Netflix in Turkey: Localization and audience expectations from video on demand

2021 ◽  
pp. 135485652110603
Author(s):  
Asli Ildir ◽  
Ipek A Celik Rappas
Keyword(s):  
Research Question ◽  
Video On Demand ◽  
Informal Networks ◽  
Cultural Experience ◽  
Local Content ◽  
On Demand ◽  
Internet Regulation ◽  
Time Space ◽  
Streaming Service ◽  
Global And Local

Drawing on in-depth interviews with users of Netflix and the local streaming service BluTV as well as analysis of press releases, and original TV series produced by these platforms, this study explores the emergence and impact of Video on Demand (VOD) in Turkey. It examines how VOD is adopted, negotiated, reformulated, and received in a non-Western context where global and local VOD platforms compete, substitute and emulate each other. We ask the following research question: What are Turkish audiences’ social, psychological and technological needs and expectations from global and local VOD platforms? In order to respond to this question, we explore Turkish audiences’ insight into what VOD means to them and offers them as content, in comparison with platforms’ marketing discourse. The article argues that a) the local content that platforms offer is a central juncture through which audiences articulate their larger expectations from VODs, and b) Netflix’s localization attempts do not always correspond with the audience demand, it is heavily critiqued and at times rejected by the local audience. The findings of this research indicate that the expectations, needs, and gratifications of Netflix and VOD audiences depend on three factors: Their interpretation of VODs’ local content in relation to their cultural experience with broadcast TV, their technological needs such as instant access to global content and time/space shifting opportunities, and lastly the political context and policies such as the internet regulation and censorship. The significance of this is study is in showing, as distinct from the abundant literature on localization of Netflix, the complexity of local taste. Audiences’ evaluation of a VOD is shaped simultaneously by multiple factors including their experiences with network TV, other VODs, media regulations as well as informal networks/piracy.

Zie ik het of zie ik het niet?

2021 ◽  
Vol 49 (1) ◽  
pp. 51-83
Author(s):  
Jorre Vannieuwenhuyze ◽  
Karen Donders ◽  
Ike Picone
Keyword(s):  
European Union ◽  
Government Regulation ◽  
Video On Demand ◽  
The European Union ◽  
Content Type ◽  
Consumption Behavior ◽  
Local Content ◽  
Positive Effects ◽  
On Demand ◽  
The Impact

Abstract Do I see or not? A study on the impact of placement on program consumption in an on-demand environment The European Union (2018) stipulates that Member States can implement rules to ensure the findability and visibility of local content in video- on- demand environments. Indeed, several countries are concerned that their own audiovisual programs or journalistic products will be consumed less in such environments. It is argued that, in such environments, media users completely decide themselves about their consumption agency, but such statements are also contested. In this research we analyze the impact of placement on the consumption of audiovisual programs in the video-on-demand environments of the Flemish broadcasters VRT and DPG. From experimental research we conclude that there is indeed a significant impact of placement on consumption behavior and that, in other words, manipulations by intermediary gatekeepers can have potentially negative and positive effects on the consumption of local content. Government regulation would therefore be a useful tool to safeguard the importance of proximity of content.

Netflix, Amazon, and branded television content in subscription video on-demand portals

2017 ◽  
Vol 40 (5) ◽  
pp. 725-741 ◽  
Author(s):  
Michael L Wayne
Keyword(s):  
Brand Equity ◽  
Video On Demand ◽  
Press Coverage ◽  
Recent Past ◽  
Industrial Practice ◽  
On Demand ◽  
Television Network ◽  
Television Content ◽  
The Us ◽  
Streaming Service

Branding has been described as the defining industrial practice of television’s recent past. This article examines publicly available industry documents, trade press coverage, and executive interviews to understand the place of traditional television network branding in subscription video on-demand (SVOD) portals as represented by Amazon and Netflix. Focusing on materials relating to licensed rather than original content and this content’s role within the US domestic SVOD market, two distinct approaches emerge. For Amazon, the brand identities of some television networks act as valuable lures drawing customers into its Prime membership program. For Netflix, linear television networks are competitors whose brand identities reduce Netflix’s own brand equity. Ultimately, Amazon’s efforts to build a streaming service alongside network brand identities and Netflix’s efforts to build its own brand at the expense of such identities demonstrate the need to think about contemporary television branding as an ongoing negotiation between established and emerging practices.

Making foreign ready-made content great again: VOD platforms and English-language series in Turkey

2020 ◽  
Vol 8 (3) ◽  
pp. 313-319 ◽  
Author(s):  
Ece Vitrinel
Keyword(s):  
English Language ◽  
Cable Television ◽  
Decisive Role ◽  
Video On Demand ◽  
Anglo Saxon ◽  
Television Series ◽  
Television Drama ◽  
Local Content ◽  
On Demand ◽  
Visual Landscape

Thanks to a growing television drama industry with notable success beyond its borders, domestic television series have, since the 2000s, become the dominant programme category on broadcast and cable television in Turkey. This article considers the presence of Anglo-Saxon TV series in an audio-visual landscape characterized by a widespread taste for local content. Briefly describing the differences between Turkish and foreign series in terms of format and appeal to audiences, it argues that English-language series may play a more decisive role than local content in the success of video on demand (VOD) platforms, which have been launched relatively late in the country.

scholarly journals KOMUNIKASI PEMASARAN LAYANAN VIDEO STREAMING DAN ON DEMAND MNC GROUP (STUDI KASUS: APLIKASI RCTI+)

2022 ◽  
Vol 6 (1) ◽  
Author(s):  
Rizky Ramadhan Putra ◽  
Zinggara Hidayat
Keyword(s):  
Video Streaming ◽  
Video On Demand ◽  
Marketing Communication ◽  
Chief Operating Officer ◽  
On Demand ◽  
Video Viewing ◽  
Streaming Services ◽  
Tv Shows ◽  
Streaming Service ◽  
Demand Service

Current TV and video viewing patterns have changed. Viewers were not completely fixated by broadcast hours and broadcast times. In the internet era, people can watch TV anytime and anywhere. Besides, we do not necessarily watch TV shows from the TV set but our smartphone or laptop gadget. Video streaming services are now increasingly popular in various circles because it can be accessed quickly, anytime, and anywhere. As a significant media business in Indonesia, MNC Group is widening its market presence by launching RCTI+ to gain a large share in digital advertising. To complement its already strong FTA position, RCTI+, a multi-application, including the streaming TV and Video on Demand service, is expected to be Indonesia's most extensive streaming service. How marketing communication in the digitization process since MNC Media must reach a new audience is the digital audience. This article will examine how MNC Media conducts communication marketing in the digitization process in its television business by building RCTI+ to reach its new audiences or digital audiences. This paper used the Descriptive Qualitative method, and this research collects data by interviewing the Chief Operating Officer and Dept. Head of Promotion RCTI+, conducting literature and document studies. Based on the research results, RCTI+ integrates its promotional pillars acquisition and retention, running simultaneously to harmonize its marketing communication.  RCTI+ strives to build a brand and profitable relationships with customers through these two pillars to create brand equity.

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