La domination annoncée de la vidéo verticale (voir l'article La vidéo verticale de Snapchat est-elle la plus grande révolution vidéo) s’est concrétisée cet été 2015 par une série de lancements. Ce nouveau format a été adopté par les acteurs majeurs de la chaîne de valeur Les clients et leurs usages toujours plus importants d’écrans verticaux Les plateformes de diffusion : Youtube, Facebook, … Les éditeurs de contenu : Bild, Buzzfeed, … Les a
Now I am inclined to define television as any moving picture — at all — watched on any sort of screen not located within a movie theater. From a 30-second clip of a baby wombat to a fancy long-arc drama starring people whose other job is being a movie star, whether it was made by unionized professionals or rank amateurs, for fun or for profit, for crass reasons or noble purposes, art, garbage or garbage-art — I am happy to call it all TV. Whether you are shelling out for a full menu of premium channels and streaming sites or just consuming what you can pick up off the Internet for free, there is more to watch, and worth watching, than any reasonable person could ask for, or want.
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In newsrooms, social media teams and picture desks are faced with more graphic and disturbing imagery than ever before. A recent Journalism.co.uk survey examined how this can impact journalists' wellbeing
A Short Film About War explores contemporary global conflicts mediated over the Internet. The left-hand screen is comprised of photographs found online, released under a creative commons licence. The right-hand screen references the source of each image. Weaving the sequence together is narration based on blog posts, written by individuals involved in the conflict depicted. These perspectives do not offer a universal view of war: there are many places that Thomson & Craighead struggled to represent. Such absences illustrate the unequal distribution of Internet connections across the world. The artists treat the resulting western bias critically. For them, war is a popular media subject that is always filtered through different agendas and perspectives.
Depuis près de 10 ans, les groupes audiovisuels subissent un tsunami de ruptures multipliant les écrans, les plateformes, les usages et les modèles économiques.Sur les programmes TV, le replay a permis aux clients de choisir les horaires de visionnage de leurs émissions. Puis, Netflix a révolutionné la programmation en y ajoutant la recommandation individuelle.Sur les contenus courts, Youtube atteint des audiences colossales sur les extraits TV et a généré de nouvelles formes d’écritures courtes
"Think about it like when Benny Goodman was on 'The Ed Sullivan Show,'" Billy Parks, chief content officer at Astronauts Wanted, which is producing the series, tells "Marketing Daily." "You watched it once, and then it was gone."
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