Introduction
Both producers and consumers of mass media products like movies, films, and songs play a part in the process of developing the ideas of the products and the public perception. For instance, movie makers invest a lot of time, energy, and resources in building the plot of the story, and getting people to act and deliver a quality product. However, the final opinion of the product is determined by the customer. It means that customers play a huge role in the production of mass media content, as they make decisions depending on customer reaction to similar productions and previous receptions. For example, when New York Comic Con started in 2006, the demand (people who turned up to watch) was more than the expected number. The production had rented a venue of only 10,000 people. Tickets were outsold, and people flocked the production in large numbers such that some guests could not find a place to sit. This paper will analyze the short clip ‘New York Con 2014" documentary, and make inferences on the aspects of the series that are purely related to production and consumption of mass media approaches and techniques (New York Comic Con 2014).
Production aspects of New York Comic Con
Over time, the series of events has gained a lot of tracts. The validation by consumers and fans of the event has contributed to increased incomes for the organizers. People will always place judgment on works of culture and mass media productions, depending on their opinions of opinions of gatekeepers. For Ney York Comic con, it took the creative team an extended period trying to figure out what the customers would need, and it paid off with the reception of the first event. It is important to note that the event could have been a big failure because of its ‘newness' and non-conventional approach.
Production of mass media depends on the availability of a ready market. At first, it was difficult to create and make the Comic Con event a buzz, but in the long run, a consumer base was established, making producers look for more ideas to improve a product whose consumption was already known. Creation of this market takes the efforts of gatekeepers and reviewers, such as editors and voices in that particular industry. Positive third party reviews, especially from validated critics, make people want to have a taste of the product, and if they like it, they will be back for more. Subsequently, first-time bad experience means that people do not turn up again, and they may even convince friends and family that the product is not good enough.
Arguably, the biggest headache for the New York Comic Con production team is the way they can get rid of the gatekeepers. Gatekeepers are opinion makers in the entertainment industry. They have a voice in the reception of a product, either when it is new to the market or when it is being repeated. Their opinion can break or make a product, and it poses a great risk to the producers and creators of content. Perhaps, gatekeepers make the lives of producers so uncomfortable because they are liable to making mistakes, an action that might kill a product for the wrong reasons (Hirsch 644). Take for example the reviewers of music albums at the Vanity Fair or the Guardian, and their recent endorsement of Beyonce's new album, the Lemonade. Perhaps, the album succeeded due to their input, as people kept on increasing curiosity on the contents of the album even before it became available for the mass market. The trailer for Lemonade had millions of clicks on YouTube, and it creates a perfect example of how people at the media outlet can affect the reception of the product.
Consumption Aspects of the New York Comic Con
For consumers, the sure way to show appreciation of a good product is to spend money on it. Recently, though, customers have gotten the privilege of rating entertainment products on review sites on the internet. However, that does not change the traditional way with which products are appreciated. From the way people took up rock and passed it to the world in 1955, we learn that even today, people use trends on social media to popularize a culture and a cultural product. In the documentary, interviewees express their excitement and love for the Comic since its inception in 2006.
Different generations of consumers are always looking out to contribute to the development of culture (Peterson 97). This happens in music, movie, and even the comedy industry. The New York Comic Con offers lovers of animation an opportunity to push animation beyond the screens and has real people take up the imaginary roles in disguise. It is still unknown how this will affect the media culture in New York and the rest of the world, but it is apparent that its increasing popularity will be a source of nostalgia for people of this generation.
The current generation of consumers has the highest rate of consuming electronic entertainment. Young people spend many hours watching movies, movie series, and animations. The New York Comic Con, through the cosplays, endears to the fans for removing the lines between the fantasy movie celebrities and real life personalities. In so doing, attendees get to develop deeper relationships with their fantasy characters by seeing their roles being played on stage. The removal of boundaries of art by creating a real character enhances consumer respect for the brand.
Connecting production processes and consumption
Production is an arduous process. The content creators, managers, and editors must remain on their toes trying to create entertainment for the following event. For them, staging the annual event is just the start of the work, as they embark on a new mission to deliver the same quality, or even better, in the following year's event. On the other hand, consumers are impatient and unforgiving in their quest for entertainment. They come from the understanding of value for money, where, they feel that they should get a return for their dollars when they attend these events. The two categories of people can be connected by carrying out constant research on cultural imaginations, such that, when the producers are at work, they have an idea of what can mesmerize consumers. While this is a good thing for producers, it still poses a risk of failure, as it has been proven over and again that most consumers love new experiences. Nevertheless, having an idea of what they need can be used by producers as the starting point to creating super content.
The other approach that would ensure that there is a balance between producers and customers is the management style. Media production companies should make use of industry geeks to do the work of middlemen. These geeks, usually, have connections and influence, as well as a perfect understanding of the industry. By hiring someone who can do a hundred things, the companies are not only controlling costs but also providing a face to the world on their project. It means, then, that, avoiding bureaucracy is very imperative in ensuring that information does not get lost on the chains. The other advantage of lean teams is the ability to work together under tight conditions, and easy infusion of the company vision and mission. The benefit, to the consumers, will be that media companies will offer consistent levels over time. Consistency enhances reliability and the return customer aspect, a sure way to have strong revenue streams.
Increased use of the internet has made consumers the gatekeepers of the content they produce. Sometimes, even when a media product is banned (like the fifty shade of gray), it gets to the consumer's tablet or personal computer, in some way. The increased autonomy of the final consumer poses a challenge to those people who, in the past, would have placed bottlenecks on a product, either through mean reviews or legal action like banning a product. This is a perfect opportunity for producers to construct strong relationships with the final customer and put up feedback mechanisms that will ensure that there is an intimate relationship between producer and consumer. In such an arrangement, the makers of media content will concentrate on the reception of their final products by their customers, as opposed to having a third party influencing their product, either negatively or positively.
Lastly, producers need to keep close attention to cultural shifts, and what those changes mean to their brand. Nearly every genre of media and entertainment goes some metamorphosis over time, creating a distinct subgenre loved by specific sub-tribes or communities. These extensions survive if producers keep feeding them with high-quality content. In many cases, though, the sub-tribes may die, especially if they did not attract enough people. Cultural trends are always going through death and re-emergence, and disappearance of a pattern does not necessarily mean that the producers have failed.
Conclusion
It is ironical that entertainment and media, being classified as ‘not basic' consumption, require more skill and effort to produce than some basic products. That is partly because people demand high standards for their leisure forms and, partly, because consumers have alternative sources of entertainment. Having a perfect relationship between consumers and producers through feedback and consistency is a sure way of success in the media industry.
Works Cited
Hirsch, Paul. "Processing Fads And Fashions: An Organization-Set Analysis Of Cultural Industry Systems." American Journal of Sociology 77.4 (1972): 639-655. Web. 18 May 2016.
New York Comic Con, New York Comic Con Documentary. 2014. Web. 18 May 2016.
Peterson, Richard. "Why 1955? Explaining The Advent Of Rock Music". Popular Music 9.1 (1990): 97-116. Web. 18 May 2016.
