Heterodox approaches to save the day: A framework for analysing data-related innovation in legacy media businesses

Jemmer, Hanna; Ibrus, Indrek

doi:10.1177/01634437231155558

Cited by 5 publications

(3 citation statements)

References 55 publications

(76 reference statements)

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“…A new way for exploring the creation of public value by the media and cultural industries has emerged, which builds on innovation system studies [43][44][45]. Innovation system studies point to the emergence of innovations (also novel values) as a result of complex dialogic and knowledge exchange practices.…”

Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.

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Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

Self Cite

View full text Add to dashboard Cite

show abstract

“…A new way to explore the creation of public value by the media and cultural industries has been developed [35] that builds on innovation systems studies, as well as institutional and evolutionary approaches within heterodox economics [36,37]. In combination, these approaches highlight that (public) value is created by innovation, and any innovation system functions better if it is institutionally diverse because different institutions are constituted and driven by different epistemic communities and have different goals.…”

Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte¹,

Karjus²,

Rohn³

et al. 2023

Preprint

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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films, and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables---which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009--2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.

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“…Data credibility in the context of Web3 addresses example applications such as fighting fake news [49], e.g., propaganda in mainstream media to hide government corruption, false reporting about wars and terrorist attacks, an so on. Social networks are well known from the Web2 domain and examples are Facebook, Instagram, TikTok, Twitter, which are often critiqued for operating as rent-seeking monopolies extracting value from users' data [50]. A Web3 re-implementation of such Web2 social-media platforms could end such misappropriation of users' data.…”

Section: Applicationsmentioning

confidence: 99%

Designing a Web3 Ecosystem to Facilitate a Participatory Economy for the Movie and Series Industry

Norta

Ibrus

Milligan

2023

Preprint

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The audiovisual media content (AMC) industry, focused on film and television drama production, is confronted with a broken business model due to the dominance of centralized streaming platforms. The top platforms dominate global distribution but only offer slices of produced and heritage content. In addition, they compete with the AMC industry by producing a majority of content distributed. This leaves fewer gatekeepers deciding on the content to be distributed and less diverse content easily accessible to audiences Consequently, audiences are compelled to engage in pirating movies despite a willingness to pay. Recent blockchain innovations towards the so-called Web3 promise to restore this broken business model by re-establishing direct contact between the producers of films and their audiences. The benefits of networks (peer-to-peer or community based) in combination with Web3 follow the principle of decentralized disintermediation while comprising elements such as FIAT to crypto-payment mechanisms, self-sovereign identity authentication, blockchain oracles, decentralized autonomous organizations (DAO), and so on. A gap exists with regard to methodological designs of Web3 decentralized applications (DApp) and their ecosystems for restoring a viable AMC business model that not only eliminates the need for piracy activities but even the need for platforms. The DApp architecture designs for the film- and media industry ecosystem creation in this paper allow, on the one hand, for a legal compliance check ahead of a costly deployment. On the other hand, the DApp designs of this paper also allow for a tailored blockchain technology stack development. Ultimately, this research is a continuation of an earlier whitepaper to establish a participatory economy in the film industry from peer-to-peer streaming.

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Heterodox approaches to save the day: A framework for analysing data-related innovation in legacy media businesses

Cited by 5 publications

References 55 publications

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Designing a Web3 Ecosystem to Facilitate a Participatory Economy for the Movie and Series Industry

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