“Google hasn’t yet said what it intends on doing with its newfound predictive powers, though insiders say it can be used by film studios to better market their films. Google doesn’t plan on selling its data, but sharing it with clients, they say.” (Paul Bond, The Hollywood Reporter)
“The sort of deeply meant aspect jumping we see in TDK is almost absent on television, where shifts from 4:3 to 16:9 and back happen far more often. At some level that isn’t surprising. Hollywood cinema has managed to fret publicly over medium specificity as part of its assertion of cultural primacy even in an era where an ascendant television has made stronger and stronger claims to quality, even superiority. There is a reason that Keanu Reeves can get excited enough about the digital turn that he wants to talk to everyone about it, as he does in the documentary Side by Side (Kenneally, Tribeca, 2012).
But if aspect jumping in film is an occasion for obsession, it has been all but neglected in television studies, and that, too, seems almost natural. Ask yourself: what was the last 4:3 tv show you watched? You probably know that The Master is in limited 70mm release and that it is likely one of the very last films in that format. You probably cannot say what the last 4:3 television series on ABC was. (It was Extreme Makeover: Home Edition.)
Some blame for this ignorance falls to us as scholars. But surely the larger share belongs to television industry itself, which has a vested interest in downplaying epochal events in its own technological history because its industrial organization makes a hash of any such historical breakpoints.” (J.D. Connor, FLOW)
“DreamWorks executives didn’t say how much they spent developing the software. They released it in hopes it would be adopted as an industry standard and integrated into commonly used software platforms. This would increase its utility for DreamWorks even if it gave competitors access to an element of the company’s tool kit, according to studio executives.” (Erica Orden, Wall Street Journal)
Believed to be the earliest surviving motion picture (Louis Le Prince, 1888)
“Instead of Hollywood suffering its own Napster moment — the kind of digital death trap that decimated music labels first through the illegal downloading of files and then by a migration to legal downloads almost solely through iTunes — several deals announced this month have it feeling more in control.
While studios still consider piracy a huge problem and feel stymied by Silicon Valley (and Washington politics), they nevertheless control their content. And now the Web is coming to them.” (Brooks Barnes, NYTimes.com)
“But Everyone Counts’ security claims have been met with deep scepticism by a computer scientist community which has grappled for years with the problem of making online elections fully verifiable while maintaining ballot secrecy – in other words, being rigorous about auditing the voting process, but still making sure nobody knows who voted for what. So far, nobody has demonstrated that such a thing is possible.” (Andrew Gumbel, The Guardian)
“Lori Takeuchi, who wrote this report for the Cooney Center along with Reed Stevens, said what parents decide to do with their kids is largely based on their own childhood experiences. Those who grew up on the Internet or were young enough when they started using it in their daily lives have less fear about dangers.
‘They’re comfortable with fewer rules,’ Takeuchi said about the families she studied for the Families Matter Report she wrote earlier this year. Older parents, on the other hand, tend to use parental controls more. ‘Younger parents are willing to confront media and the unknown with their kids, whereas older parents aren’t.’ ” (Tina Barseghian, Mind/Shift)