Ultra-Niche Video Content Networks Modelling a Proxy of Networked Power for Independent Corporate Producers
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Ultra-Niche Video Content Networks Modelling a proxy of networked power for independent corporate producers. A project submitted in fulfilment of the requirements for the Doctor of Philosophy Katrina A. Jojkity School of Media and Communication The College of Design and Social Context RMIT University August 2015 ABSTRACT According to media theorist Manuel Castells, the power to create for-profit media is usually in the hands of a small number of mass media conglomerates that are typically formed by constellations of multiple media properties operating in numerous ways and in multiple cultural and institutional environments brought together through their ability to decide the content and format of communication (Castells, 2011). However, the traditional articulation of this power has been radically altered in our current networked society (Castells, 2011). Castells (2011) observes that, in this shifting ground of power, there are new forms of domination and determination to be discovered (Castells, 2011). The core concern of this study is with how independent audio-visual producers working at the corporate/commercial segment of the industry respond to proliferating media platforms and fragmenting media markets. This study takes a producer/creative practitioner centred focus and is concerned with the viability of alternative strategies for marketing audio-visual content production services. This research examines the democratisation of technologies of production, storage and distribution that have enabled organisations that sit between mass media conglomerates and consumers to create and broadcast their own niche video content for targeted audiences professionally and cost-effectively. This research is informed primarily through my own professional practice and the work of Saul Hansell, Chris Anderson, and Manuel Castells. This practice-led doctoral research uses an action research method that encompasses the creation of two minor projects and one core capstone project. The strategies of particular interest are described throughout the dissertation as slivercasting and ultra-niche networking, as well as long tail networking. The study brings together contemporary theories of ultra- niche broadcasting, conceptions of small-scale video production practices and content marketing, with a focus on ultra-niche branded video content for niche audiences as seen as proxy of networked power for independent corporate producers. The primary beneficiaries of this research are independent audio-visual producers. 2 KEYWORDS Multimedia, production, power, counter-power, the long-tail, slivercasting, digital media, content marketing, niche television, ultra-niche broadcasting, branded content, broadcast, Internet television, social media, targeted banded content, mass-media, ultra-niche audience, and community. 3 DECLARATION I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Name: Date: August 2015 4 ACKNOWLEDGEMENTS The PhD has been an extremely rewarding journey for me. However, none of this would have been possible without the help and support of many people, especially my supervisors Dr Chris Barker and Dr Leo Berkeley. I would also like to take this opportunity to thank Dr Chris Barker for his amazing encouragement and support throughout this journey, as without his dedication and patience I would not have been able to complete this task. A big thank you goes out to all my friends and family for all their support and encouragement. I would especially like to mention Karen Kim, Sheryl Ng, Stefan Hottinger- Behmer, and all the production team at Inspiration and Tiszai productions. I must highlight the exceptional depth of support, love, help, and understanding, of my love and husband, Giovanni Di Lieto, without his support this project would not have been completed. Thank you very much for all your support. 5 TABLE OF CONTENTS ABSTRACT 2 KEYWORDS 3 DECLARATION 4 ACKNOWLEDGEMENTS 5 TABLE OF CONTENTS 6 TABLE OF FIGURES 8 PREFACE 10 SECTION 1 16 CHAPTER 1 INTRODUCTION 17 Media Production and Networked Power 23 Niche Video, Counter Power, Programmers and Switchers 24 CHAPTER 2 STATE OF THE ART REVIEW 29 An Introduction to Niche Broadcasting and the Move Away from Mass Media in Favour of Niche 30 The History of Niche Broadcasting 35 Networks 40 Power and Counter Power 43 Fragmentation of Media, Audience Fragmentation and Autonomy 49 Technological Developments and the Rapid Evolution of Ultra-Niche Broadcasting 50 Democratisation of Production Equipment 52 New Distribution Vehicles, Devices and Screens 54 Communities 59 Collaboration 61 Marketing Communication Theories: Using Ultra-Niche Video Content Networks to Target Consumers 62 Theories on Monetisation 68 Affinity Marketing 73 Brand Identity 74 Conceptual Framework for the Study 75 6 CHAPTER 3 METHODOLOGY 79 Project 1 - Inspiration 88 Project 2 - Corporate Branded Content 89 Project 3 – RMITV: An Ultra-Niche Network Proposal/Model 89 Ethics and Ideology 91 SECTION 2 93 CHAPTER 4 PROJECT 1 - INSPIRATION 94 Dates and Channels Inspiration was broadcast On-Air and Online 95 Affordable Technology 97 Distribution of Ultra-Niche Video Content 101 Collaboration 110 Social Media Marketing 113 The Programming Power of Branding 118 Sponsorship, Branded Content and Monetisation 119 Affiliate Marketing 124 CHAPTER 5 PROJECT 2 - CORPORATE BRANDED CONTENT 128 The Programming Power of Content Creation 131 The Programming and Switching Power of Ultra- Niche Broadcasting Networks to Connect with and Attract an Audience 136 CHAPTER 6 PROJECT 3 – RMIT OR ULTRA-NICHE NETWORK PROPOSAL 140 The Programming and Switching Power of Digital Distribution 141 The Programming and Switching Costs Involved in Creating Ultra-Niche Network Models 143 The Programming and Switching Power of Monetisation, Sponsorship and Branded Content 147 Break-Even Analyses and Ultra-niche Video Content Networks 153 The Implementation Phases of a Ultra-niche Network 155 Niche Audience Aggregation 161 Community Building 167 Measurement of Ultra-Niche Broadcast Networks 171 RESULTS 176 CONCLUSION 179 7 REFERENCES 180 Appendices 186 Appendix 1 – E-mail from Mr Dion Workman. 187 Appendix 2- Invitation to participate in a research project 188 Appendix 3- Release Form for Media 190 Appendix 4 – Survey Questions 191 Appendix 5- ‘Inspiration’ Meeting Minutes 193 Appendix 6- ‘Inspiration’ Plan of Action 194 Appendix 7- ‘Inspiration’ running order and segments 195 Appendix 8 - Media agent agreement 197 Appendix 9- Reference Letter from Mr Stefan Behmer 200 Appendix 10 -'Inspiration' Media Kit 201 Appendix 11 -RMIT Proposal 205 Appendix 12 -Higher Education Proposal 233 TABLE OF FIGURES Figure 1 ‘The Long Tail’ (Anderson, 2006 Backcover) 17 Figure 2 Illustrates the action research cycle (Baskerville, 1999 p. 14) 83 Figure 3 Practice-led action research process 87 Figure 4 Practice- led PhD Timeline 87 Figure 5 Inspiration Broadcasting Timeline 95 Figure 6 Total audience data by platform 108 Figure 7 Inspiration 13 Part Series Future Budget/Possible Revenue 121 Figure 8 the approximate in-house operating costs for setting up and running a RMIT television network for the first 21 months 145 Figure 9 Break-even analysis table broken down into four phases of development for the creation of an ultra-niche network (see Appendix 10, page 17 of the RMIT proposal). 154 Figure 10 Time frame- project schedule for RMIT TV (see Appendix 10, page 13 of the RMIT TV proposal) 156 8 Figure 11 Sample program schedule for phase 2 (page 13 of the RMIT TV proposal Appendix 10) 159 Figure 12 A flow chart showing the development phases and costs required to create a ultra-niche network for RMIT University (page 17 of the RMIT TV proposal (Appendix 10) 160 Figure 13 illustrates how students would prefer to hear about a ultra-niche network. 164 Figure 14 Illustrates what type of content attracts viewers. 166 Figure 15 Illustrates the type of content viewers would like to see most on an ultra-niche network. 167 Figure 16 Illustrates students’ positive attitudes towards an ultra-niche network 170 9 PREFACE The inspiration behind this study was derived from my own personal experience as an independent audio-visual producer working at the corporate end of the video production industry. The exploration, delivery and creation of ultra-targeted content that sits in between mass media appeared early and frequently throughout my 17 years of producing niche video content globally and has become the basis and foundation of this study. I first created targeted video content for a narrow audience in London around 17 years ago after I had finished my fashion design and marketing degrees. My first video project was produced and presented on and for a group of ‘young creatives’ who were living in London's East End around the year 2000. In fact, these designers, artists and jewellery makers with whom I was affiliated, were involved in fashion events titled ‘Secret Rendezvous’ led by Taiwanese designer Meihui Liu. These events involved designers, such as Pauric Sweeney who was living in the East End of London in the late 90s early 2000s along with other young and new designers, such as Hussein Chalaya and Alexander McQueen who then went on to be enormously famous and significant in the world of fashion. At the time I was working as a fashion designer, branding and marketing consultant and was immersed in this world of ‘creative innovation where we were all experimenting and creating new fashion, media and marketing ideas. In the late 90s, London was a very exciting place to be as London was booming culturally, financially and politically with new Labour’s Tony Blair in power. For this reason London, in particular the East End, became a mecca for young creative people from all over the world.