Archive for film
I was very honored to speak at the Paley Center’s International Council Summit, an annual event that brings together a who’s who of media heavyweights and impresarios. This year the topic was big data and so the conference opened appropriately enough with Hans Rosling, the infographic genius, who shamed us for our ignorance about the state of the world (you have to see the video.) Eric Schmidt (yes, that Eric Schmidt) closed the proceedings with more quotable stuff than I could tweet (e.g., “The Internet is a huge accomplishment – don’t screw with it!!”) Of course everyone wanted to hear what Nate Silver had to say about his new gig at ESPN, and now you, too, can see every speaker on the program here . . . except me. I gave the luncheon talk at the 21 Club (talk about ambiance!) and so there was no recording.
Here’s what I said:
The Centers for Disease Control found out that over half of Americans believe that the health storylines they see in entertainment programming are accurate and a quarter say that those TV shows are one of their main sources for health information.
Of course we understand the difference between fiction and reality, but we have to be awfully naive to believe that really compelling stories don’t have an effect on us.
For 13 years, we’ve been doing careful academic research at the Norman Lear Center in order to figure out exactly how much of an impact media has on us. We’ve found that a storyline on the TV show Numbers – you know, the one with Rob Morrow – convinced 10% of its viewers to volunteer to donate their organs. An HIV hotline got a record number of callers after a soapie, the Bold & the Beautiful, aired a scene in which a guy tells his girlfriend he’s HIV positive.
Whether it’s smoking or seatbelts, or Fonzie getting a library card, we know that attitudes and behaviors can shift in response to imagery on popular television.
When we asked Americans whether they had ever taken some kind of action based on entertainment programming they’d seen, 65% of respondents admitted that they had. And those actions ranged from seeking more information about the issue to making a donation to a charity (13% owned up to that).
Is it a matter of monkey see, monkey do? Nah. Humans are more complicated than that, and so are the stories we tell each other.
The people in this room know how much is at stake. Imagine if we actually knew what role media was playing in our lives? What would happen if we could accurately measure how media moves us? And what exactly it moves us to do?
Just think back to a song, a TV show, a comic book character, a movie or a book that really shifted your perspective, that set you on a new path, that made you think about yourself and the world in different way.
We’ve certainly seen stories literally save lives. A radio soap opera in Tanzania was so effective at lowering HIV rates in provinces that received the broadcast compared to those that did not, that they had to discontinue the experiment and broadcast the show to the entire country for ethical reasons.
Usually we don’t have the luxury of creating such a large and diverse control group in order to scientifically measure the impact of media. You see similar issues in the field of education, where it’s taken entirely too long, in my mind, for educational initiatives to be adequately vetted through the use of control groups.
What if we applied the scientific rigor of the pharmaceutical industry to TV programming? What if we treated media as if it were a drug: which delivery systems would prove most potent and for whom? What types of content would prove life-changing?
At the Norman Lear Center, we recently developed a pragmatic new survey methodology for measuring the impact of media. The key is addressing the self-selection bias problem. Only certain people seek out certain kinds of media based on their personal taste and access. Our new tool accounts for that bias by calculating each and every survey respondent’s propensity to have seen that piece of media. After that likelihood has been determined, we compare very similar people who were exposed to that media and those who were not. Then we determine whether exposure to that piece of media is correlated with shifts in knowledge, attitudes or behavior.
When we used this methodology on the documentary film Food, Inc., we found significant differences between our control group and those who had watched the film, who were eating healthier food, were more knowledgeable about food safety issues, and who were shopping at farmers markets more frequently than very similar people who had not seen the film. (Here’s my TEDx talk about this research.)
These days we’re more awash than ever in data about how we humans are using and consuming media. For the Food, Inc. study, it was cheap and easy for us to gather 20,000 respondents through digital platforms.
But, as you also know, virtually no one agrees on how to measure media usage, engagement, and most importantly, impact. And the stakes seem higher than ever as we witness the development of ever more intimate and immersive technologies which make that bleed line between screen time (mediated reality) and real time thinner and thinner.
Why hasn’t measuring the impact of media been a priority for us? Well one powerful reason is liability. Who wants to be on the hook for having had some kind of negative impact on people? We’ve seen these accusations play out before with kids and violent video games or heavy metal music. Unless the news is good news, the media industry doesn’t necessarily want to know.
Another problem is that there are far too many incentives built into the media business to use measurement to game the system. The media industries are, by and large, for-profit industries. If you can come up with a custom audience measurement metric that makes your company more money, then you will receive strong encouragement to continue to use that metric – even if it doesn’t do a good job of actually monitoring who encountered your media and what kind of impact it had on them. The truth has been beside the point.
There are powerful incentives to keep your methods opaque – to come up with a black box algorithm that makes it impossible for others to check your work by attempting to repeat your results. This is why many media companies subscribe to multiple social media monitoring services, all of whom use different methods and generate different results that can be cherry picked by their clients.
So we remain adrift in a sea of unverifiable data points, making it virtually impossible for scholars and researchers to find out the truth about who engages in what media and to what end. As you can imagine, foundations that fund media initiatives have been very frustrated with their inability to get accurate, empirically solid, repeatable measurements of the impact of the media they have produced. Many have concluded that it’s simply too difficult and too expensive to do; that we’ll never have numbers we can compare, and, after all, isn’t it impossible to measure shifts in hearts in minds?
This year, we entered into a partnership with the Gates and the Knight Foundations to create a global hub for media impact research at the Lear Center. Our goal is to assist all media makers to do a better job accounting for how people engage with their media and assessing the consequences of that engagement.
We’re expanding the amount and types of research that we do at USC, and we are committed to collecting and sharing best practices from all around the world, from all sectors, academic, governmental, industry. From luminaries like you.
This new initiative is called the Media Impact Project and it brings together scholars across the disciplinary spectrum to develop and share freely the best possible tools and practices. Echoing Nate Silver’s comment this morning, I hope you’ll join us in making media analytics a non-fiction business.
I recently gave my fifth talk for the TED network – this time on one of my favorite projects at the Norman Lear Center, where I’m the director of research. The Lear Center has conducted many studies demonstrating that entertainment plays a key role in people’s lives, igniting curiosity, inciting conversations, and importantly, influencing attitudes and behavior. One of my favorites was a series of U.S. national surveys that explored whether there is a correlation between entertainment preferences, what we enjoy, and political ideology, what we believe.
One thing you learn in survey research is that it’s not very helpful to ask people to label themselves politically. So we created an instrument that would diagnose the respondent’s ideology based on their responses to dozens of statements about hot-button political issues. Using statistical clustering analysis, we discovered that three groups emerged from our national sample. “Conservatives,” as we decided to call them, “liberals” and “moderates.” These same respondents were asked about their preferred leisure-time activities and their favorite radio and TV shows, Web sites, movies, games and sports and much more.
What we found is that each of these clusters had distinctly different entertainment and leisure preferences. (For a full run-down, check out our white paper.)
Now this kind of research doesn’t allow us to determine causation: I can’t tell you whether your politics determine taste or taste determines politics. But, if I had the chance to ask you enough questions, I would be able to predict your politics based on your taste. And vice versa.
I’ve always wanted to scale up this research to a global sample, where we could see what kinds of clusters emerge on a trans-national scale. Because as you know, in a networked world, culture, media, and politics are not constrained by national boundaries. So, last Fall, I leapt at the opportunity to administer a similar survey in Tunisia, the cradle of the Arab Spring.
Working with Mobile Accord, the company that created the SMS platform for the Haiti relief effort, we administered our survey to over 2,300 Tunisians on their mobile phones. We knew that our sample would skew younger and more Internet-savvy than the general population, which would provide us with a valuable glimpse into the mindset and media habits of a population that will most likely play a leading role in shaping the future of Tunisia, and perhaps the Middle East.
Because it was a mobile phone poll, we had to make the survey much shorter. So, in order to diagnose a respondent’s ideology we decided to focus on cultural politics. We asked questions about how their religious beliefs inform their entertainment choices, and the role that they believe government should play in that negotiation.
We also included specific questions about the controversial TV airing of Persepolis, an animated film which included an image of God, and the violent protests surrounding the anti-Islamic film, Innocence of the Muslims.
We identified three groups that fell on a spectrum from conservative to moderate to liberal. The group that most fascinated us was the largest group: conservatives. Among these young wired culturally conservative Tunisians, we found entertainment and media preferences that we would expect from liberals in the U.S.
- “Surfing the Internet” was their favorite way of entertaining themselves (conservatives in the U.S. had chosen “reading” as their favorite.)
- They were more into video games than reading.
- When they do read books, they prefer romance novels and sci fi to religious texts.
- We were amazed to discover that they were the most passionate consumers of American entertainment,
- They demonstrated a strong preference for Hollywood films and they had less interest in local Tunisian fare than Moderates or Liberals.
- They were also the most likely to say that U.S. entertainment has had a positive influence on the world.
So much for stereotypes about religious conservatism and anti-Americanism in the Middle East. The picture is far more complicated than you might think. The key is asking the right combination of questions on the right platform.
We know that politics are important but we tend to be dismissive about taste and the pleasures we take from TV so bad that it’s actually good. All too often we assume that entertainment is too trivial for serious critical inquiry. But I believe that entertainment preferences often go unrecognized as powerful indicators of personal and social aspirations. And, since the Cold War, we have found over and over again that popular culture can bridge deep national and political divides in the most surprising ways. In fact, many have argued that Hollywood films and TV shows have more impact on global public opinion than our foreign policy.
We can get so caught up in looking at people through the lens of demographics and ideology that it often obscures our view of what people really care about, what gives them pleasure. And when you know that, I believe you know the most important thing you can know about anyone.
For more results of the U.S. and Tunisia surveys, check out my TEDxOrangeCounty talk, The Politics of Personal Taste. The Lear Center site offers a lot more background materials on the U.S. entertainment and politics surveys.
Imagine my delight when I discovered that I would be a judge for a short film contest alongside Padma Lakshmi, Michael Pollen, Eric Schlosser, and Alice Waters! We’ll be looking for short films that provide a deeper understanding of the US food system. Here’s the low-down:
“The contest invites aspiring filmmakers, or teams of food changemakers alongside communicators, to create 30-second to four-minute films in one of four styles: documentary, advocacy, experimental, or ‘wildcard.’ Entries must be submitted by 9 p.m. EST on February 3, 2014.”
Yesterday, I was very excited to launch the Media Impact Project, which aspires to be a global hub for the best research on measuring the impact of media. Supported by $3.25 million in initial funding from the Gates and Knight Foundations, I’m optimistic that the Norman Lear Center can help make media more accountable to audiences and contribute to a better understanding of the role that media plays in people’s lives.
The New York Times picked up the story and I was thrilled to see reporter Michael Cieply focus on this aspect of the program:
Created by: Paralegal.net
Big thanks to Peter Kim for alerting me to this great new infographic about Hollywood’s convoluted history with piracy and its battle to embrace and defang new technologies.
One of the best cinematic experiences I’ve ever had was watching Wim Wenders’ new 3D film about dancer/choreographer Pina Bausch. I was moved by his interview on NPR, where he explained that he’d been intending to make a film about Bausch’s work for several years, but he just couldn’t figure out how to do it . . . until he watched a 3D film. He felt that the new technology would allow the audience to “be in the same water” with the dancers, and let me tell you, when he achieves that, the effect is blissfully visceral. Bausch’s work deals quite dramatically (often violently) with power relationships, gender divides, misunderstanding, affection: to be in the physical midst of all that motion and emotion is intoxicating.
So. It’s in theaters now. But not for long! See it while you can in 3D . . .