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dc.contributor.authorHolmene, Ingeborg S. Heggem
dc.date.accessioned2019-03-20T12:03:55Z
dc.date.available2019-03-20T12:03:55Z
dc.date.created2018-06-11T15:10:14Z
dc.date.issued2018
dc.identifier.citationNorthern Lights: Film & Media Studies Yearbook. 2018, 16 (1), 41-57.nb_NO
dc.identifier.issn1601-829X
dc.identifier.urihttp://hdl.handle.net/11250/2590819
dc.description.abstractIn this article, I explore how conglomerates and the independent film companies in Norway conceptualize their social media strategies before the release of their films in movie theatres. I analyse applications made to the Norwegian Film Institute’s (NFI) support programme for promotional grants in 2015. The ability of individual companies to interpret and go beyond a framing of social media as semi-public platforms – where companies can gain visibility free of charge – is one indication of how strategic knowledge differs. Major distributors tend to perceive social media as a place to buy attention from a targeted audience. Thus, they are taking advantage of traffic data offered by surveillance technologies embedded in social media platforms such as Facebook and YouTube. This, I argue, is a distinct feature of strategic resources linked to power, networks and knowledge about audiences, which intensify power differentials between large, established corporations and small-scale independent players.nb_NO
dc.language.isoengnb_NO
dc.titlePaid or semi-public media? The Norwegian film industry’s strategies for social medianb_NO
dc.typeJournal articlenb_NO
dc.typePeer reviewednb_NO
dc.description.versionacceptedVersionnb_NO
dc.source.pagenumber41-57nb_NO
dc.source.volume16nb_NO
dc.source.journalNorthern Lights: Film & Media Studies Yearbooknb_NO
dc.source.issue1nb_NO
dc.identifier.doi10.1386/nl.16.1.41_1
dc.identifier.cristin1590506
cristin.unitcode209,3,3,0
cristin.unitnameFaggruppe for Film og fjernsynsvitenskap
cristin.ispublishedtrue
cristin.fulltextpostprint
cristin.qualitycode1


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