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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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
Pag. 10
TRADITIONAL
PROFESSIONS
Pagina 11
Prof. Mihaela Gavrila – Sapienza
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:
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
AUDIOVISUAL PROFESSIONALS.
PASSAGE TO THE FUTURE
Pagina 16
Prof. Mihaela Gavrila – Sapienza
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)
Prof. Mihaela Gavrila – Sapienza
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.
Prof. Mihaela Gavrila – Sapienza
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.
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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.
Prof. Mihaela Gavrila – Sapienza
THE UK CASE STUDY AS ANTICIPATION
OF NEW EUROPEAN TRENDS
Pagina 22
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
CONCLUSIONS: UNIVERSITIES AS A
FACTORY OF THE FUTURE
Pagina 27
Prof. Mihaela Gavrila – Sapienza
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
Prof. Mihaela Gavrila – Sapienza
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
mihaela.gavrila@uniroma1.it
Telephone: +39 06-49918448
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