Andrew deWaard, "Derivative Media: How Wall Street Devours Culture" (U California Press, 2024)
Oct 27, 2024
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Andrew deWaard, Assistant Professor of Media and Popular Culture at UC San Diego, dives into how Wall Street's financial interests are reshaping popular culture. He argues that the surge in derivative media—like reboots and franchises—stems not from audience demand but from corporate greed. DeWaard explores the detrimental effects of financialization on creativity and storytelling, critiquing the dominance of licensing and the prioritization of recognizable properties over original content. He highlights the cultural consequences of viewing art as mere financial assets in today's media landscape.
Wall Street's financialization has shifted popular culture production from originality to derivative media, evident in the significant decline of original theatrical content.
The intertwining of corporate branding with storytelling in contemporary media raises concerns about artistic authenticity and the integrity of creative labor.
Understanding financial mechanisms like hedge funds and venture capital is crucial for media consumers and cultural workers to navigate modern cultural landscapes.
Deep dives
Impact of Financialization on Cultural Industries
Financialization has significantly impacted the cultural industries by altering how popular culture is produced and consumed. Wall Street's influence leads to a focus on short-term profits, primarily through dividends and stock buybacks, which often compromises the integrity and originality of cultural products. The prevalence of franchises and derivative media reflects this transformation, with original stories dropping from over 40% of theatrical box office success in the 1980s to just 6% today. This shift not only reshapes the types of content produced but also impacts the labor dynamics within the industry, leading to the erosion of job security and income for creative workers.
Methodological Approaches to the Study of Media
The approach to studying financialization in media combines multiple methodologies, including political economy, ethnography, textual analysis, and digital humanities. By examining financial reports, industry press, and cultural texts, researchers can uncover the connections between finance and media production while keeping a close eye on how these influences transform the narratives themselves. The use of software tools for data visualization allows for deeper insights into industry trends and relationships. This multifaceted methodology helps bridge the gap between structural analysis and close reading, offering a comprehensive understanding of media's financialization.
Branding and Corporate Influence in Media Texts
The intertwining of corporate branding with storytelling is increasingly evident in contemporary media texts, such as film and television. Movies like 'Wreck-It Ralph' are examples of narrative worlds built through extensive licensing agreements, where brand presence is often prioritized over original storytelling. This trend suggests that the narrative experience for audiences is shaped by corporate interests, transforming cultural works into products of a marketplace where every reference and joke can be monetized. Such corporate influence raises questions about artistic authenticity and the dynamics of creativity within financialized structures.
Understanding Financial Concepts in Contemporary Culture
A fundamental aspect of the book underscores the importance of understanding financial terms and their pervasive effects on culture, such as hedge funds, private equity, and venture capital. These financial instruments have reshaped media landscapes, often prioritizing profit over artistic innovation and compelling storytelling. The book aims to demystify financial concepts for a broader audience, making the case that cultural workers and consumers need to be aware of how their experiences and the media they engage with are influenced by these financial mechanisms. This level of awareness is essential for navigating the complexities of modern media production and consumption.
Future Research Directions in Financialized Media
Looking ahead, future research on financialization in media may explore the growing influence of international finance, examining how emerging markets and global investment strategies shape cultural products. Additionally, research could investigate the implications of financial practices on diversity within media, particularly how financial pressures hinder original voices and smaller creators. Furthermore, there is potential for scholarship to focus on the intersections of cultural representation and financial power dynamics within the media ecosystem. By pursuing these avenues, scholars can build a more nuanced understanding of the ongoing transformations within cultural production and the ramifications for society.
Sequels, reboots, franchises, and songs that remake old songs—does it feel like everything new in popular culture is just derivative of something old? Contrary to popular belief, the reason is not audiences or marketing, but Wall Street. In this book, Andrew deWaard shows how the financial sector is dismantling the creative capacity of cultural industries by upwardly redistributing wealth, consolidating corporate media, harming creative labor, and restricting our collective media culture. Moreover, financialization is transforming the very character of our mediascapes for branded transactions. Our media are increasingly shaped by the profit-extraction techniques of hedge funds, asset managers, venture capitalists, private equity firms, and derivatives traders. Illustrated with examples drawn from popular culture, Derivative Media: How Wall Street Devours Culture(University of California Press, 2024) offers readers the critical financial literacy necessary to understand the destructive financialization of film, television, and popular music—and provides a plan to reverse this dire threat to culture.
A free digital version of this title is available here.
Andrew deWaard is Assistant Professor of Media and Popular Culture at the University of California, San Diego, and coauthor of The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape.
Peter C. Kunze is assistant professor of communication at Tulane University.