scholarly journals World Cinema, vod Platforms and the Western Demand

2020 ◽  
pp. 1-7
Author(s):  
Constantin Parvulescu

The article explores the concept of world cinema as an other to global cinema from a marketing perspective. Special attention is given to the way the world cinema universe is presented on video-on-demand platforms in Western markets. To demonstrate that the stories, scope and concerns of this universe vary according to marketing objectives, the article compares presentations on three platforms with contrasting business models and marketing algorithms: Netflix, Filmin, and FilmDoo. This leads to an important conclustion: presentations on platforms with an apparently more ethical business model are not necessarily more progressive and more advantageous to world cinema in terms of avoiding its “genre-fication”.

2021 ◽  
Vol 14 (2) ◽  
pp. 261-280 ◽  
Author(s):  
Fadi G. Haddad ◽  
Alexander Dhoest

While subscription of video-on-demand (SVOD) services has become increasingly popular across the world in recent years, the arrival of Netflix to the Arab world was transformational. As it stepped up to produce original Arabic series, Netflix-modelled services from the region proliferated, promising to challenge the existing Arabic series’ (musalsalat) routines in content and form. Since the Arab World is scarcely mentioned in the growing scholarly literature on SVODs, this article attempts to understand how the Arabic TV drama industry is recalibrating to this new transnational co-production context, particularly when it comes to developing series ideas and screenplays. Our aim is to analyse the creative interplay in which these ideas and screenplays are evaluated and developed. To this effect, we draw on original interviews with screenwriters, development producers and creative executives who have worked with Netflix on original Arabic series, as well as those who have worked with Shahid VIP, a Saudi-owned pan-Arab SVOD platform. Informed by the ‘Screen Idea System’ framework that suggests an understanding of the dynamics between the shaping elements of any new idea made for the screen, we explore whether the current business model results in certain cultural narratives and how this affects the perceptions of quality and success of the produced series. Our findings show that transnationalism is instigated by the writers’ perception of a transnational target audience, and is reflected strongly on the levels of production and creative decision-making. Moreover, the systems in which the series of both platforms are developed are in constant negotiations with the musalsalat conventions, while aiming to prompt novelty based on a Western perception of the idea of quality.


Author(s):  
Shrutika Mishra ◽  
A. R. Tripathi

Abstract In today’s world, many digitally enabled start-ups are budding all over the globe because of the fast enhancement in digital technologies. For the establishment of new business, it is necessary to adopt a proper business model which needs to define the way in which the company will provide values and the ways in which the customers can pay for their services. This paper aims to study the various business models being used in today’s marketplace and to provide a better understanding for these business models by having an insight on the attributes.


2018 ◽  
Vol 61 (2) ◽  
pp. 59-83 ◽  
Author(s):  
Massimo Garbuio ◽  
Nidthida Lin

The future of health care may change dramatically as entrepreneurs offer solutions that change how we prevent, diagnose, and cure health conditions, using artificial intelligence (AI). This article provides a timely and critical analysis of AI-driven health care startups and identifies emerging business model archetypes that entrepreneurs from around the world are using to bring AI solutions to the marketplace. It identifies areas of value creation for the application of AI in health care and proposes an approach to designing business models for AI health care startups.


Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
María-del-Rosario Fernández-Falero

The challenge of the electronic commerce for the new century is going to be the step to the digital television, so that we go away to having to adapt at the rate of a television been founded on the diffusion, to a set of services of digital video based on the access. Of this form, the spectator of television is going to meet the possibility of interacting with the way, which supposes a change in the industry of the broadcast, so then though till now they were the distribution companies of information and entertainment the only ones with possibilities of controlling such events, the possibility of interaction the way on the part of the spectators of the digital television it will allow them intervening in the diffusion of information, which supposes a significant change for the hearing of the television. The companies must elaborate contents directed a users who are going to have access to will: it is necessary to offer them what want, when they want - this is VOD (video on demand) - Then the digital television not only is going to modify the way of doing television, but also the way of seeing television. The electronic market is guaranteeing positions in the commercial Spanish panorama, growth that becomes clear in the increase so much of the number of users as of the volume of business, of the number of economic operations by Internet and of the number of web pages of companies dedicated to the trade across the Net. This positive evolution of the market shows how a way technologically so new as it is Internet, has allowed that in only 15 years it could speak about a historical evolution of the same one. This makes foresee that the step and evolution of the electronic market from Internet to the digital television could have a similar evolution in acceptance and consolidation. Finally, the future of the electronic commerce not only is subject to the appearance of new commercial models, but also to the technology; this way, the following step, technologically speaking, it is that of the digital television, which interactive and to allow to the user a use similar to that of Internet, does to the being that the challenge of the electronic trade is to go on to this way and to evolve in agreement with the characteristics of the same one. The first problem to which one is going to face this market is that of the user's change: in Spain the Internet user (according to the AECE, Spanish Association of Electronic Trade) is for the most part a male, with an age understood between 25 and 34 years; the television, nevertheless, is a very spread way and within reach of all, which will suppose a change both in the content and in the way of presenting the information (definitively, the product that is wanted to sell). El reto del comercio electrónico para el nuevo siglo va a ser el paso a la televisión digital, de manera que nos vamos a tener que adaptar al cambio de una televisión fundada en la difusión, a un conjunto de servicios de video digital basados en el acceso. De esta forma, el espectador de televisión se va a encontrar con la posibilidad de interactuar con el medio, lo que supone un cambio en la industria de la teledifusión, pues si bien hasta ahora eran las empresas distribuidoras de información y entretenimiento las únicas con posibilidades de controlar tales eventos, la posibilidad de interacción con el medio por parte de los espectadores de la televisión digital permitirá a estos intervenir en la difusión de información, lo que supone un cambio significativo para la audiencia de la televisión. Las empresas deben elaborar contenidos dirigidos a un usuario que va a tener acceso a voluntad: hay que ofrecerle lo que quiera, cuando quiera -es decir VOD (video on demand)- Luego la televisión digital no sólo va a modificar la forma de hacer televisión, sino también la forma de ver televisión. El mercado electrónico está afianzando posiciones en el panorama comercial español, crecimiento que se hace patente en el aumento tanto del número de usuarios como del volumen de negocio, del número de operaciones económicas por Internet y del número de páginas web de empresas dedicadas al comercio a través de la Red. Esta evolución positiva del mercado muestra cómo un medio tecnológicamente tan joven como es Internet, ha permitido que en apenas 15 años se pueda hablar de una evolución histórica del mismo. Esto hace prever que el paso y evolución del mercado electrónico desde Internet a la televisión digital pueda tener una evolución parecida en aceptación y consolidación. Finalmente, el futuro del comercio electrónico no sólo está sujeto a la aparición de nuevos modelos comerciales, sino también a la tecnología; así, el siguiente paso, tecnológicamente hablando, es el de la televisión digital, la cual por ser interactiva y permitir al usuario un uso parecido al de Internet, hace que el reto del comercio electrónico sea pasar a este medio y evolucionar de acuerdo con las características del mismo. Uno de los primeros problemas a los que se va a enfrentar este mercado es el del cambio de usuario: en España el usuario de Internet (según la AECE, Asociación Española de Comercio Electrónico)es mayoritariamente varón, con una edad comprendida entre 25 y 34 años; la televisión, sin embargo, es un medio muy difundido y al alcance de todos, lo que supondrá un cambio tanto en el contenido como en la forma de presentar la información (en definitiva, el producto que se desea vender).


2018 ◽  
Vol 5 (1) ◽  
pp. 21-33
Author(s):  
Verónica Heredia Ruiz

Netflix, a platform with more than 100 million users in the world, has forever changed the way television is produced and consumed. This article analyzes how this new television model convergent with Internet has transformed the concept of programming and teleclairvoyance through intensified viewing or binge watching. A conceptual review identifies the main theoretical displacements on television, programming and audiences generated by the platform, as well as a documentary analysis of news articles on the subject, and the visualization of the Original contents published until May 2017.Netflix, una plataforma con más de 100 millones de usuarios en el mundo, ha cambiado para siempre la forma como se produce y se consume la televisión. Este artículo analiza como este nuevo modelo de televisión convergente con internet ha transformado el concepto de programación y televidencias a través del visionado intensificado o binge watching. A través de una revisión conceptual se identifican los principales desplazamientos teóricos sobre televisión, programación y audiencias generadas por la plataforma, además de un análisis documental de artículos noticiosos sobre el tema, y la visualización de los contenidos originales publicados hasta mayo de 2017.


2021 ◽  
Vol 2 (1) ◽  
pp. 91-96
Author(s):  
Olena Taranukha

The digital economy allows to compose the new business models, digital platforms and services, which create new types of economic activity, as well as the transformation of traditional industries. Due to the industries transformation to the digital economy there is the transformation of the world economy, or rather the economy itself is being digitized The purpose of the paper is to reveal the essence and features of the digital economy formation and to consider what significant transformations will take place in the world by the analysis of major trends in the near future. Accumulating all the concepts, we can say that the digital economy is the rather complex term, but we can assume that its development is based on the key components According to forecast estimates, the most advanced retail companies will begin implementing the service of virtual and voice search of goods by 2022. This will require from the company the better understanding of the consumers wishes, their interests and intentions. Consider the main technological development trends for 2020-2025 based on the data of the major consulting agencies and the consulting company "Cartner" Figure 2 shows the forecast curve of the new technologies development. Innovative development triggers that will actively influence the technology development include the following: the Authenticated Provenance, Low-Cost Single Board Computers at the Edge, Self-Supervised Learning, BMI (Brain Machine Interface), active development of "Packaged Business Capabilities" services, Digital Twin of the Person and Composible Enterprises. The peak of disappointments will be Social Distancing Technologies and Secure Access Service. The source of expectations will be the development of Carbon-Based transistors technology and Human digital Ontologies. The formation of a productivity platform will be based on trends in Self-Development and Self-Education. Digital IT trends grow, evolve and acquire new properties of social technologies that can influence the structure of the community, form dependencies and demand. Therefore, companies, large corporations and government need to move to more flexible composite business architectures. The modular business model is based on four basic principles: modularity, efficiency, continuous improvement and adaptive innovation. This business model allows to move from rigid traditional planning to a flexible response to rapidly changing business needs. In general, it creates opportunities for innovative approaches, reduces costs and improves partnerships. It is important to pay attention to the other technologies in the new business model such as bundled business services, data factories, private 5G networks and embedded artificial intelligence. Thus, as a result of the research it is proved that the digital world is a completely new order of life, which requires to change our thinking. The person should be always focused on the new technologies and methods in order the enterprises remain competitive and constantly developed, it will promote the economy development and the growth of well-being of the society. So, taking into account the global trends in technology development, Ukraine has to adapt to the new standards quickly and implement innovative solutions for the economic development. The digitalization of the economy, on the one hand, is the key to economic success, on the other hand, it is the driving force in the conditions of the conceptual understanding of the digital economy essence. The growth of the quality and innovation level of domestic goods and services should provide not only sustainable economic growth, but also competitive advantages with further integration into the EU. At the same time, there is the relevant need of the scientific and technological research, the formation of a certain business ("digital") culture, the implementation of smart city ideas in Ukraine based on the development of local communities and the emergence of new initiatives and proposals for innovative solutions.


2021 ◽  
Author(s):  
Kristin Shaw ◽  
Katelyn Davis

Where do women fit into the automotive industry? In every possible space-including those they have yet to invent! As Katelyn Shelby Davis and Kristin Shaw demonstrate in Women Driven Mobility, women are in leadership roles in all aspects of the industry. Davis and Shaw seek bring awareness and reroute this through a series of case studies that feature women working in 11 vital pillars of the mobility industry: Awareness and community advocacy Design and engineering Funding Infrastructure Marketing and communications Mobility on demand Placemaking Policy and legislation Sustainability Talent and education Technology and innovation Foreword by Governor Gretchen Whitmer, State of Michigan


2015 ◽  
Vol 719-720 ◽  
pp. 756-766
Author(s):  
Yong Jiang ◽  
Shu Wu Zhang ◽  
Jie Liu

In Peer-to-Peer (P2P) Video-on-Demand (VoD) streaming systems, supporting free VCR operations is challenging. Prefetching is a good way to improve user experience of VCR interactivity. But most existing P2P VoD prefetching schemes are proposed aimed at those popular videos with large amount of log data, without considering the situation that the videos are unpopular or the popular videos are in their initial phase of release. In this situation, these schemes cannot support user VCR interactivity very well. To address this issue, we propose a new optimized prefetching scheme, called Hybrid Anchor Scheme (HAS), in which fixed anchors and dynamic anchors are merged together. The dynamic anchors are generated based on association rule and segments popularity. Through combining the way of sequential prefetching according to weight of segments and the way of several rounds prefetching, we implement HAS effectively. Extensive simulations validate the proposed prefetching scheme provide shorter seeking latency compared to other prefetching schemes.


2015 ◽  
Vol 5 (3) ◽  
Author(s):  
Paola Pisano ◽  
Marco Pironti ◽  
Alison Rieple

AbstractSocioeconomic trends (such as makers, crowdsourcing, sharing economy, gamification) as well as technological trends (such as cloud computing, 3D printing technology, application, big data, TV on demand and the Internet of things) are changing the scenario and creating new opportunities, new businesses and, as a result, new players. The high level of uncertainty caused by the fast speed of innovation technology along with an enormous amount of information difficult to analyse and exploit are characterizing the current framework. On the other hand, businesses such as Netflix – with its 44,000 users and a long tail business model – show a new service based on TV on demand where innovation starts from the convergence between two different industries (TV and the Internet) and spreads on the need of new users. Quirky, with its innovative open business model, is manufacturing new products designed and developed by the community and finally produced with the use of 3D printing technology. While Google in a multi-sided model are giving their new glasses to different developers who build their own application on them, Kickstarter finds its business funders in the crowd, and pays them back with its future products, according to what the organization needs. Another element that adds complexity to the previous framework is the new customer. He or she is showing a social attitude in favour of transparency, openness, collaboration, and sharing. Every second more than 600 tweets are posted on Twitter and around 700 status updates are posted on Facebook. At the same time, people are receiving text messages, e-mails and skype or phone calls and simultaneously consuming TV, radio and print media. In this scenario characterized by trends where employees, funders, customers and partners do not play a stable role but work together with a sort of “platform organization” to create a product or service completely customized for different market niches, how can an organization set up an innovative business model in a defined trend? Is it possible to identify a sort of framework, able to inspire new business models, with an examination of trends? In this article we will use a mix of different approaches to inspire new business model.


Author(s):  
Catherine Johnson

The past 5 years have seen a rapid acceleration in the development of online television in the United Kingdom and beyond, with rise in ownership of Internet-connected television sets, smartphones and tablets, increased access to broadband and the growing penetration of transaction and subscription video-on-demand (VoD) services. This article asks how free-to-air terrestrial broadcasters are adapting to a media marketplace in which, according to Ofcom, on-demand television is becoming mass market, through an analysis of ITV Hub – the VoD player for the United Kingdom’s largest free-to-air advertiser-funded broadcaster. Focusing on the mature UK VoD market and the broadcaster whose business model is most threatened by online television, the article combines trade press and textual analysis to demonstrate how ITV has developed a VoD service highly structured by the logics of broadcasting. Centering its analysis on the interface for ITV Hub, the article argues that this increasingly quotidian form of television ephemera offers a vital site through which to understand the changing nature of television as a medium. The article concludes that with contemporary developments in VoD, the distinctions between linear/broadcast and non-linear/on-demand television (flow vs. file, passive viewer vs. interactive user) are breaking down in ways that challenge prevailing arguments that on-demand television can be understood as offering a distinctly different (and more empowered and interactive) experience for viewers.


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