scholarly journals Over-the-top sport: live streaming services, changing coverage rights markets and the growth of media sport portals

2019 ◽  
Vol 41 (7) ◽  
pp. 975-994 ◽  
Author(s):  
Brett Hutchins ◽  
Bo Li ◽  
David Rowe
Keyword(s):  
Computer Game ◽  
Live Streaming ◽  
Global Marketplace ◽  
Broadcast Media ◽  
Television Content ◽  
The Media ◽  
Streaming Services ◽  
Media Systems ◽  
Television Coverage ◽  
Over The Top

The growth of over-the-top (OTT) Internet and mobile video streaming services is a major development in the distribution, transmission and consumption of global media sport. Heavily capitalised services such as Tencent Video, DAZN and Amazon Prime Video are intervening in coverage rights markets and changing how live sport is experienced and shared across television, computer, game console, tablet and smartphone screens. This article identifies and analyses six defining characteristics of OTT live sport streaming, and outlines three services (Tencent Video, DAZN and Amazon Prime Video) that operate across Asia, the United Kingdom, Europe, the Americas and Australasia. Its argument is that, first, live sport streaming is a key means by which television content and practices are escaping the boundaries of broadcast media, while also continuing to perpetuate the logics of television coverage and viewing practices. Second, drawing on Amanda D. Lotz’s conceptualisation of portals, it is proposed that these services are establishing new norms concerning how media sport is accessed and curated and, as such, their arrival signals a historic shift in the global marketplace for sport coverage rights and the media systems through which live content circulates.

scholarly journals Medier og selvstændighed i Grønland

Politik ◽  
2019 ◽  
Vol 22 (1) ◽  
Author(s):  
Signe Ravn-Højgaard
Keyword(s):  
Nation Building ◽  
Digital Platforms ◽  
The Public ◽  
Media Regulation ◽  
Media System ◽  
The Media ◽  
Streaming Services ◽  
Potential Impact ◽  
Media Systems ◽  
Public Economy

This article discusses the potential impact of Greenlandic independence on Greenland’s media system and suggests initiatives necessary for maintaining strong Greenlandic media in the future. Using Manuel Puppis' (2009) theory of the characteristics of small media systems, the Greenlandic media system is described. It is shown that it is built with the following aim in mind: the media should support the Greenlandic society by being independent and diverse, strengthening the Greenlandic language, and providing quality journalism that can heighten the public debate. However, as a small media system it is vulnerable to global tendencies where legacy media lose users and advertisers to digital platforms like Facebook and streaming services. The article argues that the vulnerability of the Greenlandic media system could increase if independence leads to a tighter public economy, impeding the media's ability to support Greenlandic society and culture. An interventionist media regulation could, therefore, be a prerequisite for a strong Greenlandic media system that can act as a unifying and nation-building institution.

scholarly journals Converging experiences, converging audiences: An analysis of doctor who on Twitch

2020 ◽  
pp. 135485652097644
Author(s):  
Naomi Jacobs ◽  
Paul Booth
Keyword(s):  
Live Streaming ◽  
Media Content ◽  
Doctor Who ◽  
Qualitative And Quantitative ◽  
Television Content ◽  
Digital Convergence ◽  
Technology Platforms ◽  
Synchronous Chat ◽  
The Media ◽  
Production Practices

While primarily considered to be a platform for live streaming of video games, Twitch has recently diversified into streaming archival television content. In 2018 and 2019, episodes of the television show Doctor Who, originally aired between 1963 and 1989, were shown on the service, which also provides a synchronous chat function for viewers to communicate with each other as they watch. This article examines this phenomenon through conducting qualitative and quantitative surveys with a segment of the viewership of these streams in order to uncover a diversity of age and experience with the content that exposes a convergence of viewership. Results indicate that the convergence of audiences and novel affordances of the service provide opportunities for new experiences and forms of interaction, both with the media content and with other viewers. The live, synchronous nature of the broadcast is a key feature, and while some viewers found having less control over their viewing experience disconcerting, it resulted in different watching and production practices. This included the creation of memetic content which was shared with the wider community of fans beyond those watching the stream. We argue that new forms of communal watching are enabled by digital convergence and emerging technology platforms and services. These lead to new shared media experiences and outcomes.

scholarly journals Algorithms and the Streaming Wars: The Changing Meanings of Film and Television Culture

2021 ◽  
Author(s):  
Niko Pajkovic
Keyword(s):  
Third Party ◽  
New Wave ◽  
Creative Development ◽  
Television Industry ◽  
Film And Television ◽  
Theoretical Perspectives ◽  
Production Distribution ◽  
The Media ◽  
Streaming Services ◽  
Over The Top

The film and television industry has been transformed by a new wave of over-the-top (OTT) video streaming services. Disney+, Apple TV Plus, NBC Universal’s Peacock, WarnerMedia’s HBO Max, and Quibi have all been released between November 12th, 2019 and May 27th, 2020, ushering in what the media has called the “Streaming Wars”. Like Netflix, Amazon, and Hulu, these platforms are dependent on the use of algorithms and Big Data, meaning the presence of these technologies within the industry will become increasingly pervasive, important, and unavoidable for producers and consumers alike. The purpose of this MRP is twofold: 1) to explore the current role algorithms play in the production, distribution and consumption of film and television, and to assess how these technologies are impacting broader notions of creativity and taste within the industry; and 2) to challenge the dominant critical theoretical perspectives that have emerged in regards to algorithmic cultures, namely, those contending that algorithms are replacing the fundamentally human process of cultural meaning- and decision-making. To achieve this, I explore the role algorithms play in the production and creative development of film and television, focusing my analysis on the emergence of data-driven creativity. I examine several third-party AI and analytics firms whose services automate the creative practices of ideation, script development, and casting. In addition, I examine how algorithms are changing the distribution and consumption of film and television via recommendation systems, and contribute to the existing dialogue regarding their implications on taste and taste-making. For that purpose, I apply Bucher’s (2018) method of reverse engineering to the Netflix Recommender System (NRS), revealing its circular and economic logics.

scholarly journals Algorithms and the Streaming Wars: The Changing Meanings of Film and Television Culture

2021 ◽  
Author(s):  
Niko Pajkovic
Keyword(s):  
Third Party ◽  
New Wave ◽  
Creative Development ◽  
Television Industry ◽  
Film And Television ◽  
Theoretical Perspectives ◽  
Production Distribution ◽  
The Media ◽  
Streaming Services ◽  
Over The Top

The film and television industry has been transformed by a new wave of over-the-top (OTT) video streaming services. Disney+, Apple TV Plus, NBC Universal’s Peacock, WarnerMedia’s HBO Max, and Quibi have all been released between November 12th, 2019 and May 27th, 2020, ushering in what the media has called the “Streaming Wars”. Like Netflix, Amazon, and Hulu, these platforms are dependent on the use of algorithms and Big Data, meaning the presence of these technologies within the industry will become increasingly pervasive, important, and unavoidable for producers and consumers alike. The purpose of this MRP is twofold: 1) to explore the current role algorithms play in the production, distribution and consumption of film and television, and to assess how these technologies are impacting broader notions of creativity and taste within the industry; and 2) to challenge the dominant critical theoretical perspectives that have emerged in regards to algorithmic cultures, namely, those contending that algorithms are replacing the fundamentally human process of cultural meaning- and decision-making. To achieve this, I explore the role algorithms play in the production and creative development of film and television, focusing my analysis on the emergence of data-driven creativity. I examine several third-party AI and analytics firms whose services automate the creative practices of ideation, script development, and casting. In addition, I examine how algorithms are changing the distribution and consumption of film and television via recommendation systems, and contribute to the existing dialogue regarding their implications on taste and taste-making. For that purpose, I apply Bucher’s (2018) method of reverse engineering to the Netflix Recommender System (NRS), revealing its circular and economic logics.

International broadcasting: stages of development, specificity and functional structure

2020 ◽  
Vol 4 (4(13)) ◽  
pp. 51-60
Author(s):  
Ksenia Olegovna NEVMERZHITSKAYA ◽  
Keyword(s):  
Foreign Policy ◽  
Global Media ◽  
False Information ◽  
Broadcast Media ◽  
World Community ◽  
Media Agenda ◽  
International Broadcasting ◽  
The World ◽  
The Media ◽  
Media Reports

The media influence politics by providing intelligence and arena for political statements. Therefore, the danger of spreading false information and deliberate disinformation can have serious consequences. It is impossible to accuse specific media outlets of unfair coverage, but one cannot fail to note the existing resonance in media reports from different countries. Interpretations of the same events are radically different, while a journalist must rely on facts. The world is faced with the problem of global misunderstanding and information discord. Modern international broadcasting plays an important role in shaping the picture of the event for the world community. It is impossible to deny that the information agenda of many foreign broadcast media depends to some extent on a number of reasons: nationality, foreign policy of his state, profitability. Otherwise, the global media would not contradict each other. We want to track how modern foreign broadcasting builds its agenda and what principles it is guided by. Keywords: Broadcasting, media, Media agenda

scholarly journals Adapting to context: Creative strategies of video streaming services in Nigeria

2021 ◽  
pp. 135485652110173
Author(s):  
Godwin Iretomiwa Simon
Keyword(s):  
Video On Demand ◽  
Business Environment ◽  
Media Industry ◽  
Operational Environment ◽  
Structured Interviews ◽  
African Countries ◽  
Innovative Strategies ◽  
African Context ◽  
The Media ◽  
Streaming Services

This article examines the contextual challenges that characterize the video on demand (VOD) market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor Internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where Internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past 5 years. This is attributed to the transnational reach of the streaming services as they are patronized by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This article specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about Internet-distributed video using the African context. This article is situated within the Media Industry Studies framework and draws from semi-structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This article underscores the necessity of contextualized research with the digital turn in video distribution. Through contextualized analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of Internet-distributed video to marginal contexts.

scholarly journals Improving Perceived Quality of Live Adaptative Video Streaming

Entropy ◽  
2021 ◽  
Vol 23 (8) ◽  
pp. 948
Author(s):  
Carlos Eduardo Maffini Santos ◽  
Carlos Alexandre Gouvea da Silva ◽  
Carlos Marcelo Pedroso
Keyword(s):  
Video Streaming ◽  
Short Term Memory ◽  
Transmission Rate ◽  
Video Quality ◽  
Video On Demand ◽  
Live Streaming ◽  
Network Congestion ◽  
Congested Networks ◽  
Over The Top

Quality of service (QoS) requirements for live streaming are most required for video-on-demand (VoD), where they are more sensitive to variations in delay, jitter, and packet loss. Dynamic Adaptive Streaming over HTTP (DASH) is the most popular technology for live streaming and VoD, where it has been massively deployed on the Internet. DASH is an over-the-top application using unmanaged networks to distribute content with the best possible quality. Widely, it uses large reception buffers in order to keep a seamless playback for VoD applications. However, the use of large buffers in live streaming services is not allowed because of the induced delay. Hence, network congestion caused by insufficient queues could decrease the user-perceived video quality. Active Queue Management (AQM) arises as an alternative to control the congestion in a router’s queue, pressing the TCP traffic sources to reduce their transmission rate when it detects incipient congestion. As a consequence, the DASH client tends to decrease the quality of the streamed video. In this article, we evaluate the performance of recent AQM strategies for real-time adaptive video streaming and propose a new AQM algorithm using Long Short-Term Memory (LSTM) neural networks to improve the user-perceived video quality. The LSTM forecast the trend of queue delay to allow earlier packet discard in order to avoid the network congestion. The results show that the proposed method outperforms the competing AQM algorithms, mainly in scenarios where there are congested networks.

Media Systems in the Digital Age: An Empirical Comparison of 30 Countries

2022 ◽  
Author(s):  
Edda Humprecht ◽  
Laia Castro Herrero ◽  
Sina Blassnig ◽  
Michael Brüggemann ◽  
Sven Engesser
Keyword(s):  
Cluster Analysis ◽  
Empirical Evidence ◽  
Information Technologies ◽  
Digital Age ◽  
Online News ◽  
Empirical Comparison ◽  
Media Freedom ◽  
Media System ◽  
The Media ◽  
Media Systems

Abstract Media systems have changed significantly as a result of the development of information technologies. However, typologies of media systems that incorporate aspects of digitalization are rare. This study fills this gap by identifying, operationalizing, and measuring indicators of media systems in the digital age. We build on previous work, extend it with new indicators that reflect changing conditions (such as online news use), and include media freedom indicators. We include 30 countries in our study and use cluster analysis to identify three clusters of media systems. Two of these clusters correspond to the media system models described by Hallin and Mancini, namely the democratic-corporatist and the polarized-pluralist model. However, the liberal model as described by Hallin and Mancini has vanished; instead, we find empirical evidence of a new cluster that we call “hybrid”: it is positioned in between the poles of the media-supportive democratic-corporatist and the polarized-pluralist clusters.

New Media and Political Change in the Occupied Palestinian Territories: Assembling Media Worlds and Cultivating Networks of Care

2010 ◽  
Vol 3 (1) ◽  
pp. 63-81 ◽  
Author(s):  
Amahl Bishara
Keyword(s):  
New Media ◽  
News Media ◽  
Palestinian Authority ◽  
Media Environment ◽  
Broadcast Media ◽  
Palestinian Territories ◽  
Technological Advances ◽  
Second Intifada ◽  
The Media ◽  
First Intifada

AbstractIn terms of infrastructure and technology, the media environment of Palestinians in the Occupied Territories developed extensively between the first and second Intifadas. Yet the media environment of the second Intifada was not necessarily more conducive to democratic change than that of the first. This paper argues that technological advances must be evaluated in their political contexts, and that the Palestinian context offers insight into what news media can do when they are not necessarily forums for an effective public sphere. For decades, Palestinians have assembled their media world out of other states' media, and a diverse collection of small and large media. This active process of assembly has itself constituted a productive field of political contestation. During the first Intifada, having no broadcast media or uncensored newspapers, Palestinians relied on small media like graffiti to evade Israeli restrictions. During the Oslo period, the Palestinian Authority (PA) established official Palestinian broadcast media, while Palestinian entrepreneurs opened broadcasting stations and Internet news sites. During the second Intifada, with Palestinian news media hampered by continued PA restrictions and intensified Israeli violence, small and new media enabled networks of care and connection, but were not widely effective tools for political organizing.

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