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Today, VOD (video on demand) sites and portals specializing in long-form, high-quality documentary and factual content proliferate online. This article explores the multiplatform strategies of public service broadcasters in the UK in this context. It examines how the BBC and Channel 4 address the masses of user generated content that flood the documentary market and partake in the battle for audiences for documentary films and factual content in a multiplatform context. Both channels seek to reinvent themselves as public service media providers and curators of documentary content online, in order to fulfil public service remits and secure their positions as leading providers of documentary and factual content across platforms in a global multiplatform mediascape. However, by contrasting Channel 4's online 'verticals' with the BBC's themed and branded documentary portals, the article argues that although Channel 4 and BBC pursue similar strategies online they do so for different reasons and to different effect.

Abstract: Providing access to video can be challenging, especially when it comes to film. To clear the rights, to get hands on the material, to manage the licenses, different language versions and age ratings - all this needs to be solved before a film is shown to any kind of public. More often than not, public institutions do neither have the expertise, the personnel, the money or the experience to answer to this challenge. The solution suggested by AVA – Audio Visual Access is collaboration. Film festivals, public libraries and a technology company with a focus on Video on Demand work together to provide festival films to public libraries and cultural institutions across Europe. The festivals select the films, curate programs, clear the rights and provide the video files and the institutions provide the space, visibility and the audience. The technology company is providing the services and solutions: In AVA we are creating a platform that allows all the different partners to work together on rights management, access for the audience, cloud transcoding, VoD, authentication services etc. etc. Another aspect is worth mentioning: Money. Collaboration projects like AVA are proving very successful with funding institutions. AVA is being financed under the Audience Development call by the MEDIA program of the European Union. Another project run by the reelport GmbH on Virtual Reality with a similar consortium has been awarded funding by the H2020 program of the European Union, too. In the light of this success of AVA we strongly encourage partnerships between everybody dealing with digital video, science and other public institutions, content providers and tech – companies alike.

Motivation: The functioning of the audiovisual sector strongly depends on the use of copyrights and related rights. Problems with their clearing could harm the functioning of companies and might even lead to strong financial problems. The distribution of copyright-protected audiovisual works requires the licensing of rights by different rightsholders. Some of them are represented by Copyright Management Organizations (CMOs), which allow users to clear rights for many works without individual negotiations. Fees paid to CMOs for copyright-protected content constitute a significant part of operating costs for companies like TV stations, cable operators, VoD (Video on Demand) platforms. In case of intellectual properties for audiovisual works, CMOs make the valuation. They have been facing legal challenges due to subjective valuations as a result of being monopolies in the local market of the represented country and lack of transparency. Aim: This work explores the transparency of 21 CMOs in 4 EU countries due to their expected to be an integrated market status as the result of political and economic amalgamation. In addition to the adoption of The European Union Directive on collective management of copyright and multi-territorial licensing of rights, as part of the EU's Digital Single Market project, this exploratory research, with comparative analysis of CMOs using the linear ordering methods, explains the necessity of an epagogic approach to creating correct institutions besides directives and laws, such as central observation, an ombudsman for conflict management, or an official body to employ these features in one structure to actively govern the market. Results: The conducted analysis allowed us to reflect on the importance of transparency and taxonomic mapping of the audiovisual market landscape will be the guideline to flatten the copyright valuation divergence in the EU and eventually will pave the way for fewer disputes and more innovations.

Motivation: The functioning of the audiovisual sector strongly depends on the use of copyrights and related rights. Problems with their clearing could harm the functioning of companies and might even lead to strong financial problems. The distribution of copyright-protected audiovisual works requires the licensing of rights by different rightsholders. Some of them are represented by Copyright Management Organizations (CMOs), which allow users to clear rights for many works without individual negotiations. Fees paid to CMOs for copyright-protected content constitute a significant part of operating costs for companies like TV stations, cable operators, VoD (Video on Demand) platforms. In case of intellectual properties for audiovisual works, CMOs make the valuation. They have been facing legal challenges due to subjective valuations as a result of being monopolies in the local market of the represented country and lack of transparency. Aim: This work explores the transparency of 21 CMOs in 4 EU countries due to their expected to be an integrated market status as the result of political and economic amalgamation. In addition to the adoption of The European Union Directive on collective management of copyright and multi-territorial licensing of rights, as part of the EU's Digital Single Market project, this exploratory research, with comparative analysis of CMOs using the linear ordering methods, explains the necessity of an epagogic approach to creating correct institutions besides directives and laws, such as central observation, an ombudsman for conflict management, or an official body to employ these features in one structure to actively govern the market. Results: The conducted analysis allowed us to reflect on the importance of transparency and taxonomic mapping of the audiovisual market landscape will be the guideline to flatten the copyright valuation divergence in the EU and eventually will pave the way for fewer disputes and more innovations.

Mediante un método mixto se analiza la oferta lineal (en directo), social (redes sociales) y de participación de la audiencia (live-tweeting) durante el especial informativo de la noche electoral del 26 de mayo de 2019 (comicios europeos, autonómicos y municipales) en La 1 de TVE y La sexta. Se parte de la hipótesis de que el consumo de televisión ha cambiado con la competencia de las plataformas de visionado a la carta. El objetivo de este trabajo empírico es determinar la estrategia informativa multicanal llevada a cabo por las citadas emisoras y conocer la respuesta de la audiencia. Eventos políticos como los procesos electorales mantienen a la audiencia conectada con la televisión tradicional y la social, y generan altos volúmenes de conversación ; Through a mixed method, the linear (live), social (social media) and audience participation (live-tweeting) offer during the special information program of March, 26th 2019 electoral night in La 1 of TVE and La sexta is analysed. We had the hypothesis that television consumption has changed with the competition of VoD-OTT platforms. The objective of this empirical work is to determine the multichannel information strategy carried out by the mentioned stations, and to know the response of the audience. Political events such as electoral processes keep the audience connected to tradi-tional and social television, and generate high volumes of conversation ; Este artículo se ha elaborado en el marco del proyecto Cibermedios nativos digitales en España: formatos narrativos y estrategia móvil (RTI2018-093346-B-C33), del Ministerio de Ciencia, Innovación y Universidades, cofinancia-do por el Fondo Europeo de Desarrollo Regional (Feder). La autora Sabela Direito-Rebollal es beneficiaria del programa para la Formación del Profesorado Universitario del Ministerio de Universidades (Gobierno de España) ; SI