Fibre to the… NOPE – The New and Not-Improved NBN

So everyone is trying to understand how the NBN can continue to be such a huge cockup and conveniently, there’s this article about it and seeing as though it’s related to institutions, I’ll give you the low-down. Labor introduced a plan to basically just put all the best technology in 95 percept of households, everyone would have fibre all the way from the root to the premises, happy days, and two years ago we were all supposed to have gigabit internet connections, of course, being Australia that didn’t happen because there was an election and parties don’t ever agree on anything ever, so the liberal government basically said a tenth of that speed is enough let’s not waste money, this is though, it sounds bad, a reasonably good idea, but their main reason for doing this was to save time, not money and they haven’t saved any time at all and the cost also hasn’t changed that much, and in the end, we still end up with an old, dated network, still controlled by the big ISPs.

The reading on the NBN says that in contrast to other countries in the world, speed is not marketed here, in fact really the only thing that’s advertised as the difference between ISPs is data allowance. I personally find this really annoying and it permeates through almost every form of technology. Walk into JB Hifi and ask someone what Graphics Chip is in any one of their computers and then wait five minutes while the staff member goes out and checks because it isn’t written on any of the promotional paraphernalia for the product or on it’s tag, instead the Graphics memory is written there, which of course is totally irrelevant without knowing what the card is, but the majority of people buying a computer won’t know that, they see GB and know more is better. They wouldn’t know a megahert if it hit them in the face. And this is the very same thing with the NBN customers understand gigabytes, physical data, size is better but ask them about speed, they don’t know a thing and this, this lack of education is why we’re 60th in the world for internet speed. When Turnbull says “Most australians have no need for gigabit internet” he’s right, because most australians don’t know what a gigabit is.

Television: And why real-time data is the only thing that will save it.

Having completed Project Brief 4, I know my research into media institutions has dominated this blog but I would like to leave you with some thoughts I recently encountered whilst researching the decline of institutionalised television both in this country and abroad. Sean Plott is a well known YouTuber and Twitch streamer and in a recent interview with Business Insider discussed one of the most important and lesser talked about reasons for the decline of television and why audiences are increasingly watching online content instead of the tube. The article can be found here: http://www.businessinsider.com.au/youtube-and-twitch-star-sean-plott-explains-why-television-is-doomed-2015-3?r=US&IR=T.

What is the reason? Real-time Data. Within the Information Technology world, RTD is one of the most important things going round. There is even technology used to track the cell phone traffic in your retail outlet to know what products are being looked at the most. In a world where we could pretty easily track down the exact location of a friend or family member with relative ease, television networks still rely on surveys for market research and even ratings as a whole. Ratings (as I said in my audio essay which you won’t find cause of copyright issues) drive advertising, drive the entire television economy and the data that is used to gather the ratings, surveys. Literally phone calls with people, polls, nothing even remotely real-time. That’s why we have so many shows that last one season because networks have to just guess at whether audiences like a show and produce a whole season of it just in case.

Plott is a Twitch streamer and of course, on Twitch you have live chat aside your videos and this allows him to adjust his content as the episode goes as audience tastes change. The audience can actually tell the content creator, live, that they do or don’t like what they’re doing and even YouTube’s comment system is more profoundly influential than anything that comes out of television surveys. The ratings surveys only tell you what the audiences watch, not what they think, what they want, what would make them happy. Online media is so much more diverse for this exact reason and according to plott, if television doesn’t start to wise up and become more like these online channels, they’re doomed.27

A Genre Walks Home at Night

I really just don’t like horror, particularly any kind of really stereotypical, “oh let’s do a black and white, vampire horror film”. Really just don’t like it. I love the thrill of caring about a character, or a gripping moment but a moment where I’m genuinely terrified, not for the characters, but for myself, that’s really not a fun experience. A Girl Walks Home at Night is a Supernatural Thriller/romance film, a genre film. But it doesn’t just fall into a genre because of the kind of film it is. The film intentionally employs techniques from other films of that genre. Particularly horror films and particularly supernatural horror films.

*** Local Caption *** A Girl Walks Home Alone at Night, , Ana Lily Amirpour, USA, 2014, V'14, Spielfilme

The decision to shoot the film in Black and White is not at all surprising as it seems to be a nod to the old horror films. You can very easily find a lot of amateur horror that similarly does this, for instance RocketJump Film School’s “The Horn”, which though, yes it’s a satyr and it’s a short, it also uses this very cold, black and white palette as both a call back to previous films but also to ground the audience in the genre. There are only a few genres of film that feel the need to remind the audience that they’re watching a genre film, horror is one of them. The lighting and even subject matter is also very film noir, using femme fetales and lighting that calls back to even that genre.

A Girl Walks Home Alone at Night is also very obviously a title that calls to mind some already pretty horrific things, though the audience will definitely be surprised when they watch the film and see what it really is.

The Audio Essay: Reactions

Today in class, I played the voice track for our audio essay, which I recorded in more of a sort of persuasive online style, the sort of thing you would associate with a massive click-bait title. I wanted to come at it from the perspective of trying to stir up Australians to agree that something needs to be done about our media industry and the rapid descension into total filth that seems to be occurring particularly in television and cinema.

When playing the essay for the class I received some very polarising feedback in terms of people being really positive and really negative. Some people in the class really loved the fast, aggressive pace of it, saying that it kept them engaged, others felt it was too much. I have listed some of the feedback/suggestions I got below:

– Use sound bites to break it up – For example sound effects of Channels switching a lot

– Ask your question up front – set it up faster and more efficiently

– Start cynical – maybe on the back foot before you call your audience to action

– Propose or argue rather than state certain things to be factual

– “This isn’t just my idea, people have been saying this for ages” – back up your idea

– Build to anger, don’t be a bull at a gate

– Slow down!!!!!!!

– Be a little less dense – use “Game of Thrones” almost like a case study, not just as evidence of a problem.

– Balance – Dynamic

 

– Structurally be a little more structured – watch for flow

– Who is your audience

– Diversity of voices – be a little bit more conversational

I really like this feedback I think it give us a lot of direction going forward as we try to make the essay be a little be more factual. Seth suggested I should just go for it. Make a viral YouTube essay and follow it all the way, don’t half commit but totally commit. I think I will take this on board and simplify my argument but keep the tone relatively similar, though maybe just toning down the start a little.

Documentary & Herzog’s Grizzly Man

Grizzly Man is one of those rare docos that just make you feel uncomfortable because Herzog presents you with a very controversial character in the form of Timothy Treadwell but doesn’t really give you any sense of how you should feel about the man. The difficulty with this is that many documentarians have an agenda and it’s very rare to see such an obviously weird documentary not take a very obvious point of view. Film Art suggests that a documentary is about presenting factual, external information (that is information that exists outside the world of the film), in a somewhat more objective light, however as I said, I feel like most documentaries intentionally attempt to persuade me of a particular point of view and as such, I find Grizzly Man to be a very different film.

It was interesting in the lesson, discussing the film and talking about the way in which Herzog kind of interrupts his own film to kind of be very existential and suddenly deep, almost trying to have an agenda but the agenda was not about the subject of the documentary, it was about the world itself. Film Art says that the label of Documentary suggests to the audience that the film is trustworthy in a sense, yet this film again, has a very distinctly different reading for me. I watch each and every person in that documentary and none of them seem like normal people, including Herzog himself. There is no real window into that world for me. No grounding character or person within the ‘narrative’ of the documentary and that is why I think the film confuses me.

Practical response to our Audio Essay topic

The audio essay for Project Brief 4 is one of the two major outcomes for the assignment. I began writing it today and trie to stay away from a very opinionated piece, however, that wasn’t very fun so I started writing a piece about why and how the media in Australia is becoming worse and worse over time and what should be done about it. A key problem with my argument is that it fails to address the problem of money. Companies can make content that’s the easy part, they can market that content, also easy but the problem is getting people to watch who haven’t watched television in months. The sort of people who live between Netflix and Pirate Bay. The Australian institutions are putting all their ideas straight on free to air, which isn’t helping them at all and you know when the ABC is producing probably the exciting TV, there’s a huge problem! So How do you go about fixing that? I think the key is getting Australian content on Netflix as well. Get it in the same places as the overseas content and make it god enough to hold its own.

The problem then exists, how to fund such a project from the limited resources the commercial television networks in Australia have at their disposal. I think the solution lies in the content itself. I think good quality writing is cheap, you just have to find the people to do it. This is where young talent is important. There’s no reason you can’t find a young screenwriter willing to work cheap. The hard part is then turning that into an achievable idea. I think that this needs to happen especially in the screen department. One of the issues we have is that the best Australian films are made by Americans and American money and the money goes straight back there when a film or television show is successful. Take the series Gallipoli. Biggest budget Australian Television for as long as I can remember and no one even watched it. Cause I just didn’t care enough and to be honest after the first ten minutes it was boring. It was painting a picture of the war not focussing on individuals and stories that I wanted. So many mistakes are made by the out of touch media makers in the country, yet those people who have great things to say rarely actually say it.

The Age of Innocence & Film Styles

Film Art describes a few ways in which an audience member can begin to dissect the style of a film. The first of these is to identify narrative conventions or formal system that essentially make up the organisational structure of the film. For Martin Scorsese’s The Age of Innocence we can start with the way the fact that the film is definitely a narrative film.

age-of-innocence-1

It is very obviously an adaptation of a novel as the film only loosely fits a conventional Hollywood three-act structure. The film begins in an opera, a rather disconcerting opera in which you’re not quite sure of the characters or where you are, also the introduction of the two lovers occurs almost immediately in the story. The middle section is a lot of tension and struggle as Newland and Ellen try to break out of the society they inhabit. Finally the ending, shows the acceptance, really, there is no resolution to the narrative at all at the end and this also goes for each individual moment. There is not a lot of reconciliation of plot lines or characters at all in this film and this is often very typical of a dramatic film. Though we’re not talking about genre here, we’re talking about style. The use of techniques is very artistic. We could also similarly say that art is an important motif in the film as in the beginning of the film we are almost surrounded by very elaborate paintings and then in many of the location scenes the frame is almost composed as a painting would be. Most of the other techniques are very conventional, there is not a lot in the way of breaking of stylistic rules however the film is constructed to feel almost as if that society were the ones to shoot it. Even in the scene where the two lovers hold each other, there is a very painted look to it, a somewhat artificial quality.

This system moving from identifying the key narrative organisational system, identifying the techniques and then following them to their intended meaning is the way in which Film Art proposes you identify the style of the film you are viewing. Film Art suggests that you can also use the technical construction of a film to talk about the style of an artist or director and in this case Age of Innocence in many ways ‘breaks’ Scorsese’s style quite substantially.

The Collaborative Contract & Inhuman Reactions

Group Work. Ah. Here come the issues. The group chat is like a ghost town. People ask questions and it takes days for people to reply. DAYS. I am spending the majority of my life at my grandfathers bed side at the moment, in hospital and having warned my group that I might be unresponsive, there continues to be radio silence and complete lack of communication on a few people’s behalf and unfortunately I feel a lot of responsibility for it. I the being caught in the middle of family issues and uni. And I hate the fact that my group have to just deal with that. There’s no special consideration for them so the expectation is that I will just keep working even when there is a massive problem with communication.

Glancing at the Collaborative contract, I’ve noticed that all of our skills are different and a lot of my contributions are meant to be in the editing phase, so at this point, I feel like I’m not needed but because all of us are so busy, I wish I could facilitate some work because I know it’s essential that we start working on this assignment now.

One of the things that concerns me is that not even the research portion of the assignment has been done and that counts for quite a substantial part of the writing of the essay. The annotated bibliography is a required document and is due on Thursday. Not excited about the total lack of research so I’m gonna try get a little done now. Cheerio.