Spreadable Media – stickiness vs spreadability

Stickiness seeks to:

attract and hold the attention of site visitors

concentrate the attention of all interested parties on a specific site or through a specific channel

unify consumer experience as consumers enter into branded spaces (collecting them into fewer locations)

prestructure interactivity to shape visitor experiences (radically limit the number of ways that participants can react)

typically tracks the migrations of individual consumers within a site

sales force markets to consumers

logical outgrowth of the shift from broadcasting’s push model to the web’s pull model

producers, marketers, and consumers are separate and distinct roles

depends on a finite number of channels for communicating with consumers

Spreadability seeks to:

facilitate the efforts of fans and enthusiasts to “spread” the word

expand consumer awareness by dispersing the content across many potential points of contact

create a diversified experience as brands enter into the spaces where people already live and interact

open-ended participation as diversely motivated but deeply engaged consumers retrofit content to different niche communities

maps the flow of ideas through social networks

grassroots intermediaries become advocates for brands

restores some aspects of the push model through relying on consumers to circulate the content within their own communities

depends on increased collaboration across and even a blurring of the distinction between these roles

takes for granted an almost infinite number of often localized and many times temporary networks through which media content circulates

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Ralph Beliveau Media Arts Area Head Associate Professor, Creative Media Production Beliveau@ou.edu @ralphbeliveau Dr. Beliveau is on faculty for the Gaylord College and affiliate faculty in both Film and Media Studies and Women’s and Gender Studies. He co-authored Digital Literacy: A Primer on Media, Identity, and the Evolution of Technology (2016) and co-edited the forthcoming collection International Horror Film Directors: Global Fear (December 2016). He writes and teaches about media education and literacy, race, horror media, documentary, rhetorical criticism, video production, film, popular culture, music & cultural studies, and documentary theory production & history. He has written about network society, documentary rhetoric, horror media, The Wire, African American biographical documentaries, Alex Cox, Supernatural, Richard Matheson, Night Gallery, Italian film, and Paolo Freire and media literacy. He previously taught Radio/TV/Film at the University of Wisconsin-Oshkosh and broadcast journalism, popular culture, and rhetoric while doing graduate work at the University of Iowa. Beliveau ran an FM radio station and cable television studio in Chicago and worked in Los Angeles in independent film and television production. He served as editor of the Journal of Communication Inquiry, chair of the Cultural and Critical Studies division of the Association for Education in Journalism and Mass Communication, and chair of the Student Documentary Competition for the Broadcast Education Association. Beliveau is part of the team of faculty who leads the British Media Tour annually and also taught Italian Popular Film and Literature in the Journey to Italy program in Arezzo. Beliveau earned his B.S. from Northwestern University and Ph.D. from the University of Iowa. More can be found at http://www.ralphbeliveau.com/.

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