Editing Entertainment (section)

== Effects of developments in electronic media ==

{{Listen|align=right
|filename = Arthur Sullivan - wax cylinder recording.ogg
|title = Arthur Sullivan on recording music
|description = 1888 wax cylinder recording of composer [[Arthur Sullivan]] speaking about his reaction to [[Thomas Edison]]'s invention of the [[phonograph]].

''...&nbsp;I am astonished and somewhat terrified at the results of this evening's experiment{{snd}} astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever. But all the same, I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery.''
|format = [[Ogg]]
}}

=== Globalisation ===
By the second half of the 20th century, developments in electronic media made possible the delivery of entertainment products to mass audiences across the globe. The technology enabled people to see, hear and participate in all the familiar forms{{snd}} stories, theatre, music, dance{{snd}} wherever they live. The rapid development of entertainment technology was assisted by improvements in [[data storage device]]s such as [[cassette tape]]s or compact discs, along with increasing [[miniaturisation]]. Computerisation and the development of [[barcodes]] also made ticketing easier, faster and global.

=== Obsolescence ===
[[File:Crystal radio advertisement.png|thumb|Magazine advertisement for [[crystal radio]] (1922)]]
[[File:TV-Turm Almaty - 3.jpg|thumb|[[Almaty Tower|Television tower]] in [[Almaty]], Kazakhstan (constructed 1983)]]In the 1940s, radio was the electronic medium for family entertainment and information.<ref>{{cite book|last=Garratt|first=G.R.M.|title=The early history of radio: from Faraday to Marconi|year=1994|publisher=Institution of Electrical Engineers, in association with the Science Museum|location=London|isbn=978-0-85296-845-1}}</ref><ref>{{cite book|title=Radio reader: essays in the cultural history of radio|year=2002|publisher=Routledge|location=New York|isbn=978-0-415-92820-5|editor1=Hilmes, Michele |editor2=Loviglio, Jason }}</ref><ref>{{cite book|last=Cox|first=Jim|title=The great radio sitcoms|year=2007|publisher=McFarland & Co|location=Jefferson, NC|isbn=978-0-7864-3146-5}}</ref> In the 1950s, it was television that was the new medium and it rapidly became global, bringing visual entertainment, first in black and white, then in colour, to the world.<ref>{{cite book|last=Spigel|first=Lynn|title=Make room for TV: television and the family ideal in postwar America|url=https://archive.org/details/makeroomfortv00lynn|url-access=registration|year=1992|publisher=University of Chicago Press|location=Chicago|isbn=978-0-226-76966-0}}</ref> By the 1970s, [[history of video games|games]] could be played electronically, then [[Handheld video game|hand-held]] devices provided mobile entertainment, and by the last decade of the 20th century, via [[online game|networked play]]. In combination with products from the entertainment industry, all the traditional forms of entertainment became available personally. People could not only select an entertainment product such as a piece of music, film or game, they could choose the time and place to use it. The "proliferation of portable media players and the emphasis on the computer as a site for film consumption" together have significantly changed how audiences encounter films.<ref name=Tryon>{{cite book|last=Tryon|first=Chuck|title=Reinventing Cinema: Movies in the Age of Media Convergence|year=2009|publisher=Rutgers University Press|pages=6, 9|isbn=978-0-8135-4546-2}}</ref> One of the most notable consequences of the rise of electronic entertainment has been the rapid [[obsolescence]] of the various recording and storage methods. As an example of speed of change driven by electronic media, over the course of one generation, television as a medium for receiving standardised entertainment products went from unknown, to novel, to ubiquitous and finally to superseded.<ref>{{cite book|title=Television after TV: Essays on a Medium in Transition|year=2004|publisher=Duke University Press|isbn=978-0-8223-3383-8|editor1=Spigel, Lynn |editor2=Olsson, Jan }}</ref> One estimate was that by 2011 over 30 per cent of households in the US would own a [[Wii]] console, "about the same percentage that owned a television in 1953".<ref>{{cite book|last=Cogburn|first=Jon|title=Philosophy Through Video Games|year=2002|publisher=Routledge|location=New York|isbn=978-0-415-98857-5|page=i|author2=Silcox, Mark}}</ref> Some expected that halfway through the second decade of the 21st century, online entertainment would have completely replaced television{{snd}}which did not happen. The so-called "[[digital revolution]]" has produced an increasingly transnational marketplace that has caused difficulties for governments, business, industries, and individuals, as they all try to keep up.<ref>{{cite book|last=Doyle|first=Gillian|title=Media Ownership: The Economics and Politics of Convergence and Concentration in the UK and European Media|year=2002|publisher=Sage|type=Google eBook|isbn=978-0-7619-6680-7}}</ref><ref>{{cite journal|last=Ellis|first=John|title=Scheduling: the last creative act in television?|journal=Media, Culture & Society|date=January 2000|volume=22|series=Bournemouth University/Large Door Productions|issue=1|pages=25–38|doi=10.1177/016344300022001002|s2cid=143788028}}</ref><ref>For example, in the UK: {{cite news|last=Tryhorn|first=Chris|title=Government thinktank to tackle media convergence issues|url=http://www.dbcde.gov.au/digital_economy/convergence_review|newspaper=The Guardian|access-date=22 November 2012|date=21 December 2007|url-status=dead|archive-url=https://web.archive.org/web/20121121120032/http://www.dbcde.gov.au/digital_economy/convergence_review|archive-date=21 November 2012}}</ref><ref>And for example, in Australia: {{cite web|title=Convergence Review|url=http://www.dbcde.gov.au/digital_economy/convergence_review|date=30 April 2012|publisher=Australian Government: Department of Broadband, Communications and the Digital Economy|access-date=23 November 2012|url-status=dead|archive-url=https://web.archive.org/web/20121121120032/http://www.dbcde.gov.au/digital_economy/convergence_review|archive-date=21 November 2012}}</ref> Even the sports stadium of the future will increasingly compete with television viewing "...in terms of comfort, safety and the constant flow of audio-visual information and entertainment available."{{sfnp|Sheard|2001|p=49}} Other flow on effects of the shift are likely to include those on public architecture such as hospitals and nursing homes, where television, regarded as an essential entertainment service for patients and residents, will need to be replaced by access to the internet. At the same time, the ongoing need for entertainers as "professional engagers" shows the continuity of traditional entertainment.<ref>{{cite news|last=Power|first=Julie|title=Laughter and music better than drugs for dementia patients|url=http://www.smh.com.au/national/health/laughter-and-music-better-than-drugs-for-dementia-patients-20130802-2r4w9.html|access-date=3 August 2013|newspaper=[[The Sydney Morning Herald]]|date=3 August 2013|archive-date=4 August 2013|archive-url=https://web.archive.org/web/20130804211458/http://www.smh.com.au/national/health/laughter-and-music-better-than-drugs-for-dementia-patients-20130802-2r4w9.html|url-status=live}}</ref>

=== Convergence ===
By the second decade of the 21st century, [[analogue recording]] was being replaced by [[digital recording]] and all forms of electronic entertainment began to [[technological convergence|converge]].<ref>{{cite book|last=Dwyer|first=Tim|title=Media Convergence|year=2010|publisher=Open University Press McGraw-Hill Education|location=Maidenhead, Berkshire, England and New York|isbn=978-0-335-22873-7}}</ref> For example, convergence is challenging standard practices in the film industry: whereas "success or failure used to be determined by the first weekend of its run. Today,&nbsp;... a series of exhibition 'windows', such as DVD, pay-per-view, and fibre-optic video-on-demand are used to maximise profits."{{sfnp|Sayre|King|2010|p=156}} Part of the industry's adjustment is its release of new commercial product directly via video hosting services. Media convergence is said to be more than technological: the convergence is cultural as well.{{sfnp|Sayre|King|2010|pp=22, 30 ''ff''}} It is also "the result of a deliberate effort to protect the interests of business entities, policy institutions and other groups".<ref name=Tryon /> Globalisation and [[cultural imperialism]] are two of the cultural consequences of convergence.{{sfnp|Sayre|King|2010|p=30}} Others include [[fandom]] and interactive storytelling as well as the way that single franchises are distributed through and affect a range of delivery methods.<ref>{{cite book|last=Jenkins|first=Henry|title=Convergence culture: where old and new media collide|year=2006|publisher=New York University Press|location=New York|isbn=978-0-8147-4281-5|url=https://archive.org/details/isbn_9780814742815}}</ref> The "greater diversity in the ways that signals may be received and packaged for the viewer, via terrestrial, satellite or cable television, and of course, via the Internet" also affects entertainment venues, such as sports stadia, which now need to be designed so that both live and remote audiences can interact in increasingly sophisticated ways{{snd}} for example, audiences can "watch highlights, call up statistics", "order tickets and merchandise" and generally "tap into the stadium's resources at any time of the day or night".{{sfnp|Sheard|2001|p=xvi}}

The introduction of television altered the availability, cost, variety and quality of entertainment products for the public and the convergence of online entertainment is having a similar effect. For example, the possibility and popularity of user-generated content, as distinct from commercial product, creates a "networked audience model [that] makes programming obsolete".{{sfnp|Sayre|King|2010|p=536}} Individuals and corporations use [[video hosting service]]s to broadcast content that is equally accepted by the public as legitimate entertainment.

While technology increases demand for entertainment products and offers increased speed of delivery, the forms that make up the content are in themselves, relatively stable. Storytelling, music, theatre, dance and games are recognisably the same as in earlier centuries.