{"id":27559,"date":"2021-03-04T09:05:02","date_gmt":"2021-03-04T09:05:02","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=27559"},"modified":"2024-09-15T17:30:20","modified_gmt":"2024-09-15T17:30:20","slug":"are-streaming-algorithms-really-damaging-film-source-bbc-entertainment","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/are-streaming-algorithms-really-damaging-film-source-bbc-entertainment\/","title":{"rendered":"Are Streaming Algorithms Really Damaging Film? | Source: BBC Entertainment"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/1_IMayDestroy.jpg?ssl=1\" alt=\"I May Destroy You\" class=\"wp-image-27611\"\/><figcaption class=\"wp-element-caption\">Michaela Coel stars in, wrote and co-directed \u201cI May Destroy You.\u201d Cr: HBO.<\/figcaption><\/figure>\n\n\n\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cFor many stuck inside during lockdown, streaming services have kept the movie-going experience alive \u2014 offering a safe alternative while cinemas remain shut. But film director Martin Scorsese isn\u2019t such a fan. <a href=\"https:\/\/harpers.org\/archive\/2021\/03\/il-maestro-federico-fellini-martin-scorsese\/\" target=\"_blank\" rel=\"noreferrer noopener\">In an essay for <em>Harper\u2019s<\/em> magazine<\/a>, he\u2019s warned that cinema is being \u2018devalued&#8230; demeaned and reduced\u2019 by being thrown under the umbrella term \u2018content.\u2019 He specifically criticized a lack of curation on streaming platforms, saying algorithms, which provide recommendations based on individual or collective viewing habits, are damaging the art form and \u2018treat the viewer as a consumer and nothing else.\u2019 It\u2019s not the first time that Scorsese, the Oscar-winner behind classics including <em>Raging Bull<\/em> and <em>Goodfellas<\/em>, has spoken out against the state of the industry. In 2019, he bemoaned the multiplex\u2019s reliance on superhero movies, comparing Marvel films to theme park rides. But just how do these algorithms work and are they really as culturally damaging as Scorsese suggests?\u201d<\/p>\n<cite>Source: Alex Taylor, BBC Entertainment reporter<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">AT A GLANCE:<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Films like <em>Terminator<\/em> and <em>The Matrix<\/em> have consistently told us that machines can\u2019t be trusted, writes BBC Entertainment reporter <a href=\"https:\/\/www.bbc.com\/news\/entertainment-arts-56085924\" target=\"_blank\" rel=\"noreferrer noopener\">Alex Taylor<\/a>, yet the industry continues to rely on algorithms to keep viewers watching.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Streaming services rely on customer data points to \u201ccategorize, sort, filter and present different types of content.\u201d One of the biggest tools for collecting customer data is the personalized profile, which encourages users to set up separate profiles for each user in any given household. Some of this personalization even includes the creation of multiple thumbnail images for content that are displayed to users based on their viewing history.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Filmmaker Martin Scorsese argues that machine learning renders any type of curation worthless, reductively simplifying the user\u2019s experience to subject matter or genre. Content has been reduced to a \u201cbusiness term for all moving images\u201d that can include anything from <em>Lawrence of Arabia<\/em> to a cat video.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Elinor Carmi, research associate at Liverpool University\u2019s communication and media department, sees the situation instead as a \u201cbattle between the old and new gatekeepers of art and culture,\u201d she says, noting that humans are \u201calways involved\u201d in the curation process.\u201d Yet it would be a mistake to sentimentalize old gatekeepers compared to new technology companies such as Netflix. \u201cIn both cases, we are talking about powerful institutions that define, control and manage the boundaries of what is art and culture.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The rise of \u201cambient TV,\u201d as evidenced by the popularity of shows like <em>Emily in Paris<\/em>, which didn\u2019t appeal to critics but was still one of Netflix\u2019s top shows, is another factor, but journalist and media lecturer Tufayel Ahmed says that the reality is \u201cmore complex,\u201d and what he calls \u201clowbrow content\u201d actually paves the way for more niche projects such as Michaela Coel\u2019s <em>I May Destroy You<\/em> to be greenlit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Head over to the <a href=\"https:\/\/www.bbc.com\/news\/entertainment-arts-56085924\" target=\"_blank\" rel=\"noreferrer noopener\">BBC News website<\/a> to read the full story.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Have streaming algorithms replaced traditional gatekeepers, or do they create space for niche projects like HBO\u2019s \u201cI May Destroy You\u201d?<\/p>\n","protected":false},"author":2,"featured_media":27560,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-27559","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Are Streaming Algorithms Really Damaging Film? 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