scholarly journals The Necessity of the Digital Single Market Strategy for Small Media Markets: Case of the Biggest Video-on-Demand Platforms in Lithuania and Estonia

2018 ◽  
Vol 12 (12) ◽  
pp. 5-38
Author(s):  
Audrius Dabrovolskas
Keyword(s):  
Mass Media ◽  
Video On Demand ◽  
Single Market ◽  
Market Strategy ◽  
Goods And Services ◽  
On Demand ◽  
Film Distribution ◽  
Media Markets ◽  
The Baltic ◽  
Limited Choice

This article analyzes the biggest Lithuanian and Estonian video-on-demand (VOD) platforms including Telia, their capabilities for fostering European film production and mass media in general. It is important to accentuate that non-linear TV and VOD services are attracting more and more users in Europe, and it is even considered that VOD could become a strong competitor for theatrical releases in film distribution, while, in the context of mass media, the growth of users might be associated with potential threats of propaganda, which still has its own distribution mechanisms within linear TV. However, the audiovisual content that is being supplied for the users of VOD platforms and TV is also regulated by the Audiovisual Media Service Directive (AVMSD). Without regulation, the users of VOD platforms and TV might face a limited choice of audiovisual content. Therefore, the Digital Single Market (DSM) strategy is aimed at creating a single market in Europe and eliminating the geo-blocking that limits user abilities to use VOD services during travel across borders while also establishing better access to digital goods and services at the same time. Looking from the perspective of the VOD platform, a DSM strategy might bring about a monopolization of VOD services in Europe; in that case, the little markets of the Baltic States would suffer. Another important issue that small media markets come across is related to the level of propaganda that is being transmitted from Russian TV channels that are registered in different EU countries. The article argues, and the research results show, that a DSM strategy and the elimination of geo-blocking do not eliminate the problem of fostering European audiovisual content that is and could be available to the users of VOD platforms in Lithuania and Estonia, and that these measures do not pay significant attention to EU’s consumer protection issues.

scholarly journals New Media in Film Distribution in Bangladesh: Bane or Boon?

2021 ◽  
Vol 7 (4) ◽  
pp. 257-280
Author(s):  
Saiyeed Shahjada Al Kareem
Keyword(s):  
New Media ◽  
Distribution System ◽  
Distribution Systems ◽  
Video On Demand ◽  
Qualitative Approach ◽  
Distribution Costs ◽  
On Demand ◽  
Film Distribution ◽  
Depth Interviews

The research explores the little-understood phenomena of new media based film distribution system in Bangladesh, finds the consequences of new media in film distribution, and makes a recommendation for developing an effective film distribution system. This research employs a qualitative approach where in-depth interviews of people involved in traditional and online film distribution systems are taken to collect data. The study finds that new media based film distribution is an emerging sector in Bangladesh, and it will strengthen the overall distribution system by reducing the distribution costs and increasing revenue. Keywords: new media, internet, online, film distribution, video on demand

scholarly journals ‘If you can’t beat them, be them’

2021 ◽  
Vol 37 (70) ◽  
pp. 050-065
Author(s):  
Tim Raats ◽  
Tom Evens
Keyword(s):  
Joint Venture ◽  
Video On Demand ◽  
The Political ◽  
Competitive Advantages ◽  
On Demand ◽  
Small Market ◽  
Media Markets ◽  
Streaming Services ◽  
Market Factors

Faced with heavy competition of global subscription-video-on-demand (SVOD) streaming services, along with increased pressure on fi nancing and distribution of domestic content, legacy media players are increasingly exploring the potential of local SVOD services as domestic alternatives to global platforms such as Netflix and Disney+, often in collaboration with other European broadcasters and/or distributors.This article presents an in-depth case study of Streamz, a domestic SVOD alternative launched in Belgium in September 2020. Building on scholarly work on media disruption and platform power, the case study examines the political and market context that shaped the existence of the platform, and critically analyses the strategies pursued by legacy media players in attempting to develop and emulate key competitive advantages of global SVOD players. The article demonstrates how a persistent policy push to collaborate in a small market resulted in an unusual joint venture and, at the same time, how diff erent market factors, most of them characteristic for small media markets, pose signifi cant challenges for domestic players to develop a profi table platform in Europe, let alone be able to stand achance in a highly competitive streaming market.

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.

What is Television ? (Re) Defining the medium

2019 ◽  
Author(s):  
Marc C-Scott
Keyword(s):  
United States ◽  
Mass Media ◽  
New Media ◽  
Video On Demand ◽  
The United States ◽  
Media Convergence ◽  
On Demand ◽  
The Mass Media

This paper will discuss the difficulties that have and will continue in defining the medium of television. The term has for many years been used to describe an entertainment medium which is part of the mass media landscape. It was first discussed, in the context of the medium of television, in a paper presented by Constantin Perskyi, at the International Electricity Congress during 1900. Almost thirty years later, as television broadcast tests commenced in Britain, the United States and Australia, there was still confusion and debate as to whether television was the correct term to use for the new medium.The contemporary misconception of defining television is made evident when its definition is reviewed within dictionaries, which consists of multiple definitions. This multipurpose approach and the new media landscape, which includes streaming and video-on-demand, has only created greater confusion. The evolution of television as a platform, institution and popular cultural has historically created difficulties in defining television. The increase of media convergence will exacerbate the difficulty in answering, what is television?

scholarly journals Developing the sector of remote services in rural areas to raise the employment and care of the environment

2020 ◽  
Vol 217 ◽  
pp. 07027
Author(s):  
Aleksey Parshukov ◽  
Igor Aleksandrov ◽  
Marina Fedorova
Keyword(s):  
Mass Media ◽  
Rural Areas ◽  
Professional Skills ◽  
Rural People ◽  
Goods And Services ◽  
On Demand ◽  
On Line ◽  
Remote Services ◽  
The Mass Media ◽  
High Skill

The objective of the article is to analyze the number of employees aggregated in the mass media and content sector in Russia for the period from 2010 to 2019. Mass media and content sector is one of the sectors which is developed very dynamically at the present time. Since rural people do not possess high-skill professional skills and competencies at the present time, the IT sector is excluded from the analysis. With the help of prior research of competencies and skills of rural people we also made the forecast of the most appropriate sector to produce services on- line. Then thanks to prior research about goods and services on demand in Russian e-commerce, we elaborated the list of services which rural people can produce and sell remotely with the help of Internet. This primary list recap services which almost anu individual can produce. But to be capitalized they need to be branded and advertised appropriately.

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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