new professİons for new digital-audiovisual markets audiovisivo eng x culture e... ·...

NEW PROFESSİONS FOR NEW DIGITAL-AUDIOVISUAL MARKETS

Prof. Mihaela Gavrila – Department of Communication and Social Research

Sapienza University of Rome

Italy

MEDIA FACTORY

INSIDE THE MEDIA FACTORY: AUDIOVISUAL PROFESSIONALS TO THE

PROOF OF CHANGING TIMES

FOR THE UNIVERSITIES AND FOR ALL THE EDUCATIONAL INSTITUTIONS IT IS NECESSARY TO

UNDERSTAND WHAT KIND OF PROFESSIONALITY THE NEW AUDIOVISUAL INDUSTRIES

REQUIRE

EDUCATION MUST BE ONE STEP AHEAD OF THE NEEDS OF THE SOCIETY AND THE LABOUR

MARKET

Pagina 2

Not just creativity

“Creativity is just connecting things”

Steve Jobs

Pagina 3

Three scenarios

Prof. Mihaela Gavrila – Sapienza

Pag. 4

1. Social changes: fragmented society, networked society; flexibility

3. Technological scenarios = digital evolution, multiscreen vision, ecc.

2. Labour market transformation = flexibilization of employment (Markington et al., 2005), need for multi-tasking, but also unguaranteed workers, freelance

First scenario/ Social changes


Pag. 5

Fragmentation stems from a combination of factors: the rise of individualization, globalization and urbanization combined with an erosion of fixed and long-lasting bonds enshrined in traditional institutions such as the family and belief systems relating to religion, democracy, and labour relations. Loser and temporary networks emerge.

First scenario/ Social changes


Pag. 6

- ‘Free jazz’ times– a fluid and constantly changing ‘composition’;

- improvisation within certain rules and tacit agreements;

- communities and ad hoc groups congregate around values, tastes, lifestyles, interests, issues,

and opinions;

- share and interact via (social) media, anytime and anywhere and to jointly create content

- A unifying factor may be nothing more than a trending topic on Twitter.

First scenario/ Economical and organizational change


Pag. 7

- The arrival of new global media players, increasing competition for content and talent

and/or threatening to disrupt the direct bond between media industries and their

audiences;

- Pressures on public spending including PSM budgets are unlikely to lessen;

- Institutional trust is eroding, potentially undermining the legitimacy of PSM.

Second scenario/ Labour market transformation


Pag. 8

Especialy relating to the changing nature of organizzations (Piore&Sabel, 1984; Miles&Snow, 1986; Powel 1990; Gavrila 2010); Organizations are argued to have become fragmented, less bureaucratic and hierarchical, increasingly reliant on the outsourcing; based on networked relationship involving trust and reciprocity)

- flexibilization of employment (Markington et al., 2005);

- individualized competition among workers vs. cooperation and collaboration

- need for multi-tasking; - increasing number of unguaranteed

workers, freelance

Third scenario. Between tradition and digital evolution


Pag. 9

Tradition = Old Media(in particular Tv and Radio)

Innovation = Internet and new technological devices.

Third scenario. Inside the new hybrid world

Source: Slovak University of Technology


Pag. 10

TRADITIONAL

PROFESSIONS

Pagina 11


The evolution of audiovisual professions in six phases

'50s-'60s, the urgency of the trades: artisan model, crafts borrowedfrom cinema, radio and the American patterns

60s-70s, the role of company management: development ofmanagerial figures and strengthening of the corporate identity of PSMas Rai (Italian Public Service Broadcaster)

'70s-'80s, the emergence of ad hoc figures: proliferation of privatebroadcasters and obsessive development of roles

’80s-'90s, adjustment: competition between public and private andwildly growing professions

'90s-2000, technological reinterpretation: actualization of the historicalfigures and the emergence of new roles

Since 2000, the period of "simulcast“, also in skills and professionalfigures as well as the invention of specific professional figures for digitalneeds

Market dynamics have caused relevant changes in the field of audiovisual

professions. The scientific literature identifies 6 evolutionary steps:


PHASES OF DEVELOPMENT FOR AN AUDIOVISUAL PRODUCT

Production and

Execution

Creative Design and

Planning

Post- production Distribution

The foundations

are laid for the

realization of the

product. The core

idea of the product

is developed and

the formula and

structure to be

followed is

defined.

Project

execution,

through a

combination of

artistic aspects

and most

effective

technical and

operational

elements.

Final picture and

sound treatment,

providing, as

result, the storage

and duplication of

the material.

The product is

marketed, ready

for broadcasting

or sale.

Pagina 13


AN ORIENTATION MAP ON THE TRADITIONAL PROFESSIONS

CREATIVE DESIGN AND PLANNING

Author/

Screenwriter

Project

manager

Creative Design

and Planning

Production

processes

Assistant

directorCostume designer

Editorial director

Director of photography

Production manager

Head of

programming

Journalist

Camera operator

Presenter/Anchorman

Producer

Programme

planner

Editor

Director

Casting director

Set designer

Production assistant

Sound/video

engineer

Makeup artist

Consultant


AN ORIENTATION MAP ON THE TRADITIONAL PROFESSIONS

POSTPRODUCTION AND DISTRIBUTION

POST-PRODUCTION

Post-

production

agent

Music adviser

Key account

manager

Sound

engineer

Editor

DISTRIBUTION

Brand manager

Advertising art director

Marketing director

Advertising executive

Communication and

Marketing Manager

Press office manager


AUDIOVISUAL PROFESSIONALS.

PASSAGE TO THE FUTURE

Pagina 16


TRADITIONAL

PROFESSIONS

NEW

PROFESSIONSDIGITALE

Already existing before digital, they

are characterized by social

recognition and a high degree of

institutionalization

Developed as a result of technological

innovation, social changes and the

dynamics of the labour market (greater

knowledge, functions and flexibility

required from future workers). Often

strongly oriented to specialist services.

DIGITAL

EVOLUTION OF THE PROFESSIONAL MARKET (1/2)


EVOLUTION OF THE PROFESSIONAL MARKET (2/2)

Graphic designer

Post-production agent

Sound engineer

Producer

Author

Director

Head of programming

Marketing director

Graphic designer/3D animator

Sound Designer

Videomaker

Editor

ANALOGIC

DIGITAL

E.g.


TRADIZIONAL

PROFESSIONsNEW

PROFESSIONS

COMMON

PROFESSIONS

Author, Screenwriter, Project Manager, Assistant director, Production assistant, Costume designer,

Editorial Director, Director of photography, Production director, Head of programming, Journalist, Camera operator, Presenter/,

Anchorman, Programme planner, Editor, Director, Casting director, set designer, Production Secretary, Music adviser, Brand

Manager, Advertising art director, Marketing director, Advertising executive, Communication and Marketing Manager, Press office

manager

Concept Designer, Multimedia Art

Director, Multimedia Designer/

Web Designer, Multimedia graphic

designer, Grafphic designer/ 3D

animator, Product Manager,

Multimedia Copy Writer, On line

Journalist, Programmer of

interactivity nodes, digital (and

not) photographer, Quick Time

VR, Video operator with media

specialization, Editor movies for

multimedia applications,

Videomaker, Editor, Software

Developer, Musician/Tdigital

sound specialist, Sound Designer,

Video Graphic designer, Client

Leader, Online advertiser,

Multimedia Account , Social media

manager,

Graphic, designer

Producer, Post-

produzione, agent,

Sound engineer,

ETC.


DIGITALIZATION: WHAT HAS CHANGED?

Presence of traditional figures and new professions

The traditional figures need essential upgrade in roles, functions, and

skills

Mixture between old and new, mixture of genres and expressive forms,

the new that take inspiration from the tradition and the old making a

remediation with the new

Tradition and modernity in a unique setting


AUDIOVISUAL INDUSTRY: BETWEEN TRADITION AND EDUCATION

• The audiovisual market emerges as an evolving area,

difficult to demarcate - boundaries are fluid and continuously

challenged in a remediation process

• We are witnessing a constant use of skills sedimented in the

analogic past, the past that continues to influence both the

contents and the new professions

• Need for new skills, especially related to the world of social

network sites and the use of big data

• University must provide answers in terms of training.


THE UK CASE STUDY AS ANTICIPATION

OF NEW EUROPEAN TRENDS

Pagina 22


Decreasing audiovisual Workforce

between crisis, technological evolution and labour transformation

Source: Creative Skillset. Developing World Class Talent, 2012

- The total workforce

has increased by

13% since 2004

- major decline from

2006 to 2009, during

the recession.

- 2006 was a

watershed year in

terms of

professions:

gradually replacing

analog with digital

ones. First the

witnessing of the

coexistence and the

overlap between the

two markets; after

2006 a renovation

and replacement (no

accumulation) of

each other.

Pagina 23

Most of the audiovisual sector workers are not employed in creative activities

Source: Creative Skillset. Developing World Class Talent, 2012

Pagina 24

BAME

WOMEN

DISABLED

DIVERSITY IN THE UK TELEVISION WORKFORCE

Source: Creative Skillset. Developing World Class Talent, 2012 Pagina 25

Production and post-production activities are freelance

84

70

66

64

63

60

44

41

28

23

23

21

19

18

16

13

9

7

7

5

5

5

3

1

0

0 10 20 30 40 50 60 70 80 90

Lighting

Make-Up and Hair Dressing

Costume/Wardrobe

Creative developnent

Editing

Audio/sound/music

Transport

Production

Art and design

Editorial, Journalism and Sport

Animators

Strategic Management

Broadcast Management

Studio Operations

Legal

Content Developement

Tecnical Developement

Library and Archives

Business Management

Engineering and Transmissions

Manufacture

Distribution, Sales and Marketing

Servicing

Laboratories

Retail and Exibition

% of Freelance in each occupational group

Pagina 26

Business/Management/Organizational

field

Production and

postproduction

Field


CONCLUSIONS: UNIVERSITIES AS A

FACTORY OF THE FUTURE

Pagina 27


NEW EDUCATIONAL NEEDS

• flexibility (soft/hard skills)

• multi-tasking

• new legal aspects

• dealing with big data

• learning to participate to cross-disciplinary

team-works

journalist/visual media expert/legal experts/alogorithm

Pagina 28


It is essential to teach human understanding in order to promote solidarityand brotherhood. It allows us to understand our identity and our differencesrelative to each other, to recognize its complexity rather than reducing it to asingle, generally negative identity. It is essential to teach knowledge of theplanetary era that we live in, its opportunities and its risks, includingindividual and collective problems, of our era marked by globalization. It isessential to teach how to deal with the uncertainties that every individual inthe community inevitably encounters, the history of nations; uncertaintiesthat have worsened in the beginning of the twenty-first century forourselves, our society, our humanity».

(Hessel, Morin, 2012)

«It is essential, yes, to teachhumanism, but also whatthe human being is in itstriple nature: biological,individual and social. It isessential to spread a clearconsciousness of the humancondition, its history, itstwists and turns, itscontradictions and itstragedies.

30

Contact

[email protected]

Telephone: +39 06-49918448

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