Global streamers: Placing the transnational at the heart of TV culture

2021 ◽  
Author(s):  
Jean K. Chalaby
Keyword(s):  
Professional Practice ◽  
Video On Demand ◽  
Video Sharing ◽  
On Demand ◽  
Cross Border ◽  
Transnational Media ◽  
The Status ◽  
History Of ◽  
Media Globalization ◽  
Tv Culture

As media globalization has progressed, transnational media have evolved, and this article contends that a new generation has emerged. The first that developed in the latter part of the twentieth century consists of cross-border TV networks and formats. The second is the rise of streaming platforms. During the first generation, the transnational remained a professional practice out of viewers’ reach. With the arrival of the second generation, the transnational has become an everyday mode of media consumption and interaction. Online entertainment services have altered the status of the transnational within TV culture, and what was once at the margins now sits at the core. This article theorizes the notion of the transnational before examining the first and second generations of cross-border media. Considering the advent of streaming, it divides the market into three spaces: subscription video on demand (SVoD), advertising video on demand (AVoD) and video sharing. This article demonstrates how transnational consumption makes SVoD platforms more cosmopolitan than cross-border TV networks. Turning to video-sharing platforms – YouTube in particular – it argues that in the history of TV culture this constitutes a shift in status of the transnational by turning a professional practice into a popular one performed by millions. Based on interviews, this article shows how international access lowers the threshold of economic viability for content creators, while users get involved in cross-border conversations through memetic videos and comments. It is no longer place but technology that determines the fate of stories and ideas, and internet delivery has loosened the ties between TV culture and national culture more than ever.

The changing context of age-based classification and policy research in the age of subscription-video-on-demand

2021 ◽  
Vol 12 (2) ◽  
pp. 311-324
Author(s):  
Rachel Cole
Keyword(s):  
Policy Research ◽  
Video On Demand ◽  
Media Consumption ◽  
Transnational Governance ◽  
Moral Panics ◽  
On Demand ◽  
History Of

This article draws on a history of media classification in Australia to consider how this field is developing. The focus is on age-based classification of commercially and professionally produced content, specifically made available through streaming and subscription-video-on-demand (SVOD) platforms. As platform company Netflix steps into the terrain of regulation, this environment is changing quite dramatically. The Netflix tool emerges in a governmental space characterized by new and emerging transnational governance and monitoring Boards, ghost work and moral panics in the form of online firestorms. Questions developed in the time of legacy media that consider human and machine, and industry and government as working separately, are confronted by new practices and points of inquiry with impacts broader than Australian media consumption.

Locating SVOD in Australia and Mexico: Stan and Blim contend with Netflix

2018 ◽  
Vol 13 (4) ◽  
pp. 475-490
Author(s):  
Sofia Rios ◽  
Alexa Scarlata
Keyword(s):  
Comparative Analysis ◽  
Video On Demand ◽  
Television Production ◽  
On Demand ◽  
Transnational Media ◽  
Relative Success ◽  
Production And Distribution ◽  
Global Status ◽  
The Many ◽  
Scholarly Inquiry

This study employs a comparative analysis of industrial practices and marketing campaigns utilised by subscription video-on-demand (SVOD) platforms, Stan and Blim. It evaluates Stan’s creation and launch prior to the advent of Netflix in Australia, and the introduction of Blim well after Netflix had already established itself as the preferred SVOD in Mexico. Despite the substantial differences between the histories and impacts of these respective national television markets, this study identifies that both platforms have experienced relative success by capitalising on Netflix’s problematic ‘global’ status, by focusing on the production and distribution of content that is uniquely reflective of their geographic audiences. The aim of this research is to encourage scholarly inquiry into internet-distributed television to look beyond multinational portals like Netflix, to localise studies of transnational media and SVOD platforms and to consider the many ways that competing with Netflix has impacted the future of national television production.

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.

The status of Gideon Mantell's “first” Iguanodon tooth in the Museum of New Zealand Te Papa Tongarewa

1997 ◽  
Vol 24 (3) ◽  
pp. 397-421 ◽  
Author(s):  
JOHN C. YALDWYN ◽  
GARRY J. TEE ◽  
ALAN P. MASON
Keyword(s):  
New Zealand ◽  
Charles Lyell ◽  
The Status ◽  
History Of ◽  
Gideon Mantell

A worn Iguanodon tooth from Cuckfield, Sussex, illustrated by Mantell in 1827, 1839, 1848 and 1851, was labelled by Mantell as the first tooth sent to Baron Cuvier in 1823 and acknowledged as such by Sir Charles Lyell. The labelled tooth was taken to New Zealand by Gideon's son Walter in 1859. It was deposited in a forerunner of the Museum of New Zealand, Wellington in 1865 and is still in the Museum, mounted on a card bearing annotations by both Gideon Mantell and Lyell. The history of the Gideon and Walter Mantell collection in the Museum of New Zealand is outlined, and the Iguanodon tooth and its labels are described and illustrated. This is the very tooth which Baron Cuvier first identified as a rhinoceros incisor on the evening of 28 June 1823.

The European Charter of Local Self-Government

2015 ◽  
Author(s):  
Chris Himsworth
Keyword(s):  
Critical Study ◽  
The European Union ◽  
Future Prospects ◽  
Council Of Europe ◽  
International Treaty ◽  
Additional Protocol ◽  
Domestic Courts ◽  
The Status ◽  
History Of ◽  
Regional Authorities

The first critical study of the 1985 international treaty that guarantees the status of local self-government (local autonomy). Chris Himsworth analyses the text of the 1985 European Charter of Local Self-Government and its Additional Protocol; traces the Charter’s historical emergence; and explains how it has been applied and interpreted, especially in a process of monitoring/treaty enforcement by the Congress of Local and Regional Authorities but also in domestic courts, throughout Europe. Locating the Charter’s own history within the broader recent history of the Council of Europe and the European Union, the book closes with an assessment of the Charter’s future prospects.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

Somewhere between Human, Nonhuman, and Woman

2020 ◽  
Vol 6 (3) ◽  
pp. 21-51
Author(s):  
Debashree Mukherjee
Keyword(s):  
Object Relations ◽  
Human Body ◽  
Film Industry ◽  
The South ◽  
Hunger Strike ◽  
Cultural Events ◽  
Production Experience ◽  
Human Object ◽  
The Status ◽  
History Of

In 1939, at the height of her stardom, the actress Shanta Apte went on a spectacular hunger strike in protest against her employers at Prabhat Studios in Poona, India. The following year, Apte wrote a harsh polemic against the extractive nature of the film industry. In Jaau Mi Cinemaat? (Should I Join the Movies?, 1940), she highlighted the durational depletion of the human body that is specific to acting work. This article interrogates these two unprecedented cultural events—a strike and a book—opening them up toward a history of embodiment as production experience. It embeds Apte's emphasis on exhaustion within contemporaneous debates on female stardom, industrial fatigue, and the status of cinema as work. Reading Apte's remarkable activism as theory from the South helps us rethink the meanings of embodiment, labor, materiality, inequality, resistance, and human-object relations in cinema.

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?

Sign in / Sign up

Export Citation Format

Share Document