To counter anything, we must come up with concrete facts and figures. First, we
need to know that technology does not modify our personalities. On the contrary,
they give opportunities that make it easier for us to be ourselves and do what we
want or need to do. The availability of these affordances can affect behavior by
lowering the cost of particular activities compared to others. But, on the other
hand, the Internet will not persuade the politically indifferent to vote or the atheist
to worship god.
When addressing the Internet's influence on people's lives, it's important to
remember that the technology is still missing or only a small part of many people's
lives, even in developed countries, where between 10% and 30% of the population
lacks broadband access, many of those who do have access struggle to take the
right steps and only a few produce online content.
The major impact of the Internet on persons on the wrong side of the digital divide
may be limited access to public and commercial services that have moved online.
But, of course, participation is considerably smaller throughout most of the
Developing World. Since we own a production house, our focus will stay on how
the media revolution has influenced our sector.
When the media and the Internet exploded into our lives, a phenomenon is known
as " resource partitioning" came into play with an increase in the number of small
businesses producing specialized products for targeted audiences. These
newcomers are frequently sole proprietorships, giving them a great deal of
freedom. Unlike massive production houses, which must achieve significant profit
margins to survive because they compete for investment with companies from
every industry, private companies need to earn enough to keep their owners
motivated. As a result, podcasters featuring record labels and community media
sources may thrive by producing content that no radio network, music corporation,
or newspaper network can match.
We must raise doubts about the commonly held perception that the Internet has
swept through the creative industries, destroying everything in its way. First, when
we look at statistics on the creative industries in the United States, we can see that
not all of them have experienced significant declines and that some have already
been struggling before the emergence of the Internet. For example, in 2009, the movie
theatre revenues were roughly the same as in 1999, while cable television sales
increased considerably, more than compensating for decreased broadcast television
and home video income. Between 1999 and 2009, book sales decreased somewhat,
although not significantly, compared to the prior decade.
Second, when discussing destruction, it's important to distinguish between the
impact of the Internet on existing businesses oligopolists who controlled the
majority of the film, recorded music, and book markets in 2000—and the impact of
the Internet on the entertainment industries as a whole, which includes all of the
creative workers and distribution channels that bring their work to consumers.
Even while historically dominant production houses and commercial models face
significant difficulties, the creative system as a whole may flourish.
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