This is the first in a series of posts I announced last week called “Understanding New Media.”
One argument I’ve heard from filmmakers trying to define “new media” favors a producer’s original intent for the material. If the story being told was meant for web and first launches online, then it (by definition of producer’s intent) should be considered “New Media.” I suppose that’s fair – if it was made for web and only ever lives on the web, what else do you call it? Well, I call 99% of it “Casual Video.”
YouTube is the biggest marketplace for “Casual Video,” where users upload literally anything they can capture. Most YouTube videos have no revenue agenda, are authored by individuals arbitrarily, and lack front-end logistics or financing. For a video to transcend “casual” status, I think it must first have at least a little foresight, structure, and craft tied into its execution. “New Media” is a film industry term, so there should be a certain level of “industry” to the content being produced. There is really no “industry” to my friend Jim skateboarding off of a cliff. It’s merely pure, casual fun.
So I’ve raised a little money and produced something for the web. “New Media,” right? What happens when that content syndicates on television? Or premieres on the big screen? Is it still “New Media?” Or has it become more than that? On the flip side, what happens when a feature film, originally intended for the big screen, first ends up online out of failure to platform in theaters? Is it still a “Feature Film” or has it become “New Media” in spite of the producer’s original intent? Tough call.
Moreover, what happens when our televisions and movie theaters are networked through the web? Is a cable show broadcast on Google TV “New Media” or “Television?” I stream Netflix and South Park the same way I stream YouTube antics. Don’t you? So what’s the difference? Well, there is no difference to the consumer, except perhaps the quality and duration of content. The lines between web and other platforms are blurring. Just because something plays online does not necessarily make it “New Media.”
I suppose the “original intent” argument can stand for now concerning content that was financed, produced, and distributed exclusively for the web. But there’s much more to it than that. Does the content play as part of a greater whole? Is it a spinoff or tie-in to another intellectual property on another distribution platform? Should the content then be called “Bonus Material” or “Marketing” instead?
Tune in next week for a discussion on web content’s autonomy.