Q1a: CREATIVITY

creativity

**don't forget to have a look at the list of posts linked to creativity**  NB: edited for CIAE spec

9 BASIC POINTS

Some general advice on how to approach the 1a topics:

1. DON'T write out the question - good practice in a longer essay, but not when you've only got 30mins
2. Any plan should be very brief, simply the themes or topics (see point 5) you intend to explore (hopefully remembering the examples won't be a problem)
3. Clearly state the AS + A2 briefs you followed [opening 2 mins of feature film; MVid]
4. Provide a BRIEF synopsis [narrative outline] of each, including title + genre - you MUST enable the marker to have a sense of what you produced
5. Pick out anywhere from 2-5 themes or topics [ANALYSIS, ARGUMENT] to use as frameworks for comparing and contrasting AS + A2 
6. For each of these it is absolutely vital you provide specific, detailed denotation [USE OF EXAMPLES] from both texts
7. Use semiotic TERMINOLOGY as you do so, but also concepts such as convergence, web 2.0 etc
8. As you finish each topic/paragraph, double check: have you provided specific denotation/examples to illustrate your point? If you don't you could potentially lose all the marks for examples as the examiner will have nothing to go on - you have to make it easy for them to visualise what you mean
9. For many of the DCRUP topics its worth addressing some of the things you rejected; giving a sense of your decision-making process, or of quality control if you like

FURTHER BRIEF POINTERS

Do read the much more extensive detail below, but here's a few briefer points to guide you on this:

CREATIVITY WITH... - Q1a will feature 1 or 2 CRUD concepts; it isn't necessarily helpful to prep this one in isolation, but rather prep 4 answers, combining Creativity with the remaining CRUD in turn. Nonetheless, when doing this consider...

CREATIVITY IS... - Your decision-making process, spanning from early research (espec influence of existing texts/[Use of] conventions + your target audience) + planning (how did available locations, cast, props + other mise-en-scene to name but 4 influence your work?) R+P: Whats the relationship between almost bureaucratic efficient time management + shot-by-shot planning + more spontaneous creation through taking coverage/seeking inspiration whilst on set/location? (see the eg quotes from filmmakers like Loach + Considine below; without too much effort you could find such quotes from music vid directors too). For both R+P and Post-Production analyse the role of audience feedback and how it altered your creative vision (improved? expanded? complemented or supplemented? think too of examples where you stood by your creative ideas despite negative feedback). How did Digital Technology facilitate gathering audience feedback, and how did you make this more useful/pertinent than at AS (think web 2.0 here)? With both Digital Technology and Post-Production how did software and hardware (separate points really) influence your creative process; did editing/filming see your ideas change from storyboard/animatic stage? Did any superior equipment, or experimenting more with manual controls, widen your options? Was the influence of Use of Conventions limited to early planning stages, or did you employ some new influences at a late (Post-Production) stage, perhaps as a result of experimenting with the software (Digital technology)? Did you Research a wider range of texts (and text types or formats) to seek useful Use of Conventions at A2?

You can see from the above paragraph that the CRUD concepts are tightly interlinked.

AUTEUR/INFLUENCES: BINARY OPPOSITION OR INEVITABLE IN POSTMODERN AGE? - As repeatedly flagged up below, look for specific influences (Use of Conventions/R+P), especially an individual director. You need to be clear on their individual hallmarks. At AS its hard not to spoon in bits of Carpenter and Craven especially (or other relevant directors for your genre); the potential range of influences is massively increased for the A2 brief. Do consider too though what are the early signs of YOUR distinct/unique style, looking across all the work (incl. practice projects) at AS + A2? Do you see certain editing styles; themes (maybe aspects of representation: feminist aspects for example); quirkiness or other features emerging - do you think you can begin to define your style, or is it still too early? Are there common features across your AS/A2 despite working with different people? [Use of.../R+P:] The pomo point is simple enough: is it possible to make a media text today that isn't a form of bricolage (assembling existing ideas but trying to be distinctive by juxtaposing contrasting elements)? [NEGUS could also be applied here: basic: generecist; developing: pastichist; distinctive: synthesist] Was there any idea, no matter how oddball it initially seemed, you couldn't justify with an existing example [Use of.../R+P/Dig.Tech]? You might even address the point to what extent you've created a simulacrum (Baudrillard) of place/gender/age; artist; character archetypes etc across the two years.

ART V COMMERCE/AUDIENCE: ANOTHER BINARY OPPOSITION? - What I'm driving at here is the tension between making something which works commercially (a film which attracts a sufficiently large audience; a video/d'pak/ad that sells the product) and something which is an individualistic (within the group context) artistic statement. Can these be reconciled, or is the need to reflect [Use of] Conventions so overwhelmingly vital that your wilder, more expressive ideas had to be abandoned? Its worth considering how you developed non-linear aspects + probably enigma codes (open ending?) in A2.

MORE THEORY? USE http://prodeval.blogspot.co.uk/2011/03/characteristics-of-music-video.html - There's plenty of pertinent brief quotes from a range of media theorists in there. Some selected material on audience or genre theory (just make sure you don't repeat yourself in 1b or you risk being marked down) might be useful. Web 2.0 and postmodernism really should feature.

BOTTOM LINE... - Its only 30mins, so you can only cover a few points in any detail; for any point you're considering pick out specific AS and A2 examples to very clearly + precisely illustrate your point, stressing the development from AS to A2. 1b is the more theory-packed, but even so a 1a answer should be citing at least three theories/theorists.

For this particular topic its important to give some sense of process - a sense that there was a decision-making process. So, give some examples of possibilities you considered but rejected as well as addressing what ended up in your final cuts.

Also, don't get hung up on trying to prove everything you did was original; factors which mitigated against your creative expression are relevant to the question, and you could of course use the postmodern argument. Assuming much of your work was directly inspired by certain films/shows/directors/scenes, how did you manage to (re-)create similar effects?

You could combine aspects of the list below into possible themes or topics (Media Language stands out as the key concern) such as:

• EDITING/SFX/USE OF ICT
• HARDWARE (camera/s + manual controls, dollies etc)
• TITLES
• DIRECTING/CAST
• MISE-EN-SCENE (incl COSTUME, PROPS, SETS etc)
• CINEMATOGRAPHY
• SOUND/MUSIC
• R+P; INTERTEXTUALITY
• (links into) GENRE
• (in turn links into) NARRATIVE

[ORIGINAL POST]
I'll remind you firstly of some of the prompts suggested earlier:

•     What features of your work would you say are original to you?
•     Which media texts and producers have influenced your creative decisions?
•     How successfully does your work engage its audience and provoke its interest?
•     Consider some of the creative choices you had to make during the course of your production – how to use cameras, lighting, dialogue, colour etc. How did you make these decisions, and how did these contribute to the final production?

Spider diagrams are one useful way to approach your notes in preparation for this. We will practice at least one timed question, in class, for Q1a + Q1b, so be ready for this, though you should also start practicing this at home, perhaps swapping with a colleague to mark and feedback on these. (It would make sense to work closely with your group partner/s at AS/A2 to help each other work out which examples from your work best illustrate the various points below)

Some broad concepts to consider for this topic:

AUTEUR?

LIMITATIONS

THE TASK/REMIT

GENERIC/FORMULAIC v ORIGINALITY

PROGRESSION

AUDIENCE FEEDBACK
PLANNING v SPONTANEITY?

There is overlap between all 5 DCRUP topics, so detailed preparation for any one will help with preparation for any other. There is again clear overlap between all the 7 broad headings above

MUSIC VIDEO NARRATIVE sequels and mini-series

The article that inspires this post isn't great, but is useful for highlighting a number of examples of music video sequels, including Gaga, Madonna and Zayn Malik.

I find it quite preposterous to write on this notion and not mention the infamous Guns n' Roses trilogy, but that's the caliber of much journalism these days.

The main takeaway point: a further challenge to Vernallis' strongly argued point that music video is too elliptical (and lacking in diegetic sound and dialogue) to be considered to have what can be accurately termed a narrative.

Telephone part two! Dusk Till Dawn, again! Why video sequels aren’t worth the wait https://www.theguardian.com/music/2018/apr/13/telephone-part-two-dusk-till-dawn-again-why-video-sequels-arent-worth-the-wait?CMP=Share_AndroidApp_Blogger

CREATIVITY Pop will eat itself

See what I did there...?
Probably not! My preferred reading intertextualised an 80s Indie band, PWEI, but the odds on my target audience being able to follow this are slim. The post is about the lack of originality in pop music, which constantly recycles existing songs. If you didn't get that then my encoded meaning has failed to even get a negotiated reading (Stuart Hall's theory)!

One of the big issues to tackle on the Creativity topic is authorship, or even auteurship. To what extent have you created a simulacra? How has your research influenced your work? Is intertextuality (or other postmodern characteristics - remember that the concept argues that ALL texts are basically remixing existing ideas, complete originality is impossible).

The article linked discusses the growing trend for artists (cough ... enemy of music Ed Sheeran is amongst those discussed) to recreate bits of past tunes ... without acknowledging they've done so.

The user comments underneath are useful btw; they flag up many more examples you probably weren't aware of. I agree wholeheartedly with the Gaga/Madonna comment, though Madge herself is a walking example of bricolage to a degree...

Blurred lines: why Taylor Swift and Ed Sheeran are paying homage to pop’s past https://www.theguardian.com/music/2017/sep/22/taylor-swift-ed-sheeran-pillaging-pops-past-right-said-fred?CMP=Share_AndroidApp_Blogger

Web 2.0 users graph FB alone 2bn monthly users

https://techcrunch.com/2017/06/27/facebook-2-billion-users/?utm_source=tcfbpage&sr_share=facebook

Q1B Genre to Audience links

tbc

Neale argued in his study of cinema genres that audiences bring with them expectations on genre codes and conventions, and that their interaction is central to the construction and definition of genre, an endlessly ongoing process. Katz and Blumler also argued that simply recognising common features is another source of audience pleasure, and motivation to view (and, crucially for the music video, repeatedly re-view) a video. Neale also noted the importance to audiences of "differences in repetition", while Abercrombie noted that audiences gain pleasure from observing manipulations of standard genre conventions. In our video we took the convention of [EX; seen with eg/s of videos] and gave it a distinctly different slant by [EX].

There are other ways in which we can see how Blumler and Katz's work helps illuminate the interplay between audience and producers when it comes to genre. Their best known concept, the uses and gratifications theory, sets out key motivations for audiences to select the media they consume, and its clear that genre encoding is crucial in the context of music video. Identification, one of their 5 categories, was a core consideration in constructing our video, and clearly for professional producers too. [The EX is distinct depending on the genre: rock = everyday, relatable clothing [detail!], low key lighting, de-emphasising glamour while pop/dance is typically the opposite BUT may mix it up to strengthen the brand and audience appeal. This concept can also be applied to your NARRATIVE! Some videos directly represent fans within a video - you all have viral elements you can tie in]. This can also be at the aspirational level, and [EX: instrumental ability for rock, dancing for pop/dance, but also costume...]

My genre is known for featuring what Altman refers to as [emotional/visceral pleasures or intellectual puzzles], which can be seen in the [existing vid EX]. In mine, we [EX]

Costume is a defining feature of genre conventions in music video, and we noted the following as typical, further backed up by our own audience primary research [you can BRIEFLY detail if you want to]. Hebdige placed distinctive costume at the heart of his concept of subculture, and that clearly applies here. Much of our own costume/make-up work [EX] would be recognised within the broader genre of ..., but we did incorporate specific signifiers of this sub-culture [EX]

Genre, as we've seen, is a crucial concept for commercially exploiting music and for artists to attract an audience, but the concept can prove very loose when examined closely. The postmodernist Baudrillard put it typically colourfully when describing genre as [use all or any 1 part of his quote: 'a principal of contamination, a law of impurity, a parasitical economy']. Katie Wales put it even more bluntly when arguing that 'genre is an intertextual concept'. I found many examples of [genre] videos that reflected this [EX], borrowing from film, Tv and wider culture as well as from within and beyond this music video genre. In ours, we encoded intertextual references to [EX]. This was one means of avoiding simply being what Negus describes as a 'generecist, rather taking a pastichist approach. As we don't expect every viewer to recognise these references, there also what Rick Altman, in discussing pleasures that audiences gain from genres, describes as 'intellectual puzzles'. Bourdieu, whose work fits well with Hebdige's subculture concept, would recognise the 'cultural capital' on offer to those who can correctly identify the influences from our work.

Web 2.0

There is another very long post here worth checking out; in time I'll update everything here, but for now here's a summative overview (with a nod to Chris Creber, who I've adapted some of this from).

There's much more on this blog: web 2.0 tag ... and the musividz blog has even more again (tag link) - on the right there's a screenshot from March 2017 of recent posts linked to the topic:

Web 2 0 theories from DB3igs

...

Mulvey's male gaze - Guns'n Roses Avicii Miley Cyrus

Lets take a fresh look at the male gaze...

To help refresh our semiotic skills, and as a very practical help for the Y11s, we looked at and wrote in feedback on several rough cuts of Y11 music videos, viewable from the playlist below (you can also comment directly on YT and I can pass this on). I'm awaiting updated cuts at the time of writing.



Along the way, we discussed Stuart Hall's argument, plus the male gaze theory and how to formally discuss this - avoiding the trap of writing 'I applied the male gaze theory...' - by looking at two commercial examples:

1: GUNS'N ROSES' Welcome to the Jungle (1987) [video wiki]


With this video we broke down the media language behind the apparent sexism: our protagonist is clearly signified by following him and his gaze, even if the typical rule of thirds is conspicuously NOT applied in the opening shots (the huge space in the left 2/3 of the frame connoting his alienation from this 'jungle' - although he does begin more centrally framed within this fairly long take). His outsider status is neatly anchored not just by emerging from a Greyhound bus, but also by the simple, subtle small detail in the mise-en-scene of him chewing a straw - the hick stereotype!

He is given agency through cutting from extreme long shot with that uncomfortable framing to a more centrally framed medium close-up/medium tracking shot, and the very literal male gaze when we cut from his leering look at the passing woman's legs and behind to a point-of-view shot positioning the audience to empathise with him. The woman is not a full character, or person, simply legs and bum wrapped in a short, tight skirt with high heels; she is thus objectified.

Useful books

See here for suggestions on useful books.

NARRATIVE in Music Videos: FilmSound.org guide

Detailed article with embedded examples/analyses to illustrate the article: http://filmsound.org/what_is_music_video/
There's a links list on this topic.
Here's a briefer blog post.
This is someone's list of fave narr vids. 

FilmSound's guide has lots of quotes from academic writers

WEB 2.0 Brave/Slave new world? [cartoons]

Not all of these are tech based, but most are, a good indication of how transformative new media technologies have been - and certainly not always for the better.

Q1a of your exam asks you to discuss how you developed skills and aptitude in one or more area (DCRUP) from your AS to your A2. While the timeframe might be narrower, perhaps you could try some similar cartoons to begin to express some key themes (EAA) or EXamples?!

http://www.earthporm.com/funny-illustrations/

CREATIVITY Success through failure...

The 'Music Video Day' concept carries an intentionally high risk of failure at the heart of it. If you're not organised enough, don't work well as a team, don't give clear directions to your cast, underestimate the setup time for each shoot and for each shot, don't quickly move to secure costumes and props, don't book rooms in time ... spectacular, very public failure is a very real possibility.

The flipside to failure is what you can learn from it - and the inspiration and impetus you might gain as you stride on to your main productions. When we had filmmaker Coz Greenop in recently, a crucial part of his story, his ultimate pathway to success in Cannes, was his 'failure' here with his GCSEs.

Not getting the required grades to enter 6th form, he went elsewhere, excelled in Media Studies and set out on the path that led to launching a successful business, a globally distributed debut feature film and getting hired to helm a £4m second feature.

I'm thinking about this not just in the context of the exhausting past week with effectively two videos and a feVocalist shot, but from reading an article about 90s (and very much ongoing) Northern Irish pop rockers Ash (Girl From Mars...) in the summer 2015 edition of Classic Rock magazine, an airport purchase en route to Luxembourg which I'm only now getting round to reading a week later.

Ash had a huge hit with their debut album, but their darker follow-up tanked. That happened while they were still teenagers, quite remarkably. Vocalist Tim Wheeler would consequently languish in a New York hotel, self-harming, before bouncing back with an even bigger third album (having quelled the bipolar disorder that led to such self-destructiveness).

I thought this was a great quote:
We also had significant failures... TBC

Alternative 1a/1b revision pack

Excellent guide from a teacher in Notts. The Section B Q they do is Collective Identity, but the 1a and 1b material is very useful:

A2 Media Studies Revision Pack from Andy Wallis

Thanks to Amber for sending me a link to this.
---

EXAMS: Examples of A grade exam essays

Below you will find an A-grade exam script from an IGS student, using Film (AS) and Music Video (A2) for the Q1a/1b (1b on M.Vid) and Media Regulation for the 2nd section (case studies: press, film (and TV, not used here)). You will also find the 'Examiner's Report' which considers what students did well/struggled with and is a useful read with lots of good pointers (this includes reflection on coursework too). You can find reports for every year (and more) here, on the OCR site.

ADDITIONS, MAY 2015: I've added further sample answers, the ones provided by OCR, at the end of the post.Therefore, in this post you'll find (usually including A-grade) scripts from: January and June 2010; January 2011; June 2013; June 2014.

First, here's the June 2014 exam paper:

2014 G325 paper from DB3igs

Past questions for Q1a + Q1b

A reminder of how the paper looks [click to enlarge] - it continues on to a 4th page. You answer both Section A Qs (30 mins, 25% each) and ONE of the two questions from the appropriate Section B category [Media Regulation] (1 hour, 50%)

The Section A questions follow; scroll further down to see the past Media regulation Qs too

 
JAN 2010: R+P/CREATIVITY---REP'N
1A: Describe how you developed research and planning skills for media production and evaluate how these skills contributed to creative decision making. Refer to a range of examples in your answer to show how these skills developed over time.
1B: Analyse media representation in one of your coursework productions.

Richard Dyer's star system

This is a simple but highly useful audience/narrative theory, which also reflects standard marketing thinking (question 1 a potential distributor will ask of a film production: who's the star?). Richard Dyer's (Amazon book list) landmark 1979 book Stars argued that the star system was central to how the media operate, and how we read texts. Heavenly Bodies: Film Stars and Society (his 1986 follow-up) used case studies of Hollywood icons from the golden era, examining 'the ways in which audiences simultaneously construct and consume a particular star's persona' (Wiki). You might see parallels here with much later web 2.0 theorists such as Gauntlett and Gillmor and such declarations as "the former audience" (see this post for associated material on this).

The point here is that your text's narrative extends well beyond the film opening, 4 minute video, or even the wider promotional package.

I thought about this when reading a Film Guardian feature on Tom Cruise and director Christopher Nolan's insistence on diegetic as opposed to CGI stunts:

It goes deeper still though, into the weird contract we draw up with ourselves when we watch film. “Tom Cruise is doing that for real!” we exclaim to ourselves as we see Tom Cruise doing some casual rappelling. “Whoa!” We never truly watch blockbusters as pure narratives, but instead are constantly aware in their place in a wider ecosystem of celebrity, in which Cruise also has divorces and jumps on sofas and twinkles next to fans. We’re in awe of Cruise-as-Hunt rather than Hunt himself. (Tom Cruise, Christopher Nolan, and the new anti-CGI snobbery)

The excellent MediaKnowItAll site has a useful entry on this, considering not just the film angle but also how the music industry inculcates this approach to its modes of operation:

A star is an image not a real person that is constructed (as any other aspect of fiction is) out of a range of materials (eg advertising, magazines etc as well as films [music]).  

Their entry is copied in below, but is best appreciated on their site, where you can also click around and find further useful material.

YOU/audience are the product: Julian Assange

When we consider audience theory in Media Studies, the degree of flux and changing views on this is quickly evident, and a major theme in itself. Which, if any, of the long-established audience theories continue to hold true in the digital age, the web 2.0 era? Is it enough to write of "the former audience", Dan Gillmor's (2011) striking phrase? David Gauntlett even went as far as to declare the "end of audience studies" (2007, 2011), although Julian McDougall's (2009, in a very readable, student-friendly book) more moderate point that audiences are fragmenting, making it more difficult to meaningfully analyse or discuss/define audiences, is perhaps more useful.

There are those who see the blurring of the audience/producer line as full of democratic promise, not least Gillmor, though Henry Jenkins' Convergence Culture (2008) is perhaps the most striking statement of this.

Is Jenkins too utopian, optimistic? [image source]

On the face of it, the democratisation of 'UGC' (user-generated content), fan-made videos etc seems a good thing in weakening the power of the global conglomerate giants who dominate every media industry, often straddling several industries (as even the post-split Murdoch corporations do). But ... the 'new media' (an increasingly redundant term) giants have evolved themselves into even greater corporate behemoths than their old media predecessors. Is Wikileaks founder Julian Assange (still stuck in an asylum limbo in the Ecuadorian London embassy) right when he proclaims:

People who use Google are the product
Every time you go to a party and take a picture and post that picture to Facebook, you’re being a rat. You’re being a narc.

The first statement takes me back to the early days of my Media (and Politics) degree, when a simple enough statement immediately reformulated how I looked upon the media: newspapers sell readers to advertisers; when you buy a paper you're actually packaging yourself and selling yourself. Is the newspaper itself the product or a mere enticement for the actual product, a coalition of demographic types sufficiently attractive to a range of advertisers for the newspaper business to be economically viable?

A popular meme, Google is/Dr Evil [image source]

Baudrillard's 'simulacra': Weezer's Buddy Holly eg

A short post, just reflecting a discussion today on the postmodern philosopher Baudrillard's contentious (but ingenious?) concept of the simulacra, which argues that as we now exist in an endless sea of signifiers, or chains of signifiers with no concrete starting/reference point, we cannot claim to know of any actual 'reality'. So, Disneyland is the real America; the Gulf War, supposedly fought on our TV screens in 1991, never really happened, to take two of his most infamous proclamations.

Its a concept which often and readily applies itself to music video, with many videos influenced by other videos which may have been influenced by other media (especially TV/film) in turn. Weezer's Buddy Holly, directed by Michel Gondry, is an exemplar - it is a representation of a 90s band as part of a 70's TV show about 50's America, which heavily influenced perceptions of that decade (so, the long chain of signification in which any perceivable reality has been utterly lost, and is rendered unknowable)

Below the video I've uploaded a photo of p. 175 from the excellent Money For Nothing, Austerlitz's history of the music video; he describes the video, for example, as 'a pastiche of a pastiche'. We would later see Nirvana and other acts (see Outkast's Hey Ya at the end of the post) copy this idea of inserting the act into an old TV show (and the Beastie Boys, of course, created their own affectionate pastiche of the 70/80s cop show with Sabotage).

Austerlitz on the Weezer vid

FROM THE WIKI:

Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two steps of reproduction—faithful and intentionally distorted (simulacrum)—Baudrillard sees four: (1) basic reflection of reality; (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which "bears no relation to any reality whatsoever".^[7] In Baudrillard's concept, like Nietzsche's, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which an accepted ideal or "privileged position" could be "challenged and overturned".^[8] Deleuze defines simulacra as "those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance".^[9]

<sup>See the ProdEval blog for more on this and other media theories.


... 
Such 1950s representations are influenced by classic movies such as these...


...</sup> 

1B Media Language update

TBC
Briefly:
the overall point is what specific media language makes your text recognisably a music video? M.Lang takes in narrative, representations, editing, mise-en-scene, sound, shots, so as the existing guide highlights, you've got a lot of options for this
A couple of things I'd definitely use though: Vernallis; postmodern theory.

Anita Elberse (2013) Blockbusters - must-read book?

"Because people are inherently social," the Harvard business professor Anita Elberse points out, "they generally find value in reading the same books and watching the same television shows and movies that others do." What's more, and equally understandably: "People have a taste for winners: if, say, a book is popular and has been widely discussed in the media, consumers have more reason to read it." [from Guardian review]

Scroll down for sample quotes and review snippets, such as Bloomberg's fairly critical view

Use the look inside feature for a preview

I'd recommend at the very least sampling this, a book that basically argues that the tentpole strategy (or blockbuster as she terms it) is vital for any and all modern media/entertainment giants. Her examples take in music, film and other media, but also widen out to incorporate 'entertainment' industries such as football, looking at the examples of Barcelona and Real Madrid, and the latter's 'galacticos' strategy.

She very convincingly picks out examples of major conglomerates that have tried more austere, penny-pinching approaches ... and shows, with forensic financial detail, how disastrous this invariably proved.

Interesting that she's not simply referring to production, but also as much about distribution, and the marketing muscle and capacity to make very widely available and prominently placed a given release, Lady Gaga being one such example she dissects.

You can preview some samples by using Amazon's 'look inside' feature, or GoogleBooks (add keywords related to cinema, music or whichever industry you're most interested in to get the most relevant sections), and its for sale as a Kindle book too.

Here's a few snippets from various articles/reviews:

"Because people are inherently social," the Harvard business professor Anita Elberse points out, "they generally find value in reading the same books and watching the same television shows and movies that others do." What's more, and equally understandably: "People have a taste for winners: if, say, a book is popular and has been widely discussed in the media, consumers have more reason to read it." [Guardian review]

Fanbase not Audience the future say YouTube

A nudge/reminder that I often post materials on topics such as audience and web 2.0 on the BritCinema and MusiVidz blogs, such as this...