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"There's a certain class of content which is only going to come onto Facebook if there's a good way to compensate content owners for that,"

"We've recently rolled out the business model for this. We'll give a revenue share on a portion of the views to content owners

To grasp the scope of change unraveling in content creation, which is increasingly fragmented, consider all the mobile apps on your smartphone.

DEAR CONGRESS: THE DIGITAL MILLENNIUM COPYRIGHT ACT (DMCA) IS BROKEN AND NO LONGER WORKS FOR CREATORS

One of the biggest problems confronting songwriters and recording artists today is the Digital Millennium Copyright Act. This law was written and passed in an era that is technologically out-of-date compared to the era in which we live. It has allowed major tech companies to grow and generate huge profits by creating ease of use for consumers to carry almost every recorded song in history in their pocket via a smartphone, while songwriters’ and artists’ earnings continue to diminish. Music consumption has skyrocketed, but the monies earned by individual writers and artists for that consumption has plummeted.

The DMCA simply doesn’t work.

Большинство представителей поколений Y и Z использует онлайн-видео как эффективное средство для снятия стресса или отличное снотворное.

Digital видео служит для большинства 13–24 летних молодых людей не развлечением или средством познания, как предполагают маркетологи, а антидепрессантом и средством побыстрее уснуть. Отличным способом для снятия стресса онлайн-видео назвали 61% представителей молодого поколения. Еще 44% молодых людей воспринимает видео как эффективное снотворное средство.

Defy Media также обнаружили, что подростки не возражают против рекламы. Более того, 63% молодых людей выразили готовность приобрести продукт, рекомендованный звездой на YouTube. А вот доверия к ТВ-звездам меньше – на нее откликнулись бы только 48% представителей поколения Z.

Still, most parenting wisdom continues to portray television as an evil mind-rotting demon. The fear of ‘screen time’ is so deeply ingrained in our collective imagination that an irrational opposition between outdoor play and media consumption is taken for granted. Many parents believe the choice is either/or: indoors or out.

most storytelling is interactive. We consume most of our media through internet connected devices. And technology is so adept at providing ‘adaptive feedback’ that it proves to be an exceptionally effective teaching tool. In fact, a recent SRI study shows that game based learning can boost cognitive learning for students sitting on the median by 12%.

Joint media engagement refers to spontaneous and designed experiences of people using media together, and can happen anywhere and at any time when there are multiple people interacting together with digital and traditional media.

Immersive journalism is an emerging genre in which sound, video, and reporting are melded together and presented with virtual reality technology to put the consumer in the scene, usually experiencing it from the point of view of the participants.

The larger concept is the cultivation of empathy, using the information—sight, sounds—point-of-view—to cause the user to see things he or she wouldn’t have seen otherwise.

It isn’t unreasonable to suggest that the way stories are told and received may fundamentally change in the next twenty to thirty years.  There are many ways to tell stories and to engage an audience.  Immersive journalism places emphasis on engagement through perspective, placing the user inside of the experience.

Consumers have more digital media options than ever, and most are finding what they want. But many are becoming frustrated by the complexity and effort piecing together their entertainment experience requires.

While consumers appreciate the freedom to customize their entertainment experiences, they don’t enjoy the friction—the hassles, responsibilities, and even vulnerabilities—that can result from choosing options à la carte.