 Rising Leaders EDUCATIONAL OPPORTUNITIES Registration Open for the 2019 WICT Leadership Conference 2019 Betsy Magness Graduate Institute: Join Us in Atlanta this November WICT SHINES ONLINE Access Members' Only Resources in WICT's Online Learning Library Help Your Colleagues Shine by Sharing www.wictnow.org ADVOCACY & INDUSTRY RELATIONS WICT's #LeadWithMore PSA Campaign Continues Through June 4 Adaptive Spirit Silent Auction Cable Hall of Fame Dinner 2019 WICT Signature Luncheon Thursday, May 2 | 12:00 pm | The Plaza Hotel New York The excitement is building as we prepare for the Signature Luncheon next month in New York! We will convene to honor the past, celebrate the present and imagine the future of WICT and the industry we represent. WICT has built on the strong foundation laid by its early leaders to become an organization that encompasses more than 10,500 members in 24 chapters worldwide, including the U.K., Latin America and Europe. WICT is the largest and oldest professional association serving women in media, representing the industry's most influential stakeholders. To help mark the occasion, we have invited some of our favorite Pearls of Wisdom speakers from the past to return and share their latest insights with us, including Kimberly Brooks, Abbe Raven and Egypt Sherrod. Tables and tickets are sold out, but you can learn more about the event by visiting our website.
    [Show full text]
  • Before the Federal Communications Commission Washington, D.C. 20554 in the Matter of ) ) Expanding Consumers' Video Navigation
    Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Expanding Consumers’ Video Navigation Choices ) MB Docket No. 16-42 ) Commercial Availability of Navigation Devices ) CS Docket No. 97-80 ) COMMENTS OF WRITERS GUILD OF AMERICA, WEST, INC. Marvin Vargas Senior Research & Policy Analyst Writers Guild of America, West, Inc. 7000 West 3rd Street Los Angeles, CA 90048 (323) 951-4000 April 22, 2016 TABLE OF CONTENTS I. Introduction and Summary .................................................................................................. 1 II. The Market for MVPD Services and Devices Lacks Competition .................................... 4 III. Bringing True Competition to the Set-Top Box Market.................................................. 11 IV. Set-Top Box Competition Would Increase Opportunities for Independent Programming ....................................................................................................................... 12 V. Set-Top Box Competition Would Enable Wider Distribution of Diverse Content ....... 15 VI. Writers Support Competition in Video Distribution ....................................................... 17 VII. Conclusion ............................................................................................................................ 20 I. Introduction and Summary Writers Guild of America, West, Inc. (“WGAW”) is pleased to submit the following comments in response to the Federal Communication Commission’s (“FCC” or “Commission”) Notice of Proposed
    [Show full text]