The global film industry, and, in particular, vulnerable national cinemas (including those of Australia, France and Canada), fear the shifts in both media production and recreational time spent online which are being signalled by user-generated content sites such as YouTube, My Space, FaceBook, and Second Life. In their desire to stay ahead of the game, some content producers have seized upon mobile phones as a means to access the sought after youth market for drama content. Certainly, the up-take of mobile content by young consumers in markets such as Japan and South Korea is seen as a signalling the potential for future possibilities for digital content. This article examines the ways in which mobile phone content is viewed as offering new distribution possibilities to marginal national cinemas, and the likelihood of this dream being realised when viewed against actual consumer behaviour. It concludes by arguing that when looking to the possibilities of new media for market growth and adaptation, the future of the global film industry lies in the bigger picture of interactivity and multi-platform delivery provided by convergent digital media, rather than putting all its eggs in the basket of a single technology seen as providing a new outlet for ‘business as usual’.
|Keywords:||Digital Content, Film, Digital Distribution, Mobile Content, Mobile Phones|
Senior Lecturer, School of Communication, International Studies and Languages, University of South Australia, Adelaide, Australia
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