Suchergebnisse

In a scenario of abundance of digital contents audiovisual works need to be easily discovered to be consumed. Prominence, therefore, becomes essential. In Europe the idea of giving prominence became key to address how works can be promoted after the adoption of the Audiovisual Media Services Directive in 2007. In light of the amendment of this norm, this paper provides an overview of the regulation regarding prominence of VoD services at the EU level. The aim is to analyse its transposition into national provisions to identify different approaches and characterize them according to their implications for the general interest. It is concluded that to guarantee and justify that certain contents are easy to discover by citizens in an overwhelming digital world, the formulation of principles-based rules can be an appropriate solution.

El objeto de estudio de esta investigación es la situación de las plataformas de video bajo demanda (vod) en el mercado español. El objetivo principal de la investigación es analizar la regulación y las estrategias de las plataformas de video bajo demanda con mayor número de clientes en España en 2023, tras los importantes cambios en el sector introducidos en 2022. La hipótesis principal es que la intervención de la regulación europea y española en el mercado de las plataformas de video bajo demanda no evita el desarrollo de las dinámicas propias de un mercado liberalizado y muy activo. Este trabajo se desarrolla en el marco de la economía política de la comunicación, a partir de un análisis estructural simple basado en la revisión documental desde tres categorías de agentes del mercado audiovisual: gobiernos, empresas y audiencias. Se concluye que el marco regulatorio en materia de televisión online en Europa y en España desde 2022 no condiciona en exceso la actividad de las grandes plataformas internacionales, que operan así en un contexto de liberalización de la oferta. Estas plataformas han implantado sus políticas globales sin atender especialmente a las particularidades del mercado español.

[Resumen] Introducción: En los medios públicos, el debate electoral es de especial interés por las reglas que deben adoptar estas televisiones para cumplir con sus compromisos de servicio público y mantener los valores de diversidad, universalidad y participación. En el nuevo escenario que plantean las plataformas propias de VOD la inclusión de estos debates electorales televisados y las variaciones en su formato se plantea como un ejercicio de transparencia y un compromiso con la memoria audiovisual del país que refuerza los valores de diversidad, proximidad y universalidad representativa. Metodología: El artículo revisa de un modo comparativo el uso de este formato en siete de las principales emisoras públicas de televisión de Europa siguiendo los modelos de Hallin y Mancini y con una subdivisión regional dentro del modelo democrático-corporatista para obtener resultados con un corte étnico-político. Resultados y conclusiones: Existe una notable disparidad entre las televisiones públicas que tienen accesibles los debates electorales en sus plataformas de VOD. El análisis desvela que, a pesar de su trascendencia, los debates no se encuentran disponibles en los entornos online del medio, aunque sí son accesibles desde plataformas ajenas, principalmente YouTube. ; [Abstract] Introduction: In the public media, the electoral debate is of special interest because of the rules that these televisions must adopt to fulfill their public service commitments and maintain the values of diversity, universality, and participation. In the new scenario posed by VOD's platforms, the inclusion of these televised electoral debates and variations in their format are presented as an exercise of transparency and a commitment to the country's audiovisual memory that reinforces the values of diversity, proximity, and representative universality. Methodology: The article comparatively reviews the use of this format in seven of the main public television stations in Europe following the models of Hallin and Mancini and with a regional subdivision within the democraticcorporatist model to obtain results with an ethnical-political cut. Results and conclusions: There is a notable disparity between public televisions that have access to electoral debates on their VOD platforms. The analysis reveals that, despite its importance, the debates are not available in the online media environments, although they are accessible from third-party platforms, mainly YouTube. ; Ministerio de Ciencia , Innovación y Universidades; RTI2018-096065-B-I00

Today, at a time of major downturn in the audiovisual sector, several regions and countries are reconsidering the scope and reach of domestic or regional audiovisual media governance and are developing policy instruments in order to involve transnational Video on Demand (VOD) platforms, such as Netflix, Prime Video, Disney+, in the financing, distribution and visibility of local, national and regional audiovisual content. A key issue that emerges from this backdrop is to provide convincing answers about why public authorities are feeling the urge to develop new regulations towards global VOD streamers in a specific sequence and temporality and to focus on variables, which are expected to understand this cross-national policy momentum for regulating VOD services. In addition, even though transnational VOD services represent disruptive new actors, creating industrial, technological and institutional shock, this disruption does not lead to the same political issue cross-nationally and to the same kind of policy responses. Firstly, the article explores the key outlines that the academic literature highlights in order to understand the regulation of online platforms in the media sectors. Secondly, it provides a cross-national portrayal of policy initiatives towards the VOD streamers, focusing on the EU Member States, Australia, Canada, Mexico and South Africa. Thirdly, the article argues that political struggles over VOD platforms are expected to be framed and fought simultaneously by two crucial variables, dealing with state-society relationships and global interdependence.

The advancing digitalization and media convergence demands TV broadcasting companies to adjust their content to various platforms and distribution channels. The internet, as convergent carrier medium, is increasingly taking on a central role for additional media. Classical linear TV is still important, but for some audiences it has been developing from a primary medium to a secondary medium. Owing to the growing melding of classical-linear TV contents with online offerings (e.g. video-on-demand platforms or Web–TV), a great dynamic can be seen which has triggered numerous discussions about the future of TV for some time now. This article will summarize the results of two different audience studies. Film and television shows are meanwhile distributed online via Video-on-Demand platforms such as Netflix or
Amazon Prime Video. The first audience study has dealt with the use of VoD-platforms in Germany investigating user rituals, user motivation to watch films and TV shows on these platforms, and the meaning of VoD in everyday life. Most of the participants in this study reported that they mainly watch TV drama series at Netflix or Amazon Prime. Therefore, the second audience study focused the online use of television drama series of individuals and couples elaborating the
phenomenon of binge watching. In relating the audience practice to the new structures of the television market the article will shed light on the future of television. (author's abstract)

A recent firm step in order to impose a quota for the catalogues of on-demand audiovisual service providers has been given by the EU countries through the reformulation of the Audiovisual Media Services Directive in 2018. This paper aims to analyse the potential implications of this change, in relation to the way the promotion of European works has been implemented so far, since some comments can be made in light of this reformulation. It will be argued that more interesting than the obligation to comply with a quota, defined by the geographical origin of audiovisual works, is the idea of making platforms part of every national audiovisual production and financing system via direct or indirect financial contributions. It is concluded that the latter can offer a wider room for manoeuvre to better help focus public policy decisions when there is political will, as the French and German cases prove.

Tutor: Miquel Rodrigo-Alsina ; Treball de fi de Màster en Recerca en Comunicació Social ; The significant growth rate of video on-demand (VOD) platforms has disrupted markets, and triggered an EU policy response in form of a 30% quota on European content. This measure implemented in 2018 under the creative and cultural policies, is currently underexplored from an academic perspective. This investigation therefore seeks to outline a research project, divided in three areas, that shall examine the policy discourse on EU level, the media response from EU member states and the logic of algorithmic awareness, display and diversity. A central objective would be to locate, if the quota is grounded in the economic value (protection of the audiovisual sector) or the social value (consumer protection) and if any duality of objectives, in fact, should be contested due to aspects of mutual exclusion. Generally, the research is based on the assumption that the construction and interpretation of algorithmic personalization is not finalized from a sociotechnical perspective. This investigation therefore seeks to contribute to new knowledge and opens an academic discussion marrying a cultural policy and sociotechnical approach to the platformization of culture

Cover -- DIGITAL MEDIA DISTRIBUTION -- Title -- Copyright -- CONTENTS -- List of Figures -- Introduction: Media Distribution Today -- SECTION 1: CONCEPTUALIZING DISTRIBUTION AND CIRCULATION -- 1. Points of Origin: Asking Questions in Distribution Research -- 2. Media Circulation: Reconceptualizing Television Distribution and Exhibition -- 3. Reassessing the "Space in Between": Distribution Studies in Transition -- 4. Disingenuous Intermediaries: The Gatekeeping Power of Distributors and Publishers -- 5. The Circulation Game: Shifting Production Logics and Circulation Moments in the Digital Games Industry -- 6. Questioning the Content Supply Model: A Provocation -- SECTION 2: DISTRIBUTION ECOSYSTEMS AND CULTURES -- 7. "Tech-Tonic" Shifts: The U.S. and China Models of Online Screen Distribution -- 8. Language, Culture, and Streaming Video in India: The Pragmatics and Politics of Media Distribution -- 9. "Sorry about That": Hopes and Promises of Geoblocking's End -- 10. Global TV Markets and Digital Distribution -- 11. Children's Television in an Era of Digital Distribution: Arab and European Responses -- 12. Distribution, Infrastructure, and Markets: SVOD Services in Latin America -- 13. VOD: Formal Challengers for Nollywood's Informal Domestic Market -- 14. The King Is Dead, Long Live the Algorithm: MindGeek and the Digital Distribution of Adult Film -- 15. Amazon and Automated Recommendations: Distribution and Discovery in the Book Trade -- 16. Free, Bundled, or Personalized? Rethinking Price and Value in Digital Distribution -- 17. "Every Day Should Be a Holiday": Black Friday and the Importance of Retail in the Circulation of Media -- Acknowledgments -- Contributors -- Index.

Abstract
The National Broadcasting Commission (NBC) in Nigeria recently released an amendment to the 6th edition of the Broadcasting Code. Its aim is to increase local content, generate advertisement revenue and prevent anti-competitive practices in the Nigerian broadcast industry. To this end, it prevents exclusivity or monopolisation of content by broadcasting organisations, including Pay TV and Video on Demand (VOD) platforms. Drawing from European and South African experiences, this article begins by examining the provisions of the Broadcasting Code, particularly the amendment vis-à-vis the Nigerian Copyright Act and Nigeria's international obligations under treaties such as the Rome Convention and the World Trade Organization's Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS Agreement). It then looks at the impact of the amended Code on the broadcast industry. The article seeks to determine whether the provisions of the amended Code can qualify as limitations and exceptions to exclusive rights allowed under the treaties and the Nigerian Copyright Act. It also examines whether, in attempting to foster competition in the Nigerian broadcast industry, the amended Code has taken away the exclusive rights granted by the Copyright Act to owners of Pay TV and VOD platforms and thereby runs contrary to Nigeria's international obligations. Where appropriate, recommendations are made for consultation among relevant stakeholders for review of the amended Code to align it with the Copyright Act and Nigeria's international obligations.

Focusing on the case of the BBC iPlayer and placing it within broader national and international developments, this article assesses key challenges that public service broadcasting (PSB) faces in the era of online TV. The advent of subscription video-on-demand (SVoD) and associated market transformations have accentuated preexisting funding, political, and market pressures on PSB. Still, the relationship between PSB and SVoD is not purely antagonistic. The evolution of the BBC iPlayer in this wider context shows that online TV does not (as yet) represent a radical new interpretation of PSB because VoD services are closely linked to linear offerings, and there is evidence of the fluidity between online and broadcast spheres, and the continued relevance of television. Against an increasingly commercial, fragmented, closed, and data-driven environment, the article makes the case for supporting PSB VoD services and explores how online TV might help revive PSB through personalization and public service algorithms. Media policy can play an enabling role by addressing data practices, algorithms, and prominence.

Focusing on the case of the BBC iPlayer and placing it within broader national and international developments, this article assesses key challenges that public service broadcasting (PSB) faces in the era of online TV. The advent of subscription video-on-demand (SVoD) and associated market transformations have accentuated preexisting funding, political, and market pressures on PSB. Still, the relationship between PSB and SVoD is not purely antagonistic. The evolution of the BBC iPlayer in this wider context shows that online TV does not (as yet) represent a radical new interpretation of PSB because VoD services are closely linked to linear offerings, and there is evidence of the fluidity between online and broadcast spheres, and the continued relevance of television. Against an increasingly commercial, fragmented, closed, and data-driven environment, the article makes the case for supporting PSB VoD services and explores how online TV might help revive PSB through personalization and public service algorithms. Media policy can play an enabling role by addressing data practices, algorithms, and prominence.

Intro -- Acknowledgements -- Contents -- List of Figures -- List of Tables -- Chapter 1: Introduction -- References -- Chapter 2: Curation as Discourse, Trend and Cultural Salve -- "Too Much": Curation as Salve to Perceptions of Cultural Surplus -- References -- Chapter 3: The Curation Business Model -- Key Traits of Curation-Style VOD Platforms -- References -- Chapter 4: MUBI History: Connections, Community and Curation -- Phase I: Start-up Period (2007-2012) -- Phase II: Curated Thirty-Film SVOD Model (2012-2020) -- Phase III (2020-Present)? Vertical Integration and the End of Curation -- References -- Chapter 5: Recommendation Credibility in the MUBI Interface -- Ethos and Textual Mode of Address -- Design and Streaming Quality -- Film Presentation and Recommendation Explanation -- Community-Building Exercises -- Curation, Staff Credibility and Anti-Hierarchical Gatekeeping -- References -- Chapter 6: The MUBI Audience -- References -- Chapter 7: At the End of the Long Tail -- Data and Desires for Human(ist) Gatekeeping -- Success of MUBI, Failure of Curation VOD? -- References -- References -- Index.

Digital television services not only provide promise for interactive services, but also for long tail-based business models in terms of tailor-made content. As the share of culture in total linear television programming is diminishing owing to the supremacy of audience rating concerns, digital television services could act as an alternative gateway to deliver culture to a wider audience. This article presents the results of a market pilot study using the established video-on-demand (VOD) platform of Flanders' main digital television operator for the wide-scale delivery of performing arts videos. Despite the promising pilot study results, we doubt whether the long tail principle is applicable to the delivery of avant-garde material to develop a viable digital television service.

The increasing multilingualism in films produced on the Iberian Peninsula simultaneously stems from and promotes one of the most salient traits of the Iberian geocultural space: its linguistic diversity. Paradoxically, however, film distributors tend to de-emphasize this diversity – or even render it invisible – in DVD and VOD-platform releases. Framed within the field of Iberian Studies, this article analyses from a polycentric perspective several multilingual films produced in twenty-first century Iberia. I argue that polyglot films screened in their multilingual original versions (MOV) have the potential to create a 'multilingual imagination' (Kramsch) in Iberian audiences. Through the analysis of examples such as the Portuguese film Lisboetas (Tréfaut, 2004) and the Galician Os fenómenos (Zarauza, 2014), I propose that the sensory experiences created by films' multilingual 'spoken landscapes' (Balázs) can serve as triggers for new viewing habits, making audiences more receptive to the Peninsula's diverse autochthonous and immigrant languages. However, as other examples illustrate, the interaction of multiple languages on-screen is not, by itself, enough to foster multilingual imaginations.