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Media, 4(4), 371 – 388. b i b l i o g r a p h y 217 Tyner, K. (1998). Literacy in a digital world: Teaching and learning in the age of infor- mation. Mahwah, NJ: Lawrence Erlbaum. Wallack, L., Woodruff, K., Dorfman, L. & Diaz, I. (1999). News for a change: An advocates’ guide to working with the media. Thousand Oaks, CA: Sage. Willis, P. (1990). Common culture: Symbolic work at play in the everyday cultures of the young. Boulder, CO: Westview Press. This page intentionally left blank

other entertainment 82 / Studios online that consumers can view in lieu of our motion pictures? There may be all kinds of reasons that the number of discs being sold in North Amer- ica has declined over the last few years. What I do know is that there’s a large number of consumers who love collecting our movies, and we’ve made it really easy in the physical world and really challenging, at best, in the digital world. My focus is: I don’t want to lose a consumer from collecting our movies because we haven’t given the consumer the kind of experience they want

canvas now simultaneously exists as no place and anyplace. In virtual reality, the canvas is at once Walter Benjamin’s “playspace” and Nam June Paik’s “without gravity” art of the future.29 Similarly, photography’s “writing with light” is literalized within a virtual arena absent any camera. These cameraless images are rooted in the physical gesture of the artist’s hand in real time and real space. The handmade mark endures, imbuing the digital world with a touch—as László Moholy-Nagy demonstrated nearly a century ago with his photograms—that somehow is and isn

conversation about windows and what these studios are doing. It doesn’t make any sense to most consumers, but the economics make a lot of sense for the motion picture studios. Along those lines, how do these changes affect the moratorium strategy that worked so well in the past for Disney? That’s a great question. At Disney we often discussed what the role of the moratorium strategy should be in a digital world. If we weren’t making it available, then the pirates would do it for us. I can’t say with any specifi c- ity what is happening with the moratorium strategy

necessary to make it a really large business has come into place. So it’s grown very rapidly. The marketplace is growing at a nice double- digit percentage every year, but it’s still a relatively small part of the business, and making this a bigger part of the business is one of our biggest priorities. If you look at tele vi sion, there is not a rental business, so we only have a digital sell- through business. Why is that? Why has the rental of tele vi sion been eliminated in some ways? In the digital world, there just hasn’t been a demand for it. There have been

the digital world. So you have these companies that bought up everything. For the guilds it’s now a case of negotiating with consolidated media empires that very cleverly cooperate. Back in 1988, when the issues of cable and video residuals were fi rst boil- ing over, why did the unions get such a bad deal? Short of boring you with the whole history, I will bore you with just some sort of anecdotal recollections of my own. The DVD formula, which was the VHS formula, was really the creature of a series of bungles on the part of the unions in 1984 by the

–21; special- effects and, 92–93; spectacle and, 33–34, 90; television and, 51, 137, 259n45; tentpole movies/ screenwriters and, 65, 99; United Hollywood (blog) and, 52, 251n56; video/games and, 186; WGA (Writers Guild of America) and, 57, 58–59; WGA strike (2007–8) and, 44, 51, 60. See also digital distribution; digital downloads Digital World (conference), 195 Dille, Flint, 211 Dinehart, Stephen E., IV, 208–9 Dinosaurs (1991), 158 Directors Guild of America (DGA), 51, 53–54, 55, 56–57, 59 discourse frame, 7, 14, 140, 242 Disney. See Walt Disney Company/ Pictures

games industry. In the early days, the WGA was instrumental in getting writing sessions at conferences like Digital World, the IMA Expo in New York, and the Computer Game Developers Conference . . . which is now the most esteemed game conference in the world.”38 Despite the attitude of some of its members, the WGA was prescient in recognizing the potential that this market brought if its writers could be professionalized within the guild hierarchy. 196 / Screenwriter 2.0 Another important step in the process of legitimating video games for screenwriting