WEB-BASED AMATEUR CRITICAL REVIEWS IN COMPARISON TO TRADITIONAL TELEVISION COUNTERPARTS by Jonathon M. Kelley A Thesis Submitted in Partial Fulfillment of the Requirements for the Masters of Science in Communication Degree Thesis Chair: Dr. David Ndirangu Wachanga THE UNIVERSITY OF WISCONSIN-WHITEWATER December 2015 Acknowledgments A thank you to Dr. D. Ndirangu Wachanga for working with me for the past semesters to help complete this study, as well as his efforts, experience and guidance. Additional thanks to Dr. S.A. Welch and Dr. Linda Robinson for their efforts, experience and guidance in this study’s completion. To my friends and family who endured my absence from so many events and get togethers over the last two and a half years, your understanding is appreciated more than you could ever know. Finally, thank you to my wife Rachel, who put up with late nights and early mornings for years, and yet still agreed to marry me. ii Table of Contents Chapter I. Introduction .................................................................................................. Page 01 Rationale ............................................................................................................ Page 02 Chapter II. Literature Review ....................................................................................... Page 05 A History of Film Criticism .............................................................................. Page 05 Establishing Journalistic Legitimacy ................................................................ Page 06 The Transition to Television ............................................................................. Page 07 The Decline of the Film Critic .......................................................................... Page 08 The Decline of Television ................................................................................. Page 09 Early Research .................................................................................................. Page 09 Predictions Become Reality .............................................................................. Page 10 Web as Television Re-imagined ....................................................................... Page 12 Rebirth of the Film Critic on the Web .............................................................. Page 14 The Value of Critical Reviews .......................................................................... Page 16 Film Criticism as a Two Way Medium ............................................................. Page 17 Film Criticism as a Marketing Tool .................................................................. Page 21 Theoretical Framework ..................................................................................... Page 23 Chapter III. Methodology ............................................................................................. Page 25 Sample ............................................................................................................... Page 25 Procedures ......................................................................................................... Page 28 Chapter IV. Findings ..................................................................................................... Page 32 iii Chapter V. Discussion .................................................................................................. Page 36 Time Limitations .................................................................................... Page 37 The Iron Triangle ................................................................................... Page 38 Observations on Program Structure ....................................................... Page 40 Observations of the Eras ........................................................................ Page 41 Differences in Influence ......................................................................... Page 43 Limitations ............................................................................................. Page 43 Further Research .................................................................................... Page 45 Conclusion ............................................................................................ Page 46 References ............................................................................................. Page 47 iv Appendixes Appendix A : Film Terminology ...................................................................... Page 53 Appendix B : Terminology Denoting Opinion ................................................. Page 65 v Figures 1. Shannon and Weaver Mathematical Model .............................................................. Page 18 2. Schramm’s Interactive Model ................................................................................... Page 19 3. The Iron Triangle ...................................................................................................... Page 39 vi Abstract of Thesis Jonathon M. Kelley Mass Communication Web Based Amateur Critical Reviews In Comparison To Traditional Television Counterparts December 2015 Dr. D. Ndirangu Wachanga, Thesis Chair The University of Wisconsin-Whitewater vii ABSTRACT Since 1907 film criticism has been a part of the mass media. In the 1970s film criticism made a leap from the pages of the local newspaper to television programming in the form of Sneak Previews hosted by Gene Siskel and Roger Ebert. Reaching a peak in ratings by 1992, the show was regularly being viewed by millions. In recent years as programming has moved from the television to the internet as a result of the digital revolution, a new breed of reporters have attempted to fill the shoes that critics like Siskel & Ebert left behind. This study analyzed one specific web based film criticism program, Half in the Bag, and compared the content recently presented by that program to 1992 episodes of Siskel and Ebert. Data was gathered in from both sources for the total length spent reviewing the film, the focus on opinion, the use of film terminology and the overall likelihood of critics to recommend a film. The goal of the study was to ultimately determine if content provided by modern day web based film critics is truly comparable to the works completed by Gene Siskel and Roger Ebert in the early 1990s. Research indicated that while appearing like their traditional counterparts, in many ways they were not comparable. Thus, while the overall trend seems to be leading to a convergence of the internet and television, and a movement of programing from the television to the web, web based film review programs like Half in the Bag are not presenting the same content that previous television reviewers did, but rather a new form of film review that focuses on analysis and a specific niche audience. viii 1 Introduction Since the dawn of cinema, film reviewers have played a role in how the public chooses which films to see (Musser, 1991, p. 362). Traditionally, these critics reached their audiences through the mass media in the form of newspaper columns and television segments discussing the merits, or lack thereof, when looking at a particular film. Furthermore, professional journalists who reported to an editor or executive producer who helped shape the messages predominantly wrote these reviews. However, over the course of the last decade, websites such as YouTube.com and Blip.tv have given a whole new group of individuals a chance to share their insights into and opinions on filmmaking and Hollywood releases with the world. These people, referred to by some journalists as “amateur fan boys” (Taylor, 2011), are often little more than average moviegoers with a camcorder and an Internet connection. Their popularity, however, is worth noting as some web-based reviewers have garnered upward of 3,000,000 views per month and close to $1,000,000 in revenue annually (Stelter, 2011), at the same time traditional journalism-based critics have seen declines in ratings and seem to be leaving the airwaves (Rousseau, 2008). When looking at this new form of online reviewer from a scholarly standpoint, the researcher was interested in discovering how amateur web-based film reviewers and their reviews of films compared to the film reviewers of the past in traditional media such as television. The goal of this comparison was to discover whether this new breed of film reviewer was unique to the Internet or just the continuation of traditional counterparts in a new medium. The researcher began by looking at the history of film criticism and review, with the goal of establishing an understanding of the trade of film review from its roots through to today. Once the history of the medium was explored, the focus moved to understanding previous research 2 conducted on the subject of film review. Previous research focused on two areas of film review: the value of critical review in assessing a film’s value to the movie-going public (Koh, Hu, & Clemens, 2010) and the value of film review as a medium of prediction or influence over potential box office revenue (Basuroy, Chatterjee, & Ravid, 2003; Eliashberg & Shugan, 1997; Reinstein, 2005; Yong, 2006). With previous scholarship in mind, the researcher constructed a study that would analyze four facets of film review: length of presentation, amount of opinion expressed, amount of discussion concerning the craft of filmmaking, and likelihood of panning a film. These factors were chosen in order to best compare modern web-based