Research on Film Cultural Communication in the New Media Environment

Research Article
Open access

Research on Film Cultural Communication in the New Media Environment

Bingjie Yu 1*
  • 1 Lucton    
  • *corresponding author millyybj@163.com
Published on 31 October 2023 | https://doi.org/10.54254/2753-7064/10/20231332
CHR Vol.10
ISSN (Print): 2753-7072
ISSN (Online): 2753-7064
ISBN (Print): 978-1-83558-043-1
ISBN (Online): 978-1-83558-044-8

Abstract

Film culture has been a popular form of entertainment since the 1890s, and it has changed with the progress of technology and times. At the same time, the popularity of the Internet has ushered in the era of new media, and people’s demand for entertainment is gradually increasing. Film and new media have become important ways for people to entertain and obtain information, and are also of great significance for social and economic development. This research mainly studies the characteristics and transmission channels of film culture in the era of new media. The purpose of this study is to enable the audience to enjoy the current era and adapt to the changes in the era of science and technology, so as to obtain better perception and experience while ensuring the quality of the film. This paper adopts the literature analysis method. Through the research, this paper finds out that the propagation of films can be improved by increasing the transmission channels and improving their quality.

Keywords:

film culture, new media, cultural communication, entertainment

Yu,B. (2023). Research on Film Cultural Communication in the New Media Environment. Communications in Humanities Research,10,232-237.
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1.Introduction

New media refers to on-demand access to content anytime, anywhere, on any digital device, as well as interactive user feedback, and creative participation. Another aspect of new media is the real-time generation of new, unregulated content. In the process of film development and cultural communication, new media creates a new perspective of film industry, it creates a new form of film development, broadens the way of film culture communication, and promotes the development of film into a new era. The research of new media is a field that has attracted much attention in recent years. It covers a wide range of research fields, including the Internet, social media, cultural entertainment and other technologies and applications. There are many academic branches on the study of new media, and the fields are wide and the methods are diverse. These studies help people to deeply understand social preferences and economic development in the new media environment. Film art is also inseparable from social preferences and economic development, so this research on film cultural communications in new media environment has more practical theoretical confirmation and guidance, as well as practical significance for the research on the measures of film culture communication. This research adopts the method of literature analysis and literature review to summarize and sort out the existing reliable and professional literature about the research on the new media environment and the existing problems of film culture and evaluate its availability. Through these existing materials, it can be seen that the status quo of the research on media and communication of film development trends and unexplained viewpoints that need to be confirmed, which is conducive to further research. This essay is helpful for the media industry and entertainment films. It can improve people’s understanding of entertainment and cultural consumption. Second, it can help communication researchers to understand the characteristics and rules of information technology communication. Thirdly, it can promote cultural exchange, because film and media are important channels of cultural exchange and dissemination. Finally, it can provide help for the economic development of related aspects, and viewers can learn about the industries involved through it, which has a positive significance for promoting the economy.

2.Film in the New Media Environment

2.1.Advantages

2.1.1.Aesthetic Advantages

In terms of aesthetics, the new media environment has created fascinating opportunities for film. A more immersive and aesthetically spectacular experience for spectators has been made possible by technological advancements and the use of digital filmmaking by filmmakers [1]. Production design has access to a plethora of resources in the modern media environment. In order to create immersive and realistic worlds for their tales, filmmakers have access to a wide variety of props, costumes, and set designs. It is simpler to attain historical authenticity or develop futuristic surroundings because of the capacity to research and access information online [2]. This focus on detail enriches the narrative and improves the overall visual experience.

2.1.2.Technical Support

The new media ecosystem improves the film production and distribution processes while offering filmmakers a wide spectrum of technical assistance. These innovations helped to democratize the business and made it possible for ambitious filmmakers to develop high-quality material even with a tight budget. The emergence of streaming services and internet markets has altered how movies are released and enjoyed. Without the conventional theater release, filmmakers may reach a worldwide audience, lowering expenses and distribution obstacles [3]. Additionally, because digital distribution is more flexible than traditional distribution, movies may reach niche audiences and have a longer shelf life. In the age of new media, social media platforms and internet marketing tools have grown in importance as means for promoting movies. In order to interact with viewers through interactive events and create communities around their films, filmmakers might utilize targeted advertising [4]. Direct engagement with the audience not only improves exposure but also yields insightful input that might help future projects.

2.1.3.Increase of Talents

There are many options for film industry individuals to demonstrate their abilities and get recognition thanks to the modern media landscape. Affordably priced tools and software are now available to aspiring directors and filmmakers, enabling them to realize their imaginative concepts. Emerging talent has access to networking possibilities through online platforms and indie film festivals. Fresh perspectives, unique viewpoints, and cutting-edge narrative techniques have been uncovered as a result, which would not have happened in the conventional cinema business [5]. The new media landscape has made it possible for actors and entertainers to display their skills. Actors may self-promote, interact with casting directors, and audition for jobs through social media platforms, online casting websites, and online auditions [1]. This improved accessibility gives underrepresented talent a platform and encourages collaboration across geographical boundaries.

2.2.Disadvantages

2.2.1.Single Film Genre

People tend to choose particular movie kinds or genres that follow current trends or algorithms in the modern media ecosystem. Particularly streaming platforms frequently favor material that appeals to a wide audience, which results in the saturation of a certain genre or style. As a result, consumers may not have access to a diverse range of films, which might lead to a lack of variety and less possibilities for niche or experimental filmmaking [6]. Focusing on a certain genre might cause material to become homogenized because filmmakers may feel under pressure to follow popular culture in order to increase their chances of being distributed or drawing audiences. As a result, original and unorthodox tales could find it difficult to reach an audience. This stifles creativity and innovation.

2.2.2.Large Gap Between Production and Screening Volume

Film production has significantly increased as a result of the ease with which filmmakers may now produce and distribute movies in the new media ecosystem. However, due to the restricted number of screens and time slots in theaters, many movies have trouble drawing crowds. Filmmakers and the business as a whole face issues due to the discrepancy between the high production volume and low number of screenings [7]. As streaming services have grown in popularity, viewers may become overwhelmed by the sheer amount of content, making it challenging for individual films to stand out and be recognized [2]. Small or independent films sometimes struggle to land distribution deals or acquire recognition among the numerous possibilities due to the intense competition for viewers’ attention.

2.2.3.Low Threshold of Director and Actor Conditions

For prospective filmmakers and performers, the new media ecosystem has lessened entrance hurdles. Anyone may create and distribute movies because to readily available equipment, user-friendly software, and internet distribution channels. While this accessibility provides possibilities for emerging talent, it also results in a large amount of content with variable quality and no quality control [8]. Due to the low entrance requirements for filmmakers and performers, there may be a glut of movies on the market, which makes it challenging for creative individuals to separate out from the crowd. As they compete for resources and attention with a big number of other artists, it becomes difficult for performers and filmmakers to stand out and become recognized [5]. It may be more challenging for audiences to traverse the extensive content and recognize movies with extraordinary value as a result of this oversaturation, which might give the impression that the business lacks quality control. Additionally, accessibility issues may lower the industry’s overall professionalism and standards [9]. A drop in the general caliber of movies and performances may result from a lack of a strict review procedure as well as from formal training or experience requirements.

3.Measures for Film Culture Dissemination in the New Media Environment

Film culture refers to a series of ideas, customs, knowledge, industries and related values and cultural phenomena formed in people’s social life and related to film art. It involves the production, dissemination, consumption, commentary and other aspects of film art. It is not only an art form for entertainment, but also an important form of cultural expression, which can affect the ideology and value system of the whole society. Through film culture, we can learn the differences and similarities of different cultures in different regions, and at the same time cultivate people’s emotions, personality, cognition and creativity, which is of great significance for maintaining and promoting the development of cultural diversity.

3.1.Increase Dissemination Channels

3.1.1.Integration with New Media

The way that material is shared, consumed, and discussed has been completely transformed by new media platforms. The film business has to successfully connect with these platforms in order to enhance the number of distribution channels. Filmmakers have a lot of opportunities to engage with viewers on social media sites like Facebook, Twitter, Instagram, and YouTube. Filmmakers may communicate with audiences directly, give behind-the-scenes secrets, advertise screenings and events, and cultivate a devoted following for their movies by keeping active social media accounts and utilizing interesting material. Having a two-way conversation with the audience develops engagement and promotes word-of-mouth [9]. There are now more opportunities for filmmakers to connect with a worldwide audience because to the growth of streaming platforms and video-on-demand (VOD) services. Filmmakers may reach a larger audience even without a conventional theatrical release by making use of these sites. Through ratings, comments, and other forms of audience interaction, they may engage with viewers and offer chances for direct dialogue and feedback.

3.1.2.Increase Advertising

To optimize communication channels in film culture, it is equally vital to establish focused and successful advertising tactics in addition to integration with new media platforms. Search engine marketing, display advertising, and social media advertising are just a few of the online advertising options available in the digital world. In order to efficiently reach their intended audience, filmmakers might utilize various channels to target particular demographics, interests, and habits [10]. Online advertising is a crucial tool for spreading awareness of a movie since it enables precision targeting, real-time data analysis, and cost-effective campaigns [7]. Filmmakers have the ideal opportunity to present their work and network with industry experts and moviegoers when they attend film festivals and industry gatherings.

3.2.Improve the Quality of the Film Itself

3.2.1.Emphasize Film Innovation

To push the limits of storytelling, aesthetics, and technical execution in movies, innovation is essential. Filmmakers may produce distinctive and enduring cinematic experiences that connect with audiences by embracing innovation. Innovative visual design is crucial to improving the cinematic experience. To create visually stunning and engaging environments, filmmakers might experiment with cinematography, lighting, production design, and visual effects. Adopting cutting-edge methods and tools, such as immersive sound design, augmented reality, or virtual reality, may improve visual appeal and help movies stand out in the crowded new media landscape [9]. Filmmakers may now experiment with interactive and participatory experiences that blur the lines between film and audience thanks to the development of new media platforms and technology.

3.2.2.Be Unique

Uniqueness is essential for a movie to stand out and make an impact in a crowded market. Filmmakers should make an effort to develop authentic, first-person narratives that showcase their distinct viewpoints and experiences. Filmmakers may develop movies that connect with viewers more deeply by examining personal experiences, tackling important subjects, or shedding light on overlooked stories [5]. It’s crucial to stay away from plagiarizing existing stories or depending too much on formulaic storytelling devices because doing so might make the movie boring and forgettable. Filmmakers should cultivate and preserve their distinctive aesthetic voice. This entails developing their unique sense of style, preferred themes, and visual language [11]. Filmmakers may produce work that stands out and connects to their personalities by developing distinctive and recognized artistic voices. Every stage of the filmmaking process, from writing and directing to visual presentation and sound composition, should be infused with this unique voice [2]. A movie may become richer and more distinctive by embracing diversity and inclusiveness in its storyline. In order to promote marginalized voices and experiences, filmmakers should make an effort to convey tales from many cultural, socioeconomic, and demographic viewpoints. Movies may present new viewpoints and depart from conventional storylines by showcasing diverse people and examining diverse cultural origins.

3.3.Cultivate Professional Talents

The fast growth of the film business in the new media environment makes it crucial to create professional skills for the expansion and development of film culture communication. The creation of high-quality films is aided by the presence of qualified specialists, who also improve industrywide communication networks. Professionals in the film business are developed and nurtured through formal education and training programs [9]. Encouragement of formal education in film-related subjects, such as film schools, may provide aspiring filmmakers with a strong foundation in theory, technical know-how, and industry expertise. The Film School provides students with the chance to learn from seasoned experts and obtain practical experience in all facets of filmmaking through professional courses and mentorship opportunities. To provide ambitious professionals with useful industry experience, establish internship programs inside production businesses, film studios, and similar organizations [10]. Internships offer practical experience, exposure to real-world projects, and the chance to collaborate with seasoned experts. Individuals get the required skills and insight into the workings of the business via this practical experience.

In order to train experts and promote a culture of information sharing in the film business, mentoring and teamwork are essential. Implementing mentoring programs that pair seasoned experts with up-and-coming talent may offer mentoring, assistance, and insightful business knowledge. Mentors can impart expertise, offer criticism, and assist pupils in overcoming obstacles in the workplace [7]. These mentorship connections promote professional network expansion, skill development, and a feeling of community and teamwork. Promote industry networking occasions including film festivals, seminars, and forums to provide professionals chances to meet, share ideas, and form connections. These occasions provide participants the chance to present their work, get visibility, and have in-depth discussions with other professionals in the field [5]. Talent scouts, producers, and publishers can find up-and-coming talent during networking events.

4.Conclusion

The features and communication methods of cinema culture in the new media era are the main topics of this essay. This study aims to improve viewers’ perceptions and experiences while preserving the level of cinematic quality by assisting them in embracing the changes brought about by the technology age. The cinema business has undergone substantial change as a result of the new media period, both in terms of how movies are made and how spectators interact with them. This essay examines the benefits and drawbacks of cinema in the context of new media, emphasizing the aesthetic benefits, technical assistance, development of talent, single film genre, significant lag between creation and showing, and low entry requirements for directors and performers. Undoubtedly, the film business faces both enormous problems and benefits from the new media environment as well as huge advantages and chances. This essay makes the case that creating experts is essential to the expansion and development of film culture communication in the new media environment where the film industry is expanding quickly. The presence of knowledgeable experts improves the industry's entire communication channels and contributes to the production of high-quality movies.

As for the improvement of this research, firstly, the content and methods of the research can be expanded in an appropriate scope, for example, questionnaires or interviews can be used to improve the scientific nature and reliability of the research. Second, more relevant research literature on film culture and film production should be added to improve the comprehensiveness and systematization of literature review.

In the future, research on film culture may focus on the social and cultural significance of film. The researchers will continue to explore how film reflects, shapes and influences social and cultural phenomena such as race, gender, class, identity, etc. Second, technology and digitization. With the continuous development of film technology and the popularization of digitalization, the study of film culture will also tend to digital media and technology. For example, people can explore the impact of new technologies such as virtual reality, augmented reality and artificial intelligence on film creation and viewing. Third, cross-cultural and globalization. As globalization accelerates and cultural exchanges increase, researchers will pay more attention to the reception and influence of films in different countries and cultural contexts. These studies can explore the transmission, transformation and adaptation of films between different languages and cultures. In short, with the continuous evolution and development of film culture, future research will be more diversified and complicated. people need to continue to pay attention to the social, cultural, commercial, technological, cross-cultural and global aspects of film to have a deep understanding of the impact of film on the data environment.


References

[1]. Hansen, A. (2018). Environment, media and communication. Routledge.

[2]. Bolsen, T., & Shapiro, M. A. (2018). The US news media, polarization on climate change, and pathways to effective communication. Environmental Communication, 12(2), 149-163.

[3]. Dixon, S. (2015). Digital performance: a history of new media in theater, dance, performance art, and installation. MIT press.

[4]. Jiang, R., Wang, L., & Tsai, S. B. (2022). An empirical study on digital media technology in film and television animation design. Mathematical Problems in Engineering, 2022, 1-10.

[5]. Dezuanni, M. (2015). The building blocks of digital media literacy: socio-material participation and the production of media knowledge. Journal of Curriculum Studies, 47(3), 416-439.

[6]. Mikos, L. (2016). Digital media platforms and the use of TV content: Binge watching and video-on-demand in Germany. Media and Communication, 4(3), 154-161.

[7]. Alia, V. (2022). The new media nation: Indigenous peoples and global communication. Berghahn Books.

[8]. Lievrouw, L. A. (2023). Alternative and activist new media: Digital media and society. John Wiley & Sons.

[9]. Meikle, G., & Young, S. (2017). Media convergence: Networked digital media in everyday life. Bloomsbury Publishing.

[10]. Reyna, J., Hanham, J., & Meier, P. (2018). The Internet explosion, digital media principles and implications to communicate effectively in the digital space. E-learning and Digital Media, 15(1), 36-52.

[11]. Gu, J. L. (2019). Discussion on the Problems Faced by Film and Television Education and the Development Trends in the New Media Environment. Theory of Education, 4, 42-45.


Cite this article

Yu,B. (2023). Research on Film Cultural Communication in the New Media Environment. Communications in Humanities Research,10,232-237.

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The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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About volume

Volume title: Proceedings of the 4th International Conference on Educational Innovation and Philosophical Inquiries

ISBN:978-1-83558-043-1(Print) / 978-1-83558-044-8(Online)
Editor:Enrique Mallen, Javier Cifuentes-Faura
Conference website: https://www.iceipi.org/
Conference date: 7 August 2023
Series: Communications in Humanities Research
Volume number: Vol.10
ISSN:2753-7064(Print) / 2753-7072(Online)

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References

[1]. Hansen, A. (2018). Environment, media and communication. Routledge.

[2]. Bolsen, T., & Shapiro, M. A. (2018). The US news media, polarization on climate change, and pathways to effective communication. Environmental Communication, 12(2), 149-163.

[3]. Dixon, S. (2015). Digital performance: a history of new media in theater, dance, performance art, and installation. MIT press.

[4]. Jiang, R., Wang, L., & Tsai, S. B. (2022). An empirical study on digital media technology in film and television animation design. Mathematical Problems in Engineering, 2022, 1-10.

[5]. Dezuanni, M. (2015). The building blocks of digital media literacy: socio-material participation and the production of media knowledge. Journal of Curriculum Studies, 47(3), 416-439.

[6]. Mikos, L. (2016). Digital media platforms and the use of TV content: Binge watching and video-on-demand in Germany. Media and Communication, 4(3), 154-161.

[7]. Alia, V. (2022). The new media nation: Indigenous peoples and global communication. Berghahn Books.

[8]. Lievrouw, L. A. (2023). Alternative and activist new media: Digital media and society. John Wiley & Sons.

[9]. Meikle, G., & Young, S. (2017). Media convergence: Networked digital media in everyday life. Bloomsbury Publishing.

[10]. Reyna, J., Hanham, J., & Meier, P. (2018). The Internet explosion, digital media principles and implications to communicate effectively in the digital space. E-learning and Digital Media, 15(1), 36-52.

[11]. Gu, J. L. (2019). Discussion on the Problems Faced by Film and Television Education and the Development Trends in the New Media Environment. Theory of Education, 4, 42-45.