Built Environmental Variations Between Regular and Imax Theatres

2018 ◽  
Vol 43 (4) ◽  
pp. 41-51
Author(s):  
Chen Wang ◽  
Heng Li
Keyword(s):  
Questionnaire Survey ◽  
Video On Demand ◽  
Projection Methods ◽  
Sound System ◽  
On Demand ◽  
Environmental Variations ◽  
Declining Attendance

The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

The Myth of Televisual Ubiquity

2016 ◽  
Vol 17 (8) ◽  
pp. 691-705 ◽  
Author(s):  
Mark Stewart
Keyword(s):  
New Zealand ◽  
Video On Demand ◽  
On Demand ◽  
National Borders

Popular and journalistic discussions of television often present a rhetoric, which suggests that television has become ubiquitous, any content being able to be watched anytime, anywhere. This article argues that this represents a myth of televisual ubiquity, which neglects the role still played by national borders and which makes assumptions about the types of television of interest to people. By accepting the myth of televisual ubiquity, we are making assertions about the television experience of some viewers over others, as well as creating a distinction of which television can be seen to have lasting importance. The article analyzes the components of the myth of televisual ubiquity and draws them together to consider a case study, video on demand in New Zealand.

scholarly journals ‘If you can’t beat them, be them’

2021 ◽  
Vol 37 (70) ◽  
pp. 050-065
Author(s):  
Tim Raats ◽  
Tom Evens
Keyword(s):  
Joint Venture ◽  
Video On Demand ◽  
The Political ◽  
Competitive Advantages ◽  
On Demand ◽  
Small Market ◽  
Media Markets ◽  
Streaming Services ◽  
Market Factors

Faced with heavy competition of global subscription-video-on-demand (SVOD) streaming services, along with increased pressure on fi nancing and distribution of domestic content, legacy media players are increasingly exploring the potential of local SVOD services as domestic alternatives to global platforms such as Netflix and Disney+, often in collaboration with other European broadcasters and/or distributors.This article presents an in-depth case study of Streamz, a domestic SVOD alternative launched in Belgium in September 2020. Building on scholarly work on media disruption and platform power, the case study examines the political and market context that shaped the existence of the platform, and critically analyses the strategies pursued by legacy media players in attempting to develop and emulate key competitive advantages of global SVOD players. The article demonstrates how a persistent policy push to collaborate in a small market resulted in an unusual joint venture and, at the same time, how diff erent market factors, most of them characteristic for small media markets, pose signifi cant challenges for domestic players to develop a profi table platform in Europe, let alone be able to stand achance in a highly competitive streaming market.

BitTube: Case Study of a Web-Based Peer-Assisted Video-on-Demand System

2008 ◽  
Author(s):  
Bo Liu ◽  
Yi Cui ◽  
Bin Chang ◽  
Ben Gotow ◽  
Yuan Xue
Keyword(s):  
Video On Demand ◽  
Demand System ◽  
Web Based ◽  
On Demand

Network Streaming: TV Broadcasters in the Digital Space

2019 ◽  
pp. 209-230
Author(s):  
Monica Sandler
Keyword(s):  
Big Data ◽  
Video On Demand ◽  
Digital Space ◽  
On Demand

Monica Sandler focuses on subscription video on demand services, using the case study of Comcast NBCUniversal’s failed SeeSo platform. Her essay examines how television networks themselves can cultivate a franchise identity for themselves by expanding their brand into emerging formats. The essay questions how old media incumbents like NBC can compete against big data-based entertainment companies like Netflix and Amazon.

BBC America

2019 ◽  
pp. 69-86
Author(s):  
Christine Becker
Keyword(s):  
Video On Demand ◽  
Prime Time ◽  
Cable Channel ◽  
On Demand ◽  
Corporate Network ◽  
Corporate State

This chapter explores the corporate state of transatlantic television via a case study of BBC America, which is co-owned by the British BBC Worldwide and the American AMC Networks. The chapter details BBC America’s shift from an independent cable channel oriented around Britishness to an asset in AMC Networks’ portfolio, with a programming strategy more AMC than BBC. The study thereby illustrates that the value of a cable channel is no longer just in its individual brand; now its worth lies in the larger corporate network of program ownership and access to transnational platforms. BBC America’s prime-time scripted drama strategy is driven accordingly by the overarching goal to reach upscale, engaged viewers on both linear TV and video-on-demand platforms, in line with the global aspirations of its corporate parent.

Development Distribution? EU Aid for Formal Audiovisual Distribution and the Case of Africa’s First Video-on-Demand Platform

2019 ◽  
Vol 21 (7) ◽  
pp. 768-784
Author(s):  
Benjamin A. J. Pearson
Keyword(s):  
Developing Countries ◽  
Development Program ◽  
Video On Demand ◽  
Development Aid ◽  
Global Media ◽  
On Demand ◽  
Using Data ◽  
Economic Development Program ◽  
Formal Distribution

This article examines the European Union’s support for formal distribution initiatives abroad, focusing on ACPCultures+, an economic development program that aims to grow the audiovisual industries of developing countries through the expansion and adaptation of the logics and mechanisms of intra-European media policies. While these distribution initiatives aim to challenge Hollywood’s reach in developing countries, their activities nevertheless foster the integration of audiovisual industries in developing countries into global media industries. At the same time, the program’s pairing of formal distribution and development aid is at times at odds with audience and industry expectations. Using data from policy documents, fieldwork in Brussels, and interviews with recipients of ACPCultures+ distribution project awards—including a detailed case study of Africa’s first VOD platform—I explore how these initiatives attempt to shape formal distribution in countries on the peripheries of large audiovisual industries.

scholarly journals Critical Interpretations of Global-Local Co-Productions in Subscription Video-on-Demand Platforms: A Case Study of Netflix’s YG Future Strategy Office

2021 ◽  
pp. 152747642199943
Author(s):  
Taeyoung Kim
Keyword(s):  
Video On Demand ◽  
Global Market ◽  
The Other ◽  
On Demand ◽  
Other Hand ◽  
Local Actors ◽  
Future Strategy ◽  
Asian Market

This study examines the dynamics of co-production between a global subscription video-on-demand (SVOD) platform and a local producer. Based on a case study of “YG Future Strategy Office” co-produced by YG Entertainment and Netflix, it examines how various expectations of both companies are embedded in this series. On one hand, YG considers co-production as a means of promoting its artists for the global market which otherwise cannot be produced through pre-existing broadcasters. On the other hand, Netflix expects such co-productions to target the Asian market so that it can respond to the entry of incumbent media moguls into the SVOD market. While such co-productions seem to benefit both global platforms and local producers on the surface, however, this relationship may result in deteriorating the position of local actors as potential subcontractors considering the importance of distribution in the mediascape.

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