The Spotify Effect: Digital Distribution and Financial Growth

2017 ◽  
Vol 20 (1) ◽  
pp. 3-19 ◽  
Author(s):  
Patrick Vonderau

This article analyzes Spotify as a media company that operates at the intersection of advertising, technology, music, and finance. In doing so, this article contributes to media industry studies as a field that investigates the relation between various industrial and economic actors. Given that the media industries, as any other industry, can be defined as a set of markets, one of which is the leading market, and to which other markets are auxiliary, the question asked is what market is leading in the case of Spotify. What the article describes as the “Spotify effect” is the company’s ability to fold markets into each other: to make disappear an aggressive financial growth strategy and business set-up based on ad tech engineering by creating an aura of Nordic cool and public benefit around its use of music. Spotify’s financial strategy has implications for the digital distribution of cultural content more generally.

Author(s):  
Alina Steblyanskaya ◽  
Zhen Wang ◽  
Elena Ryabova ◽  
Svetlana Razmanova ◽  
Maxim Rybachuk

Over the past ten years have seen ambiguous situation concerning China and Russia gas companies. On the one hand, companies’ reports show conservative policies and sustainable growth in the coming years, on the other hand, companies’ financial performance suggest another situation because of insufficient level of financial indexes that reflects the inconsistency of existing sustainable growth approaches. These indicates relevance of the research concerning China and Russia gas market companies’ financial sustainable growth in conditions of global economy and investment policy implementation. The main purpose of the Research is to analyze China and Russia gas market companies’ financial growth strategy by means of Geniberg Z – matrix as well as enhanced Financial Sustainability Indicators System indexes by identifying which indicators have a greater influence on Sustainable Growth Rate. It is found that ROCE, ROFA, CR, DOL, ROL influence on Russian gas market companies’ SGR, and ROCE, WACC, ROL, CG Dummy influence on Chinese gas market companies sustainable growth.


2018 ◽  
Vol 96 (3) ◽  
pp. 894-918
Author(s):  
Sung Wook Ji

This study explores the effects of the Internet on changes in traditional media industries. Previous studies addressing the Internet’s effects on media industries have largely been conducted in a piecemeal fashion, with most tackling narrowly defined topics limited to individual media in specific countries. By taking a broader perspective on the Internet’s effects, this study examines changes in the aggregate revenue of all major media industries. Employing country-level, panel-data analysis of 51 countries from 2009 to 2013, the study shows that the Internet has led to a shift in the balance of revenue away from advertising and toward direct payments.


Author(s):  
Alessandro Delfanti ◽  
Michelle Phan

Media workers use radical remix techniques to produce content for the mainstream media industries. Rather than thinking of piracy as a form of resistance, we identify these practices of remix labor as a renewed commodification of media piracy and remix cultures (Johns 2009; Mueller 2019). Be it wanna-be influencers remaking the latest viral video on TikTok, videomakers producing dozens of rip-o-matic clips that will constitute the storyboard for TV ads, or writers churning out pieces in content farms in the hope they land on a newspaper, the media industry outsources work to and exploits masses of people who use piracy and remix to produce content based on scissor reels composed from existing audio, textual and visual materials.


2021 ◽  
pp. 016344372110227
Author(s):  
Michael L Wayne

Using the media industry studies approach, this article provides a history of the industrial discourses surrounding Netflix’s audience data. From Netflix’s entry into the streaming market in 2007 until late-2018, the company did not publicize information about viewership. During this time, executives’ public discussions of proprietary data are understood in relation to multiple organizational goals: differentiating the streaming platform from the traditional television industry, denigrating traditional television industry practices, and deflecting criticism. In late-2018, the company began selectively publishing viewership numbers for a small number of original titles to highlight the popularity of the platform’s original content. Although the company maintains its anti-transparency policies, the shift toward selective data releases has significant implications regarding Netflix’s relationship with the traditional television industry. This analysis concludes with a discussion of streaming audience data that situates in the emerging realities of ‘popular’ television in the context the medium’s broader transformations and continuities.


Author(s):  
K. E. Goldschmitt ◽  
Eduardo Vicente

The period following the end of Getúlio Vargas’s second government (1951–1954) saw a massive expansion of the media industries, with popular music in particular becoming an important cultural touchstone. A major feature of the postwar period was the politicization of music and other media such as radio, television, and social media. Other salient trends include the incorporation of international musical influences (especially jazz, rock, and countercultural postures) into Brazilian musical production starting in the late-1950s, and the rise and prominence of regional genres in the national discourse. Along with the fluctuations in the national economy, the recording industry expanded and contracted. Brazilian media industry infrastructures have taken part in artistic expression, including both major multinational record labels as well as independent record companies. Popular music production has regularly responded to the social and economic upheavals that have characterized Brazil since the end of World War II, including the military dictatorship (1964–1985). While much of the international reputation of Brazilian music in this period relies on the popularity of bossa nova, the history of the country’s media industries shows how other genres such as música popular brasileira, rock, brega, and sertanejo adapted to public tastes. Even during the height of the military regime’s repression, the efforts of record companies and recording artists saw the expansion of Brazilian popular music into still more diverse sounds, a trend that continued through the first decades of the 21st century. Interdisciplinary perspectives, including communication studies, history, anthropology, and ethnomusicology, show some possible new routes for music and cultural industry research in Brazil.


2014 ◽  
Vol 1 (1) ◽  
pp. 70-85 ◽  
Author(s):  
Iris Jennes ◽  
Jo Pierson ◽  
Wendy Van den Broeck

This paper aims to provide insights into the concept of ‘user empowerment’ in current –digital and connected- media industries. We start by defining empowerment as a concept rooted in certain research traditions that focus on user behaviour and capabilities in dealing with digital and connected technologies and the production, aggregation, distribution and consumption of content. We then oppose ‘user empowerment’ to ‘audience commodification’, a concept that highlights how the audience and its members are exploited by the media industry through their usage of digital and connected technologies. This research tradition typically looks at the meso-level of media usage and how it is embedded in the media industries. In light of this paper on media innovations, we then argue that the concepts of ‘empowerment’ and ‘commodification’ are strongly embedded in the underlying social imaginaries. This helps us to redefine ‘user empowerment’ and ‘audience commodification’ as interactive processes underlying innovation within the (commercial) media industry. We use the case of Flemish commercial television to demonstrate this hypothesis.


2016 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Urtak Hamiti

Barbaric, savage, horrific-these were terms to define the decision of the Islamic State of Iraq and Syria (ISIS) to murder its captured Jordanian pilot by burning him alive inspired a thesaurus of horror and revulsion. The men who did it, the perpetrators were described by the media as mad men, thugs, monsters. To most of the people, the act itself seemed inexplicable and without sense. However, behind the choreographed and videotaped violence lies a calculated horrible cold logic. Although, ISIS is often portrait as a mighty force on the ground in Syria and Iraq, facts state that they control mainly communications between various provinces in both countries, and, as most guerrilla armies, are militarily weak by conventional measure. ISIS has little or almost none defense against the bombing campaign that is facing now, while US has formed a coalition that is confronting them on the ground as well, after President Barack Obama published the “New Security Doctrine” which includes degrading and finally destroying ISIS. ISIS, however, have proven to be very organized in promoting dramatic acts of violence against their enemies and promoting them two achieve two goals: use terror tactics as a psychological weapon against all those facing them and all those that are to face them in combat. Secondly, through usage of social network platforms to promote killings and executions, the aim of ISIS is to encourage recruits from out of Syria and Iraq, and elsewhere, to join them in their cause. Online operations of ISIS fall under a production group called the Al Hayat Media Center. The Center was created to seduce Westerners into joining the ranks of ISIS and also to distribute propaganda through social and media platforms. It is difficult to assess the success of this operation, but solid sources provided by US military and intelligence estimate that at least 300 Americans are fighting in the ranks of ISIS (at least two Americans have been killed fighting for ISIS in Iraq/Syria region) while the number of Europeans is in thousands. The US Response to this psychological kind of warfare came when President Barack Obama established the Center for Strategic Counterterrorism Communications (CSCC) aiming to combat terrorist propaganda. The main strategy of CSCC is not directly to confront ISIS operatives, but rather than that to deal with the people they are trying to recruit. Now, with almost entire international public opinion on their side, it is time for US to more actively respond to ISIS especially in the manner of psychological warfare since it is obvious that operations of “winning hearts and minds” of people in Iraq and Syria are not enough compared to ruthless tactics of ISIS which “winning hearts and minds” by brute force, terror, and vivid violent images. The online propaganda war is a new component to conflicts of 21st century that allows enemies to reach one another’s home fronts directly. ISIS might seem not so strong on the ground but it has captured one fundamental flaw of the media of 21st century-the one that bad news is always good news and that televised violence will always have an audience. ISIS has proclaimed that its goal is to create a caliphate of 21st century but its psychological warfare and propaganda is inspiring individuals throughout the West to commit horrible terrorist crimes. Could this be another mind game set up by ISIS, it remains to be seen. However one thing is for certain, US and its allies must tackle ISIS not only by planes and other military means, but also by a strategy that would eliminate its influence in spreading their propaganda.


Author(s):  
Liana MacDonald ◽  
Adreanne Ormond

Racism in the Aotearoa New Zealand media is the subject of scholarly debate that examines how Māori (Indigenous Peoples of New Zealand) are broadcast in a negative and demeaning light. Literature demonstrates evolving understandings of how the industry places Pākehā (New Zealanders primarily of European descent) interests at the heart of broadcasting. We offer new insights by arguing that the media industry propagates a racial discourse of silencing that sustains widespread ignorance of the ways that Pākehā sensibilities mediate society. We draw attention to a silencing discourse through one televised story in 2018. On-screen interactions reproduce and safeguard a harmonious narrative of settler–Indigenous relations that support ignorance and denial of the structuring force of colonisation, and the Television Code of Broadcasting Practice upholds colour-blind perceptions of discrimination and injustice through liberal rhetoric. These processes ensure that the media industry is complicit in racism and the ongoing oppression of Indigenous peoples.


Author(s):  
Godwin Iretomiwa Simon

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.


2021 ◽  
pp. 026327642110120
Author(s):  
Alessandro Jedlowski

On the basis of the results of an ongoing research project on the activities of the Chinese media company StarTimes in Nigeria and Côte d’Ivoire, this paper analyses the fluid and fragmentary dimension of the engagements between Chinese media and African publics, while equally emphasizing the power dynamics that underlie them. Focusing on a variety of ethnographic sources, it argues for an approach to the study of Chinese media expansion in Africa able to take into account, simultaneously, the macro-political and macro-economic factors which condition the nature of China–Africa media interactions, the political intentions behind them (as, for example, the Chinese soft power policies and their translation into specific media contents), and the micro dimension of the practices and uses of the media made by the actors (producers and consumers of media) in the field.


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