HOW to BUILD an AUDIENCE for YOUR WEB SERIES: Market, Motivate and Mobilize
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A Production Process for Developing a Web Series, Snaptv
California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 12-2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV Toebey T. Caldwell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Playwriting Commons, and the Television Commons Recommended Citation Caldwell, Toebey T., "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV" (2017). Electronic Theses, Projects, and Dissertations. 588. https://scholarworks.lib.csusb.edu/etd/588 This Project is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Film Theory and Media Production by Toebey Ty Caldwell December 2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino by Toebey Ty Caldwell December 2017 Approved by: Kathryn Ervin, Committee Chair, Theatre Arts Andre Harrington, Theatre Arts C. Rod Metts, Communication Studies © 2017 Toebey Ty Caldwell ABSTRACT My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. -
Watching Television with Friends: Tween Girls' Inclusion Of
WATCHING TELEVISION WITH FRIENDS: TWEEN GIRLS’ INCLUSION OF TELEVISUAL MATERIAL IN FRIENDSHIP by CYNTHIA MICHIELLE MAURER A dissertation submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies written under the direction of Daniel Thomas Cook and approved by ______________________________ Daniel T. Cook ______________________________ Anna Beresin ______________________________ Todd Wolfson Camden, New Jersey May 2016 ABSTRACT Watching Television with Friends: Tween Girls’ Inclusion of Televisual Material in Friendship By CYNTHIA MICHIELLE MAURER Dissertation Director: Daniel Thomas Cook This qualitative work examines the role of tween live-action television shows in the friendships of four tween girls, providing insight into the use of televisual material in peer interactions. Over the course of one year and with the use of a video camera, I recorded, observed, hung out and watched television with the girls in the informal setting of a friend’s house. I found that friendship informs and filters understandings and use of tween television in daily conversations with friends. Using Erving Goffman’s theory of facework as a starting point, I introduce a new theoretical framework called friendship work to locate, examine, and understand how friendship is enacted on a granular level. Friendship work considers how an individual positions herself for her own needs before acknowledging the needs of her friends, and is concerned with both emotive effort and social impact. Through group television viewings, participation in television themed games, and the creation of webisodes, the girls strengthen, maintain, and diminish previously established bonds. -
Podcasts and Convergent Digital Media Michael Dwyer, Arcadia University
Podcasts and Convergent Digital Media Michael Dwyer, Arcadia University What is a podcast, anyway? Is it a textual form? A genre of audio recording? A distribution method? And what was a podcast ten years ago? Are they different now from how they were then? How so? Why? Those are important questions. But it appears that media studies, as a discipline, has yet to pursue them in any sustained way. The word “podcast” has appeared in Cinema Journal in only 11 pieces, mostly in announcements and citations. In Velvet Light Trap, the word’s appeared twice. Major academic publishers like Routledge have only a few podcasting monographs, mostly of the how-to variety. Run a search on the term “podcast” on Flow and you get 41 results. A single television series like Battlestar Galactica, by contrast, returns 46 results. What might explain this relative silence from a group of scholars whose animating purpose is the study of popular media? I am reminded, as I often am, of Tim Anderson’s 2009 Velvet Light Trap essay “A Skip in the Record of Media Studies.” In it, Anderson argues that media studies' failure to fully embrace the study of sound media has "unwittingly articulated blind spots that make it unable to fully understand what is at stake today" (104). Consider, for example the roundtable prompt that animates our discussion, which articulates a desire to consider podcasts “alongside other popular forms, such as web series and online television,” but not sound media. If media studies scholars want to understand podcasts (and I think we all here sincerely do) we need to understand them in relation to media industries like radio, pop music, and sound recording as well as screen media. -
Small Business-Themed Web Series Helps Drive Extra Sales 1/2/2013
January 2013 Small business-themed Web series helps drive extra sales Client social networks. Marketing and Hiscox USA (New York) PR trades and general consum- PR agency er outlets were also pitched. Prosek Partners (New York) Campaign RESULTS Leap Year season two Hoffmann says general con- Duration sumer surveys conducted in Q3 February-September 2012 2011 and Q3 2012 revealed Budget aided brand awareness nearly $400,000 doubled. The campaign also contributed to a 35% increase in product quotes viewed and In summer 2011, Hiscox and products purchased online dur- its long-time agency Prosek The second season of Web series Leap Year attracted 2.3 million ing the same time period. viewers during its initial 10-week run from June 18 to August 20 Partners (formerly CJP Com- Brand impressions across munications), launched an social media, traditional media, original Web series called “The storyline grows in the business scenarios and men- and all video channels hit 321 Leap Year as part of a larger same way many of our target tioned general types of insur- million, up from 105 million marketing campaign to audience’s businesses grow,” ance that could help. for season one. Comparing drive awareness of the com- explains Hoffmann. Various entrepreneurs and seasons one and two, Twitter pany’s new small business Strategic partnerships, social startup experts, including Red- impressions skyrocketed from 6 insurance products. media engagement, media rela- dit cofounder Alexis Ohanian million to 24 million, and Face- The series explored chal- tions, and attendance at the and TechCrunch reporter Ryan book impressions more than lenges facing first-time entre- Mashable Connect conference Lawler, appeared in episodes doubled to 5.3 million. -
LKT Matt Loads
Transmedia Television Drama: Proliferation and promotion of extended stories online Matthew Loads Monash University [email protected] Abstract Transmedia storytelling associated with television drama has existed online for more than sixteen years. For most of its existence, this material has been dominated by texts associated with the promotion of television series. This additional material has made inroads into prime- time television and most high-rating television drama productions have established an online presence. This study concentrates on additional content that is available online in relation to all Australian drama productions and some international drama productions in a five-month period. This paper asks what additional material in particular exists, finds out the prevalence of promotional material in comparison to storytelling and seeks to discover if any distinct categories of television drama productions provide more transmedia texts than others. A significant amount of additional material was discovered to feature promotion over storytelling. Differences in approach to this type of storytelling can be seen between public, free-to-air commercial and subscription broadcasters. 1 Introduction According to Henry Jenkins transmedia is “a technique of telling stories across multiple platforms and formats, with each element making distinctive contributions to…the story world” (Jenkins, 2006a: 334). By using different media formats, transmedia creates “entry points” through which consumers can become immersed (Rose, 2011: 3) in a narrative. Transmedia storytelling has been implemented to increase connections with audiences for video games, films, comic books and television (Consalvo, 2003: 322). This paper presents a pilot study that uncovers evidence of television drama production following this approach in recent programming. -
Dissertation Von J
Web-TV. Entstehungsgeschichte, Begriffe, Ästhetik Vom Fachbereich II (Kulturwissenschaften und Ästhetische Kommunikation) der Universität Hildes- heim zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) angenommene Dissertation von Jennifer Ahl geboren am 18.06.1983 in Salzgitter-Bad Gutachter: Professor Doktor Hans-Otto Hügel Tag der mündlichen Prüfung: 15. Mai 2013 Inhaltsverzeichnis 1 „Fernsehen war gestern?“ – Einführung .................................................................... 5 1.1 Eingrenzung des Themas .......................................................................................................... 7 1.2 Vorgehen und Zielsetzung ....................................................................................................... 11 1.2.1 Die ästhetische Perspektive ............................................................................................ 11 1.2.2 Struktur der Arbeit und Darstellung der Thesen .............................................................. 13 2 „How will we know ,television’ when we see it?“ – Kriterien zur Bestimmung von Fernsehartigkeit im World Wide Web .......................................................................16 2.1 Mediale Struktur ....................................................................................................................... 18 2.1.1 Programmfluss versus Hypertext..................................................................................... 18 2.1.2 Serialität als Strukturprinzip ............................................................................................ -
An Empirical Study to Measure Fascination of Young Adults Towards Web Series
Damini Hareshkumar Gianchandani et al./ International Journal Vol. 9, Issue 5, May : 2020 for Research in Management and Pharmacy (I.F.5.944) (IJRMP) ISSN: 2320- 0901 An Empirical Study to Measure Fascination of Young Adults towards Web series DAMINI HARESHKUMAR GIANCHANDANI Research Scholar (M.Phill), Ganpat University, Kherva, Mehsana., Kherva, Gujarat, India DR. SURAJ M. SHAH Assistant Professor, Centre for Management Studies and Research, Ganpat University, Kherva, Mehsana. DR. MAHENDRA S. SHARMA Pro-Chancellor and Director General, Ganpat University, Kherva, Mehsana. Abstract: The Digital Democracy Survey defined the activity as “watching three or more episodes of a TV or web series in one sitting” (Deloitte 2015). To grab the audience towards a web series localizing of the content is the new strategy. This makes the content to be relevant and relatable to the audience and thus a large number of audience’s interest is been caught (Vijay Subramanian, 2017). But content is not the only reason why web series have been successful in grabbing the eyeballs of people, they have also made it a point to quench our thirst for diverse subject and issues. With the rise in the popularity of the Internet and improvements the accessibility and affordability of high speed broadband and streaming video technology meant that producing and distributing a web series became a feasible alternative to "traditional" series production, which was formerly mostly done for broadcast and cable TV. Most of age groups have now Turn off their television sets and tune into Web series. Here, the research objective is to measure fascination of young adults towards web series. -
Online Version*
ONLINE VERSION* SAN DIEGO CONVENTION CENTER QUICK GUIDE HILTON MANCHESTER OMNI SAN DIEGO SAN DIEGO GRAND HYATT SAN DIEGO CENTRAL BAYFRONT SAN DIEGO HOTEL LIBRARY MARRIOTT MARQUIS SAN DIEGO MARINA COMIC-CON® INTERNATIONAL 2017 JULY 20–23 • PREVIEW NIGHT: JULY 19 COMPLETE SCHEDULE GRIDS • EXHIBIT HALL MAP • EXHIBITOR LISTS MAPS OF THE CONVENTION CENTER/PROGRAM & EVENT VENUES/SHUTTLE ROUTES & HOTELS/DOWNTOWN RESTAURANTS *ONLINE VERSION WILL NOT BE UPDATED BEFORE COMIC-CON • DOWNLOAD THE OFFICIAL COMIC-CON APP FOR UPDATES COMIC-CON INTERNATIONAL 2017 QUICK GUIDE WELCOME! to the 2017 edition of the Comic-Con International Quick Guide, your guide to the show through maps and the schedule-at-a-glance programming grids! Please remember that the Quick Guide and the Events Guide are once again TWO SEPARATE PUBLICATIONS! For an in-depth look at Comic- Con, including all the program descriptions, pick up a copy of the Events Guide in the Sails Pavilion upstairs at the San Diego Convention Center . and don’t forget to pick up your copy of the Souvenir Book, too! It’s our biggest book ever, chock full of great articles and art! CONTENTS 4 Comic-Con 2017 Programming & Event Locations COMIC-CON 5 RFID Badges • Morning Lines for Exclusives/Booth Signing Wristbands 2017 HOURS 6-7 Convention Center Upper Level Map • Mezzanine Map WEDNESDAY 8 Hall H/Ballroom 20 Maps Preview Night: 9 Hall H Wristband Info • Hall H Next Day Line Map 6:00 to 9:00 PM 10 Rooms 2-11 Line Map THURSDAY, FRIDAY, 11 Hotels and Shuttle Stops Map SATURDAY: 9:30 AM to 7:00 PM* 14-15 Marriott Marquis San Diego Marina Program Information and Maps SUNDAY: 16-17 Hilton San Diego Bayfront Program Information and Maps 9:30 AM to 5:00 PM 18-19 Manchester Grand Hyatt Program Information and Maps *Programming continues into the evening hours on 20 Horton Grand Theatre Program Information and Map Thursday through 21 San Diego Central Library Program Information and Map Saturday nights. -
Download Full Seasons of Tv Shows Free Download TV Shows & Series Free
download full seasons of tv shows free Download TV Shows & Series Free. You don’t have to sit in front of TV to watch favorite shows or series. YouTube, Hulu, Vimeo, other sites offer lots of TV shows, series & full episodes. Download them free with Freemake Video Downloader. 100% safe and reliable! 1. Install Freemake Video Downloader. Download and install the software. Turn on automatic download mode. Select desired video quality, and "Download" as an action. 2. Copy TV show link. Go to a TV show or full episode web page and copy its link. 3. Download TV show. Click "Paste URL" button and the TV show will be downloaded automatically. New! Click here to get YouTube movies and a turbo-fast software to convert YouTube files in milliseconds! Download TV Shows & Series Free. You don’t have to sit in front of TV to watch favorite shows or series. YouTube, Hulu, Vimeo, other sites offer lots of TV shows, series & full episodes. Download them free with Freemake Video Downloader. 100% safe and reliable! 1. Install Freemake Video Downloader. Download and install the software. Turn on automatic download mode. Select desired video quality, and "Download" as an action. 2. Copy TV show link. Go to a TV show or full episode web page and copy its link. 3. Download TV show. Click "Paste URL" button and the TV show will be downloaded automatically. New! Click here to get YouTube movies and a turbo-fast software to convert YouTube files in milliseconds! Download full seasons of tv shows free. Watch unlimited exclusive HD Movie & Tv Shows Online for free at Gomovies. -
Typology of Tropes in Avatar-Based Storytelling Practices
Replay 1 (3) / 2016; I. CEEGS 2015 Proceedings; Articles / Artykuły http://dx.doi.org/10.18778/2391-8551.03.06 Marta Tymińska University of Gdansk Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices Introduction Being trapped in a computer game, fighting evil Artificial Intelligence, saving the world or at least virtual reality – those tropes are common in contemporary novels, comic books and motion pictures. The majority of popular, mainstream culture reco- gnizes digital games, virtual reality and the Internet as part of everyday experience, therefore it often incorporates them in its narratives. The influence of games upon other media transpires in various forms: from including such themes in world-buil- ding and storytelling to creating spaces imitating game-like experiences. Avatars star- ted to appear in various titles as main characters or projections thereof. The inclusion of avatars in such non-game narratives can recreate the common knowledge of digital game context or various misconceptions that authors of other popular media hold regarding player-avatar phenomena. The aim of this article is to investigate popular tropes within avatar-based story- telling practices present in popular media other than digital games. Inspired by Ted Friedman’s work (2005) on cybercultures and representation of computers in popular culture, this paper will focus on avatar-related tropes through an analysis of a range of texts such as: comic books, motion pictures, animations, TV series, and whole fran- chises. The results will be confronted with the most recent research in the matter of avatars in game studies. This approach will enable me to create a typology of narrative tropes connec- ted with the gaming experience throughout the avatars and to explore the avatar- 101 -player relationship. -
HOW to WATCH TELEVISION This Page Intentionally Left Blank HOW to WATCH TELEVISION
HOW TO WATCH TELEVISION This page intentionally left blank HOW TO WATCH TELEVISION EDITED BY ETHAN THOMPSON AND JASON MITTELL a New York University Press New York and London NEW YORK UNIVERSITY PRESS New York and London www.nyupress.org © 2013 by Ethan Thompson and Jason Mittell All rights reserved References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. Library of Congress Cataloging-in-Publication Data How to watch television / edited by Ethan Thompson and Jason Mittell. pages cm Includes bibliographical references and index. ISBN 978-0-8147-4531-1 (cl : alk. paper) — ISBN 978-0-8147-6398-8 (pb : alk. paper) 1. Television programs—United States. 2. Television programs—Social aspects—United States. 3. Television programs—Political aspects—United States. I. Thompson, Ethan, editor of compilation. II. Mittell, Jason, editor of compilation. PN1992.3.U5H79 2013 791.45'70973—dc23 2013010676 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books. Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments ix Introduction: An Owner’s Manual for Television 1 Ethan Thompson and Jason Mittell I. TV Form: Aesthetics and Style 1 Homicide: Realism 13 Bambi L. Haggins 2 House: Narrative Complexity 22 Amanda D. -
Writing the Web Series ARONIVES
Byte-Sized TV: Writing the Web Series ARONIVES MASACHUSETTS INSTME By OF TECHNOLOGY Katherine Edgerton MAY 1 4 2013 B.A. Theatre and History, Williams College, 2008 LIBRARIES SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES/WRITING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2013 © Katherine Edgerton, All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: / /I - -11-11 Program in Comparative Media Studies/Writing May 10,2013 Certified by: Heather Hendershot Professor of Comparative Media Studies Thesis Supervisor Accepted by: Heather Hendershot Professor of Comparative Media Studies Director of Comparative Media Studies Graduate Program Byte-Sized TV: Writing the Web Series By Katherine Edgerton Submitted to the Program in Comparative Media Studies/Writing on May 10, 2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT Web series or "webisodes" are a transitional storytelling form bridging the production practices of broadcast television and Internet video. Shorter than most television episodes and distributed on online platforms like YouTube, web series both draw on and deviate from traditional TV storytelling strategies. In this thesis, I compare the production and storytelling strategies of "derivative" web series based on broadcast television shows with "original" web series created for the Internet, focusing on the evolution of scripted entertainment content online.