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The economic aspects of remediation have already been acknowledged and explored by cultural theorists. Each new medium has to find its economic place by replacing or supplementing what is already available, and popular acceptance, and therefore economic success, can come only by convincing consumers that the new medium improves on the experience of older ones. At the same time, the economic success of workers depends on the new media acquired status. Thus, web designers currently command higher salaries than technical writers and graphic designers for print; it is in their interest to promote the belief that digital media can not only replace printed documents, but vastly improve on them. Similarly, the whole entertainment industry's understanding of remediation as repurposing reveals the inseparability of the economic from the social and material. The entertainment industry defines repurposing as pouring a familiar content into another media form; a comic book series is repurposed as a live-action movie, a televised cartoon, a video game, and a set of action toys. The goal is not to replace the earlier forms, to which the company may own the rights, but rather to spread the content over as many markets as possible. Each of those forms takes part of its meaning from the other products in a process of honorific remediation and at the same time makes a tacit claim to offer an experience that the other forms cannot. Together these products constitute a hypermediated environment in which the repurposed content is available to all the senses at once, a kind of mock Gesamtkunstrwerk. For the repurposing of blockbuster movies such as the Batman series, the goal is to have the child watching a Batman video while wearing a Batman cape, eating a fast-food meal with a Batman promotional wrapper, and playing with a Batman toy. The goal is literally to engage all of the child's senses.
The economic aspects of remediation have already been acknowledged and explored by cultural theorists. Each new medium has to find its economic place by replacing or supplementing what is already available, and popular acceptance, and therefore economic success, can come only by convincing consumers that the new medium improves on the experience of older ones. At the same time, the economic success of workers depends on the new media acquired status. Thus, web designers currently command higher salaries than technical writers and graphic designers for print; it is in their interest to promote the belief that digital media can not only replace printed documents, but vastly improve on them. Similarly, the whole entertainment industry's understanding of remediation as repurposing reveals the inseparability of the economic from the social and material. The entertainment industry defines repurposing as pouring a familiar content into another media form; a comic book series is repurposed as a live-action movie, a televised cartoon, a video game, and a set of action toys. The goal is not to replace the earlier forms, to which the company may own the rights, but rather to spread the content over as many markets as possible. Each of those forms takes part of its meaning from the other products in a process of honorific remediation and at the same time makes a tacit claim to offer an experience that the other forms cannot. Together these products constitute a hypermediated environment in which the repurposed content is available to all the senses at once, a kind of mock Gesamtkunstrwerk. For the repurposing of blockbuster movies such as the Batman series, the goal is to have the child watching a Batman video while wearing a Batman cape, eating a fast-food meal with a Batman promotional wrapper, and playing with a Batman toy. The goal is literally to engage all of the child's senses.
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Source type: picture
Source type: picture
Source type: picture
Source type: picture
Source type: picture