As the video game industry continues to grow, Hollywood studios are capitalizing on this intellectual property (IP) success through film and television adaptations. Students from Heinz College’s Master of Entertainment Industry Management program sought to better understand the current market for these adaptations. In Part II, see what film and video game executives consider to make an adaptation successful. Additionally, through a survey of gamers and non-gamers, learn what potential audiences prefer to see.
Colonialism has consistently been a force in the global purview, including the technological space. In recent years, the expansion of artificial intelligence has vastly increased corporations’ global influence. As the world’s technologies continue to advance and innovate, individuals must keep a watchful eye on the ways in which digital colonialism might repeat harmful practices from the past.
Due to the popularity and booming business of video games, Hollywood studios have capitalized on popular game titles by developing new content based off of their intellectual property (IP). This study sets out to better understand video game IP’s impact on film and television markets and what specific elements might impact an adaptation’s success.
Sustainability and AI were at the forefront this year at the American Alliance of Museums (AAM) Future of Museums Summit. What role will museums play in creating climate-friendly communities? And how can AI be used to maximize efficiency, increase accessibility, and deepen engagement? Read key conference takeaways from Xueer Ho and Dr. Brett Ashley Crawford.
An overemphasis on data-driven work within the nonprofit sector has been shown to result in cycles of disempowerment, driven by third-party data demands of funding bodies.. This compounds due to the many market orientations nonprofits need to adopt, particularly prevalent among the arts. A key to navigating these markets and funder requirements lies in identifying a specific data culture best fit for your organization and investing in resources and training in order to achieve that framework sustainably.
As arts institutions are in the midst of reopening plans, they are faced with new challenges as they seek to ensure the safety of their visitors, audiences, and staff in the COVID-19 era. The challenges and solutions differ depending on the industry, and whether it is a museum, performing arts institution, or film and television. Part 2 of this 3 part series explores the immerging reopening plans for the performing arts sector.
With most major countries outside of the United States going through reopening procedures, social distancing strategies are being implemented to help stagnate or reduce the number of COVID infections. This 3 part series will highlight case studies for the Fine Arts, Theatre, Orchestra, Dance, and Movie Industries, showing measures that have been implemented or recommendations in place for each. Part 1 will focus on the museum space.
In the arts space, there has been varying responses to the potential uses and harms of facial recognition. On the positive end, artists such as Peter Shoukry have embraced how this technology can amplify an audience’s experience through interactivity with a piece. Beyond the creation of art, facial recognition has been used to aid in research. Yet, despite these projects that embrace facial recognition technology, there has been recognizable consumer backlash due to privacy worries.
2020 has been and will continue to be notable for all but especially artists and arts institutions. Globally we are facing the uncomfortable realities of a pandemic that has brought the arts industries to their knees, economically, particularly the performing arts. Demands for racial and social justice come with a reckoning for many arts institutions — for their own participation in the industrial model that creates inequity in hiring, programming, training, even foundation giving.
As a researcher, artist, academic and former managing director, I hope that 2020 is a year that will offering us, as an industry, a pause to rethink how to do our artistic work in more equitable, inclusive and relevant ways. To create clarity as we re-think institutional systems , it is important to turn to data about our own institutions as well as our audiences in order to become the relevant and vibrant institutions that all communities deserve. In this short article, I will connect information from the recent national survey by LaPlaca Cohen and Slover Linett, “Culture and Community in a Time of Crisis” and emerging best business practices heralded by McKinsey and Co. and other thought leaders in the business field.
In the light of protests surrounding racial inequality and systematic racism stretching across varying U.S. industries, this lack of representation has been noted among the staff of art institutions as well. The hiring of diverse staff in the arts industry historically does not represent the breakdown of the average American audience, particularly in high-ranking roles.
Many institutions are rethinking their approach to diversity in the light of renewed protests in support of the Black Lives Matter movement. Theatre companies throughout the nation are a part of this wave, rethinking everything from season planning to staff structure. Yet one of the largest issues at hand is the lack of diversity in audiences. Theatre audiences are dwindling, and those audience members that remain tend to fall into a very narrow set of demographics: usually older, white, and affluent. Theatre companies will have to reach out to new groups If they want to continue working and thriving well into the future.
In the early 2000s, the state of science, technology, engineering, and math education troubled policy makers in the United States. Together, these four subjects became known as STEM. In more recent years there has been a shift to add arts into this focus, making the acronym now STEAM (science, technology, engineering, arts, math). However, there isn’t a clear outline or framework of what exactly a STEAM education is, or how schools and classrooms are supposed to be implementing this learning. Even among the academic articles about STEAM, there is disagreement about STEAM, its definition and implementation.
With the first two quarters of 2020 seeing visual arts spaces losing between 31-73% of revenue and 15-74% of full-time/contracted employees, various audiences, from artists to consumers have been turning to digital platforms to engage in cultural or entertainment offerings (Art Dealers Association of America). The range of these technological platforms and applications have been vast, with many interesting case studies to focus on. In this article, we will be focusing on how visual artists have used social media, video games, and other digital applications to capture audiences that they otherwise would not be able to access without technological means.
The pandemic has advanced the discussion for a faster expansion of 5G, a new generation of the wireless network that is believed to revolutionize industries and facilitate the new remote work environment. What can the art world expect to gain from adopting this new generation of wireless network and how can it be most efficiently utilized to support the goals of each individual and organization? This research examines the potential implications and caveats of 5G adoption in the arts and cultural industry.
