Media fragmentation is a pervasive topic in our industry. It crops up in several of this week’s Directors Series profiles, for instance, with such projects as viral spots, Web shorts, Internet events and targeted cable series bringing helmers into creative prominence. Fragmentation is also what prompted a two-year extension of the commercials contract for actors as the ad business and the actors’ unions plan to take that time via an independent study to figure out equitable compensation models in a brave new media world.
Yet while there’s constant corridor talk about new media and the splintering of audiences, rarely do I hear discussion in our corner of the biz about the ironically rampant antithesis of fragmentation: media ownership consolidation. It’s certainly being discussed in the entertainment sector. Earlier this month Hollywood producers and union representatives testified at a regional FCC hearing in Los Angeles, objecting to the relaxation of media ownership rules over the years, which they contend has resulted in the consolidation of power into far too few hands.
The impact compromises varied areas, perhaps most sadly journalism as evidenced on assorted fronts, a prime example being Tribune’s ownership of The Los Angeles Times, which has translated into significant staff cutbacks, prompting community leaders to protest, with some urging that Tribune divest itself of the newspaper.
However, most of what I hear and read from ad industry pundits regarding media ownership consolidation is centered on strategies, with savvy business moves by agency holding companies (acquiring additional shops, including media firms) and by the likes of Rupert Murdoch being lauded. In Murdoch’s case, there’s News Corp.’s high-profile acquisition of MySpace, adding to an empire that consists of assorted newspapers, the Fox stations spanning broadcast and cable and satellite holdings.
The most eloquent retort to such all encompassing ownership came from director Frank Capra in Mr. Smith Goes To Washington, which shows how a media mogul with power can influence opinion and the flow of information to the detriment of the public at large.
But perhaps I am the dinosaur, citing a 1939 movie. Next I’ll be babbling about the Sherman Antitrust Act, recalling when it actually meant something.
Nonetheless the potential for the abuse of power remains a relevant issue, particularly for those further down on the food chain. In our industry consider the slow payment problem that has compromised the financial health of production companies and other support services in recent years.
And the situation is worsening, the irony being that huge multinational corporations are asking small entrepreneurial shops to bankroll production for extended periods.
While fragmentation is a hot industry topic, so too should be what happens under the guise of consolidation.
Where The Buffalo Roam Signs Director Geordie Stephens For Spots and Branded Content
Production company Where The Buffalo Roam (WTBR) has signed director Geordie Stephens for U.S. representation spanning commercials and branded content. Stephens is known for his subtle performance-driven comedic style, emphasizing art direction, production design, and cinematography. Previously represented by Tool of North America, Bullitt and FANCY, Stephens has a commercial portfolio which includes such global brands as Mini Cooper, HP, Toyota, Bud Light, and Burger King. A former agency creative, Stephens transitioned to the director’s chair following a lengthy career on the agency side as a creative at Butler, Shine & Stern and CP+B Miami, among other shops.
PJ Koll, WTBR co-founder and executive producer, said of Stephens, “His expertise and talent perfectly complement our creative strengths, enhancing our ability to deliver at the highest level. We feel incredibly fortunate to have him join the herd.”
“When I met Tim [WTBR exec producer Pries] and PJ, we immediately hit it off,” added Stephens. “They’re super sharp, funny, and good people who have assembled a very interesting mix of talent with different skills. As a director, I’m always looking for simple human truths that everyone can relate to in a humorous and smart way. The Buffalo team specializes in the small wink, so they get my sense of humor and will give me the platform to keep pushing great work forward.”
During his advertising career, Stephens spearheaded campaigns for IKEA, Truth, Virgin Atlantic, Burger King, Sprite, and Volkswagen. His work also won top prizes at the Cannes Lions and Clios and has been honored by numerous One Show and AICP awards.
Raised in an artistic community in California’s Marin County by his writer-mother and... Read More