Film Industry Discussion Prompt
Please complete both questions and write about 150 words for each questions First question: https://www.latimes.com/entertainment-arts/business/story/2024-03-06/how-netflix-held-onto-its-crownas-king-of-streaming Netflix has stayed giant amid competition by Walt Disney Co. and Warner Bros. Discovery in streaming service. This, therefore, saw Netflix rebound after having experienced a slight decline in new subscriber numbers back in 2022. Its subscriber base had grown to 260 million worldwide. Those remarkable comebacks were able to be executed with strategic moves, including a low-price, ad-supported subscription, and a crackdown on the password-sharing policy. This, along with their push to diversify their content—from international dramas and reality shows to sports documentaries—has proved very crucial in the sense of attracting a wide array of viewers. The key to the prosperity of Netflix is its innovative technologies and diversification of content. The novelty in these platforms is the cutting-edge algorithms applied in providing its users with tailor-made recommendations on the kind of content one should stream, yet keeping the experience engaging and according to their individual preferences. This strategy has not only made Netflix more of a leader in the streaming sphere but has also raised its influence in terms of the formation of worldwide entertainment tendencies. Reflecting on the course of Netflix, several key questions can be raised: to what extent has investment in technology, together with diversified content, been significant in relation to the success of the company? How far do you believe the extensive content library of Netflix has driven you into the consumption and preference of content either produced internationally or of a specific genre? What more challenges, particularly related to competitive pressure, do you think Netflix would face further to retain its market leadership, and what strategies would Netflix use to remain innovative and continue to win over its huge number of audiences globally? Second question: https://variety.com/2024/film/features/politics-movies-hollywood-civil-war-election-year-1235944811/ Film and media reporter Rebecca Rubin discourses Hollywood’s aversion to appearing political throughout this article. In it, she details recent instances in which a film was culturally associated with the morals of progressivism or conservatism. Financially, these films appear to be largely unaffected by the unexpected martyrdom, with such given examples as Disney’s The Little Mermaid and Angel Studio’s Sound of Freedom. Still, the fear of alienation a sizeable chunk of potential audience members looms over Hollywood. It’s a risk of alienating not just those who disagree but also those who feel overwhelmed with current politics. Much of the joy found in movie-going is in the escapism it provides. The addition of disillusioned escapist audience members to the politicized loss in audiences encompasses what could be a large amount of viewership. Because of this, most are unwilling to take that risk, particularly in times as busy and charged as election season. Hence, election season is typically quiet and mellow in terms of new releases. What is your take on this? If you were in charge of deciding on whether to release a film around election season, would you also lean on the side of avoidance? Or is the lack of evidence supporting the financial risk enough to soothe those worries? Imagine a version of our society in which the film industry gets more involved in politics on all sides. How would things change or stay the same? And to what extent? Is it a reality you prefer? With how much weight the election stands to carry on the everyday lives of any and all potential audience members, and how many major films have come out the other side of being unwillingly politicized with seemingly little harm done, one could question the avoidance altogether. Rubin’s film references for the point of films that overcame include Lightyear’s ban in countries where homosexuality is illegal, and Ariel’s being a box office hit with the burden of being followed by racially charged antagonization for the entirety of its cultural lifespan thus far. How would you categorize outcomes like these in terms of the risk factor? Is the degree of the industry’s general avoidance substantiated? Does the strength and popularity of the studio behind these films play a large role in determining whether unexpected politicization is a major concern or a minor one?
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