The Challenges Facing Advertising in an Online Convergent Culture

Technology develops on an exponential curve. Every time there is a new development in communications technology society scurries to catch up; building new institutions and industries, which in turn directly affect the way society operates. In the modern sense, the process through which this “catch up” occurs is known as convergence (Jenkins 2006).

Today convergence is happening often and everywhere: including the smartphone, applications, and social media to name a few. However, undoubtedly the biggest and most pervasive development in the last half a century has been the launch of the Internet (Spurgeon 25). Since its inception into our lives the Internet has become absolutely intrinsic to our daily lives. However the advent of the digital age has also led to the devaluing of many previously dominant industries, such as print media, television, radio and even the home telephone system (Edmonds et al.). In the fallout of the meteoric rise of the Internet many other industries have struggled to catch up. The subject of this essay will be the challenges and opportunities facing the advertising industry, and how they have attempted to overcome and exploit them respectively.

The advertising industry has been faced with a tremendously different playing field since the rise of the Internet: primarily with the mass exodus of viewers away from traditional media to the Internet (Sheehan and Morrison). This shift alone has cause for concern among advertisers, moreover the new land settled by these digital denizens has afforded them unforseen agency, dramatically changing their consumption attitudes.

One of the primary traits of the online audience is their sovereignty. The online consumer has the ability to choose what they want to see, when they want to see it; that is if they even want to see it at all (Spurgeon 25). This is sharply juxtaposed against traditional television or print media, where consumers were force-fed advertisements, unable to choose whether they wanted to see them or not (ibid 27). Even more so, with newly developed software capable of completely blocking out conventional advertisement on the web, the future of online advertisement looks bleak (http://chromeadblock.org/). This makes the new consumer market more evasive than ever before. Without the right approach, companies and even industries could lose out on lucrative opportunities or collapse all together.

The Internet is filled with vast amounts of information; it is also a place where many cultures and societies coexist in a surprisingly cohesive way. This is aided by the implementation of new programs attached to search engines like Google, which give users the option to translate entire sites from its native language to their own (Wagner). This cultural convergence leads to greater exposure to brands and art forms that would have otherwise been barred by geography, nationalism and industry norms. As a result consumer tastes are becoming increasingly complex, which in turn leads to a sort of fragmentation among traditionally cohesive and predictable consumer bodies (Sheehan and Morrison). This fragmentation has made consumers increasingly difficult to encompass with a single ad campaign, there are too many new variables for an advertising company to continue to rely on traditionally held preconceptions of certain markets.

Digital denizens have also developed their own online cultures, which interact with one another, create their own unique content, and critique the work of others. This culture, referred to by Jenkins as “Participatory Culture”, is key to the movement of media convergence (3). Increased user autonomy and opinion legitimacy are foreign to advertisers; the previous one-way street of producer consumer relations has changed to a two-way street where consumers are having greater input into the production of their goods and services (Spurgeon 8, Deuze 245). Bioware, one of the worlds leading video game companies has recently begun holding online questionnaires and forums to ask for fan input into the development of their upcoming games (Krupa). These new attitudes of entitlement offer both a challenge and opportunity to the advertising industry.

With all this stacked up against advertising companies, how can they hope to break into this new digital market? The answer lies in ingenuity, advertisers will have to abandon “old” media methods and adopt newly evolved approaches that play to the strengths and weaknesses of the Internet (Spurgeon 27). Two examples of original methods that met with great success are the Philips Parallel Lines campaign and the viral Old Spice campaign.

Parallel Lines was an initiative by Philips Electronics to gain recognition for a new line of high definition television sets they were about to release. The campaign sent out a short script with only a few lines of dialogue to 5 of the worlds leading directors, they were to direct and produce their own short film completely financed by Philips. The shorts were “aired” online, and later the winner was picked based on user feedback (Williams).

The Old Spice body wash campaign used a more traditional advertisement, however it used a modern sense of humour and a primarily “creative” style as opposed to the more commonly used informative approach (Spurgeon 24). It immediately had its desired effect, going “viral” within 24 hours and boosting sales considerable (Morrissy).

What these ingenuitive campaigns do is bypass much of the prejudice against advertising that exists online. They are subtle, often using product placement or sponsorship to convince consumers subconsciously that the product has class: a stylish ad campaign means a stylish product. The Parallel Lines campaign was not only interesting; it was seen as supporting the art-form while ignoring the financial conventions of the film industry.

Because of this unquantifiable Style these advertising campaigns have, they manage to “cut through the clutter” of other online advertisement which use a more traditional approach. Online denizens will actively seek out these advertisements, broadcast its existence to their friends, talk about it in forums and social media, and even make videos of their own praising or parodying it (Sheehan & Morrson).

This “pull” effect, which would otherwise be a hindrance to advertisers, is now being used as a method of distribution. If an advertisement is effective it can very efficiently cut distribution costs normally associated with traditional advertisement (Sheehan & Morrison). The participatory culture of the Internet will propel the ad along the necessary currents, generating its own hype (Deuze 246).

We are experiencing more than just a transition period; as technology is only going to develop faster and faster, industries are going to struggle to keep up. With the right expertise advertising companies can seamlessly integrate into the online community, like the have before with radio and television, but first they are going to have to learn to adapt to the ever-changing nature of the Internet and Media convergence as a whole. Jenkins concedes that the road ahead is going to be full of obstacles “most of which seem insurmountable”, even so industries will have to find a way, otherwise they will crumble, and it’s not going to get any easier (10-11).

Works cited

Deuze, M. “Convergence Culture in the Creative Industries” International Journal of Cultural Studies 10 (2007). Print.

Dwyer, T. Media Convergence, McGraw Hill: Berkshire, 2010. Print.

Edmonds, R. et al. “Newspapers: by the numbers” State of the Media 2012 (11^th April 2012) Journalism.org, accessed 29^th Aug. 2012.

<http://stateofthemedia.org/2012/newspapers-building-digital-revenues-proves-painfully-slow/>

Jenkins, H. Convergence Culture, New York: New York University Press, 2006. Print.

Krupa, D. “Report: Leaked Dragon Age 3 Questionnaire” IGN.com (20^th July 2012) accessed 31^st Aug.

Morrissy, B. “Old Spice’s agency flexes its bulging stats” Adweek (4^th Aug. 2010) accessed 30^th Aug.

<http://www.adweek.com/adfreak/old-spices-agency-flexes-its-bulging-stats-12396>

Spurgeon, C. Advertising and New Media, Oxon: Routledge, 2008. Print.

Sheehan, K. and Morrison, D. “Beyond convergence: Confluence culture and the role of the advertising agency in a changing world” First Monday 14.3 (2009). Print.

Williams, E. “Philips Parallel Lines Films” Creative Review (7^th April 2010) accessed 31^st Aug.

< http://www.creativereview.co.uk/cr-blog/2010/april/philips-parallel-lines-films>

Wagner, K. “Google Translate for Android can now read pictures in foreign languages” Gizmodo Australia (10^th Aug. 2012) accessed 30^th Aug.

<http://www.gizmodo.com.au/2012/08/google-translate-for-android-can-now-read-pictures-in-foreign-languages/>

The Phenomenon of Digital media Convergence in Relation to Advertising & New Media

The Phenomenon of Digital media Convergence in Relation to Advertising & New Media

Advertising has been a communicative mechanism that has been utilised thousands of years ago by ancient civilisations as a means to create awareness and drive consumer behaviour and consumption. A comparison between an ancient ad written on a papyrus scroll in Egypt to a capturing a QR code on a contemporary smart phone device, marks the transition and evolution of not only advertising, but the convergence of digital media. The phenomenon of digital media convergence in relation to new media and advertising comprises of two main aspects which pertain to the relationship that all three exhibit and their potential to give rise to new and innovative ideas and concepts.

The relationship that exists between digital media convergence, advertising and new media is based on reciprocity and can be defined as mutually beneficial and interdependent. In order to fully apprehend the relationship of the three, it is essential to explore each concept in order to identify and draw links between them. The foundation of this relationship begins with new media, a concept that came to prominence towards the end of the 20th century as a result of high levels of demand exhibited from consumers, for constant access to content at any time, place and on any electronic device. As such, it promotes a participatory culture that allows consumers to interact and contribute to the media formation process in a creative way (Jenkins, 2006). This demand for interactive and participatory new media and the need to fulfill it, has been made possible through the development of technologies that introduce new media platforms through which content can be transmitted and shared as opposed to the linear communication flow and rigidity of old media. 

Additionally, digital media convergence is also a result of new media and technological advancements and it '...is the process whereby new technologies are accommodated by existing media and communication industries and cultures...[and this is based on]...adaptation, merging together and transitioning...' (Dwyer, (2010), pg 2). It promotes fluidity across multiple media platforms and the cooperation of different media industries in order to provide content to users who are constantly on the move (Jenkins, (2006).  As a result, digital media convergence has created a collaboration between technology, media and consumers whereby the creation and innovation of media devices such as e-readers, mobile phones and wireless internet has provided media companies with the opportunity to take advantage of these devices to disperse information more freely and to a range of audiences. For the consumer, digital media convergence provides individuals with convenience and unlimited access to information that is of value to them and furthermore, improving their quality of life

Fig 1. interlinked and interdependent relationship of new
media, media convergence and advertising.

In conjunction, advertising is a communicative tool based on persuasion which involves the dissemination of information to the public through a variety of media platforms and assumes the role of a catalyst to incite change or maintain the status quo (Hutton in Heath (ed.), 2010). It is a strategic management function (Hutton in Heath (ed.), 2010) based on the promotion of a product/service through paid advertisements deliberately placed in different channels of media. As such, the interdependent and reciprocal relationship between digital media convergence, advertising and new media is a three step process that involves creating and collaborating, adoption and adaptation. This is demonstrated through the fact that digital media convergence is only possible through the improvement and creation of technology. Inititally, the technology must be created, for example, the mobile phone. Afterwards, new concepts and technology collaborate through digital media convergence to create an object that is multi-functional, as demonstrated by a contemporary mobile that no longer just makes and receives calls, but has a variety of functions such as a camera, video-recorder, internet or email system. As these new digital devices are formed, they are adopted by society and change the way individuals interact with information and improves their quality of life. Continuing with this example, the mobile phone exposes consumers to wider range of media platforms such as email, internet, search and browse or SMS and provides them with convenience. Lastly, advertising companies must adapt to these changes in order to survive as usage in one particular form of media decreases and usage in another increases. As such, advertising firms must continue with their goal to create awareness and sales by adapting to these changes and placing advertisements on downloaded applications, or creating QR codes on ads that can be registered by mobile phones. Thus, it is evident that there is a seemingly domino-effect concept to the interrelated, interdependent and reciprocal relationship that exists between digital media convergence, new media advertising, whereby a change in one of these aspects requires an adaptation to this change in all three of them.

The inter-relatedness of digital media convergence, new media and advertising, also helps promote and encourage the formation of new ideas in regards to all three aspects. It is through the progressive and innovative nature that all three encompass, that allows for the invention of new media platforms. Since the development of new technologies has a direct impact on the way digital media convergences and interacts with one another, along with the fact that there is a demand for 24/7 access to content as well as interactive and participative media, advertising companies have had to create new strategies to implement their messages across these new platforms as it is a necessary process for any contemporary company looking to remain competitive in a saturated market (Morrison & Sheehan, 2009). Since the creation of the internet in the 1950's through the contribution of networks such as APRANET (Kleinrock in Scwhartz (ed.), 2010), the world of advertising has been dramatically changed and opened to new possibilities. This network of computer systems that transmits and exchanges information has has allowed society to move '...from an information culture to a digital...culture...' (Morrison & Sheehan, 2009), whereby the creation and consumption of content is a collective process (Jenkins, 2006) as well as interactive.

A relatively new interactive type of media and advertising that is currently being adopted by organisations is augmented reality. This new media platform was recently implemented in a major campaign by the online fashion store, Net-a-Porter, to introduce a new collection by designer Karl Lagerfeld. Across five cities, Net-a-Porter's advertising team created augmented reality shopping windows  which could be activated by consumers once they downloaded the Net-a-Porter app onto their Apple device. Using the app, consumers could then experience the augmented reality shopping by aiming their cameras at the pieces in the windows and

Fig 2. Net-a-Porter webpage with the related
 links in the blue box and the recommended/
alternative products in the green box
Source: netaporter.com

once the phone registers the image, it takes the consumer to a 360 degree view of the garment, video of a model wearing the garment, product details, pricing, other recommendations and allows the consumer purchase the garment instantly. As such, augmented reality demonstrates the convergence of the mobile phone, camera, barcode scanner and internet that has led to the creation of a brand new media platform. This innovation provides an opportunity for advertising companies to develop new strategies for promoting their product. In the case of Net-a-Porter, advertisers are able to take a more interactive approach to advertising that adopts a recommendation mechanism that analyses the user's context and profile to present alternatives that may be of interest (Koutrika, Molina & Parameswaran, 2011). As such, on a typical webpage which can be viewed online with or without the augmented reality technology, it is evident that there is a utilisation of recommendation mechanisms as the site provides links to related products such as accessories or shoes and links to alternative products. Thus, it is evident that the dynamic and interrelated nature of digital media convergence, advertising and new media has allowed for the development of innovative media platforms whichprovides opportunities for advertisers to promote their product/service to a wider audience.

In conclusion, the phenomenon of digital media convergence and its relationship with advertising and new media is characterised by interdependence, reciprocity and interconnectedness. As change is initiated in one, the latter must follow and adapt in order to keep up with shifts in technology, media platforms and consumerism. Likewise, there is a sense of innovation and creativity that is promoted by each aspect. As such, technological changes drives the creation of new media platforms and converging medias and furthermore, these then allow for advertising companies to devise new ways of promoting their products/services. Digitialised media is dynamic and constantly changing, as such, all players must adapt to these changes in order to remain relevant and in some cases, competitive in their corresponding market.

References:

·         Dwyer, T. (2010), Media Convergence, McGraw Hill, Berkshire, pp 2

·         Hutton, J., (2010) 'Defining the Relationship Between Public Relations and Marketing', in R. Heath (ed.), The Sage Handbook of Public Relations, SAGE Publications INC.

·         Jenkins, H. (2006), Convergence: Where Old & New Media Collide, NY University Press

·         Kleinrock, L. (2010), 'History of Communication: An Early History of the Internet', in M. Scwartz (ed.), IEEE Communication Magazine, pp 26-36

·         Kourita, G., Molina, H.G. & Parameswaran, A. (2011), 'Virtual Extension Information Seeking: Convergence of Search, Recommendations, and Advertising', Communications of the ACM, vol. 54, no. 11, pp 121-130

·         Morrison, D. & Sheehan, K. (2009), 'Beyond Convergence: Cofluence Cultures and the Role of the Advertising Agency in a Changing World', First Monday, vol. 4, no.3

·         Ross, A. (2010), 'The Evolution of Advertising: From Papyrus to Youtube', web blog, 29 November, viewed 24 August 2012, <http://blogs.ubc.ca/etec540sept10/2010/11/29/the-evolution-of-advertising-from-papyrus-to-youtube/>

·         'What is a QR Code?', (2011), online video, Youtube, viewed 28 August 2012, <http://www.youtube.com/watch?v=CSIJGNBHjXw>

·         'The Window Shop', (2011) online video, Youtube, viewed 24 August 2012, <http://www.youtube.com/watch?v=dTk_9pmqspE&feature=player_embedded#!>

Bianca Gandin media convergence essay

Discuss the phenomenon of digital media convergence in relation to Music Video Online. 

The phenomenon of digital media convergence stretches across many platforms, consisting of many facets and differing theories on its prevalence. Convergence in itself is the coming together of things that once were not connected (Meikle, 2012). In the area of digital media a prominent aspect of convergence can be seen through the development of music video online.  Music video has historically been vital in the success of popular music and its artists (Banks, 1997). With the invention of the Internet and such platforms as Youtube, a merging of what was once only accessed through television now can be accessed across multiple platforms (Cordeiro, 2010). In addition a new form of user created materials has arisen and influenced such artists to create low budget music videos for online consumption, such as the Ok Go treadmill video for the song ‘Here It Goes Again’ (emimusic, 2009), which received millions of hits. Such technological and cultural convergence (Dwyer, 2010) is vital to digital media as it transforms music video form a mere song with pictures to a cross market promoter of iconic vision, that can define a time and influence change in how society views culture.

During the 1980’s music video became fundamental in the development of popular culture. In many respects this is due to the creation of MTV, which helped to renew interest in television and music (Banks, 1997), generating music video to become the modern way to promote expression. Music video also aided the artists in forming a cultural image that established and reinforced their public identity (Banks, 1997) Madonna creates her iconic characters using her video clips as a platform for recreation at various periods from the 1980’s to the present. She has been seen through her music videos as a Vogue model, a blasphemous catholic girl, a cowgirl and many more (Banks, 1997), her success is largely connected to the introduction of MTV (Markle, 2008). This convergence of two mediums, song and image (Cordeiro, 2010), sparked a new combination that has stayed culturally prevalent for over 30 years. Music video in essence has stayed the same in the respect of building a cultural image and aiding the success of artists (Banks, 1997). However in almost every other way this audiovisual convergence (Holt, 2011) has evolved and changed to fit the needs of a culture that demands more. Weather that be variety, accessibility or diversity of genre, music video has converged with many aspects of online digital media to produce content that defines the current time in culture.

Online music video content can be attributed in many ways to the introduction of search platforms such as Youtube that initiated a new basis for access (Hinderbrand, 2007). The convergence of the Internet and music video created a new avenue for content to be displayed and in doing so it influenced a racial shift in the way music video was made (Cordeiro, 2010). With the ability to produce user-generated material, the online digital media phenomenon converged the consumer and the producer, thus creating a new cultural dynamic of small budget low-resolution videos (Cordeiro, 2010). Artists became able to make their own music videos on a small budget and with this trend of low-resolution web video came Ok Go’s infamous treadmill video (emimusic, 2009). Released in 2006 the video features the band preforming a sequenced choreographed dance using a stage of four treadmills. The music video clip was released online before on MTV (Vargas, 2006) and captivated an immense viral audience. It wasn’t produced in a studio with costumes and expensive equipment; it was just the band, a camera and a brilliant idea. The video reached such heights that the band was invited to perform live at the 2006 VMA music awards  where they were seen to captivate the audience (Vargas, 2006). It is depicted through the Ok Go ‘Here It Goes Again’ (emimusic, 2009) music video clip that digital media can use the convergence of technology, a multitude of platforms to create a cultural milestone with the simplest of ideas. Furthermore due in some part to the success of Ok Go’s Here It Goes Again’ music video and the sensation of the YouTube generation’s necessity for instant access (Hinderbrand, 2007). Professional music video producers joined the ideas of this newly created style (Holt, 2011) and began creating music videos of the same inspiration creating a new way for society to view culture; an example of this is Barbra Streisand by Duck sauce (2010).

Music convergence has allowed more freedom for the markets of music video to create multiple ways to reach audiences (Holt, 2011). This technological convergence, a term defined by Dwyer (2010) in ‘Media Convergence’ is the increase of delivery types and platforms for which in this case music video can be accessed. Music has moved from one medium, the television to a multitude of mediums including but not limited to; computers, iPhones, game stations and hard drives (Holt, 2011). Such technological convergence has opened up the streams of accessibility re defined the cultural experience of the music video. It has converged one form of viewing to many forms, Ok Go’s Here It Goes Again’ (emimusic, 2009) can be viewed on one of the many television satiations devoted to playing only music videos, it can also be recorded from that station onto a digital box to be seen later, in addition that same video can be downloaded from the internet onto a computer, it can be streamed from YouTube on a computer, a phone, an iPad. There are multitudes of ways music videos can be attained due to technological convergence. This digital media phenomenon has ignited a somewhat cultural revolution that is technologically driven by the variety of newly developed devices (Beer, 2005).

The phenomenon of digital media convergence in relation to music video online can be viewed from countless different ways, however the importance of music video in popular culture is a vital aspect to understand how society constructs culture. This made way for the convergence of technologies to re define the way music video was accessed (Holt, 2011). The convergence of Internet and music video aided prolifically by online systems such as YouTube welcomed a different form of material that brought together lower cost techniques in the producing of music video (Cordeiro, 2010). More so the technological convergence of mediums made access to music video online instantaneous and without effort (Hinderbrand, 2007). Thus creating a society that views its culture of music video online through many different devices. Some things however remain a cultural constant, Madonna Is still using music video, now online, in an attempt to define herself as a cultural icon, acceptance of this iconography is in the hands of society.

           

Reference List

emimusic. (2009, 2 26). OK Go - Here It Goes Again. Retrieved 8 29, 2012, from Youtube: http://www.youtube.com/watch?v=dTAAsCNK7RA&list=PL0FB9262CF878A34A&index=10&feature=plpp_video

Vargas, J. A. (2006, 9 1). Waiting for OK Go: MTV Awards' Existential Moment. Retrieved 8 29, 2012, from The Washington Post: http://www.washingtonpost.com/wp-dyn/content/article/2006/09/01/AR2006090100012.html

Banks, J. (1997). Video in the Machine: The Incorporation of Music Video into the Recording Industry. Popular Music , 16 (3), 293-309.

Beer, B. S. (2005). Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture. Convergence: The International Journal of Research into New Media Technologies , 11 (106), 106-121.

Cordeiro, P. (2010). Medium Cool: music videos from soundies to cellphones . Historical Journal of Film, Radio and Television , 153-154.

Dwyer, T. (2010). Media Convergence . Berksire: McGraw Hill.

Hinderbrand, L. (2007). Youtube: where cultural memory and copyright converge. Film Quarterly , 61, 48 -57.

Holt, F. (2011). Is music becoming more visual? Online video content in the music industry. Visual Studies , 26 (1), 50 - 61.

Markle, J. L. (2008, 7 24). Justify My Ideology: Madonna and Traditional Values . Popular Music and Society , 75 - 84.

Meikle, G. a. (2012). Media Convergence: networked digital media in everyday life. United Kingdom : Palgrave Macmillan.

Digital Media Convergence: Advertising & New Media

Gary Almeida

42488869

Digital Media Convergence: Advertising & New Media

Print media is on the decline. Like all dated technology, print media distribution and publications are slowing down, and now its either forced to evolve to stay alive or to move into retirement like its peers who have since closed down such as the Boston times. Following the direction of print media is another giant - television. Both to be considered once the backbones of many advertising campaigns. The rise of the internet, the closing of the digital divide and the digital media convergence is seeing big business focus heavily in an online presence, whether it be adspace, viral marketing or social media as well as accommodating traditional media such as online news articles and television in a more net friendly environment such as streaming and downloading.

Unlike traditional media, users can now choose how and when they want to receive their information and services, Dwyer describes this digital media convergence as “The process whereby new technologies are accommodated by existing media and communication industries and cultures.”  (Dwyer, 2008, p. 2). Where previously advertising was simply thrown in front of a viewer/reader in traditional means, content is user defined, subsequently its advertising that follows along is much more targeted and relevant.

In cyberspace advertising is key. It is the backbone which keeps most websites generating revenue and thus alive, today businesses are turning to the internet as their primary way to drive their product in front of their audience as opposed to traditional means. “Online advertising expenditure now frequently exceeds outdoor, cinema and magazine advertising expenditure” (Spurgeon, 2008). A primary example of this through search engines, specifically Google as “advertising in search engines and online directories is the largest, and one of the fastest growing segments of online advertising” (Spurgeon, 2008).  

A key component in online advertising is interaction, namely in the form of search engines. Searchable media content has paved the way for media convergence from telephone directories, print media advertisements and classifieds into a digital interface that allows business to gauge immediate results, reach a broader market and for users to deal directly with the content. The web is quickly becoming the most effective way to deliver advertisements to users and businesses will continue to further penetrate their market share of new users as well as retain their current ones.

Business are moving away from commercials and advertorial branding and focusing on adverts that directly engage the user within the content (Spurgeon, 2007). Gone are the days where users are forced to sit down at an allocated time to watch their their favourite movies or shows, with the user in control of when and what to watch, advertisers evolving into specific markets to directly target their given audience

The web however has not made television redundant when it comes to advertising. In certain situations it works hand in hand, where most advertising campaigns are making hard and fast choices in either television or internet, some are using the internet as a testing ground before launching a larger scale campaign to the television viewers. One such example of this is in the american political race, politicians are now using in-stream ads on YouTube to target specific geo-specific areas and content-interest targeting. Depending on the poll ratings, this testing ground online  by  “gauge(ing) customer response” (Carr, 2010). could see a more successful roll out when it comes to the more prolific televised advertising.  

Its becoming increasingly clear that traditional media has still has its place and purpose, but is no longer as powerful as an advertising tool as it used to be. The digital convergence has seen traditional push advertising methods become dated and less effective. Advertising is evolving into an online hub where users interact not only with the content but with each other, share and create their own content space. This is one of the first times where users in a way get to choose not only their content but their advertising methods as well. The end result is the same, advertising isn't going anywhere, its here to stay. But its delivery methods are in a constant state of evolution in an effort to keep up with user driven content.



Reference List:

Dwyer, T 2010. Media Convergence, McGraw Hill, Berkshire, pp. 2-4

Spurgeon, C. (2008) Advertising and New Media, Oxon, Routledge, pp 24-45.

Spurgeon, C 2007, ‘From the ‘Long Tail’ to ‘Madison and Vine’’, in Advertising and New Media, Routledge, Madison Ave, New York.

Carr, A. (2010). Candidates Turn to YouTube for Geo-Specific Ad Campaigns for Mid-term Elections. Available: http://www.fastcompany.com/1684457/candidates-turn-youtube-geo-specific-ad-campaigns-mid-term-elections
. Last accessed 29th August 2012