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Vývoj a Vzájemná Rivalita Nejvýznamnějších Auditivních a Audiovizuálních Datových Médií

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Vývoj a Vzájemná Rivalita Nejvýznamnějších Auditivních a Audiovizuálních Datových Médií Masarykova univerzita Filozofická fakulta Ústav české literatury a knihovnictví Kabinet informačních studií a knihovnictví Karel Musil Vývoj a vzájemná rivalita nejvýznamnějších auditivních a audiovizuálních datových médií Bakalářská diplomová práce Vedoucí práce: PhDr. Michal Lorenz 2009 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. Současně dávám svolení k tomu, aby tato práce byla umístěna v knihovně FF MU a používána ke studijním účelům. V Brně 29. dubna 2009 2 Na tomto místě bych chtěl poděkovat vedoucímu práce PhDr. Michalu Lorenzovi za cenné rady a Doc. PhDr. Jiřímu Voráčovi, Ph.D. za připomínky z praxe. Za podporu děkuji i své rodině a přátelům. 3 Bibliografický záznam: MUSIL, Karel. Vývoj a vzájemná rivalita nejvýznamnějších auditivních a audiovizuálních datových médií. Brno: Masarykova Univerzita, Filozofická fakulta, Kabinet informačních studií a knihovnictví, 2009, 66 s. Vedoucí diplomové práce PhDr. Michal Lorenz. Anotace: Bakalářská diplomová práce Vývoj a vzájemná rivalita nejvýznamnějších auditivních a audiovizuálních datových médií se zabývá nejvýznamnějšími záznamovými médii posledních sta let a jejich bojem s konkurencí - Edisonovým fonografem počínaje a jeho bitvou s Berlinerovým gramofonem, vývojem magnetického pásku, historií CD a DVD, současnou bitvou mezi Blu-ray a HD-DVD a konečně i pohledem do budoucnosti – ponese-li se ve znamení holografického ukládání dat, či přímo stahování obsahu z internetu bez prostředníků v podobě fyzických nosičů. Zároveň se pokouší přinést odpověď na otázku, jaké faktory ovlivňují úspěch či neúspěch formátu, který se chce ve své oblasti stát dominantním. V práci se rovněž zamýšlím nad vlivem pornografie jakožto významným faktorem ovlivňující komerční úspěch (audiovizuálního) datového média. Abstract: My Bachelor’s thesis deals with the history, development and mutual rivalry (aka format war) of the most significant data storage media of the last one hundred years. It begins with Edison’s phonograph and Berliner’s gramophone, continues with the description of the history of the magnetic tape (with the aim on the VHS and betamax video war) and ends with the optical storage discs like CD, DVD, Blu-ray and HD-DVD. Finally, it describes the near future of the storage media – holographic discs and direct downloading from the internet. Eventually, deals with the significance of the pornography in the struggle for the customer. Klíčová slova: datová média, záznamová média, válka formátů, fonograf, gramofon, magnetická páska, CD, kompaktní disk, VCD, Video CD, VHS, betamax, DVD, Blu-ray, HD DVD, pornografie Keywords: data storage media, format war, phonograph, gramophone, magnetic tape, CD, compact disc, VCD, Video CD, VHS, betamax, DVD, Blu-ray, HD DVD, pornography 4 Obsah: ÚVOD ............................................................................................................3 1. UPLATNĚNÍ V KNIHOVNICTVÍ .............................................................5 2. METODOLOGICKÝ RÁMEC ................................................................7 2.1 TEORIE SOCIOTECHNICKÉ ZMĚNY...................................... 7 2.2 VÁLKA FORMÁTŮ .......................................................... 10 3. ASPEKTY OVLIVŇUJÍCÍ ÚSPĚCH FORMÁTU A PORNOGRAFIE ......................................................................................................................10 4. AUDIO .....................................................................................................13 4.1 FONOGRAF VS. GRAMOFON............................................ 14 4.2 GRAMOFON VERSUS GRAMOFON – 33 1/3 VS. 45............. 17 4.4 OCELOVÁ STRUNA ........................................................ 19 4.5 MAGNETICKÁ PÁSKA..................................................... 19 4.5 DAT A MINIDISC .......................................................... 21 4.6 CD – KOMPAKTNÍ DISK ................................................. 21 5. VIDEO .....................................................................................................24 5.1 VHS VS.BETAMAX ....................................................... 26 5.2 LEGENDY A FAKTA O BETAMAXU .................................... 29 5.3 LASERDISK .................................................................. 36 5.4 VIDEO CD – VCD A SVCD – SUPER VCD...................... 39 5.5 DVD – DIGITAL VERSATILE/VIDEO DISK ......................... 40 5.6 FMD A UMD ............................................................... 43 5.7 BLU-RAY VS. HD-DVD ................................................. 44 ZÁVĚR ........................................................................................................51 POUŽITÁ LITERATURA: ........................................................................52 2 Úvod Záznamová či datová média patří k našemu životu tak neodmyslitelně, jako máloco jiného. Jen málokdo nemá doma alespoň jedno album od svého oblíbeného zpěváka či kapely, jen těžko budeme hledat člověka, který by nikdy neviděl film na videokazetě či DVD. Stejně tak si ale málokdo uvědomuje, jak dlouhá byla cesta, kterou bylo potřeba ujít, aby si mohl pustit svůj oblíbený film či muziku v klidu domova. O téma své bakalářské práce jsem se začal zajímat už před více než třemi lety, kdy se ke mně poprvé donesly zvěsti o novém médiu, které má nahradit DVD. Velice mne překvapilo, že tato - jak jsem se později dozvěděl - média s audiovizuálním obsahem ve vysokém rozlišení jsou vlastně dvě. A tehdy jsem se také seznámil s termínem válka (či bitva) formátů, který je přes svou bombastičnost rozšířený ve všech kruzích zabývajících se záznamovými médií od tištěných časopisů až po internet. Při svém objevování neznámých vod jsem zjistil, že tato situace, ve které se střetávají dva formáty v boji o nadvládu nad trhem, není nikterak nová: naopak, opakuje se vcelku pravidelně a vytrvale. Vytyčil jsem si cíl seznámit čtenáře s formáty, bez jejichž přispění by se historie domácího sledování filmů odehrála zcela jinak, pokud by se odehrála vůbec. Některé z nich, a to včetně těch nejdůležitějších, nejsou v našich zemích vůbec známy, ať už proto, že byly zapomenuty (fonograf), nebo u nás nikdy uvedeny nebyly (Betamax). Největším problémem při psaní této práce byl pro mne naprostý nedostatek dostupných tištěných zdrojů. Informace jsem proto musel čerpat téměř výhradně z internetu. Naštěstí existuje poměrně velké množství online pramenů, které se zabývají tématem, které jsem si zvolil. Kamínky mozaiky, jejíž výsledný obraz držíte nyní v rukou. Kde jsem to považoval za nutné či vhodné, použil jsem informace z jiných vědních oborů, především z oblasti teorie a dějin filmu. 3 Práci jsem rozdělil na dvě základní části: první pojednává o auditivních a druhá o audiovizuálních médiích. Jak už napovídá název, snažil jsem se obsáhnout ty nejvýznamnější formáty, které se za poslední století objevily. Jejich celkový počet je vskutku značný. Na této práci jsem začal pracovat v době, kdy ještě nebylo jasné, který z formátů nakonec bude slavit vítězství a jedním z cílů mé práce bylo pokusit se o odhad tohoto výsledku. Vzhledem k vývoji událostí ovšem tento cíl ztratil smysl ještě před dokončením psaní. Mého hlavního cíle se mi však, věřím, dosáhnout podařilo. 4 1. Uplatnění v knihovnictví Někdo by mohl namítnout, že záznamové formáty tvoří spíše okrajovou součást knihovnictví, případně s ním nemají společného vůbec nic. Rád bych ukázal, že to není pravda. Už desítky let vycházejí knihy doplněné o zvukovou složku, například pro potřeby učení se cizím jazykům – nejprve gramodesky, v devadesátých letech ovšem už i magnetofonové kazety a kompaktní disky. V ústřední knihovně filozofické fakulty je k dispozici velké množství CD-ROMů pro studijní účely. Moravská zemská knihovna i Knihovna Jiřího Mahena mají svou audiotéku na gramodeskách i na kompaktech, možnost půjčovat si je i absenčně má i knihovna městečka Hustopeče u Brna (cca. 6 000 obyvatel, v knihovně 30 tisíc svazků1). Přestože se s filmovým nosičem výjimečně setkáme i v české knihovně (např. už ve zmiňované Knihovně Jiřího Mahena), audiovizuálním formátům se na půdě knihoven daří především ve Spojených státech. V amerických knihovnách byl původně zájem hlavně o materiály s výukou cizích jazyků (převážně španělštiny) a o kazety udělej si sám (DIY - Do it yourself), ale postupně se zvedl zájem i o hrané filmy. Na nákup filmů se vyčleňuje stále větší část rozpočtu, neboť DVD tvoří už 25% veškerého půjčovaného materiálu.2 Formáty s vysokým rozlišením ovšem do první poloviny roku 2007 zakoupilo pouze 3% knihovníků. Na druhé straně je ale mezi zákazníky knihoven ještě mnoho takových, kteří požadují VHS kazety.3 Nicméně i knihovníky trápí válka formátů, neboť je to jen další okruh starostí 1 Základní údaje Městské knihovny Hustopeče [online]. 2006 [cit. 06-16-2008]. 2 NETHERBY, J. DVD is still growning in libraries [online]. 3 KOSELUK, Ch. High-def on the horizon for the libraries [online]. 5/14/2007 [cit. 06-16- 2008]. 5 se shrnujícím problémem s názvem standardizace.4 Jistě je jen otázkou času, kdy se čeští knihovníci budou bavit historkami o čtenářích, kteří se i přes mnohačetná upozornění snaží přehrát Blu-ray disky v klasických přehrávačích.5 Ještě větší užitek než z klasických auditivních a audiovizuálních formátů by knihovny mohly mít z následující generace, která už pro svůj obsah nepotřebuje žádný hmotný nosič. Zkušební provoz už ostatně v některých amerických a kanadských knihovnách probíhá. „Stahování je pro [knihovníky] svým způsobem Svatý
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