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JohnSchwabSecondPaper 8 - 27 May 2010 - Main.JohnSchwab
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*THIS TITLE HAS BEEN REMOVED DUE TO A COPYRIGHT CLAIM
"It's pure theft, stolen from the artists" Joseph Biden, on internet piracy. | | | Storytelling
That fact that the owners of the creative work aren't creative people but businessmen results in art being treated like any other product, which has a number of deleterious effects. | |
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< | First, any new, creative idea must compete directly with old ideas in the form of the dreaded "remake." Copyrights owners search out ways to make their stores of copyrighted material pay and pay again, even when those remakes fail and fail again. The desire to continue monetizing existing copyrighted material is a natural one for a business, but it quashes actual creativity that might otherwise flourish. | >
> | To begin with, any new, creative idea must compete directly with old ideas in the form of the dreaded "remake." Copyrights owners search out ways to make their stores of copyrighted material pay and pay again, even when those remakes fail and fail again. The desire to continue monetizing existing copyrighted material is a natural one for a business, but it quashes actual creativity that might otherwise flourish. | | | | |
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< | Second, the "productization" of television leads to the type of homogenized story telling we know all too well. The art is only useful so long as it sells advertising. This means that art must conform to particular (and sometimes ridiculous) content standards. In some cases, artists may even be subjected to corporate censorship. | >
> | Corporate ownership of creative works also diminishes the ability of the artist to tell her stories in the way she would like. Television shows are broken into segments, each of which must end in a way that leaves the viewer both "wanting more" and in an emotional state that is receptive to whatever advertising he is about to see. Even though television writers labor with great care to make these artificial story developments seem organic, the viewer instinctively feels the falseness of what he's watching.
The "productization" of television affects more than just the form TV must follow: it directly impacts the content that can be shown and leads to the type of homogenized story telling we know all too well. The art is only useful so long as it sells advertising, so it must conform to particular (and sometimes ridiculous) content standards. In some cases, artists may even be subjected to corporate censorship. | | | | |
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< | Finally, corporate ownership of creative works diminishes the ability of the artist to tell her stories in the way she would like. Television shows are broken into segments, each of which must end in a way that leaves the viewer both "wanting more" and in an emotional state that is receptive to whatever advertising he is about to see. Even though television writers labor with great care to make these artificial story developments seem organic, the viewer instinctively feels the falseness of what he's watching. | | | TOMORROW'S CREATIVE ARTIST | |
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< | "Would the network like it if everyone who watched it for free on the Internet actually had to pay? Yes. But it always ends up helping us when people can see the show." *Matt Stone, co-creator, "South Park" | >
> | "Would the network like it if everyone who watched it for free on the Internet actually had to pay? Yes. But it always ends up helping us when people can see the show." Matt Stone, co-creator, "South Park" | | | In homes all over America there are people with a digital video camera and a story to tell. For most, widespread acclaim for their work will never arrive. Perhaps their story won't strike a nerve with viewers, perhaps they lack the ability to relate their story in an interesting manner. Some of them, though, will produce art that we will want to see. But there is a good chance that we never will, and that would be a tremendous loss. |
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