discuss impact of internet (Netflix) on movies and talk about postmodern theory? Or one of the theories death of postmodernism
"Postmodern philosophy emphasises the elusiveness of meaning and knowledge. This is often expressed in postmodern art as a concern with representation and anironic self-awareness."
Ok, Except, I hate Postmodern theory because I cannot understand what they're talking about and am thus unable to repackage it.
Genre theory I can understand. How to discuss impact of Netflix and streaming technologies on movie business in relation to Genre Theory? Be sure to explicitly note GT in essay. APA: alphabetize sources in bibliography, drop citation into the paragraph as they happen and not at the end, pictures to back stuff up good, peel back internet URL citations so they're not so incredibly long (messy).
from powerpoint presentation on genre theory by Karl Hart?
›Film
and Radio Roots of Genre TV
›Film
- success of particular films led to making more of the same, discovery that
audiences liked genre films
›‘Classic’
Hollywood era production studios made many genre films that European filmmakers
and critics dubbed Hollywood a ‘factory.’
Netflix disrupts that genre factory system because
viewers are invited to rate the films they've seen and computer algorithms then make recommendations?
movies and shows that may not fit standard genres or most popular genres have a chance to be adopted by viewers?
viewer gets to sculpt their own tv/movie watching season, week or evening and not network programmers. Paid for with subscriptions and not advertising revenue.
›Film and Radio Roots of Genre TV
›Radio networks learned the value of genres in raising audience expectations
›The need for weekly programming radio turned to two forms
›Serial narratives (installment stories -borrowed from magazines - soap operas)
›Series narratives (independent episodic adventures of a regular cast of characters (crime drama -Dragnet)
Viewer gets to decide when they come back. Not dictated to by networks. rise of "binge-watching"
whole seasons can be consumed in one, or several sittings. story development happens faster, greater immersion in that world,
How is genre pushed by not being tied so directly to money or ratings?
Mindy Kaling quote: I think one the big ways that the show will be different is that we’ll have a little bit more time in our episodes. Being on a major network for 11 years between “The Office” and “The Mindy Project,” I’m really used to having to tell complete stories with eight characters in 21½ minutes. That’s a really short amount of time. So I think the single significant difference is that we’ll have more time to let these episodes breathe. It’ll mean more screen time for some members of our cast, which I think will be really good.
Ok, what about netflix's and other streamers influence on Hollywood through auteur theory? See quote above. Look also at Tina Fey and Unbreakable Kimmy Schmidt, Woody Allen and Wachowski's series for Netflix.
On how working with Hulu differs from the network experience
First of all, we have much more creative freedom. Well, actually, the very first thing was — it was like going from a boyfriend who you tricked into being with you because you got pregnant versus being with a guy who sought you out because he saw you across the room at, you know, a carnival or something like that. So it was very romantic ...
My relationship with Hulu is that they wanna be with us and we wanna be with them, and that kind of excitement is probably the biggest change, and it makes life so much better.
Tina Fey said in "Bossypants" that she wanted to work for NBC for the rest of her life. Then NBC can't see how to get Kimmy on the air. Netflix steps in. Now they have more creative freedom, less censorship, more time to tell their stories.
“The very construct of ‘Unbreakable Kimmy Schmidt’ — its offbeat premise, hilarious and rich characters and serialized storytelling — make it a perfect Netflix comedy series,” adds
Cindy Holland, VP of Original Content at Netflix.
Cindy Holland, VP of Original Content at Netflix.
Netflix chief communications officer Jonathan Friedland says that now the show “is a little saucier.”
Specifically, star Jane Krakowski tells Business Insider, “I think they did go back and try to breathe some of the jokes that we either cut for time, is what we’ve heard from Tina and Carlock. Jokes that didn’t make it past some of the censors made it back in. Now that we have that freedom.”
Tina Fey NPR interview
She also said that it's fundamentally different to try to take risks when a show is just coming to people's televisions, versus when they've proactively sought it out. She recalled seeing complaints that had been filed with the FCC over 30 Rock, which focused in part on the experience people had of feeling like they stumbled upon the show without having intended to, and that led them to take more exception to things they thought were offensive or inappropriate. "People were offended by stuff because they had been watching something else and then it just turned into 30 Rock at 7 p.m. Central, which was not appropriate." With Kimmy Schmidt or anything else that's on Netflix, people have to have sought out the show, she explained, which makes it easier to take risks without feeling like anyone will take the position that something has been forced on them.
She also said that it's fundamentally different to try to take risks when a show is just coming to people's televisions, versus when they've proactively sought it out. She recalled seeing complaints that had been filed with the FCC over 30 Rock, which focused in part on the experience people had of feeling like they stumbled upon the show without having intended to, and that led them to take more exception to things they thought were offensive or inappropriate. "People were offended by stuff because they had been watching something else and then it just turned into 30 Rock at 7 p.m. Central, which was not appropriate." With Kimmy Schmidt or anything else that's on Netflix, people have to have sought out the show, she explained, which makes it easier to take risks without feeling like anyone will take the position that something has been forced on them.
Amazon and Woody Allen
Roy Price, vice president for Amazon Studios, said that the company was thrilled to work with Mr. Allen, whom he described in a statement as having created some of the best movies ever. He said that the project came together after a couple of meetings with Mr. Allen in New York.
“I had always thought Woody Allen’s characters and comedy would translate beautifully to TV, particularly now with more serialized story lines and openness to nuanced characterization,” Mr. Price said in an email.
netflix and Arrested Development reviving a cult series cancelled by a network many years later.
“I felt in many ways, I did not prepare the audience for this,” he said. “Right before the show came out, I thought, I've really not said what this is, and what it had become was a novel. I had this unique opportunity here -- people are going to get to watch eight hours of this, they’re not gonna spend the next six months of having it doled out to them … so the storytelling changed. That first episode became much more like chapter one of a novel than episode one of a series. And I didn't prep you guys -- I'm really sorry about that."
“I felt in many ways, I did not prepare the audience for this,” he said. “Right before the show came out, I thought, I've really not said what this is, and what it had become was a novel. I had this unique opportunity here -- people are going to get to watch eight hours of this, they’re not gonna spend the next six months of having it doled out to them … so the storytelling changed. That first episode became much more like chapter one of a novel than episode one of a series. And I didn't prep you guys -- I'm really sorry about that."
Netflix picked up a total of 34 nominations, up from 14 in 2013 and 31 in 2014. And the nods were for at least 10 different programs, showing the breadth of the streaming service's original programming.
Wachowski's and Netflix "get through that deadly dull first hour"
Oh God, not the Wachowskis. They’re like the second coming of M Night Shaymalan. Don’t diss the Wachowskis. They changed the way action movies are made with The Matrix and their last two movies, Cloud Atlas and Jupiter Ascending, showed that they are going to be perfect for television.
Seriously? Yes. Cloud Atlas is an intricate and interlocking story that spans both time and place, yet still maintains emotional and thematic cohesion. Granted they were working with someone else’s source material, but the film was engaging throughout, even if some viewers found it confusing. Jupiter Ascending was pretty bad, but it was entertaining, creating an entirely fictional universe with sumptuous visuals, detailed mythology, and whatever it was Channing Tatum was mumbling about. Any failure of either of these movies (other than Eddie Redmayne chewing scenery like it was an all-you-can-eat buffet) can be blamed on the scale being too big for the movies. Now they have the expanse of television to play with.
TV is exactly the right place for them, ifthey can figure out how to maximise its potential.
http://money.cnn.com/2015/07/15/media/amazon-bezos-tv-movie-studio/index.html?iid=EL
http://www.hollywoodreporter.com/features/amazon-prime-day-hollywood-shopping-808533?utm_source=twitter
"They don't want anything anybody else has," 'Transparent' creator Jill Soloway says. "They want stuff that really f--s up the status quo."
"I have notions for the show, but I don't write anything down," Price says with a laugh as he scrolls through pictures ofRobert Evans and Ali MacGraw in the California desert 50 years ago. "Writing stuff down is the old way. Get a hundred pictures that really capture it and put them on Pinterest and you don't have to pitch — you can just show people."
Bring Amazon to the big screen. Hope, 52, has his work cut out for him. Amazon wants to acquire or produce 12 features a year, with budgets ranging from $5 million to $25 million, to be released theatrically and then, within a month or two, made available exclusively to Prime members (customers who pay $99 a year, mostly for free shipping on books, baby wipes, laundry detergent and other merchandise). The first of Amazon's films — Spike Lee's Chicago-set Lysistrataupdate, Chi-Raq — will have an awards-qualifying run in December, insiders say, to qualify for the 2015 Oscar race. "We're looking to make visionary work by visionary directors," says Hope, whose producing credits include The Brothers McMullen andThe Ice Storm. Nods Price, "I would say The Imitation Game, Birdman and The Grand Budapest Hotel are all totally in the zone," he adds. "Prestige titles, the kind of movie that isn't for the teenaged audience."
To put it another way, the kind of movie most likely to draw customers who will stick around after the film to buy socks and cat food — which is the whole reason Amazon got into the content business in the first place. "It's a way to drive people to spend more on the rest of their shopping cart," says BTIG media analyst Rich Greenfield. "It's all about keeping you in their ecosystem."
While talent agents love the big upfront commitments Amazon is making and the hands-off oversight, they worry that the company, like Netflix, hasn't fully defined its business model, which could prevent a series from being sold into syndication, where the real money is made. "The upside is they are spending big money and they encourage creative freedom. Their content is truly a reflection of the creator's vision," says ICM Partners founding partner Chris Silbermann, who praises Price for putting Amazon on the map in Hollywood. "The only question is, 'What is the true value of the backend?' In a world where history repeats itself, these were the questions we were asking at the early days of HBO and Showtime, and those turned out pretty well."
Making TV shows is one thing; making movies is another. As Amazon expands, it will face hostile forces it's never had to deal with before. For instance, theater owners aren't thrilled with Amazon's plan to put new releases online after only a month or two in theaters (traditional releases take nine to 12 months to make it to the small screen). It's also not a popular idea with filmmakers, who generally prefer longer theatrical legs, especially for the sort of specialty films Amazon is talking about making. (Imitation Game, for instance, played in cinemas for five months as it expanded nationally. It might not have had a chance to build — and make it to the Oscars — if it had been yanked out of theaters after only eight weeks.)
Does Amazon know what it's doing? Probably as much as anyone in Hollywood, and unlike many, it is willing to experiment and take chances. "We need Amazon to succeed," says Greenburg. "The television business functions best when you have competition. If we only have one SVOD player, we have a problem."
from Auteur Theory power points by Karl Hart?
auteur theory suggests a director can use commercial apparatus of film-making in same way writer uses pen or painter uses paint and brush. it is a medium for the personal artistic expression of the director.
best films bear maker's "signature" which may manifest as stamp or individual personality or even focus on recurring themes within body of work.
1954 Francois Truffaut essay "A Certain Tendency in French cinema" claiming that film is great medium for expression personal ideas of director.
What about "binary oppositions"?
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