scholarly journals SVOD Global Expansion in Cross-National Comparative Perspective: Netflix in Israel and Spain

2020 ◽  
pp. 152747642092649
Author(s):  
Michael L. Wayne ◽  
Deborah Castro
Keyword(s):  
Similar Pattern ◽  
Comparative Research ◽  
Industrial Process ◽  
Video On Demand ◽  
Meso Level ◽  
Global Expansion ◽  
On Demand ◽  
Pay Television ◽  
Over The Top ◽  
Cross National

This article compares the processes by which Netflix entered national pay-television markets in Israel and Spain. In both contexts, Netflix first establishes itself through collaborations with over-the-top (OTT) television operators and then expands through collaborations with legacy providers. By using the perspective of cross-national comparative research, this analysis complicates the scholarly understandings of subscription video on-demand (SVOD) global expansion by drawing attention to the significance of national multichannel providers. Given the differences between the Spanish and Israeli pay-TV markets, Netflix’s similar pattern of engagement in each case highlights the value of understanding SVOD global expansion as a coherent industrial process that produces distinct, context-dependent outcomes. Ultimately, the histories of Netflix in Israel and Spain reveal that internationalization operates at a meso-level where collaborations with pay-television providers facilitate access to national audiences.

scholarly journals International Sales of U.K. Television Content

2016 ◽  
Vol 17 (8) ◽  
pp. 734-753 ◽  
Author(s):  
Jeanette Steemers
Keyword(s):  
United Kingdom ◽  
Video On Demand ◽  
Production Environment ◽  
On Demand ◽  
The United Kingdom ◽  
Television Content ◽  
International Distribution ◽  
Key Issues ◽  
Over The Top ◽  
International Sales

Focusing on the United Kingdom, this article addresses key issues facing the international distribution industry arising from over-the-top (OTT) digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which U.K. distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as U.K.-based distributors adapt to a changing U.K. broadcasting landscape and global production environment. At one level, increasing U.S. ownership of U.K.-based distributors and the arrival of OTT players such as Netflix highlight the tensions between the national orientations of U.K. broadcasters and the global aspirations of independent producers and distributors. At another level, video-on-demand (VOD) has boosted international sales of U.K. drama. Although the full impact of subscription VOD (SVOD) on content and rights has yet to materialize, significant changes in the industry predate the arrival of SVOD.

scholarly journals Binge Watching to Binge Serving in India: Revolution, Regulations and Restrictions of Over-the-Top (OTT) Platforms

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Biranchi Narayan P. Pand ◽  
◽  
Swayampabha Satpathy ◽  
Isha Sharma
Keyword(s):  
Industrial Revolution ◽  
Video On Demand ◽  
Regulatory Mechanisms ◽  
Regulatory Regime ◽  
Human History ◽  
On Demand ◽  
Current Scenario ◽  
Unlimited Access ◽  
Recent Trends ◽  
Over The Top

Information technology has changed the living style of people in the last few decades by its evolution and revolution. So, ‘digitalisation’ is considered as very imperative in human history especially after the ‘industrial revolution’. With the changing paradigm, digitalisation has provided enormous space for the entertainment of Individuals through the Over-the-Top (OTT) video platforms on their demand. In India, the significant growths of OTT platforms have been noticed during the last decade with an increasingly growing number of consumers. With such huge demand, a surge of consumers in India, the OTT became a commodity rather than a luxury. Further, the demands of consumers & internationalisation open up its OTT market for domestic as well as international players. The OTT players like Hotstar and Jio Cinema has expanded a stouter position, whereas global players like Netflix and Amazon Prime have also extended progressively their market share in India. According to one report, the Video on Demand (VoD) industry is still at its emerging stage but the entry of 40 VoD companies in a span of just three years indicates the popularity and demand of such industry. This huge demand has exposed the concept of ‘Binge Watching’ in India as this platform provides on-demand, anywhere access, without a commercial break and unlimited access. However, these growing OTT players and online content have faced many controversies and fought legal battles in India due to the lack of regulatory mechanisms. This paper explores the emergence & growth of OTT platforms with their recent trends in India. Further, the paper specifically focuses on the regulatory regime of OTT platforms since the beginning and its current scenario.

Policy Issues Surrounding Broadcasting

2016 ◽  
Author(s):  
Hilde Van den Bulck
Keyword(s):  
Value Chain ◽  
Video On Demand ◽  
New Public ◽  
Pay Television ◽  
Production And Distribution ◽  
Media Markets ◽  
The Media ◽  
Media Types ◽  
Over The Top ◽  
The Relationship

In Europe and elsewhere broadcasting is considered by some a “thing of the past,” and broadcasting policy subsequently as hard to develop or even no longer relevant. Broadcasting has indeed seen a considerable number of changes since its inception in the 20th century and this has created policy challenges brought on by the evolving market for audio-visual content, policymakers, and various stakeholders. In its early and “golden” years, broadcasting policies where incited by a social responsibility in thinking about the relationship between the media and the state, resulting mostly in public service broadcasting monopolies. In the 1980s these monopolies were replaced by a liberalization of broadcasting policies and markets which led to a multichannel, commercializing television landscape. Digitization and ensuing and ongoing convergence have further changed the media landscape in recent decades, questioning old boundaries between once distinct media types and markets and opening up traditional media markets to new players. As a result, the traditional process of production and distribution, the valorization of this work in the different phases hereof (the so-called value chain), and the accompanying distribution of costs and revenues (the business model) have been and are being subjected to considerable changes. For instance, “free-to-air,” that is, traditional linear broadcasting, has stopped being the only channel of distribution as “video-on-demand” (VoD), pay television, “over-the-top content”-services (OTT), and other platforms and services bring products to new and different markets, allowing for a diversification across several valorization “windows.” Broadcasting has evolved into an audiovisual industry which poses new challenges to media policymakers as the ex ante testing for new public services and signal integrity cases illustrate. Broadcasting thus is not so much dying as constantly transforming, posing ever new changes to policymakers.

Video-on-demand services in Latin America: Trends and challenges towards access, concentration and regulation

2019 ◽  
Vol 10 (1) ◽  
pp. 109-126
Author(s):  
Mariela Baladron ◽  
Ezequiel Rivero
Keyword(s):  
Latin America ◽  
Comparative Study ◽  
Vertical Integration ◽  
Public Interest ◽  
Video On Demand ◽  
Visual Content ◽  
On Demand ◽  
Pay Tv ◽  
New Entrants ◽  
Over The Top

In this article, an analysis of the over-the-top video on demand (VOD OTT) services’ market in Latin America is proposed, to account for its penetration, relationship with traditional pay-TV, content policies and current (and nowadays under debate) regulations for the sector. The analysis departs from a comparative study on the five main audio-visual markets of the region: Argentina, Brazil, Chile, Colombia and Mexico, within which it is analysed Netflix, the predominant VOD OTT service. First, it will be argued that Internet’s potential to generate higher levels of competition and diversity from online distribution of audio-visual content has been limited by practices of vertical integration between a few new entrants and pre-existing, dominant players of the infocommunications industry. Secondly, the State’s role as a guarantor of public interest is discussed, particularly in periphery contexts with deeply structural asymmetries, as is the case in the countries mentioned above.

STANDPUNKTE: Cloud-TV - Idee, Ausgestaltung und Wirkung

2017 ◽  
Vol 14 (2) ◽  
pp. 26-33
Author(s):  
Arnold Picot ◽  
Hermann Rotermund ◽  
Helwin Lesch
Keyword(s):  
Video On Demand ◽  
Internet Research ◽  
Sich Eine ◽  
On Demand ◽  
Arnold Picot

Das Medium Fernsehen hat sich in den letzten Jahrzehnten eher inkrementell weiterentwickelt. Durch neue Übertragungswege wie Satelliten und Kabelnetze haben sich Programmspektrum und Darstellungsqualität deutlich verbessert. Smartphones und andere Endgeräte ermöglichen den Zugriff auf Inhalte jenseits des klassischen Fernsehers. Mit Cloud-TV deutet sich nun eine grundlegende Veränderung an. Cloud-TV bündelt lineares Fernsehen, Video-on-Demand-Dienste und zahlreiche weitere Dienste in einem Angebot, das ein Nutzer von allen Endgeräten aus nutzen kann. Es stellt die bekannten Muster der Mediennutzung, der Wertschöpfung im Medienbereich und die vorhandene Regulierung genauso in Frage wie die Arbeitsteilung zwischen privaten und öffentlichen Anbietern. Diesem Thema hatte das Munich Center for Internet Research (MCIR), ein interdisziplinäres Forschungszentrum der Bayerischen Akademie der Wissenschaften, am 16. Mai 2017 eine Veranstaltung gewidmet. Im Rahmen einer Podiumsdiskussion hatten sich Arnold Picot, Hermann Rotermund und Helwin Lesch intensiv mit dem Thema Cloud-TV auseinandergesetzt. Nachfolgend findet sich eine Zusammenfassung ihrer Statements. Wir knüpfen damit an den Beitrag aus Heft 3/2016 zur Zukunft des Fernsehens und speziell zu der Rolle der öffentlich-rechtlichen Rundfunkanstalten in Zeiten der Cloud an. Sicherlich beschäftigen wir uns aber nicht das letzte Mal mit der Zukunft des klassischen Fernsehens!

Amazons Kampf um das Wohnzimmer

2016 ◽  
Vol 13 (3) ◽  
pp. 37-39
Author(s):  
Ralf Kaumanns
Keyword(s):  
Streaming Media ◽  
Video On Demand ◽  
Video Content ◽  
On Demand

Der Kampf um das Wohnzimmer ist voll entbrannt. Eine Reihe von Anbietern versuchen Streaming Media-Dienste im deutschen Markt zu etablieren. Amazon hat sich mit seiner Strategie eine marktführende Rolle erarbeiten können. Laut einer Analyse von Goldmedia¹ besitzt Amazon mittlerweile einen Anteil im Video-On-Demand-Markt von 38,9%, deutlich vor Wettbewerbern wie Apple, Maxdome, Google oder Netflix. Der Erfolg kommt nicht von ungefähr. Der Grund liegt vor allem in einer umfassenden Strategie rund um das Thema Bewegtbild und Video Content. Im Kampf um das Wohnzimmer haben selbst große und finanzkräftige Wettbewerber einen schweren Stand, um mit umfassend gebündelten Angeboten Schritt zu halten.

Kabelnetzbetreiber als Programmveranstalter?

2006 ◽  
Vol 3 (4) ◽  
pp. 51-56
Author(s):  
Constantin Lange ◽  
Bernd Kleinsteuber ◽  
Thomas Hintze
Keyword(s):  
Video On Demand ◽  
On Demand ◽  
Triple Play ◽  
Pay Tv

Als Premiere bei der Vergabe der Bundesliga-Fernsehrechte für die nächsten drei Jahre durch die DFL leer ausging, wurde von dort eine ordnungs- und medienpolitisch relevante Kritik geäußert. Arena, der neue Inhaber der Pay-TV-Rechte, ist nämlich eine hundertprozentige Tochtergesellschaft des Unternehmens Unity Media, das gleichzeitig die Kabelnetze von ish, iesy und Tele Columbus betreibt. Bisher war die Trennung von TV-Programm und -Distribution nicht nur ein Prinzip der Medienpolitik, sondern auch ein struktureller Vorteil aus ordnungspolitischer Sicht, da es den funktionierenden Wettbewerb auf der Programmebene von eventuellen Wettbewerbsproblemen auf der Distributionsebene unabhängig macht. Mehr als die Hälfte aller Haushalte erhalten ihre Fernsehprogramme über das TV-Kabel, das überall ein regionales Monopol besitzt. Allerdings steht das TV-Kabel in Substitutionskonkurrenz zu anderen Distributionswegen wie Satellit und Terrestrik (insb. DVB-T) und zukünftig auch zu den aufgerüsteten, breitbandigen Telekommunikationsnetzen (insb. VDSL) im Kontext von Triple Play. Diese verschärfte Wettbewerbssituation, die die Geschäftsmodelle der Kabelnetze in Gefahr bringt, zwingt diese, nach neuen Erlösmöglichkeiten Ausschau zu halten. Solche können einerseits im Angebot von Telefon- und Internetdiensten bestehen und andererseits im eigenen Angebot audiovisueller Inhalte, insbesondere als Pay-TV oder Pay-per-View bzw. Video-on-Demand. Damit ist die Interessenkollision zwischen Kabelnetzbetreibern und Programmanbietern vorgezeichnet. Im Folgenden beziehen Dr. Constantin Lange von der RTL inter active GmbH, Bernd Kleinsteuber von der Cablecom GmbH und Prof. DI Thomas Lange von der UPC Austria mit ihren Standpunktbeiträgen Position auf die Frage: Kabelnetzbetreiber als Programmveranstalter?

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