MEDIA INDUSTRIES AND STRUCTURE UNIT 8

TV INDUSTRY

Philo Taylor Farnsworth is credited with the invention of the first all-electronic television, which was initially demonstrated in 1927. Technolgy in the TV industry began to change from then.

http://www.toptenreviews.com/electronics/articles/television-through-the-decades-and-the-ways-it-changed-our-world/ Over the years the TV industries have changed, such as the content being produced more

rapidly due to the raise of technology over the years. For example IPLAYER is reliable to use as you can access it on any device, you can view shows

when they are live on TV. An example of TV brands that have made progress over the years are BBC, ITV, DEMAND BBC was founded in October the 18th 1922 ITV was founded in September the 22nd 1955 ITV has improved and changed now programmes from channel three have been converted onto

ITV3

FILM

Nollywood Now Second Biggest Producer Of Films In The World. Nollywood, Nigeria's film industry, is now priced at $5 billion and makes more films than Hollywood in the U.S, but less than the largest film industry, India's Bollywood, according to Al Jazeera.

The film industry is controlled by six major Hollywood studios:• Disney• Warner Bros• Paramount• Fox• Universal• Columbia

The film industry or motion picture industry comprises the technological and commercial institutions of filmmaking, i.e., film production companies, film studios, cinematography, film production, screenwriting, pre-production, post production, film festivals, distribution; and actors, film directors and other film crew personnel.Though the expense involved in making movies almost immediately led film production to concentrate under the auspices of standing production companies. Advances in affordable film making equipment, and expansion of opportunities to acquire investment capital from outside the film industry itself, have allowed independent film production to evolve. Hollywood is the oldest film industry of the world[1] and the largest in terms of box office gross and number of screens.

FILM INDUSTRY PROGRESSOne industry that has been expansively affected by technological changes is film. Movie camera – late 1800s:The movie camera – a camera that could capture a sequence of photographs onto filmstrip in quick succession – was a late invention of the 1800s, and without it we wouldn’t have the visual medium that we all love to enjoy while in dark rooms chomping on popcorn and answering our cellphones. Trying to date which movie camera was invented first is like trying to determine what the first movie of all time was: futile. For as many people who say Louis Le Prince’s camera in 1888 was first, an equal number will say it was William Friese-Greene’s in 1889. Someone’s bound to argue the Chinese invented it earlier. Despite many technical displays of ‘moving images’ around the time, I would argue that it was the Lumière brothers who took the medium to the masses and influenced early pioneers such as George Méliès, who arguably was the first person to add narrative to moving images. The Lumière brothers held some of the earliest screenings of projected images in 1895, where their film, The Arrival of a Train at La Ciotat Station, notoriously showed a train entering a station (literally moving towards the screen). Allegedly the audience ran away from the screen because they thought it was real. Synchronous sound – 1920s: Before sound could be captured simultaneously to picture, there was the golden age of silent films. This era was famous for over the top (slapstick) acting, the use of intertitles (titles between shots), and live-music accompaniment to films in theatres. Even early projectionists are credited to have done live sound effects for films too (surely one of the most fun jobs in the last century). But it all meant there were narrative limitations. The process of synching sound had been achieved in 1914 with The Photo-Drama of Creation, in which slides and phonograph records were synched up. But it was Warner Brothers’ “Vitaphone” that took the system to feature films. Recording sound effects (including dialogue) and adding musical scores all started with the majormotion picture The Jazz Singer (1927) which is regarded as the first film to have synchronised dialogue – and singing for that matter. Screenwriting and acting slowly took on a whole new meaning, and new genres were formed, as dialogue became a key component of films marking the beginning of ‘the talkies’.Colour – 1939 (or 1917):There’s nothing wrong with a good black and white film, after all last year’s Oscar winner for best film – The Artist – proved that black and white films can still provoke an emotive experience for today’s audiences. Regardless, colour changed film for the better. Not only because it gave the medium the ability to mimic life more realistically than ever before, but it also led to more narrative possibilities, with the prime example being The Wizard of Oz (1939) which famously depicted Dorothy’s Kansas in black and white, but then brought Oz to magical life in Technicolour. Film was never the same again… until The Artist of course. There were examples of older colour films as early as 1917, but most have been lost. Green screen – 1940:Early digital compositing started in the 1940s with the ‘traveling matte’ – a process that was used to superimpose backdrops with actors performing against a blank, coloured wall. These screens’ colours have changed throughout the decades, but the process and effect have remained the same. It is a time-consuming technique in which a scene is filmed against the coloured (green) screen, then re-filmed with a filter on the lens that removes all the coloured (green) areas of the film. Lastly, the layers are composited together in a final recording by laying them over each other one frame at a time. You can’t help but respect the technique. It allowed for actors to be ‘anywhere in the world’ and also create optical illusions, all the while saving on production costs. The fantasy film The Thief of Bagdad (1940) is thought to be the first to use a blue-screen effect with its rather entertaining ‘genie’.

The internet – 1990s The internet has to make this list because it has changed, and is changing the manner in which

films are consumed and distributed, not to mention the types of films we watch and who is making them.

Instant access, worldwide distribution and everyone with a cell phone are now all players in the video-creation game. What was once a medium of the few – those who could afford the equipment – is now the most democratised (and sought-out) medium available. We all want video, and we want it now.

New formats (web shows, podcasts) and new ways of accessing video (streaming, downloading) means that the power has shifted from the industry to the consumers. It’s all very Romantic, and it pisses off the powers that be to no end.

The future The industry has to realise that the medium is moving into an age of digitally made, and

digitally distributed movies. Not only must the industry adapt to find new ways of monetising digital consumption so that

the legal ways of accessing films becomes more appealing than piracy, so must filmmakers, old and new, otherwise they run the risk of being left behind.

Technology is arguably having its most profound and pronounced effect on film in this day and age. It’s an exciting age in film history — the digital era.

RADIO The "radio industry" is a generic term for any companies or public service providers who are involved with the broadcast of radio stations or ancillary services.

Radio broadcasters can be broken into at least two different groups: Public service broadcasters are funded in whole or in part through public money. This may be through money received directly from the 

government, or, as in the UK, through a license fee. The license fee is typically protected by law and set by the government, and is required for any household which contains equipment which can be used to receive a TV signal.

Commercial broadcasters (also called Independent Local Radio in the UK) are largely funded through the sales of advertising spots on their radio station. Commercial stations are often quite local, and may have some public service commitments within their permit.

In the UK, the radio industry regulator Ofcom are looking to establish a third tier of radio, called community radio. These radio stations will be fairly small and run by community groups. Radio is based on the studies of James Clerk Maxwell, who developed the mathematical theory of electromagnetic waves, and Heinrich Hertz, who devised an apparatus for generating and detecting them. Guglielmo Marconi, recognizing the possibility of using these waves for a wireless communication system, gave a demonstration (1895) of the wireless telegraph, using Hertz's spark coil as a transmitter and Edouard Branly's coherer (a radio detector in which the conductance between two conductors is improved by the passage of a high-frequency current) as the first radio receiver. The effective operating distance of this system increased as the equipment was improved, and in 1901, Marconi succeeded in sending the letter S across the Atlantic Ocean using Morse code. In 1904, Sir John A. Fleming developed the first vacuum electron tube, which was able to detect radio waves electronically. Two years later, Lee de Forest invented the audion, a type of triode, or three-element tube, which not only detected radio waves but also amplified them.

Radio telephony—the transmission of music and speech—also began in 1906 with the work of Reginald Fessiden and Ernst F. W. Alexanderson, but it was not until Edwin H. Armstrong patented (1913) the circuit for the regenerative receiver that long-range radio reception became practicable. The major developments in radio initially were for ship-to-shore communications. Following the establishment (1920) of station KDKA at Pittsburgh, Pa., the first commercial broadcasting station in the United States, technical improvements in the industry increased, as did radio's popularity. In 1926 the first broadcasting network was formed, ushering in the golden age of radio. Generally credited with creating the first modern broadband FM system, Armstrong built and operated the first FM radio station, KE2XCC, in 1938 at Alpine, N.J. The least expensive form of entertainment during the Great Depression, the radio receiver became a standard household fixture, particularly in the United States. Subsequent research gave rise to countless technical improvements and to such applications as radio facsimile, radar, and television. The latter changed radio programming drastically, and the 1940s and 50s witnessed the migration of the most popular comedy and drama shows from radio to television. Radio programming became mostly music and news and, to a lesser extent, talk shows. The turn of the century saw a potential rebirth for radio as mobile digital radio entered the market with a satellite-based subscription service in Europe (1998) and in the United States (2000). Two years later, a land-based digital radio subscription service was inaugurated in the United States. Radios that combine transmitters and receivers are now widely used for communications. Police and military forces and various businesses commonly use such radios to maintain contact with dispersed individuals or groups. Citizens band (CB) radios, two-way radios operating at frequencies near 27 megahertz, most typically used in vehicles for communication while traveling, became popular in the 1970s. Cellular telephones, despite the name, are another popular form of radio used for communication.

http://www.infoplease.com/encyclopedia/science/radio-development-radio-technology.html

GAMES

https://www.ninjametrics.com/blog/the-history-and-structure-of-the-video-game-industry-structure-development-to-publishing-part-4/ The first generation of video game consoles began in 1972 with the Magnavox Odyssey (which began development in 1968 by Ralph Baer under the code name "The

Brown Box"), until 1977, when "pong"-style console manufacturers left the market en masse due to the video game crash of 1977 and when microprocessor-based consoles were introduced.[1] In Japan, the generation continued until 1980 with the Color TV-Game series.

Development: Production takes place at the development stage in which games are conceived, created and programmed. This stage – the content – remains the industry’s main strength, although the economics of development make less sense for some than they used to. Games designed for one platform are often recoded at lower costs for another, a process know as ‘porting’ and recently made easier with the rise of Unity as a platform. Development teams used to be mainly independent operations, but were increasingly bought out by major publishers and distributors in the 90s and 2000s. More recently, the economics have altered and allowed a boom of independent developers and the rise of the occasional commercial success, e.g. Minecraft. And like nearly any creative industry, the most successful game designers tend to work and produce better without interference from a larger corporate structure. Some of the savvier publishers purchase the developers but leave them largely untouched operationally. Others ignore this lesson and repeat historical mistakes.

Development occurs in three ways: ‘First party’ developers are those internal to a publishing organization. For example, Nintendo has its own internal development teams. However, the major manufacturer/publishers cannot supply enough titles for console games on their own. ‘Second party’ developers are those who contract for a publisher to create games for the publisher’s label. Lastly, ‘third party’ developers are unaffiliated outside firms that create games for a platform, sometimes requiring a licensing fee. Typically, online databases (http://www. gamasutra.com) place about one-half to two-thirds of development as occurring under the ownership of a publisher, though this varies as the economics wax and wane. The standard revenues for developers are royalties from publishers. Much like the book publishing industry, the creator of the product typically works on advances against future royalties, which are paid out based on pre-established progress milestones. Developers share few of the risks for the title’s success, although many publishers reserve some payments in case of later product returns (Walmart still matters!) and to guarantee against price protection policies enforced by retailers (when the retailer has power, they make the publishers bear some risk on the sales numbers and guarantee success). Typically, the publisher then acquires the intellectual property (“IP”) rights for the game and advantageous terms for possible sequels or spin-offs. Once released, product lifecycles are highly variable, and the unpredictability of consumer tastes ads more risk. Importantly, the rise in game popularity and their acceptance by major retailers has added to the ‘killer app’ hits-business product cycle. High-turnover shelf-space at Walmart–and a finite amount of screen space in an online storefront–means that a smaller number of titles with higher chances of success will dominate sales.

Publishing: Publishers are the rights-holders for the games. Once the game is delivered by a developer (internal or external), the publisher is responsible for marketing the product’s launch and the manufacturing process if there is a physical product. The manufacturing process is part of the licensing deal when making console games, and the major three manufacturers maintain strict control. Publishers who have their own development teams have a strong advantage over those who don’t, and can subsidize their teams. Licensing's costs here can also involve sports or movies, e.g. a Harry Potter or Star Wars game usually carries stiff costs or profit-sharing built into it from the rights owners. Over time, publishing has become what’s known as “concentrated,” which is a fancy way of saying that there are fewer and fewer publishers, which tends to mean less competition–and a tougher life for developers. However, recent disruptions and lowered costs have opened up a number of self-publishing routes or better deals for developers. Still, the big publishers retain a lot of power in the industry.