DOCSLIB.ORG

Copyright by Daniel Joseph Mauro 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyright by Daniel Joseph Mauro 2020 Copyright by Daniel Joseph Mauro 2020 The Dissertation Committee for Daniel Joseph Mauro Certifies that this is the approved version of the following dissertation: Locating the Politics of Amateur Media Committee: Caroline Frick, Supervisor Michael Baskett Wenhong Chen Mary Celeste Kearney Shanti Kumar Locating the Politics of Amateur Media by Daniel Joseph Mauro Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2020 Dedication For my parents and grandparents. Acknowledgements First and foremost, I thank my supervisor, Caroline Frick, for her patience, humor, guidance, inspiration, pragmatism, and support during my time at the University of Texas at Austin. This project has evolved greatly thanks to her insight and critique and would not have been possible without her wisdom and vision. Caroline has always supported my interest in a career in the museum field and has been a role model for me both personally and professionally. I also greatly appreciate the support and invaluable insights of my doctoral committee: Michael Baskett, Wenhong Chen, Mary Celeste Kearney, and Shanti Kumar. Many thanks for their time, encouragement, and thoughtful feedback throughout my graduate studies. Michael has been a mentor to me since my time at the University of Kansas and challenged me to become a better scholar and teacher. Wenhong broadened my perspective on the study of digital media and invited me to be a part of several exciting research projects. Mary has been an inspiration, from reading Girls Make Media, to seeing her admirable support of graduate students, to having many conversations about amateur media when drafting my dissertation proposal. Shanti engrained in me a strong sense of critical theory that helped me throughout my academic studies, especially the theoretical framework for this project. I would also like to thank Laura Stein, whose earlier involvement in this project greatly shaped my perspective on alternative media and the ultimate direction for the dissertation. For their professional support over the past few years, I am greatly indebted to Cara Biasucci at the McCombs School of Business, Jess Miner at Harvard University, v Annamaria Motrescu-Mayes at Cambridge University, Ron Magliozzi and Sophie Cavoulacos at The Museum of Modern Art, and all of my colleagues at Glenstone Museum. To my friends and colleagues in Austin, thank you for making my time in Texas so memorable: Anna Banchik, Morgan Blue, Alex Cho, Sujin Choi, Stuart Davis, Julian Etienne, Xuefeng Feng, Melissa Geppert, Erika GraJeda, Elizabeth Hansen, Daryl Harris, Jacob Hustedt, Kei Kai-Ro, Jessalynn Keller, Amanda Landa, Jia Liu, Yi Lu, Caitlin McClune, Heidi Moner, William Moner, Bao Nguyen, Bryan Robison, Suzanne Schulz, Ali Sengul, Michael Sherer, and many more. My time in Austin was further enriched with many fond memories of Daryl Carr, whom we lost too soon. Thank you also to my friends from various stages in my life, from Western New York, to Kansas, to Tokyo, to D.C. I am forever grateful for the love and encouragement of my parents Ron and Susie, my brother John, sister-in-law Yihong, and niece Sofia, as well as my extended family (especially Marisa and Charley in Austin) and my “adopted” family, the Cozens. I could not have done this without you. And a very special thanks for the ongoing love, support, Jokes, songs, dances, and general antics of Dr. Meow and our cats. Thank you for your companionship and having the unique ability to make even the most stressful situations fun. I look forward to many Caturdays ahead. vi Locating the Politics of Amateur Media Daniel Joseph Mauro, Ph.D. The University of Texas at Austin, 2020 Supervisor: Caroline Frick Amateur media are increasingly and more rapidly a part of broader discourses relevant to the politics of the everyday. As amateur media continue to evolve, expand, and permeate daily practice, communication, and politics, our understanding of amateur media and their power to impact structural change must also evolve. This dissertation examines the changing ways in which we may locate politics in amateur media, arguing that amateur media are best understood as inherently political objects. This project explores what makes an object of amateur media political, where we locate the politics of this object both internally and externally, and how these politics change over time. This dissertation proposes the concept of informal media politics to account more fully for the range of ways in which amateur media may or may not actively engage in the political, from the seemingly nonpolitical to the overtly political. The politics of amateur media are examined at three key stages: production, distribution, and curation. The chapters of this dissertation offer three case studies that each focus on these stages across distinct contexts: an individual’s YouTube channel, a nonprofit that acts as an intermediary for amateur video, and a maJor federal institution that selects home movies to be included among its canon of films considered significant to national film heritage. These case studies build progressively upon the ideas introduced in this dissertation, locating the politics of amateur media in a variety of texts and contexts. vii Table of Contents List of Figures ..........................................................................................................x Chapter One: Amateur Media and Informal Media Politics ....................................1 Literature Review ..........................................................................................13 Amateurism ..........................................................................................15 Amateur Film .......................................................................................21 Amateur Video .....................................................................................27 Amateur Digital Media ........................................................................28 Theory ...........................................................................................................32 Methods.........................................................................................................40 Chapter Breakdown ......................................................................................41 Conclusion ....................................................................................................48 Chapter Two: Locating Politics .............................................................................50 Informal Media Politics ................................................................................54 RouterGods ...................................................................................................61 Conclusion ....................................................................................................77 Chapter Three: Formalizing Politics ......................................................................79 What is WITNESS? ......................................................................................81 WITNESS Media Lab ...................................................................................84 Other Players ........................................................................................89 Google .........................................................................................89 Storyful .......................................................................................93 Project Partners ...........................................................................94 Resource Partners ........................................................................95 Staff ............................................................................................96 Creators .......................................................................................97 Celebrities ...................................................................................97 Presentation ..........................................................................................98 viii “Amplifying” Amateurs ..............................................................................104 Conclusion ..................................................................................................108 Chapter Four: Revisiting Politics .........................................................................111 Forming a National Canon ..........................................................................115 Politics of a National Canon .......................................................................119 Home Movies Beyond the Home ................................................................124 Initial Selections in the 1990s ............................................................127 A Growing List in the 2000s ..............................................................130 Broadening Scope in the 2010s ..........................................................132 A Closer Look at the Politics of Topaz ..............................................138 A Complicated Legacy ...............................................................................147 Conclusion ..................................................................................................149 Chapter Five: Conclusion ....................................................................................152
Load more

Recommended publications
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Looking At, Through, and with Youtube Paul A
    Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp.
    [Show full text]
  • An Analysis on Youtube Rewinds
    KADİR HAS UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES NEW MEDIA DISCIPLINE AREA POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS ISTANBUL, AUGUST, 2017 i POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS Submitted to the Graduate School of Social Sciences of Kadir Has University in partial fulfillment of the requirements for the degree of Master’s in the Discipline Area of New Media under the Program of New Media. ISTANBUL, AUGUST, 2017 i ii iii TABLE OF CONTENTS Abstract Acknowledgements List of Figures List of Chapters 1. Introduction 2. Literature Review 2.1 Commercializing Culprit or Social Cement? What is Popular Culture? 2.2 Sharing is caring: user-generated content 2.3 Video sharing hype: YouTube 3. Research Design 3.1 Research Question 3.2 Research Methodology 4. Research Findings and Analysis 4.1 Technical Details 4.1.1 General Information about the Data 4.1.2 Content Analysis on Youtube Rewind Videos 5. Conclusion References iv ACKNOWLEDGEMENTS I would first and foremost like to thank my thesis advisor Assoc. Prof. Dr. Çiğdem BOZDAĞ of the Faculty of Communication at Kadir Has University. Prof. Bozdağ always believed in me even I wasn’t sure of my capabilities. She kindly guided me through the tunnel of the complexity of writing a thesis. Her guidance gave me strength to keep myself in right the direction. I would like to thank Assoc. Prof. Dr. Eylem YANARDAĞOĞLU whose guidance was also priceless to my studies.
    [Show full text]
  • Social Media Is Bullshit
    SOCIAL MEDIA IS BULLSHIT 053-50475_ch00_4P.indd i 7/14/12 6:37 AM 053-50475_ch00_4P.indd ii 7/14/12 6:37 AM 053-50475_ch00_4P.indd iii 7/14/12 6:37 AM social media is bullshit. Copyright © 2012 by Earth’s Temporary Solu- tion, LLC. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10011. www .stmartins .com Design by Steven Seighman ISBN 978- 1- 250- 00295- 2 (hardcover) ISBN 978-1-250-01750-5 (e-book) First Edition: September 2012 10 9 8 7 6 5 4 3 2 1 053-50475_ch00_4P.indd iv 7/14/12 6:37 AM To Amanda: I think you said it best, “If only we had known sooner, we would have done nothing diff erent.” 053-50475_ch00_4P.indd v 7/14/12 6:37 AM 053-50475_ch00_4P.indd vi 7/14/12 6:37 AM CONTENTS AN INTRODUCTION: BULLSHIT 101 One: Our Terrible, Horrible, No Good, Very Bad Web site 3 Two: Astonishing Tales of Mediocrity 6 Three: “I Wrote This Book for Pepsi” 10 Four: Social Media Is Bullshit 15 PART I: SOCIAL MEDIA IS BULLSHIT Five: There Is Nothing New Under the Sun . or on the Web 21 Six: Shovels and Sharecroppers 28 Seven: Yeah, That’s the Ticket! 33 Eight: And Now You Know . the Rest of the Story 43 Nine: The Asshole- Based Economy 54 053-50475_ch00_4P.indd vii 7/14/12 6:37 AM Ten: There’s No Such Thing as an Infl uencer 63 Eleven: Analyze This 74 PART II: MEET THE PEOPLE BEHIND THE BULLSHIT Twelve: Maybe “Social Media” Doesn’t Work So Well for Corporations, Either? 83 Thirteen: Kia and Facebook Sitting in a Tree .
    [Show full text]
  • Annoying Orange: a Youtube Success Story?
    1 Annoying Orange: A YouTube Success Story? As Burgess and Green note in YouTube: Online Video and Participatory Culture, YouTube is simultaneously “a high volume website, a broadcast platform, a media archive, and a social network. (5) Burgess and Green’s book attempts to capture the nature of YouTube as a media system, particularly one that they argue is an important site for the participatory practices that shape Web 2.0 in the contemporary media landscape. Since 2004, Web 2.0 has described practices that form the participatory web where users contribute but do not control content, and increasingly, where some participants are financially rewarded while others provide content for free. YouTube, a prime example of Web 2.0, was founded in 2005 as “a service aiming to remove the technical barriers to the widespread sharing of video online.” (Burgess and Green, 1) By summer of 2006, 100 million clips were viewed daily, with an additional 65,000 new videos uploaded every 24 hours. (USA Today) According to Nielson NetRatings, the website averaged around 20 million 2 visitors per month, where around 44% were female, 56% male, and the 12-to-17 year old group was dominant. YouTube quickly became part of one of the world’s largest global media companies: Google bought it for 1.65 billion dollars in 2006, and since 2008 it has consistently been in the top ten visited sites globally. One of the central issues around YouTube, as Burgess and Green note, is its “double function as both a “top down” platform for the distribution of popular culture and a “bottom-up” platform for vernacular creativity.” (6) Users are encouraged to “Broadcast Yourself,” but at the same time the purpose of YouTube is to generate profit, largely from advertising revenue.
    [Show full text]
  • 2012.12.17 IP Compliance Report Final
    Before the Federal Communications Commission Washington, DC 20554 In the Matter of: ) Closed Captioning of Internet ) Protocol-Delivered Video ) Programming: Implementation of ) MB Docket No. 11-154 the Twenty-First Century ) Communications and Video ) Accessibility Act of 2010 ) Report on Initial Compliance with the Commission’s IP Closed Captioning Rules Telecommunications for the Deaf and Hard of Hearing, Inc. (TDI) National Association of the Deaf (NAD) Deaf and Hard of Hearing Consumer Advocacy Network (DHHCAN) Association of Late-Deafened Adults (ALDA) Hearing Loss Association of America (HLAA) California Coalition of Agencies Serving the Deaf and Hard of Hearing (CCASDHH) Cerebral Palsy and Deaf Organization (CPADO) Technology Access Program at Gallaudet University (TAP) Blake E. Reid Counsel to TDI Institute for Public Representation via electronic filing Georgetown Law December 20, 2012 600 New Jersey Ave. NW Washington, DC 20001 202.662.9545 [email protected] I. Executive Summary Telecommunications for the Deaf and Hard of Hearing Inc., (TDI), the National Association of the Deaf (NAD), the Deaf and Hard of Hearing Consumer Advocacy Network (DHHCAN), the Association of Late-Deafened Adults (ALDA), the Hearing Loss Association of America (HLAA), the California Coalition of Agencies Serving the Deaf and Hard of Hearing (CCASDHH), and the Cerebral Palsy and Deaf Organization (CPADO), collectively, “Consumer Groups,” and the Technology Access Project at Gallaudet University (TAP), respectfully submit this report regarding
    [Show full text]
  • Annoying Orange #7: Adventure Lime
    TM Graphic Novels FALL 2014 © 2013 BAMBOO ÉDITION PAPERCUTZ • AUGUST 2014 JUVENILE FICTION / COMICS & GRAPHIC NOVELS / GENERAL MATHIAS TRITON WWE Slam City #1: Finished All­new adventures from the world of WWE Slam City! A new villainous Superstar known as the Finisher has mastered the finishing moves of every WWE Superstar, and he’s taken over! After firing everyone, what will John Cena, Alberto DelRio, Kane, Randy Orton, Mark Henry, Sheamus, Rey Mysterio, and CM Punk do to earn a living? The answers may surprise you! Would you believe John Cena as an auto repairman? Or Kane as a school chef? What about Rey Mysterio as a crossing guard? Shock follows shock as the WWE’s greatest athletes try to make AUGUST it outside the ring! Papercutz Juvenile Fiction / Comics & Graphic Novels / General On Sale 8/26/2014 Ages 8 to 12, Grades 2 to 6 Paperback / softback / Trade paperback (US) , 64 pages 6.000 in W | 9.000 in H | 1.000 lb Wt Carton Quantity: 90 ISBN: 9781597077217 $7.99 / $8.99 Can. Also available WWE Superstars #1: Money In the Bank 9781597077200 $9.99/$10.99 Can. Power Rangers Megaforce #4: Broken World 9781597073929 $7.99/$8.99 Can. Power Rangers Megaforce #3: Panic in the Parade 9781597073516 $7.99/$8.99 Can. 2 PAPERCUTZ • AUGUST 2014 JUVENILE FICTION / COMICS & GRAPHIC NOVELS / GENERAL MARKETING l Editorial coverage, serialization, and other cross­promos with WWE Kids Magazine l Product mentions on WWE televised events l Planned cross­promotions with WWE Slam City toys l Extensive print and web ad campaign in trade publications,
    [Show full text]
  • Una Exploración Al Campo Socio-Técnico De Youtube En Chile
    CUADERNOS.INFO Nº 42 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info https://doi.org/10.7764/cdi.42.1370 Enviado: 03-11-2018 / Aceptado: 04-27-2018 Programming creation? An exploration of the socio- technical field of YouTube in Chile ¿Programando la creación? Una exploración al campo socio- técnico de YouTube en Chile Programando a criação? Uma exploração do campo socio-técnico do YouTube no Chile MATÍAS VALDERRAMA, Pontificia Universidad Católica de Chile, Santiago, Chile ([email protected]) PATRICIO VELASCO, Pontifica Universidad Católica de Chile, Santiago, Chile ([email protected]) ABSTRACT RESUMEN RESUMO In recent years, attention has been En los últimos años, se ha prestado gran Nos últimos anos foi dada grande drawn to the influence that digital atención a la influencia que tendrían las atenção à influência que as plataformas platforms would have on the creative plataformas digitales en las prácticas digitais teriam nas práticas criativas de practices of their users. Through a creativas de sus usuarios. Mediante un seus usuários. Através de uma análise qualitative analysis of interviews with análisis cualitativo de entrevistas con qualitativa de entrevistas com criadores creadoras y creadores chilenos de contenido Chilean creators of audiovisual content de conteúdo audiovisual no YouTube, audiovisual en YouTube, mostraremos cómo on YouTube, we will show how their este artigo mostra como suas práticas sus prácticas creativas se sitúan dentro de un creative practices are situated within an emergente campo socio-técnico en el que se estão situadas dentro de um emergente emerging socio-technical field in which lucha por diferentes formas de capital.
    [Show full text]
  • Webtelevision, Webseries and Webcasting
    Webtelevision, Webseries and Webcasting Case studies in the organization and distribution of television- style content produced online Dee Majek Filmvetenskapliga Institutionen / Department of Cinema Studies Examensarbete 15 hp / Masters of One Year Thesis 15 credits Filmvetenskap / Cinema Studies Magisterskurs (15-30 hp) / Masters of One Year course (15-30 credits) Vårterminen / Spring term 2012 Handledare / Supervisor: Maaret Koskinen Webtelevision, Webseries, and Webcasting Case studies in the organization and distribution of television-style content produced online Dee Majek Abstract This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be
    [Show full text]
  • Now Lighting up a Rave Near You: City Hall Cover-Up on Homeless Death
    CITY HALL COVER-UP ON HOMELESS DEATH | NOW LIGHTING UP A RAVE NEAR YOU: GLOVING JUNE 29-JULY 5 VOL. 34/ NO. 32 LAWEEKLY.COM ( 14 ) LA Weekly / June 29-July 5 2012 / laweekly.com | As online video celebrities and fans gather at Vidcon, we bring you a guide to the new secrets of entertainment stardom aniel Grimes, a high school student online videos — better than anyone else. began airing on Cartoon Network. from Ypsilanti, Mich., fl ew to Los We’ve always performed “covers” of As Boedigheimer’s success shows, not Angeles last July for the YouTube songs in our cars and showers, but the best all of YouTube is aimless; creators now convention Vidcon. He came to see ones, such as Walk O! the Earth’s quirky make six fi gures and secure Hollywood his favorite YouTubers, including version of Gotye’s “Somebody That I Used deals. “With some of it there is an intended Toby Turner, a comedian known in to Know” (122 million views), now can fuel calculation,” Boedigheimer says. “Annoying part for his “literal trailers.” the popularity of the original song (263 Orange is to some degree me experiment- “He’ll take a video game trailer and million views). ing, hanging around, having fun, but there’s Dsing over it, describing everything that’s “Girls for millennia have been teaching always the hope of it taking o! .” happening in a painfully obvious but very each other makeup, passing along tips It’s fi tting that YouTubers are concentrat- funny way,” Grimes told me, as we sat in an through word-of-mouth — ‘I have a great ed in Los Angeles, which has always been audience of hundreds in a ballroom in the blush you should use,’"” says Will Hyde, an intersection of leisure and entertain- Hyatt Regency Century Plaza hotel .
    [Show full text]
  • 2013 Youtube Study Introduction and Credits
    2013 YouTube Study Introduction and Credits How long should my videos be? How often should I upload? How many words should I put in the video description to optimize for search? These and many more questions are asked by online media creators and brands every day. In the Spring of 2013 a group of un- dergraduate students in the Internet and Mobile Media Concentration at Columbia College in Chicago (colum.edu/tv) explored best practices in using the YouTube platform by study- ing the approaches taken by its most successful users. The study focused on analyzing YouTube channels that succeeded in growing largest recurring audiences (most sub- scribed). If you aspire to build a popular YouTube channel for your internet show or build a brand presence on this platform, I hope you find this document to be a useful guide. All data is available in a format of multiple Google spreadsheets and can be accessed here: http://goo.gl/oYVrO I’d like to thank the following students who worked hard collecting data, analyzing it, and writing summaries which allowed for this document to exist. Chanel Armstrong (@nelly_latrice), Courtney Aubrecht (@caubrecht913), Gabriel Gitlevich (@1charmedboy), Quinton Hampton, Melinda Heaney, Adan Hernandez (@ajhrndz1021), Danielle Lucovich, Leland Tellefsen (@mlproductionz) Wojciech Lorenc Assistant Professor Television Department Columbia College Chicago [email protected] @lumarange i Table of Contents 1.!Overview of YouTube’s Most Popular Content..............................!3" ! Summary by Gabriel Gitlevich 2.!Programming and Format Choices of " !The Top 100 Independent YouTube Channels...............................!12" ! Summary by Leland Tellefsen 3. Intros, Credits, Pacing of" The Top 100 Independent YouTube Channels.................................!22" Summary by Adan Hernandez 4.
    [Show full text]
  • How Indie App Developers Are Standing Apart from the Crowd
    p8 Social sites get branded p11 Consoles booming as video vehicles p14 Why kids fl ock to YouTube KidscreenKidscreen exploresexplores thethe cchildren’shildren’s ddigitaligital enentertainmenttertainment bbusinessusiness Summermer 20122012 How indie app developers are standing apart from the crowd ToTop p of the Shop /editorial Grab your partner o say things are moving fast in the watching a young business evolve right console-makers coping with dipping software T children’s digital entertainment before our eyes. sales, survival now means offering more business is an understatement. It It’s a business that’s becoming greater than just games (see “The Evolution Will Be doesn’t seem that long ago when we first than the sum of its interconnecting parts and Televised,” p.11). heard about viral property The Annoying is focusing increasingly on partnerships to With all that’s happening, it’s encouraging Orange or even Angry Birds. And now, spur growth and establish security. to see industry players collaborating, despite along with millions of views and downloads, Many app developers, social networking worries about the competition, to grow the they’ve got the attention of the entire kids sites and console-makers are rethinking their business while managing to make sure kids business, from broadcasters to licensing models in an ever-crowded kids digital enter- come first. partners and retailers. tainment market by examining how children It even feels like we just put the inaugu- consume content, how brand partnerships ral issue of iKids to bed and yet here we are succeed, and how IPs get noticed. Cheers, introducing our second issue for summer More kid-appropriate networking sites Jeremy Dickson 2012 with plenty to talk about.
    [Show full text]