MediaSmarts has partnered with the Canadian Internet Registration Authority (CIRA) to develop the Online Commerce Cyber Security Consumer Tip Sheet – the fourth in a series of tip sheets on cyber security issues.
One of the most unusual things about Internet-based businesses is that few of them try very hard to make money. Of course, with a very few exceptions (such as Wikipedia) making money is certainly in the business plan, or there wouldn’t be all that venture capital floating around, but in general the approach has been to come up with a good product or service first, and only look for ways to make it profitable after it’s acquired a steady clientele. Hugely important and successful ventures like Google, YouTube and Facebook all started out operating at a significant loss. This pattern continues today: it’s already hard to imagine the Internet without Twitter, but so far that service isn’t earning its makers much money (though you can be sure they’re looking for ways to do that.)
The hottest media story in the past week has been the instantly infamous New Yorker cover portraying Barack Obama and his wife Michelle as terrorists. Though the Obama campaign has been measured in its response, media outlets – and particularly bloggers – have been vocal in their disapproval. Some have suggested that the cover crosses the line from satire into hate speech, while others accuse TheNew Yorker of giving ‘aid and comfort to the enemy’ by visually depicting the smears and misconceptions that have been aimed at the candidate.
Ads like the one above have been appearing in public transit systems in Ottawa, Toronto and other Ontario cities over the last month, supposedly promoting a drug called “Obay” which prevents teenagers from having their own thoughts, hopes and dreams. It’s a classic example of viral marketing: an ad campaign that doesn’t actually name the product or service being promoted, but rather tries to get people talking about it in the hopes that when the product is finally unveiled the effect will be greater than a traditional ad campaign could have managed.
People who make their living producing images, such as photographers, stylists, publicists, directors and pop idols, learn how to use those signs to convey the impression they want to make. Although teen girls who are trying to send a signal to their circle of friends and pop music producers who are trying to send a signal to an audience of millions are working on different scales, the principle is very much the same. Depending on your audience, you need to tailor the signals you send out very carefully. Even your age can have a certain amount of wiggle room when dressed in the right signs.
Joe McGinniss’ book The Selling of the President had a shocking title for 1968, suggesting as it did that in the television age the presidency had become nothing more than another product to be packaged and sold. A new MNet resource, Watching the Elections (a lesson for Grade 8 to 12 Social Studies classes), shines a light on how the different aspects of an election – from the debates to political ads to the candidates themselves – are actually media products.
Three well-known companies – Xerox, Starbucks, and the Gap – have recently made changes to their most public face, their logos. Each change has met with varying degrees of success, giving media educators an opportunity to look at just what makes a successful logo work.
This is the first in a series of blogs looking at the history and future of Web 2.0. From Facebook pages to viral Barack Obama speeches, the latest boom to hit the media is the rise of user-created content. Services such as Facebook and YouTube have created a new business model: rather than selling content to consumers, as media companies traditionally have done.
A recent issue of Entertainment Weekly was devoted to a list of so-called “new classics,” a top one-hundred list of the best movies, books, TV shows, and so on, published since 1983. The lists themselves are liable to provoke discussion (Die Hard is #9, ahead of Goodfellas, Schindler’s List and Unforgiven?) but perhaps a more interesting question is whether, in the Media Age, the very idea of a “classic” still means anything.
It’s a persistent phenomenon: the faster we move into the future, the more we find it embedded with the bones of the past. Why else, for instance, would we still talk about “dialling” a phone, and later about “hanging it up”? Few people remember the early TV remote controls that worked by sending high-frequency sounds, but we still call remotes “clickers.” We still say “stay tuned,” “CC” (carbon copy) e-mails, “rewind” DVDs, and “post” online messages. Even new media darling YouTube contains an old-media artefact of this kind: the name is obviously meant to make us think of television, the “boob tube,” but few TVs have tubes in them anymore.