scholarly journals The ‘Netflix Original’ and what it means for the production of European television content

2021 ◽  
Vol 16 (3) ◽  
pp. 304-325 ◽  
Author(s):  
Adelaida Afilipoaie ◽  
Catalina Iordache ◽  
Tim Raats
Keyword(s):  
Video On Demand ◽  
European Market ◽  
Small States ◽  
Investment Strategies ◽  
On Demand ◽  
Television Content ◽  
Contextual Characteristics ◽  
Significant Uptake ◽  
Investment Patterns

The European audiovisual market has unique contextual characteristics that constrain the sustainability and development of audiovisual content. Among other shifts, the rise of global subscription video-on-demand players like Netflix have been reshaping this market. Although Netflix has been investing in Europe, little is known about their actual investment strategies. This study’s goal is to analyse Netflix original investment in European scripted series and examine their implications for the European market. Based on a mapping of all European Netflix Originals, we identify four investment patterns. The analysis shows a significant uptake of Netflix investment, yet concurrently these reinforce existing discrepancies between large and small states in Europe.

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

2021 ◽  
pp. 135485652110473
Author(s):  
Catalina Iordache ◽  
Tim Raats ◽  
Adelaida Afilipoaie
Keyword(s):  
Video On Demand ◽  
European Market ◽  
Audience Reception ◽  
Investment Strategies ◽  
Visual Content ◽  
Media Ownership ◽  
On Demand ◽  
Cross Border ◽  
Production And Distribution ◽  
European Markets

Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform’s investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets.

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.

TV Brand-Casting, Svod, and Ott at Comcast and Disney

2019 ◽  
pp. 181-208
Author(s):  
Jennifer Gillan
Keyword(s):  
Video On Demand ◽  
Parks And Recreation ◽  
On Demand ◽  
Television Content ◽  
Rapid Spread ◽  
Promotion Strategies ◽  
Parent Companies

Jennifer Gillan’s chapter looks at how television sitcoms have become another promotional arm by which parent companies prop up their franchises. She considers how sitcoms can play a part in what she calls ‘transmedia marketing circuits,’ looking specifically at the content-as-promotion strategies connected to Black-ish (ABC, 2014-Present) and Parks and Recreation (NBC, 2009-2015). The essay demonstrates that, with the rapid spread of subscription video on demand services that are either directly owned by or are supplied with content from the studios, television content is but one group of repurposable and reusable assets in massive, integrated platforms.

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.

No More Drama

2021 ◽  
pp. 274-299
Author(s):  
Álvaro J. Rojas-Lamorena ◽  
Salvador del Barrio-García ◽  
Juan Miguel Alcántara-Pilar
Keyword(s):  
Video On Demand ◽  
Academic Work ◽  
The Internet ◽  
Television Series ◽  
Television Drama ◽  
On Demand ◽  
Television Content

The undeniable development of the television series sector in recent years has resulted in viewers having access to a large amount of television content, thanks largely to the development of technologies such as the internet and the emergence of video on demand. Given the scarcity of academic works that categorise these television contents, this chapter comes to conceptually delimit the television drama genre, as well as its different sub-genres. With this, the authors seek to centralise in a single academic work the main characteristics of each dramatic sub-genre that causes a series to be ascribed to a certain category, serving as a guide for potential academic works related to this growing sector.

Video-on-Demand as Public Service Television

2018 ◽  
Author(s):  
Catherine Johnson
Keyword(s):  
Public Service ◽  
Video On Demand ◽  
The Internet ◽  
High Quality ◽  
Commercial Media ◽  
Air Content ◽  
On Demand ◽  
Television Content ◽  
Quality Programming ◽  
The Uk

Public service broadcasters (PSBs) are operating in a media landscape in which the increased convergence of the Internet and television has blurred the distinctions between broadcast and on-demand TV. In this environment, people can switch easily between live/linear and on-demand viewing within the same interface and access television content through a range of online and Internet-connected services. This chapter suggests that the case for PSB becomes stronger as traditional broadcast and Internet services merge. In a fully commercial media landscape, economically disadvantaged audiences are under-served because they are less able to pay for services and less attractive to advertisers. By providing free-to-air content, PSBs ensure that video-on-demand serves all of the UK public with high-quality programming that entertains, educates, and informs.

scholarly journals НОВІ МОДЕЛІ МОНЕТИЗАЦІЇ ТЕЛЕБІЗНЕСУ В ПРОЦЕСІ ІНТЕГРАЦІЇ ТЕЛЕВІЗІЙНИХ РЕСУРСІВ В ІНТЕРНЕТ

World Science ◽  
2018 ◽  
pp. 57-63
Author(s):  
Черемних І. В.
Keyword(s):  
Digital Technology ◽  
Business Models ◽  
Video On Demand ◽  
The Internet ◽  
On Demand ◽  
Television Content ◽  
New Models

The article is devoted to the problem of introduction of new models of TV business monetization in the process of integration of television resumes on the Internet. Traditional television experiences one of the most difficult periods of its existence in the era of digital technology. Ukrainians are increasingly using the Internet to access television content. Video on Demand (VoD) is gradually becoming a new video consumption paradigm. The consumer adjusts the view for himself takes into account his advantages.Television managers need to figure out the weakest and strongest media points and should answer questions. How to prevent the process of passing the audience to the Internet? What alternative resources can be offered to TV audiences? What are the ways to monetize TV content when known business models are outdated?

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.

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