In the previous post, I suggested a novel approach to providing k-12 scholarships to children attending private schools. The referral rate method was suggested so as not to compete for the larger pool of charitable funds chasing other equally deserving causes.
Now I turn my attention from education to the larger culture as shaped by mass media in the arts. I read with rapt attention the essays pouring from the school of thought shaped by Andrew Breitbart, Roger L Simon, Andrew Klavan, Roger Kimball, and now Clayton Cramer.
The Pajamas Media/Big Hollywood/The New Criterion nexus posits that gatekeepers in the legacy, or established, mass media conglomerates throttle out views heterodox to orthodoxy held in controlling circles.
For the purpose of brevity, I’ll accept the premise that narratives holding a worldview contra the left side of the Nolan Chart are quietly suffocated in the bottlenecks, and move forward with the mechanics of building a Second Superpower in entertainment.
First is funding. I understand the common practice is to solicit aid from venture capitalists. I’m sure this is already in the works, but I assume these efforts are frustrating. Recently VC in general has become more risk averse, and the idea of producing motion pictures for the right-wing of the domestic audience alone must sound less worthwhile than, say, laying more broadband pipe across the country, or manufacturing the next killer Android-empowered 3G phone.
However, I see another source of revenue that’s completely untapped. The most pessimistic estimate for the readership size of the conservative blogosphere I’ve ever seen bottomed out that 300 thousand people. Just as with the school voucher endowment, I wouldn’t ask for their donations, certainly not to make for-profit films. However, I believe the sell of over-the-counter (OTC) stocks is greatly underutilized. I believe the alternative entertainment apparatus Mr Klavan has pined for is a ripe idea for testing if (OTC) is truly a source for an untapped groundswell.
Mr Cramer mentioned half a million to a million dollars turn his screenplay into a motion picture. Well, even the more pessimistic projects for an (OTC) initial public offering should infuse enough capital to make that happen. All it requires is for the readers of the Pajamas Media/Big Hollywood/The New Criterion nexus to become shareholders in a corporation with a valuation of barely a dollar as share.
I believe it’s possible for the activist-investor to arise, but selling microcap stock will hardly ascend a competing infrastructure to the heights of Hollywood. Such a humble startup that bypasses the rounds of venture capital funding have to turn to coalition-building.
It’s a globalized market now, and although our primary focus may be the domestic market, let’s not forget those on the outside looking in. Tokyo, Hong Kong, and Bollywood all have film industries looking in at our domestic market, hoping to make it to our shores.
This is where I might expect Roger Kimball to object. This should be about Western Civilization, he might say. Injecting more influence outside of the traditions the postmodern left are destroying is hardly a cure, he could say. I’m not positive it isn’t a cure. I’ve been something of an anime otaku, and while the value systems may not be protestant or catholic in origin, I can definitely identify with seinen manga more than with, say, a crappy Oliver Stone football movie.
Transnational coalition-building serves as a force-multiplier, allowing us to outsource, collaborate, and partner in ways that advance our goals, erecting an apparatus that can challenge Hollywood supremacy, and the goals of the East in establishing a place in our market. Hispanic film-makers are also worth exploring.
The Entertainment Company
Approached with the right joie de vivre, there’s nothing more rewarding the creating something new. In building Hollywood 2.0, we’d have a chance to marvel in our research at all the technology and technique refinement that has passed Old Hollywood by. We get to explore new distribution techniques that are alien to the old ways. We can decide to ignore any stigma attached to direct-to-video releases, and decide that Lulu, Createspace, CafePress, or Zazzle are our preferred methods.
We may decide to distribute labor in a different way, as well. Telecommuting to the workplace, which will seriously cut overhead, may be our preferred method of doing the work. Why not pluck editors from anywhere in the world, if they can do their job just as well in Belize as they can on a Hollywood lot? Why should voice actors have to leave the home? Why not pick up photogenic extras from Model Mayhem, rather than do a casting call?
We’d be best to stretch our dollars with everything the Information Age has wrought.
One last thing. If we’re going to expand into the mass media, it’s imperative we build up a farm team. It’s my hope that we’ll turn out tie-in novels from younger writers, so we’ll grow them into our brand as experienced and respected script-writers in the near-future.
Without staying power, starting the whole venture would be all for naught.