Discuss the phenomenon of digital media convergence in relation to Advertising and New Media.
The ever-growing industries of media and advertising are more frequently seen as commonplace for innovation and convergence. Digital media convergence is the interlocking and overlapping of new media technology, as it is intertwined with the aid of the Internet and communications, and this only by ‘the radical development in digital communication and computing.‘ (McChesney, 2001, p. 1) The strong influence and confluence allow both the producer and the consumer a playground of possibilities for information to flow; and all the more in the use of advertising where ‘traditional methods of work adapt to embrace the new reality of interactive content.’ (Sheehan & Morrison, 2009) The case study of Haley’s iPod Touch Commercial will be used to further support the use of digital media convergence to an advertising sphere.
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| iPod Touch (2012) |
As evident in today’s information technology culture, consumers are adapting to a new media way of life, where, ‘online sources have long since surpassed physical newspapers as sources of news’ and ‘estimates put email volume at 20+ times greater than postal mail (even after eliminating spam).’ (Dourish, 2011) As the TV became a common household product, television commercials (TVCs) were the high point of advertising. Now, advertisers must revise, adapt and reach consumers in new and relevant ways while encompassing old media; such as TVC’s which encourage consumers to participate in social media, online campaigns, or interactive competitions. Media fragmentation has allowed for the multiple delivery of information across many platforms, and as society adapts to a life of new media, Sheehan & Morrison (2009) state, ‘digital media has become pervasive in our everyday lives.’ We have become accustomed to advertising that we see everyday, therefore we see an amplified reaction by advertising producers, who:
‘responding to what is popular (or in demand), will supply media that audiences have demonstrated (with their attention, money, or both) that they want.’ (Croteau, 2005, p. 27)
As the phenomenon of digital media rises and evolves, the demand for interactive and participatory advertising must be an intentional business strategy as consumers want to ‘interact with message content by adding to the content or re–purposing the content for new and different uses.’ (Deuze, 2007) Social media websites such as Twitter, YouTube, Instagram and Facebook are now brimming with companies, ranging from small business to multinational, who are aware that it is not only necessary to maintain their public appeal, but to also embrace the production of new media content; not only to reach their customers, but to provide for their needs.
For example, Apple’s iPod Touch images and video content from their website were part of the ‘bricolage, assembly, disassembly and reassembly‘ (Sheehan & Morrison, 2009) used by student, Nick Haley, to create his own amateur advertisement for the product, as seen in the embedded video below. The advertisement contained a montage of iPod Touch images, video and text, compiled with the song, ‘Music is My Hot Sex’ by Cansei De Ser Sexy, to accompany the imagery. All media used was readily available on the Internet or iTunes to be downloaded for the purposes of creating the compilation. It only took the action of uploading the content to the giant video-sharing website, YouTube, for Haley’s commercial to ‘go viral’ and Apple had themselves a new, finance-free advertisement. As the commercial spread across the Internet to Apple Headquarters, their marketing team was ecstatic and wanted to meet Haley to discuss plans of a professional remake of the commercial. Depleting are the days of TVCs as we move toward anytime-commercials in an ‘always-on’ phenomenon of online advertising. The 'cyber-commercial' has over two million views as of 28 August 2012, and represents Jenkins’ (2006) idea of a participatory culture seeing ‘content producers and consumers no longer occupying separate and unique roles.’ As Sheehan and Morrison (2009) dissect Deuze’s (2006) writings, they comment on his view of media as a collaborative activity where, ‘bloggers are seen as journalists, YouTube posters as video directors’, as we see is evidently true with Haley.
However, the Internet is not as supervised or reliable as some may hope new media would be. As the digital sphere broadens, it is increasingly difficult to regulate online content or keep security where it is due. Many online media avenues have their downfalls, and of course, Haley received negative YouTube comments upon posting his video, as well as 312 'dislikes' on YouTube. This is one of the risks of online advertising and media, just as businesses on Facebook will receive detrimental feedback for other consumers to see, and outspoken Twitter users will let their followers know of their customer experience. Although Apple Inc. itself was thrilled at the idea of a consumer being interactive with their advertising, other businesses and consumers may have resistance in this element of advertising change. As media convergence continues into new dimensions, consumer-driven publicity has the potential to overrule corporate advertising, as well as giving the average person the opportunity to be an advertiser, undermining those who have been studying and working in the industry for years.
The convergence of new media is an increasingly fast and effective way for business to broadcast their message to any potential customer base, but this privilege comes with the vulnerability of negative feedback. As in the case of Apple and Haley, it also means consumers can use and re-use branded information at their own delight, often times publishing incorrect facts or causing negative exposure, whether intentionally or accidentally. Advertising must stay relevant through convergence, personalising content, using new media, and being interactive for the consumer, all while continuing to build brand loyalty. It is conclusive that new media is most effective when a business knows fully the beneficial and detrimental use of both older and newer forms of media, and aim to combine them with a front-foot on the convergence of these. The success of Haley’s amateur commercial relied on Apple’s ability to produce familiar content and embrace the creative work Haley had done to then work together, despite backlash.
References:
Apple 2012, Apple Inc., California U.S.A., viewed 26 August, <http://www.apple.com>.
Apple Inc. 2012, iPod Touch, viewed 26 August, <http://www.apple.com/ipodtouch/features/>.
Castells, M 2000, The Rise of the Network Society, 2nd edn, Blackwell Publishing Ltd, United Kingdom.
Croteau, D & Hoynes, W 2005, The Business of Media: Corporate Media and the Public Interest, Pine Forge Press, Thousand Oaks. pp. 15-40.
Deuze, M 2006, ‘Participation, remediation, bricolage: Considering principal components of a digital culture’ Information Society, vol. 22, no. 2, pp. 63–75.
Deuze, M 2007, ‘Convergence culture in the creative industries’, International Journal of Cultural Studies, vol. 10, no. 2, pp. 243–263.
Dourish, P 2011, Digital Media and Society, viewed 24 August 2012, <http://www.dourish.com/classes/infx267w12/>.
Dwyer, T 2010, Media Convergence, McGraw Hill, Berkshire.
Haley, N 2007, iPod Touch Ad - Nick Haley, online video, viewed 24 August 2012, <http://www.youtube.com/watch?v=KKQUZPqDZb0>.
Jenkins, H 2006, ‘Convergence culture: Where old and new media collide’ New York University Press, viewed 24 August 2012, EBSCOhost.
Khamis, S 2012, MAS110 Digital Media Production, 22 August 2012, <http://ilearn.mq.edu.au/blocks/echo360_echocenter/echocenter_frame.php?id=9559>.
Sheehan, K & Morrison, D 2009, ‘Beyond convergence: Confluence culture and the role of the advertising agency in a changing world’, First Monday, vol. 14, no. viewed 26 August 2012, EBSCOhost.
Spurgeon, C 2008, Advertising and New Media, Routledge, Oxon.
Spurgeon, C 2008, Advertising and New Media, Routledge, Oxon.
Taylor, C 2009, The Six Principles of Digital Advertising, International Journal of Advertising, March, pp. 411-414, viewed 26 August 2012, EBSCOhost.
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