Quentin Tarrentino's Star Wars?

For this synergy-based strategy (convergence) to be successful, media audiences must not simply buy an isolated product or experience, but rather, must buy it in prolonged relationship with a particular narrative universe, which is rich enough and complex enough to sustain their interest over time and thus motivate a succession of consumer choices.

In order for films to be truly successful in the greatest sense, it is no longer a matter of simply having a good run at the box office. A film must be something more than just the film. In other words, there must be many other entities surrounding it. Fans should be moved to buy the soundtrack, posters, video games, post comments online, and buy various memorabilia. It must become it's own phenomenon.
When the first Harry Potter book came out, it was just that, a book. However, as popularity grew and grew, it became an incredible phenomenon. Soon, there was a huge build up for the next book to come out, and then the next, and even the next. When a book does well, it is almost surely to be made into a film. As with The Davinci Code, The Chronicles of Narnia, and The Lord of the Rings, Harry Potter was made into a movie. Not only was it made into one film, but one for each book. Audiences not only await for the books, but for the films! Of course, soundtracks are sold in bulk, video games are sold along with all kinds of memorabilia.
It is quite incredible how quickly something can start in one section of media and quickly bleed into every other aspect of media. I find it interesting that the Harry Potter book covers were changed from their original cover to a cover with the actor who played Harry Potter in the movie. No longer is Harry Potter a book series, it is a complete and utter cultural phenomenon. Like those faithful to the Star Wars and the Lord of the Rings cult, those dedicated to all Harry Potter continue to be, and will be for years to come. Thus, much will continue to be bought and sold.

Subculture: The Meaning of Style

The persistence of class as a meaningful category within youth culture was not, however, generally acknowledged until fairly recently and, as well we shall see, the seemingly spontanious eruption of spectacular youth styles has encouraged some writers to talk of youth as a new class-to see in youth a community of undifferential Teenage Consumers.
Dick Hebdige

Hebdige's article on subculture ultimately becomes a discussion about media and consumption of styles promoted by the media. Hebdige's article reminds me of Adorno's article because Hebdige is basically describing Adorno's idea of "encoding and decoding."
The working-class youth have a life that the media tries to capture in an image and then relays it back to those same youth. The media cycle seems to have been around for as long as it has existed. Whether through press, television, or film, a message is delivered and decoded.
Hebdige focuses on England after World War II, and thus, he refers to the punks.
The punks appropriated the rhetoric of crisis which had filled the airwaves and the editorials throughout the period and translated it into tangible (and visible) terms.
When the economy changes, the subculture changes. When the youth were unable to work due to a lack of job opportunities, they began to think of their time as "Britain's Decline." Thus ensued a kind of rhetoric, dress, music, etc. When many feel hopeless, a group like this seems appealing to join. The Punks were trying to develop their own identity apart from the parent culture or the dominant culture. Youth found a way to let out their aggression through their style. Their reaction to the media and economy provoked a reaction to the adult culture and what Hebdige describes as "moral panic" ensued. (This has happened with each new adolescent craze: Mod rocker, punk, hip hop, etc.)
In what ways does the media respond? Hebdige argues that the media responds in all kinds of way depending on the angle that they want to give (their encoding.) Hebdige believes that their response is first provoked by the outward appearances of the subculture (i.e their style.) However, soon their attitudes and rhetoric are acknowledged.

Javanese Shadow Plays

I wasn't sure what to expect when I began to read what I thought to be a simple, documented account of a Javanese art form. The Shadow Play Ceremony takes all night, and the plot is constantly interrupted by announcements. Keeler makes one feel that they are experiencing the evening by interrupting this specific plays plot with facts about the culture and the Dhalang. As I read an account of a typical Javanese Shadow Play, I began to question American Culture. I immersed myself in a world that seemed more concerned about the community itself than the actual performance. Instead of sitting down quietly and dimming the lights before a performance, as is the culture in Western Civilization, the Javanese continue to socialize throughout the Dhalang's songs and introduction until the main plot begins to unfold. However, it is more than evident that this is not because the Javanese are only concerned with the actual story of the play because most of them leave before three in the morning when the plot really begins to "take off." They must truely be excited by the talent of the Dhalang and the musicians. They must also take pride in a traditional art form and care about preserving it.
What really enticed me about the Javanese Culture is their treatment of the musicians. It seems that the hosts care more about making the musicians happy than the sponsors! I suppose that unlike in America, the artists are valued and not held far below investors. The musicians are fed "several other kinds of goodies...piled high on plates and laid on mats among the instruments..." The sponsors, however, seem to be fed a rather measly snack of sticky rice with pieces of meat inside and a little piece of cake.
I am not naive enough to believe that Java is a Utopia. One cannot ignore that seldom women are present at this event and that those who are are stuck in the back behind the men. However, I did begin to wonder if living in a technologically advanced country has a downside. As I read about strangers talking to each other, of boys climbing into trees to get a better look at the show, of hundreds of people listening to an instrument as simple as the gamelan and remaining interested, I couldn't help but feel second rate. As a college student who needs to be listening to music while driving or watching television while doing my homework, I couldn't help but wonder if I was missing an important quality of life.
I wondered what Keeler would have to say. Not surprisingly, he sounds a lot like Geertz. Keeler expresses that Westerners cannot possibly understand the Javanese art forms because we do not understand their social life. ..."and clearly the cultural distance between Java and the West-the gap between their assumptions and ours-is great."
What can we do to bring us together and remind us of the simpler joys in life? Keeler describes the Dhalang as the center of the Javanese Culture. I think about how great it might be to unite the states through theater with a central figure or figures like the Dhalang. Someone who isn't at the center of our country consumed by a political or religious agenda, but by a creative one.