Emerging Technologies on the Prosperity of Image,Film,and Television

Digital and newly introduced AI technologies have brought new user and audience experiences. The development of industry and service in visual media is also prospering. This includes but is not limited to, the development and applications discussed in this journal, such as new productions and services of the moving image, picture and photo banks, the burgeoning virtual and futuristic films, as well as the interactive and networked televisions for over-the-top (OTT) viewing.

Many-to-Many: Decentralized Creator Economy in the New Image Industry

The influence of emerging technologies, such as cloud computing, big data, and blockchain, is changing the landscape of the imagery stock industry. A new mechanism integrating image production and consumption is forming based on a new type of creator economy and a secure exchange of copyright products. A new mode of image content management and data encryption methods has developed by using decentralized, image cloud technologies. Koptyra and Ogiela (2021, p. 1) point out that “imagechain is a cryptographic structure that chains digital images with hash links. The most important feature, which differentiates it from blockchain, is that the pictures are not stored inside the blocks. Instead, the block and the image are combined together in the embedding process.”

To trace the new development of the image industry and service, the featured article in this issue entitled “The influences of AI and emerging technologies on imagery stock industry exemplified by Visual China Group” (VCG) is presented by Jun Wang, the vice president of VCG. VCG is a visual media company based in China that develops and distributes stock images. It is the world's third-largest imagery company, second to Getty Images and Shutter Stock.

The use of blockchain technology by VCG for traceable copyright protection and adoption of a globalized creator community with more than 550,000 certified contracted creators and nearly 20,000 senior creators have contributed more than 30 million images and video materials every year (Wang & Liang, 2023). VCG creates a “many-to-many” industry ecosystem, with independent creators becoming more dependent on copyright trading platforms. As Mehta et al. (2019) argue, a decentralized peer-to-peer photo-sharing marketplace is forming under the light of technological development. “Due to inherent properties of Blockchain, our marketplace has no central authority controlling it, no third party interference, no single point of failure, zero-censorship and preserves online user privacy” (Mehta et al., 2019, p. 1).

In the featured article, the transformation of the business chain of content production, content management, and content application in light of emergent media technologies is examined. Wang and Liang (2023) also analyses how AIGC technology potentially revolutionizes the evolution of image copyright content production.

Seeking the Unknown: Science Fiction Films and Future World

Science fictions serve functions to fulfill human imaginations, particularly the unknown world for supernatural and alien existence. By seeking the unknown, avoiding human disasters, and finding out foreseeable possibilities, writers create science fiction. The imaginative, technological advancement in everyday lifeworld, in the encounterment of non-human subjects, and in the exploration of places like outer spaces become a key arena for science fiction narratives. In the filmmaking business, digital special effect finds its roots in the narratives of science fiction. Surprising or not, many science fiction stories and/or scenes have been demonstrated to become real and actualized in human history.

Empowering by new technology affordances, many of Hollywood's famous movies are manufactured from the stories of science fiction intertwined with culture, religion, and mythology. It is evident that science fiction with the projection of emerging technologies has highly succeeded in the movie industry and entertainment business. Science fiction movies attracted large audiences worldwide. The film “Matrix” released in 1999, 2003, and 2021 is a typical science fiction film to gain popular attention. So is “Avartar,” released in 2009, 2022, and 2025. Avatar typically employed VR technologies and created all-encompassing virtual reality experiences. According to Raffaele (2010), the productions of these two contemporary science fiction films were both influenced by the Bible, with a focus on the link between religion, myth, and plot.

For the latest “techno-subjects” represented in films, robots, AI, and metaverse become a central theme in Hollywood filmmaking. “The metaverse represents a significant leap forward in the creation of immersive and intelligent imagery. The evolution of intelligent imagery in sci-fi movies is characterized by the emergence, development, and convergence of various technological nodes” (Yu, 2023, p. 1). For example, in “Dune” I (2021) and “Dune” II (2024), a noble family becomes embroiled in a war for control over the galaxy's most valuable asset while its heir becomes troubled by visions of a dark future. “The Creator” (2023) is happening against the backdrop of a war between humans and robots with artificial intelligence, a former soldier finds the secret weapon, a robot in the form of a young child. However, the major theme of robot and AI narratives represents fear, untrust, and battle between humans and robots. Hermann (2023) argues: “Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI) … ‘AI narratives’ [are] analyzed as shaping the fears and hopes of the technology.”

In the featured colloquium article entitled “From Cyberpunk to Afrofuturism: A talk about American science fiction movements,” Jenkins (2023) uses the conception of “punks” to delineate four major stages of the science fiction movement in America. They are “Cyberpunk,” “Steampunk,” “Solarpunk,” and “Afrofuturism” (and indigenous futurism). In this article, Jenkins also examines the manifestations in different stages across all mediums (including films). He postulates that these science fiction movements revolve around ideas and discussions regarding technology and its role in the modern world. The development of science fiction and filmmaking endeavors, in other words, are closely relevant to social environment, historical development, and human experience.

Attracting You to Stay: Over-the-Top Television Network

Over-the-top connections such as Netflix and IQIYI are based upon speedy Wi-Fi internet and/or optical fiber, user-centered streaming media platforms, and the multiple functions of interactive TV. These revolutionizing telecommunication and internet technologies have created a new pattern of television industries, business models, and audience experiences. Mulla (2022) discovered the rising trend of consumers cutting cable cords in favor of OTT platforms. “Internet access has changed media communication forever and reshaped the business models of mobile carriers and Pay-TV companies alike. A growing number of studies have addressed this trend emerging in the media and entertainment industry.”

In this issue, two research articles examine Taiwan's OTT industry and service in its changing TV environment. In “The role of open business models in times of OTT video innovation: Evidence from Taiwanese platforms,” Huang and Ho (2023) explore how OTT platforms protect local cultures and retain local audiences under the competition of global giants from the study of the media industry. In this article, streaming media, the telecommunication industry, digital value-added products and services of telecom companies are explored. In “Factors influencing switching intention and customer retention of over-the-top (OTT) viewing behavior in Taiwan: The Push–Pull–Mooring model,” Chang and Chiu (2023) examine the factors that affect users who switch or stay in OTT services in order to gain a specific understanding of how the push (service value and customer satisfaction), pull (attractiveness of alternatives and social influence), and mooring (switching costs and habit) effects shape their behavior.

Except articles focusing on the development of industry and service in visual media, other articles include a book review on The Sage Handbook of Human-Machine Communication (Zhang, 2023)—a newly published book edited by Guzman, McEwen, & Jones. The research article “Collaborative cultural intermediation and communitainment value in the creator economy: The expanding case of Webtoons” (Wang & Yecies, 2023) deals with the changing translation practices by a participatory, creator community in social media. The research article “Tracing the flow of climate change frames: Inter-media agenda setting between Twitter and news media in the US and the UK” (Wang et al., 2023) makes a comparative framing study across different mediums and countries. Finally, the research article “Space connected, emotion shared: Investigating users of digital Chinese cultural heritage” (Tong et al., 2023) explores how the construction of a “third cultural space” could enhance immersion experience and achieve interculturality, and therefore, could contribute to effective digital communication for cultural heritage.