Streaming: Movies, Media, and Instant Access
Wheeler Winston Dixon
Format: PDF / Kindle (mobi) / ePub
Film stocks are vanishing, but the iconic images of the silver screen remain―albeit in new, sleeker formats. Today, viewers can instantly stream movies on televisions, computers, and smartphones. Gone are the days when films could only be seen in theaters or rented at video stores: movies are now accessible at the click of a button, and there are no reels, tapes, or discs to store. Any film or show worth keeping may be collected in the virtual cloud and accessed at will through services like Netflix, Hulu, and Amazon Instant.
The movies have changed, and we are changing with them. The ways we communicate, receive information, travel, and socialize have all been revolutionized. In Streaming, Wheeler Winston Dixon reveals the positive and negative consequences of the transition to digital formatting and distribution, exploring the ways in which digital cinema has altered contemporary filmmaking and our culture. Many industry professionals and audience members feel that the new format fundamentally alters the art, while others laud the liberation of the moving image from the "imperfect" medium of film, asserting that it is both inevitable and desirable. Dixon argues that the change is neither good nor bad; it's simply a fact.
Hollywood has embraced digital production and distribution because it is easier, faster, and cheaper, but the displacement of older technology will not come without controversy. This groundbreaking book illuminates the challenges of preserving media in the digital age and explores what stands to be lost, from the rich hues of traditional film stocks to the classic movies that are not profitable enough to offer in streaming formats. Dixon also investigates the financial challenges of the new distribution model, the incorporation of new content such as webisodes, and the issue of ownership in an age when companies have the power to pull purchased items from consumer devices at their own discretion.
Streaming touches on every aspect of the shift to digital production and distribution. It explains not only how the new technology is affecting movies, music, books, and games, but also how instant access is permanently changing the habits of viewers and influencing our culture.
ﬁlms on everything from cell phones to conventional theater screens. It is an inescapable fact that we will soon experience a complete changeover to digital formatting, eschewing ﬁlm entirely, and many audience members are deeply disturbed by the thought, as if, in losing the platform of ﬁlm, we will be losing some essential essence of the medium. But a moving image is simply that, as Godard long ago demonstrated with his revolutionary mixages of ﬁlm and video in Histoires du Cinéma, and what was
to the multiplex and away from their couches, and this is one way of doing that.” Thus, in Ridley Scott’s Prometheus (2012), as a “giant spaceship crashes into [a] mysterious planet, the seats inside the movie theater heave back and forth and rumble like an earthquake. ‘Back ticklers’ in the seats thump as an astronaut dodges ﬁreballs and rolls on the ground. A strobe light ﬂashes and huge fans expel gusts of air reeking of smoke and gunpowder” (Verrier). But this 69 Streaming sort of thing
inevitably be utilized. Basically, Google glasses turn every person, building, automobile—any object of any kind—into an instant font of information. For people, this information includes name, personal history, marital status, income, job, and other available data. As Nick Bilton reported on February 22, 2012: By the end of 2012, Google is expected to start selling eyeglasses that will project information, entertainment and, this being a Google product, advertisements onto the lenses. The
creative enterprises, true innovation comes from the margins, and it is individuals who will continue to drive innovation in streaming culture. With Wikipedia, the Internet Archive, and numerous other databases of ﬁlms, videos, texts, and music proliferating on the web in almost bewildering profusion, we can be certain of one thing: No one person can ever control it. No one corporation can ever monopolize it because, as Yeats would put it, “the center cannot hold,” because there is no center. The
Store.” Variety. com. 24 May 2012. Web. 8 June 2012. Gross, Doug. “Customers Fume over Netﬂix Changes.” CNN.com. 20 Sept. 2011. Web. 21 Sept. 2011. Gross, Melanie. “Netﬂ ix Accounts for More Web Trafﬁc than Torrenting.” Ghacks.net. 20 May 2011. Web. 21 May 2011. Gruenwedel, Erik. “Disc Rental Proﬁts Don’t Lie at Netﬂix.” Home Media Magazine. 30 Jan. 2012. Web. 1 June 2012. ———. “Streaming Helps CBS Up Entertainment Income 97%.” Home Media Magazine. 2 Aug. 2011. Web. 3 Aug. 2011. Hachman, Mark.