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.

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.

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.

scholarly journals Taxonomía de las series de televisión españolas en la era digital (2000-2020)

2021 ◽  
Author(s):  
Javier Mateos-Pérez ◽  
Rebeca Sirera-Blanco
Keyword(s):  
Economic Crisis ◽  
Video On Demand ◽  
Complete Characterization ◽  
Channel Number ◽  
Digital Television ◽  
Female Characters ◽  
Television Series ◽  
On Demand ◽  
Digital Era

This article analyzes all fiction series and miniseries produced and broadcasted in Spain on linear and digital television channels as well as video-on-demand platforms in the period 2000–2020. The aim is to collect, quantify, classify, and characterize Spanish-produced television series. A methodology with a mixed, quantitative–qualitative design is proposed to quantify, classify, and categorize the 545 identified fictional works. The resulting database includes fields for the year of first broadcast, format, genre, platform, channel, number of episodes and seasons, duration, and rating. This taxonomy is the first to present a complete characterization of all fictional series produced and broadcasted in Spain during the digital era. Based on the results, three periods can be distinguished: the development of the series, the economic crisis of 2008, and the arrival of video-on-demand platforms in Spain. It is concluded that comedies have been overwhelmed by other major genres, such as dramas or police series. Television series are adapting to the new society that consumes them, portraying its social debates, fears, and aspirations through new themes while also reducing their length, mixing some genres with others, and with an increasing presence and prominence of female characters to the detriment of men. Resumen Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.

Tobacco content in video on demand services in low- and middle-income countries

2020 ◽  
Vol 30 (Supplement_5) ◽  
Author(s):  
I Fitzpatrick ◽  
D Byrne ◽  
J Cranwell ◽  
A Gilmore
Keyword(s):  
Tobacco Use ◽  
English Language ◽  
Video On Demand ◽  
Tobacco Exposure ◽  
Middle Income ◽  
Broadcast Media ◽  
Middle Income Countries ◽  
On Demand ◽  
Smoking Uptake ◽  
Low And Middle Income

Abstract Background There is clear evidence that exposure to tobacco is linked to smoking uptake. The economic and social burden of diseases associated with smoking is particularly high in low-and middle-income countries, where smoking uptake is high and exposure to tobacco use and branded content is widespread. Streamed content exhibits consistently higher levels of tobacco content than broadcast media and these levels have increased. The prevalence of smoking and tobacco content in video-on-demand (VOD) services is troubling given their popularity with youth audiences and the ease with which content can be accessed by children. This is because barriers to youth consumption that exist for film or broadcast media, including content gatekeepers, are absent. Methods The most popular VOD series from 10 low- and middle-income countries (Bangladesh, Brazil, China, India, Indonesia, Mexico, Pakistan, Philippines, Ukraine and Vietnam) were identified based on demand expressions and coded for individual depictions of tobacco. 18 series were analysed, representing a mix of international content in several languages. 111 episodes, totalling 81.4 hours of coded content, were analysed for tobacco depictions and characterisation of smoking characters. Results Tobacco content was prevalent and particularly prominent in non-English language series, where readily identifiable “stars” frequently partook in smoking. Cigarettes dominated tobacco imagery, with other forms (pipes and electronic nicotine delivery systems) rarely appearing. Notably, there were several incidents featuring well-known brands. Given that access to VOD services is difficult to moderate, youth audiences can easily access programming featuring high levels of tobacco use by identifiable characters, played by well-known actors. A lack of control regarding consumption of streamed content means that it is extremely important for content producers like Netflix and Amazon to ensure VOD content is suitable for youth audiences. Key messages Tobacco content in video-on demand services is increasing. Tobacco exposure is linked to smoking uptake.

Article 13—Negotiation Mechanism

2021 ◽  
pp. 235-238
Author(s):  
Eleonora Rosati
Keyword(s):  
Member State ◽  
Decisive Role ◽  
Video On Demand ◽  
Single Market ◽  
On Demand ◽  
Negotiation Mechanism

This chapter analyzes Article 13 of Directive 2019/790, the European copyright order in the Digital Single Market, which focuses on negotiation mechanism. It highlights the conclusion of an agreement for the purpose of making available audiovisual works on video-on-demand services for parties facing difficulties related to the licensing of rights. It also considers the impartial body established or designated by a Member State that provides assistance to the parties with their negotiations and help the parties reach agreements. The chapter describes video-on-demand services that have the potential to play a decisive role in the dissemination of audiovisual works across the Union. It looks at agreements on the online exploitation of audiovisual works, which can be difficult to conclude due to issues related to the licensing of rights.

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.

TV miniseries or long-form film? A narrative analysis of The Haunting of Hill House

2020 ◽  
Vol 11 (2) ◽  
pp. 207-220
Author(s):  
Sotiris Petridis
Keyword(s):  
Narrative Analysis ◽  
Video On Demand ◽  
Consumption Patterns ◽  
Television Drama ◽  
On Demand ◽  
Long Form

In the last decade, the television landscape has drastically transformed with the digitalization of the medium. Subscription video on demand platforms have started to produce original content and as such, are changing distribution and consumption patterns of contemporary TV series. Netflix, one of the main platforms that instigated this change, has systematically produced original drama and comedy content indented for binge-watching. The Haunting of Hill House is a recent example of these Netflix original miniseries. In this article, I analyse the overarching story of the series and argue that the structure of the narrative works more like a long-form film rather than a TV series. In doing so, I comment on the nature of television drama writing in this new binge-watching era.

Transnational Viewers of Turkish Television Drama Series

2017 ◽  
Vol 5 (1) ◽  
pp. 25-43
Author(s):  
Deniz Özalpman
Keyword(s):  
Trade Flows ◽  
Television Series ◽  
Television Drama ◽  
Consumption Practices ◽  
Austrian Capital ◽  
Depth Interviews

Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries. 

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.

Sign in / Sign up

Export Citation Format

Share Document