[B]roadcast mode is dead. Now is the time for co-creation, user distribution and a true democratization of video content.
Tom Smith, managing director of Trendstream
In Gavin O'Malley, "Report: Online Video Fastest-Growing Medium In The History Of The World," Online Media Daily, May 29, 2009
Trendstream is a social media research consultancy, and so it has a vested interest in highlighting the popularity of the rapid growth taking place in the sharing of online video. The major broadcast and cable networks would dismiss Smith's comment. They would point out that the viewing of broadcast and cable television still takes up substantially over 95% of Americans' time with video. Nevertheless, Trendstream is using its findings from a survey (carried our by research firm Lighstream) of 1,000 "active web users" to point to the quick growth of watching clips online. The company claims that "with 72% of US Web users watching clips online, Web video outstrips both blogging and social networking, and is now the leading 'social media platform.'"
In recent months Hulu and other sites for network-quality video have gotten much news, but Trendstream notes that most of what goes on around video is the downloading and uploading of short clips. Moreover, "users of all ages now generate far more content than traditional broadcasters and collectively contribute the majority of video content to the Web."
Showing posts with label social currency. Show all posts
Showing posts with label social currency. Show all posts
Wednesday, June 3, 2009
Wednesday, July 9, 2008
Gossip Girl's Trend-Making Machine
We tried to launch trends from the get-go.
-Eric Daman, costume designer Gossip Girl
In Ruth La Ferla, "Forget Gossip, Girl; The Buzz is About Clothes," The New York Times, July 8, 2008
The CW Network's Gossip Girl, which centers on the machinations of young ladies in a Manhattan private school, is popular with teenage girls. Although its TV ratings are only middling (though some argue that many more people view it online), the show is having a broad impact on the retail marketplace. "Merchants, designers and trend consultants say that Gossip Girl, which is in summer reruns on the CW network before returning Sept. 1, just in time for back-to-school shopping, is one of the biggest influences on how young women spend. Fans stride into boutiques bearing magazine tear sheets that feature members of the cast and ask for their exact outfits. Or they order scoop-neck tops and hobo bags by following e-commerce links from the show’s Web site." According to Daman, this type of influence--along with the product-placement cash that comes with it--is what the program's creators intended from the start. Daman had worked previously on Sex and the City. Gossip Girls brings a similar materialistic sensibility to its script and screen. The Times writer treats all this quite benignly, quoting someone who tosses it off as "eye candy." But many of the items are quite expensive, and at a time when many US families are suffering financially one wonders what kinds of tensions these induced desires cause. Clearly, too, the program is another example, of the blanket commodification of television programming.
-Eric Daman, costume designer Gossip Girl
In Ruth La Ferla, "Forget Gossip, Girl; The Buzz is About Clothes," The New York Times, July 8, 2008
The CW Network's Gossip Girl, which centers on the machinations of young ladies in a Manhattan private school, is popular with teenage girls. Although its TV ratings are only middling (though some argue that many more people view it online), the show is having a broad impact on the retail marketplace. "Merchants, designers and trend consultants say that Gossip Girl, which is in summer reruns on the CW network before returning Sept. 1, just in time for back-to-school shopping, is one of the biggest influences on how young women spend. Fans stride into boutiques bearing magazine tear sheets that feature members of the cast and ask for their exact outfits. Or they order scoop-neck tops and hobo bags by following e-commerce links from the show’s Web site." According to Daman, this type of influence--along with the product-placement cash that comes with it--is what the program's creators intended from the start. Daman had worked previously on Sex and the City. Gossip Girls brings a similar materialistic sensibility to its script and screen. The Times writer treats all this quite benignly, quoting someone who tosses it off as "eye candy." But many of the items are quite expensive, and at a time when many US families are suffering financially one wonders what kinds of tensions these induced desires cause. Clearly, too, the program is another example, of the blanket commodification of television programming.
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