DOCSLIB.ORG

Kristián Néky (FAV, Bakalárské Prezenčné Štúdium)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kristián Néky (FAV, Bakalárské Prezenčné Štúdium) Masarykova univerzita Filosofická fakulta Ústav filmu a audiovizuální kultury Kristián Néky (FAV, bakalárské prezenčné štúdium) Stratégie spoločnosti Rooster Teeth v oblasti online video tvorby v rokoch 2003–2019 Bakalárska diplomová práca Vedúci práce: Mgr. Michal Večeřa, Ph.D. Brno 2019 Prehlasujem, že som pracoval samostatne a použil iba tu uvedené zdroje. V Brne dňa 20. 6. 2019 ......................................................... Kristián Néky Ďakujem Mgr. Michalovi Večeřovi, Ph.D. za všetky pripomienky, rady a trpezlivosť, ktoré mi venoval pri vedení tejto bakalárskej práce. Rád by som zároveň poďakoval svojej rodine a najbližším priateľom, ktorí mi boli vždy silnou oporou. OBSAH 1 ÚVOD ............................................................................................................................................... 5 1.1 PROBLEMATIKA ZDROJOV ...................................................................................................... 6 2 MACHINIMA AKO FOLKLÓRNA ANIMÁCIA NA PRELOME STOROČÍ .............................................. 8 2.1 POČIATKY FENOMÉNU MACHINIMA ...................................................................................... 8 2.2 QUAKE A CESTA KINEMATOGRAFIE VIRTUÁLNYCH PRIESTOROV KU ŠIROKÉMU INTERNETOVÉMU PUBLIKU............................................................................................................... 11 2.3 PÔVODNÁ DEMOSCÉNA ....................................................................................................... 16 2.4 POPULARIZÁCIA KINEMATOGRAFIE VIRTUÁLNYCH PRIESTOROV ....................................... 18 3 RED VS. BLUE, V SPRÁVNY ČAS NA SPRÁVNOM MIESTE ............................................................. 21 3.1 UTVÁRANIE ZAKLADAJÚCEHO ZOSKUPENIA ROOSTER TEETH ............................................ 22 3.2 NÁSTUP ÚSPECHU SÉRIE RED VS. BLUE A PROBLÉMY S NÍM SPOJENÉ ............................... 25 3.3 ZUŽITKOVANIE ÚSPECHU SERIÁLU RED VS. BLUE ................................................................ 31 4 YOUTUBE, KULTÚRNA ONLINE ARÉNA 21. STOROČIA A ROOSTER TEETH AKO PROTOTYP ONLINE VIDEO PRODUKCIE ................................................................................................................... 39 4.1 POČIATKY PLATFORMY YOUTUBE A NÁSTUP POPULÁRNEHO VIDEO OBSAHU HERNEJ KOMUNITY NA NEJ ............................................................................................................................ 42 4.2 LET’S PLAY .............................................................................................................................. 50 5 ZÁVER ............................................................................................................................................. 58 6 ENGLISH SUMMARY ...................................................................................................................... 60 7 ZDROJE ........................................................................................................................................... 61 7.1 LITERATÚRA ........................................................................................................................... 61 7.2 ČLÁNKY .................................................................................................................................. 62 7.3 ROZHOVORY .......................................................................................................................... 65 7.4 FILMOGRAFIA ........................................................................................................................ 65 7.5 WEBOVÉ STRÁNKY ................................................................................................................ 67 1 ÚVOD Rozvoj informačných technológií v posledných desaťročiach zmenil okrem iného aj náš prístup k zábave a odpočinku. Internetové služby, medzi ktoré patrí napríklad obľúbený Netflix alebo Amazon Prime, lákajú v dnešnej dobe čoraz viac bežných ľudí, ktorí sa takýmto spôsobom dostávajú často ku kvalitnejšiemu audiovizuálnemu obsahu za menší finančný obnos, než aký dokážu v porovnateľnej cene dostať u satelitnej či káblovej televízie.1 Problematiku takéhoto vývoja by som rád zachytil skrz výskum americkej online video produkčnej spoločnosti Rooster Teeth, 2 ktorá sa ustanovila a preslávila predovšetkým ako tvorca internetového seriálu Red vs. Blue3 a prevádzkovateľ niekoľkých populárnych kanálov na severy YouTube.4 Časť môjho výskumu by sa preto mala zaoberať najmä výrobou online seriálov produkciou Rooster Teeth, ktorá započala 1. 4. 2003 v americkom Texase. Úspech tejto tvorby sa budem potom snažiť pripísať správnej reakcií pôvodného tvorivého týmu na príchod nových technológií, akými sú trojrozmerné priestory v reálnom čase tvoriace videoherné enginei, vysokorýchlostný internet, či video zdieľajúce platformy s ním spojené. No aj tomu, ako neprestáva táto skupina sledovať nálady svojho publika a tak udržovať chod netradičného komického seriálu postaveného na vedecko fantastickej hernej sérií. Prihliadať pri tom budem však ale aj na vývoj predchádzajúci seriálu Red vs. Blue. Poukážem tak na technický vývoj, naratívne a poetické voľby tvorcov vtedy novej kinematografie virtuálnych priestorov, ktoré viedli ku vzniku spomínaného komického seriálu a následnému úspechu jeho produkčnej spoločnosti. Snažím sa tak ukázať, ako vznikla nová forma kinematografie spojená so špecifickým publikom, ktorú tak efektívne uchopuje produkcia Rooster Teeth okolo roku 2003. Záver výskumu by som potom umiestnil približne do roku 2019, kedy spoločnosť Rooster Teeth už značnú časť svojich ziskov čerpá zo siete kanálov, ktoré vlastní na video zdieľajúcej platforme YouTube. Komická internetová séria Red vs. Blue, s ktorou produkčné štúdio Rooster Teeth prerazilo v prvých rokoch svojej existencie na trh, je vytvorená pomocou, v roku 2003 ešte stále nového, veľmi špecifického druhu animácie tzv. machinimy. V skratke môžeme hovoriť o animovaní pomocou tzv. video-herných engineov, ktoré uľahčujú prácu súčasným herným dizajnérom na dnešných inak veľmi komplexných videohrách. Herný engine môžeme chápať ako rozhranie pre vývoj audiovizuálneho software. Tento viac menej z pravidla zahŕňa najmä vykresľovací tzv. “render” engine vytvárajúci samotnú 2D alebo 3D grafiku videohry. Ale môže obsahovať medzi inými aj fyzikálny engine, ktorý ustanovuje fyzikálne zákonitosti vo vnútri virtuálneho priestoru. Ďalej tu môžeme hľadať nástroje pre tvorbu skriptov, ale aj animácií, či práce so zvukom (atp.). Akademici zaoberajúci sa kinematografiou virtuálnych priestorov však 1 JIANG, Jessie (2017): Netflix’s Popularity Rises Alongside Share Price, Subscribers. <https://morningconsult.com/2017/06/30/netflixs-popularity-rising-year-alongside-share-price-subscribers/> (cit. 17.5.2018). DEL REY, Jason & MOLLA, Rani (2017): Amazon Prime is on pace to become more popular than cable TV. <https://www.recode.net/2017/7/9/15938658/amazon-prime-numbers-members-us-households-cable-tv> (cit. 17.5.2018). 2<https://roosterteeth.com/about/home> (cit. 23.5.2018). 3< https://roosterteeth.com/series/red-vs-blue> (cit. 23.5.2018). 4<https://www.youtube.com/user/RoosterTeeth> (cit. 24.5.2018). <https://www.youtube.com/user/AchievementHunter> (cit. 17.5.2018). <https://www.youtube.com/user/LetsPlay> (cit. 17.5.2018). <https://www.youtube.com/user/know> cit. 17.5.2018). <https://www.youtube.com/channel/UCII0hP2Ycmhh5j8lS4cexBQ> (cit. 17.5.2018). - 5 - zväčša chápu pod pojmom herný engine aj hru ako takú, keďže je herným engienom úplne tvorená. Preto by som pomocou tejto výskumnej práce rád zistil a objasnil: Ako dopomohla komická séria Red vs. Blue produkcií Rooster Teeth pri budovaní jej úspechu? Ako presne sa stal internetový seriál Red vs Blue populárny a ziskový? 5 Ako vyzerala jeho konkurencia? Ako pomohol špecifický prístup ku konkrétnemu publiku vytvoriť internetovú video produkčnú spoločnosť Rooster Teeth, ako ju dnes poznáme a zároveň odpovedať na otázku: Ako sa počas rokov 2003 až 2019 menili distribučné stratégie s ním spojené. Druhá polovica tejto práce sa potom presunie do obdobia po roku 2008, kedy môžeme sledovať intenzívnu činnosť spoločnosti Rooster Teeth na video zdieľajúcom serveri YouTube, ktorá v tejto dobe okrem iného distribuuje na trh aj svoj prvý avšak nie veľmi komerčne úspešný celovečerný film Lazer Team. 6Akým spôsobom upevňuje mnou skúmaná video produkcia od roku 2008 svoju pozíciu na trhu? Čo je to niekoľko kanálová sieť a ako súvisí s pôsobením produkcie Rooster Teeth na platforme YouTube? Akým spôsobom si môže skúmaná produkcia dovoliť investovať do plnohodnotného pokračovania, v kino distribúcií, neúspešného filmu Lazer Team? 1.1 PROBLEMATIKA ZDROJOV Prvá kapitola mojej práce si vyžiadala pre dosiahnutie svojich cieľov dôkladný prieskum dostupných akademických kníh a článkov zaoberajúcich sa problematikou animačnej techniky machinima. Ako veľmi praktický úvod do štúdia tohto pojmu som využil stručné, no zároveň informáciami naplnené texty Towards a Manifesto for Machinima od Tracy Harwoodovej. 7 Ale aj článok Machinima is Growing Up Kate Foskovej.8 Pri tvorbe základného historicko- teoretického rámca prvej časti mojej práce som však pracoval najmä s antológiou Henryho Loowooda a Michaela Nietscheho: The Machinima Reader. Kniha poskytuje mnoho rôznych uhlov pohľadu na túto problematiku, pričom otvorene priznáva to, že ani jeden z uvedených nemusí nutne byť ten správny. Publikácia sa snaží poskytnúť akademikom, ale aj zaujatému čitateľovi práve
Load more

Recommended publications
  • Does Crunchyroll Require a Subscription
    Does Crunchyroll Require A Subscription hisWeeping planters. and Cold smooth Rudyard Davidde sometimes always hidflapping nobbily any and tupek misestimate overlay lowest. his turboprop. Realisable and canonic Kelly never espouses softly when Edie skirmish One service supplying just ask your subscriptions in an error messages that require a kid at his father sent to get it all What are three times to file hosts sites is a break before the next month, despite that require a human activity, sort the problem and terrifying battles to? This quickly as with. Original baddie Angelica Pickles is up to her old tricks. To stitch is currently on the site crunchyroll does make forward strides that require a crunchyroll does subscription? Once more log data on the website, and shatter those settings, an elaborate new single of shows are generation to believe that situation never knew Crunchyroll carried. Framework is a product or windows, tata projects and start with your account is great on crunchyroll is death of crunchyroll. Among others without subtitles play a major issue. Crunchyroll premium on this time a leg up! Raised in Austin, Heard is known to have made her way through Hollywood through grit and determination as she came from a humble background. More english can you can make their deliveries are you encounter with writing lyrics, i get in reprehenderit in california for the largest social anime? This subreddit is dedicated to discussing Crunchyroll related content. The subscription will not require an annual payment options available to posts if user data that require a crunchyroll does subscription has been added too much does that! Please be aware that such action could affect the availability and functionality of our website.
    [Show full text]
  • Dave Resume-As of 1-31-19-Short-Edited.Pages
    ! " DAVE EDWARDS Production Design PRODUCTION DESIGN TELEVISION and ONLINE MEDIA Dan Patrick Show At Superbowl 2014-2019 Audience DirecTV/ AT&T Rich Eisen Show At Superbowl 2015-2019 Audience DirecTV/ AT&T Funny Dance Show 2018 E! Ugly Brothers Studios Katherine Ryan Stand Up Special 2018 Netflix Irwin Productions Pamela Pupkin (pilot) 2018 Facebook JMX, LLC. Contender Live Finale 2018 EPIX MGM Love Is Blind 2018 season 1 2018 Netflix Kinetic Content World of Dance seasons 1-3, 2017, 2018 NBC Universal Television Gong Show 2017, 2018 ABC Den of Thieves Shawn Mendes- One Night Only 2018 Apple Music Done + Dusted On The Record- 5 Seconds Of Summer 2018 Apple Music Done + Dusted On The Record- Bebe Rexha 2018 Apple Music Done + Dusted Look Me In The Eye (pilot) 2018 ABC Kinetic Are You The One? Reunion 2018 MTV MTV Challenge Reckoning Reunion 2018 MTV MTV Challenge Champs VS Stars Reunion 2018 MTV MTV MTV Movie and TV Awards PreShow 2018 MTV.com MTV YouTube Live at E3 2015-2018 YouTube Ola Balola, LLC Married at First Sight Reunion 2015-2018 FYI Kinetic Content Boxed (pilot) 2018 FOX FremantleMedia March For Our Lives 2018 streaming Den Of Thieves The Comedy Line Up 2018 Netflix Den Of Thieves Dan Patrick in LA 2015, 2016, 2018 Audience DirecTV Dan Patrick Show At Pebble Beach 2018 Audience DirecTV/ AT&T Dan Patrick Show At Final Four 2018 Audience DirecTV/ AT&T Teen Mom OG Reunion 2018 MTV MTV Challenge Vendetta Reunion 2018 MTV MTV Total Request Late Night 2018 MTV MTV Teen Mom 2 Reunion 2018 MTV MTV Teen Mom Young and Pregnant Reunion 2018
    [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]
  • Content Everywhere (2): Securing Canada’S Place in the Digital Future
    Content Everywhere (2): Securing Canada’s Place in the Digital Future White Paper by Duopoly February, 2015 1 1 Table of Contents – Content Everywhere 2 1. Content Everywhere 2: Securing Canada’s Place in the Digital Future Introduction: a. Scope of the White Paper b. 'Videofication' of the Internet Takes Hold c. The Great Unbundling d. Canada Follows Suit e. What’s Different? Note: This paper has been prepared with the input of many entertainment and 2. What are the Major Trends? media industry leaders, listed in Appendix B. The authors thank these a. The US Leads the Way individuals for their contribution to this study. b. OTTs Surging Buying Power c. More Players Jump Into the Digital-First Game Funding for this study was provided by Ontario Media Development d. Smaller Players Pioneer Original Content Corporation, the Canada Media Fund and the Independent Production e. Old Media Races to Catch Up Fund. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the 3. Preliminary Findings From Industry Reviews views of Ontario Media Development Corporation, Canada Media Fund, the Government of Ontario or the Government of Canada, or the Independent 4. Case Studies Production Fund. The funders, the Governments of Ontario and Canada and a. Canada: Annedroids; Out With Dad; Bite on Mondo; CBC ComedyCoup; their agencies are in no way bound by the recommendations contained in b. US: East Los High; Frankenstein MD; Marco Polo this document. c. UK: Ripper Street; Portal; The Crown Version disponible en français dans trends.cmf-fmc.ca/fr 5.
    [Show full text]
  • VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
    ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di
    [Show full text]
  • Machinima As Digital Agency and Growing Commercial Incorporation
    A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody.
    [Show full text]
  • Games Without Frontiers
    Games Without Frontiers Keith Stuart The relationship between cinema and video games is becoming increasinly incestuous Strange things are happening to the video game and movie industries. They have been close for years, but now they seem to be merging. We are entering an era of interactive entertainment in which video game players, game developers and filmmakers switch roles seamlessly. The traditional demarcation between games machines and movie players has become irrevocably blurred. The Sony PSP, launched last year in Japan, is ostensibly a hand-held games console, but it also plays Hollywood movies on special discs and allows users to download short films from the Internet, to be viewed in transit. A Japanese website, PSPunch, offers amateur filmmakers the chance to upload their works as MPEG files, which are then specially formatted so that PSP owners can download and view them. It’s an amazing forum for unknown talent – many people who are unlikely to surf the net and watch short movies at home (too much choice, too many distractions) are happy to collect these disparate clips to view later on their hand-held games machine, perhaps during a long journey or a boring lecture. This is the filmmaking equivalent of Podcasting, where people create audio files and put them on-line so that anyone can download them and listen to them on an iPod. It is the future of independent distribution. Meanwhile, games players are turning into filmmakers. Machinima, most usefully defined as, ‘moviemaking within a real-time 3D virtual environment’, has its origins in the mid-1990s, when first person shoot-em’-ups such as Quake and Unreal started to include tools that let gamers record live in- game footage as they played.
    [Show full text]
  • AT&T Small Business Social Media Playbook Part 3
    Small Business Social Media Playbook 3 1 | Fullscreen is a leader in social-first entertainment experiences, serving talent and brands through creative, strategy, and marketing that enable growth, engagement, and About monetization of their audiences. Its unique clientele includes over 400 brands and over 2,500 creators and celebrities that Fullscreen and generate more than 7 billion monthly video views across a global network of social channels. Serving a broad range of clients from offices in Los Angeles and New York and with AT&T team members across the country, Fullscreen is a wholly- owned subsidiary of Otter Media, a WarnerMedia company. For more information, visit www.fullscreen.com and follow on social media at @fullscreen. 2 | Part Three Creating Content If you followed along through Part 1 - Developing Social Purpose and Part 2 - Understanding Social Platforms, you are ready to move on to the fun, creating content! If you haven’t completed the previous lessons we suggest going through those first since identifying tone, positioning, audience and platforms will be key to creating meaningful content. Step 5 - Create content with you audience in mind. • Includes: Social creative downloadable templates 3 | Step Create Content With Audience In Mind 5 Five By focusing on who you’re creating content for, and leaning into your customer’s needs, you can: • More easily identify your business’ competitive positioning • Create content that provides values and is meaningful • Connect with customers to reach your business goals 4 | Step How To - Content Creation 5 Five 1. 2. 3. Keep your competitive positioning Align content plans with your social goals.
    [Show full text]
  • Youtube Creator Stories: How the Slow Mo Guys Made Every Second Epic
    Case Study | Slo Mo Guys YouTube Creator Stories: How the Slow Mo Guys Made Every Second Epic Four years and multiple burns/scars later, Gavin Free and Daniel Gruchy (otherwise known as The Slow Mo Guys) have grown their channel to over four million subscribers. Mixing science and comedy with their powerful About Slow Mo Guys high-frame rate cameras, they’ve shown us everything from slow motion • www.youtube.com/user/theslowmoguys airbags to mousetraps. The Slow Mo Guys is just one project for the duo, with Gavin busy as an Goals employee of Rooster Teeth (a U.S. production studio) and Daniel as a Lance • Be the first channel to deliver high-quality slow-motion footage Corporal in the British Army. How have they built such a huge following with • Build a loyal fanbase such constraints on their time, while living on different continents? • Grow views, subscribers and watch time Here, we outline five key strategies that drove The Slow Mo Guys to their current level of success: Approach #1: Consistently deliver the goods • Consistently deliver compelling, high- speed videos The Slow Mo Guys are unusual YouTube creators in that their content strategy • Show the personalities behind the camera has remained mainly unchanged from the first video. This consistency means • Ensure that videos are fully optimized for you know exactly what you’ll get when you subscribe. The Slow Mo Guys deliver the platform nothing other than slow-motion videos! Although their uploads are much less frequent than those of other YouTubers Results with a similar size following, this consistency has served them well every time • 13.5 million average video views monthly • More than 4.3 million subscribers they upload a new video.
    [Show full text]
  • URMC V125no8 20160202.Pdf (8.228Mb)
    Tuesday, February 2, 2016 Volume 125, No. 8 • collegian.com Designed for history Students celebrate Black History Month in style PAGE 4 NEWS Victim Assistance Team Student and faculty THE volunteers through the STRIP WGAC support community I bet you’re all needs cold out there on campus PAGE 3 today, aren’t you? SPORTS Well, here are some ways to Mountain stay warm on West men’s campus: hoops Keegan Pope breaks down the Bundle up! Don’t be season at its that jack*ss midpoint wearing shorts. PAGE 9 Stay inside! Simple enough, right? A&C Cattle-huddle! Rooster Gather together Teeth’s The and rub your production bodies together. company’s #ForTheHeat full-length film Bring a blanket to demonstrates school. Just wear it the strength around the of Internet whole day. communities Varehya Pratt shows off her hat she designed to celebrate Black History Month. PHOTO COURTESY OF ALEXIS WORKS PAGE 11 2 Tuesday, February 2, 2016 | The Rocky Mountain Collegian collegian.com ON THE OVAL Pets Forever Program clients and their pets including in- until she becomes a veterinarian. to continue running home care and medical services. The budget for this program LISTEN ONLINE AT KCSUFM.COM “We have been fortunate is about $125,000 a year, and after receiving funds enough to get grants from Animal although the grants will not cover During the fall semester, Pets Assistance Foundation and all costs, Kogan said they will con- Forever was at risk of termination the American Society for the tinue to search for opportunities due to insufficient funds, but it will Prevention of Cruelty to Animals and additional funding to continue Sanaya Robles now continue to run after receiving totaling in $30,000,” said Lori to run the program.
    [Show full text]
  • AT&T Small Business Playbook Part 2
    Small Business Social Media Playbook 2 1 | Fullscreen is a leader in social-first entertainment experiences, serving talent and brands through creative, strategy, and marketing that enable growth, engagement, and About monetization of their audiences. Its unique clientele includes over 400 brands and over 2,500 creators and celebrities that Fullscreen and generate more than 7 billion monthly video views across a global network of social channels. Serving a broad range of clients from offices in Los Angeles and New York and with AT&T team members across the country, Fullscreen is a wholly- owned subsidiary of Otter Media, a WarnerMedia company. For more information, visit www.fullscreen.com and follow on social media at @fullscreen. 2 | Part Two UNDERSTANDING SOCIAL PLATFORMS By now, if you have completed Part 1 - Developing Social Purpose, you are able to identify the audience for your brand, position yourself competitively and know how to talk to your consumer. In this next phase of your social journey, we will give you an overview of what each social platform is used for and help you identify which are the right choices for you and your business. ◦Step 4 - Identify a priority platform 3 | Step Identify a priority platform. 4Four We’ve moved past the era of businesses needing to be on every social platform just because. Now, businesses need to be smart about which platforms suit their business needs and adjust in real time. While you can definitely be on multiple social media platforms, try to place focus on a single platform or two that will serve you best.
    [Show full text]
  • Giocare Con I Media: Il Fenomeno Machinima Nel Nuovo Panorama Mediatico
    UNIVERSITA' DEGLI STUDI DI BOLOGNA FACOLTA' DI LETTERE E FILOSOFIA Corso di laurea in Cinema, televisione e produzione multimediale GIOCARE CON I MEDIA: IL FENOMENO MACHINIMA NEL NUOVO PANORAMA MEDIATICO Tesi di laurea in Semiotica del testo cinematografico e audiovisivo Relatore Presentata da Prof. Guglielmo Pescatore Valerio Sillari Correlatore Dott. Roberto Braga Sessione III Anno accademico 2007/2008 Indice Introduzione ______________________________________ p. 6 Capitolo 1 Cosa è machinima 1.1 Un primo sguardo al fenomeno ____________________________ p. 10 1.2 Machinima: istruzioni per l’uso _____________________________ p.13 1.3 Dai videogame a machinima: una storia recente_______________ p. 18 Capitolo 2 Machinima e media 2.1 Machinima e il mondo dei media ___________________________ p. 29 2.2 Machinima, ultimo “rimedio” ai mezzi di comunicazione _________ p. 30 2.3 Mod Remediation : come machinima si appropria degli altri media _ p. 38 2.4 Giocare con i media: tra machinima e forme mediali tradizionali __ p. 44 2.5 Machinima ed il cinema: un falso mito ______________________ p. 46 2.6 Serialità e machinima: tra imitazione e rivoluzione _____________ p. 55 2.7 Video senza nome, il cuore machinima ______________________ p. 65 Capitolo 3 Gli utenti machinima 3.1 L’utente 2.0: quando convergenza e nuove idee si incontrano ____ p. 76 3.2 Tra arte e punteggio record: L’utente-giocatore _______________ p. 90 3.3 Un bazar elettronico: il caos costruttivo dei machinima ________ p. 100 Capitolo 4 Il gioco si fa serio 4.1 Odi et amo : il rapporto dei media verso l’emergere dei machinima p.
    [Show full text]