Outline
2019, Television distribution models by the internet: actors, technologies, strategies
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380 pages
The collective book makes a map of the actors and their modalities of participation in the new route networks and offer content windows , in the different internet television markets that make up the universe of countries within the scope of Obitel . The recognition and reflections that are proposed to be carried out on the distribution space, feed on two complementary approaches that, in very general terms, are projected from the following areas: the first, from the studies of “Media Infrastructure” and the cultural life of material supports; and, the second, from a combined look of an “ Industrial Perspective ” and a “ Political Economy of the Media”.
This chapter looks beneath the purely quantitative data on cross-border availability by investigating audiovisual industry practices of online distribution from a peripheral, small-market perspective, using the example of export from the Czech Republic. Its key research question is: How have transnational VOD services integrated into the local industry ecosystem and to what extent have they changed the circulation trajectories of Czech films and TV series? First, it places online distribution within the local industry ecosystem and reveals the systemic barriers that discourage producers and distributors from strategically focusing on foreign markets. Second, it identifies the key intermediaries and practices of cross-border online distribution, focusing on the approach of global VOD services to distributing small nation content across borders. The chapter concludes with a typology of cross-border online distribution to distinguish different strategies and tactics employed by key players when approaching foreign markets. Thus, it calls for a more nuanced perspective on the position of “digital peripheries” in cross-border cultural networks and flows.
European Journal of Cultural Studies, 2006
International Journal of Communication, 2013
The expectation that television would be distributed predominantly over the Internet rather than through the air has been mooted along with the rise of the Internet itself, and now the mobile Internet. Broadband infrastructures being rolled out around the world are premised on this assumption. The business reality of television is that Internet TV has emerged from the early 2000s as a competing delivery infrastructure to HD terrestrial, satellite, cable and mobile TV systems. Delivery systems include Internet protocol (IPTV) and videoon-demand (VoD) variants over managed network infrastructures. Available offerings depend on geographical location, but the betterknown streaming TV and film brands include Netflix, Hulu, Mubi, IndieFlix, Youku, Crackle, Fandor, and SnagFilms. Some brands, such as Current TV and Now TV, more clearly model traditional television scheduling practices; there are also hybrid players like Miro. Others, like the much-hyped Joost, now appear to be in a state of suspension, or "no signal," only to be incessantly replaced by new startup platforms, such as Warner Archive Instant and Redbox Instant. There are a wide variety of subscription and payment mechanisms and strategies, in addition to content search tools. Many of the major broadcasters offer BBC iPlayer-style access mechanisms. Continuing widespread disintermediation of the value chain for traditional broadcast television (production-distribution-consumption) by the Internet has been a matter of when, not if, and this transition forms the basis of Jose M. Alvarez-Monzoncillo's book, Watching the Internet: the future of
Media Industries Journal, 2014
The market for overseas trade in television programming is changing, and this demands new ways of examining complex and evolving trends in the international distribution of content. Traditionally there have been countries that made television programs and sold and marketed primarily drama worldwide. Traditionally as well, US transnationals have dominated this market, selling to other broadcasters and marketing their own content on video and later DVD. With the fragmentation of audiences and revenues in recent years, we have seen growth in international co-production and the sale of formats. While there have been new players, particularly in formats, the US has remained the key exporter and distributor of television content on a global scale. The latest developments center on over-the-top delivery directly to television sets, as offered by major US players Apple, Netflix, Google, and Amazon. This has led to suggestions that linear TV viewing is likely to disappear in the face of multiple multimedia platforms, and that apps will replace channels. Looking beyond the US, what does this new distribution model mean for the funding and delivery of televisual content? Is there a conceptualization of the processes and theories associated with the international circulation of content that will help explain its implications for production industries?
Journal of Digital Media & Policy, 15(2), 2024
Voyo, owned by Central European Media Enterprises (CME) and operating across six national territories, is currently one of the only three prominent transnational SVoD services based in countries of Central and Eastern Europe. Under the new owner PPF, a Czech-based investment group which bought CME from AT&T, Voyo enjoyed unprecedented levels of investment in high-end original content, which resulted in a dynamic growth of subscribers from 2020 onwards, making it the second strongest streamer in Czechia and Slovakia after Netflix. The article labels CME’s digital strategy ‘deep localism’ and approaches it through the recent political-economic debates about the geography of platform economy. Despite its multi-territory corporate structure, CME has isolated each of its national Voyo services in terms of original production, licensing and audience targeting. This shows in the high percentage of local content as well as the virtual absence of its cross-border circulation between the national Voyo catalogues, which have been branded as purely national. The article interprets this compartmentalized strategy of deep localism as both a response to the changes in the global streaming market and an attempt to preserve the traditional linear audiences of CME in the new digital era. The research behind the article is based on interviews with CME executives and on comparative VoD catalogue analysis.
2013
Contemporary worldwide media environments experienced massive changes in recent years. The remarkable impact of social media and broader processes of digitalization and mobilization, which in turn preceded the rapid dynamics of media convergence, are the most common phenomena to name. Thus, it appears reasonable that the academic interest in particular developments and pheno¬mena of television, the classic fulcrum in global media studies, seemingly decreases. However, the collection edited by Tasha Oren and Sharon Shahaf from the University of Wisconsin-Milwaukee and Georgia State University, proves television studies to be a still relevant, fruitful and highly contentious field of enquiry for understanding entangled media environments in the 21st century. Especially the accelerated circulation of television formats illustrates contemporary layers of global, transnational, national, and cultural connections. Oren herself concludes in the collection's final essay "the global TV format is now television in its purest form" (p.379), attributing the format's symptomatic status to its functionality and the "dynamic feedback loop it generates
Journal of Media and Communication Studies, 2014
In recent decades, media systems went through deep transformations, due to social phenomena such as globalization and digitalization; thus, they are to rewrite their boundaries, closely related as those of national states in which media operate. Since the Four theories of the press, studies on communication systems assumed the nation as a privileged frame for the analysis of the relationship between media, political and social structure; yet, what happen when new technologies, mass migration or even financial and institutional supranational bodies burst redefining media production and national cultural identity? Can we still consider national view of media system valid and to what extent can we talk about transnational media systems? Which dimensions are better able to explain the change? In this article, I try to answer these questions from a macro perspective and with a multidimensional approach in order to identify variables useful for defining media systems beyond national boundaries. A new model for studying media systems untied from administrative and geographical states should take into account: 1) The internationalization of media ownership, that is foreign investments in national media organizations and vice versa; 2) The technological development, that encourages circulation of media contents and information on a large and global scale; 3) The national legislation on media, where we can use to trace the degree of supranationalisation by the laws; d) the language, that is the ability of cultural and linguistic to unify through the media communities and groups around the world.
Springer Series in Media Industries, 2020
Media scholars have focused extensively on the consequences of the digitization, internationalization and convergence of legacy media . Scholars have observed increasing merger and acquisition activities (Evens and Donders 2016), a further commodification of media products [visible, for example, in the mounting relevance of formats ], and pressure on existing revenues in this regard. All of these changes have increased the pressure on the financing of original, quality domestic content . The increasing dominance of multi-layered platforms (Hoelck and Ballon 2015), especially, has been considered central to the disruption of existing legacy players' business models across the globe. Video on demand (VOD) services and platforms such as Netflix, Amazon, Google, YouTube and Facebook challenge existing media players with a business model that is driven by scale and network advantages (in other words, the value of the platform increases as the number of viewers or subscribers increases)-a user-driven approach boosted by investments in data collection, algorithms and strategies to keep users "glued" to the screens (Lobato 2019; Tandoc 2014). Moreover, these players are willing and able to invest significant sums of money on an international scale, regardless of the accumulation of debt. As a result, the existing production and distribution models of legacy players and their economic profitability are not the only things challenged by the new business model, as this platform strategy also puts pressure on original content production, and the contribution legacy players make to society in terms of cultural diversity, pluralism T. Raats (B) • K. Donders
Media Industries , 2018
In this article, we present the case study of Stream.cz, East-Central Europe's largest web television portal dedicated to original short-form programming. By situating Stream in the local screen industry ecology, we explain the success of its advertisement-supported video on demand (AVOD), short-form, web television business model. This is followed by a description of Stream's hybrid " production culture, " which borrows from both broadcasting and the internet, and a dissection of selected categories that make up Stream's " industry lore, " consisting of its key agents' conceptions of web television, strategies and business models, day-today creative processes, audience behavior and tastes, and the general market trends they use to rationalize decisions and promote the core values of their output. The goal of our production analysis is to show whether and how short-form web programming can complement traditional public-service media in fulfilling a public-service mission. The ins and outs of Czech politics orchestrated from one shady office. Pulling the strings is Tonda Blaník, an unscrupulous, abusive, hard-drinking, chain-smoking, and yet, somehow, adorable lobbyist. Aided by two submissive assistants and sporting an always-new pair of extravagant shoes, Blaník is the man to call if you need help influencing an election campaign , appointing or firing a minister, resolving a political crisis, or approving a new law. This
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This article discusses the impact of convergence and digital intermediaries for television as a medium, industry and political and cultural institution. There is currently widespread debate about the future of television and the impact of technological and market changes. Our argument is that the answer to what is happening to television cannot be adequately addressed on a general level; local and contextual factors are still important, and so is the position and strategic response of existing television institutions in each national context. Based on analyses of political documents, statistics, audience research and media coverage, as well as secondary literature, the article explores the current situation for Norwegian television and point to four contexts that each plays a part in constraining and enabling existing television operators: the European context, the public service context, the welfare state context and the media ecosystem context.
Journal of European Area Studies, 2002
2013
This paper examines emerging tensions surrounding the way television content is distributed online, introduces several of the increasingly diverse players in this field, and attempts to cultivate theoretical contributions from outside the standard communication literature as a means of capturing additional nuances of evolving television distribution practices. Specifically, I have chosen to chronicle the period between 2007 and 2009 in the development of two successful television startups whose visions for online distribution were frequently at odds. The first of these is the popular online television portal, Hulu, owned by a number of the U.S.' largest media companies. The second is Boxee, a startup producing software that today runs a variety of Internet-connected set-top boxes for televisions.
Journal of Spanish Language Media, 2011
After years of stable oligopoly, the main television broadcasters in Spain began to note changes in the market in the middle of the last decade. The emergence of new networks, the relaunch of digital terrestrial television (DTT), the boom in specialized channels and the proliferation of platforms such as online and mobile TV, which allow the broadcast of audiovisual contents, forced broadcast managers to change their strategy in relation to business models and production companies. The analysis in this article centres on two main points: on one hand, the transformation effected in the television industry by the advent of digitalization; and on the other hand, the role of networks in the new media environment. In April 2010, the Spanish broadcast system completed its transition from analogue to digital broadcasting and a new digital age dawned, marked by disruptive technologies and multimedia policies.
Television and Internet: managing uncertainty by doing When we speak about Internet and Mass Media we usually focus our attention in trying to answer a very common question: what is the impact of the internet on the mass media? That is a question that must be answered in different ways depending on which media are we referring to. in Colombo, Fausto e Nicoletta Vittadini, (eds.), 2006, Digitizing TV-. Theoretical Issues and Comparative Studies across Europe, Milano: Vita & Pensiero.
2013
This issue analyzes the gradual spread of various models of commercial TV throughout the decades in different nations across Europe. A process that “moves at different speeds” in the different countries and nonetheless has similar powerful outcomes, enlarging the TV market and opening it up to both local and global influences, ranging from programming to acquisition, from scheduling to the means of advertising, and from freedom of speech and representation to a possible impoverishment of public debate as a consequence of this larger “mediatization”.
Springer eBooks, 2022
This chapter aims to discuss the relevant literature related to Mancini and Hallin's comparative media systems model, taking into account the case of the Eastern European media as well. It is tried to draw the main features of the so-called post-Socialist media markets. After a brief discussion on how media systems change across time and vary across space, the chapter explores to what extent we can add a "post-communist" cluster to the initial Hallin and Mancini's classification. It is assumed that the post-Socialist transition has deeply changed the social and economic tissue of all ex-Eastern European countries. As the case of media in Eastern Europe reveals even in countries with a shared social political past, there is still ground for specificities to be flourished that eventually will lead to different paths of media market development. It is argued that even if we witness the triumph of certain general tendencies of what is described as the consolidation of media market globalization, this process could not be understood in its full potentials, without taking into consideration how the political, cultural, and economic "legacy" of each European member state.
VIEW - Journal of European Television History and Culture, 2014
In recent years, the Italian television scenario has become fully convergent, and social TV is an activity – and a hip buzzword – indicating both a rich set of possibilities for the audience to engage with TV shows, and an important asset developed by the television industry to provide such engagement, with promotional and economic goals. Mainly adopting the perspective of the production cultures of Italian broadcasters, the essay will explore the “Italian way to social television”, highlighting the strategies adopted by networks and production companies to encourage online television discourse and to exploit it as a content, a marketing device or a source of supplementary income. Keywords: convergence, social TV, second screen, social media, television industry, Italian television
Maria Immacolata Vassallo de Lopes