Digital-first culture is here to stay. But will it replace the real thing?
Since the invention of cinema by the Lumière brothers towards the end of the 19th century, the way we consume culture has evolved at a breakneck speed. Students who a short generation ago could only learn about the destruction of Pompeii through textbooks are now discovering that period in history through virtual 3D tours.
With smartphones, laptops, smart TVs and gaming consoles in most European homes, the ways in which we access culture have become more diverse than ever. And that’s particularly good right now for cultural consumers. COVID-19 is still affecting many countries worldwide, and great chunks of our lives have now moved online. For the time being, turning on a digital device at home is the only way many of us can consume culture safely.
The cultural and creative sector (CCS) is working hard to speed up the digital shift in culture and the arts and there are plenty of digital-first platforms already in place. But what does digital culture actually look like in 2020, and how does it compare to the ‘real thing’? Let’s see.
1
Filmdoo
Even before the pandemic, many Europeans favoured binge watching TV shows and films from their sofa over the cinema experience. While big names like Netflix and Amazon Prime Video dominate the VOD market, there are also plenty of quality independent platforms to be found in Europe. One of them is FilmDoo.
What is it: Created in 2014 in London, FilmDoo is a VOD platform that was first set up with funding from the Creative Europe programme.
What we liked: Unlike with many VOD providers, you don’t need a monthly subscription to start watching on FilmDoo. You only pay for the films you watch. These are quite budget-friendly, usually around €2 or €3 per film. Some are even free! The films are amazingly diverse and really good quality, too.
The platform also offers a social experience. Users can leave reviews, create lists of favourites and talk about the films right on the platform.
Last, and this is pretty cool, the platform allows users to vote for films they would like to see next.
What could be better: Online film viewers these days are used to freebies, so it’s a shame that FilmDoo doesn’t reward customer loyalty. Even if you regularly watch films on the platform, you don’t get perks like exclusive content or discounts. No subscription model also means there’s no free trial period.
2
Aria
Opera companies have been slow to migrate content online. As a sector that’s best experienced live, it has traditionally relied on in-person visits and interaction. The arrival of the pandemic has sped up the digital shift in this area, as cultural venues like theatres and opera houses were forced to shut down. Enter Aria, a mobile app created by the Paris Opera.
What is it: Launched in April 2020, Aria is an app created by the Paris Opera in association with Huawei. The aim is to broaden access to and popularise the opera experience.
What we liked: Aria is wonderfully easy to use. It teaches you about operas and ballets and the stories behind them, shows you dance steps and takes you backstage at some of the most popular productions in the world.
It’s also easy to dip in and out of, and nicely interactive, with fun quizzes and games, and opportunities to win tickets to the Paris Opera. Overall, the app goes a long way to reducing the sense of elitism that still hangs over the art form.
What could be better: Some more functionality would be nice. For example, email is the only way to contact the creators if you have questions or feedback on the content. Also, the app is only available in two languages (French and English), which limits the size of the European user base.
3
Travis Scott and the Fortnite Music Experience
The pandemic has been very good to the gaming industry. It was recently forecast to be valued at $159 billion by the end of 2020. It’s no surprise then that this area of the CCS has been at the vanguard of digital culture.
The gaming platform Fortnite, which recently surpassed 350 million gamers, started branching out and organising online events for its users. In April, it put on a virtual gig with Travis Scott, the hugely popular rap artist.
What is it: A live virtual reality show by rapper Travis Scott that attracted more than 12.3 million Fortnite gamers and generated more than $1 million in revenue. The show was then released on Youtube, where it’s already gotten more than 70.5 million views.
What we liked: Fortnite was particularly good at creating a buzz. Gamers could see the virtual stage being built in the days leading up to the event. A distant planet gradually entered the virtual world and landed on stage with an explosion, which marked the start of the show.
The interactivity was simply amazing. An oversized Scott Travis avatar mingled with the crowd of gamers and teleported around the virtual set, as the visuals became more and more psychedelic. For the participants, it was a unique experience that could only have happened on a virtual platform.
What could be better: Our only complaint was the length of the show. At around 10 minutes, we were left wanting more!
Digital or real-life experiences? Finding room for both.
It’s clear that cultural consumers are spoiled for choice when it comes to digital experiences. Whether or not audiences will keep choosing digital culture over in-person experiences is another question, especially when they’re given the choice in a post-pandemic era.
The fact is, it doesn’t necessarily have to be a trade-off. Moving events like shows, festivals and performances online isn’t robbing producers of tickets. It’s bringing culture to those who wouldn’t be able to attend in person. More than that, virtual events are a new way of engaging with audiences like being able to interact with them in a 360° VR show.
Digital platforms are also social in a different way: instant and direct feedback from users through forums and chat can help the cultural and arts sector create more engagement and ultimately deliver better services.
In short, culture that is available both online and offline can only be a good thing. So it’s no surprise that cultural organisations and artists are giving increasing importance to making their work accessible on digital platforms.
Maureen Blache has been a junior consultant at TrueMotion since February 2020. Over the last three years, she has been gaining experience in grant writing and managing EU projects with a strong social and cultural focus.