Expansion of the core business of traditional media companies in Spain through SVOD services

The strategic importance of the internet for television became evident in the early 2000s, even destabilizing its very concept and finally resulting in convergence towards a profound transformation of the sector. The introduction of global over-the-top (OTT) media services into local markets has led to strategic changes in multimedia groups. This study considers the subscription video-on-demand (SVOD) services of Atresmedia and Mediaset España, the two main traditional media organizations in Spain that form a duopoly in the country’s commercial television sector, with the aim of understanding and evaluating their positioning strategy in this market and the results obtained through the diversification of their core business. Based on an analysis of their content, price, and promotion policies and the results in terms of subscriptions and revenues, slight differences emerge regarding the strategy and scope of these two groups in their own environment in the sector. They compete for customers to achieve growth in the audiovisual market while seeking to retain a cross-media, multiplatform audience, as well as expand their core business of commercial linear television against a background of a reduction of advertising spend on television and the expected increase of hybrid financing models.

KOMUNIKASI PEMASARAN LAYANAN VIDEO STREAMING DAN ON DEMAND MNC GROUP (STUDI KASUS: APLIKASI RCTI+)

Current TV and video viewing patterns have changed. Viewers were not completely fixated by broadcast hours and broadcast times. In the internet era, people can watch TV anytime and anywhere. Besides, we do not necessarily watch TV shows from the TV set but our smartphone or laptop gadget. Video streaming services are now increasingly popular in various circles because it can be accessed quickly, anytime, and anywhere. As a significant media business in Indonesia, MNC Group is widening its market presence by launching RCTI+ to gain a large share in digital advertising. To complement its already strong FTA position, RCTI+, a multi-application, including the streaming TV and Video on Demand service, is expected to be Indonesia's most extensive streaming service. How marketing communication in the digitization process since MNC Media must reach a new audience is the digital audience. This article will examine how MNC Media conducts communication marketing in the digitization process in its television business by building RCTI+ to reach its new audiences or digital audiences. This paper used the Descriptive Qualitative method, and this research collects data by interviewing the Chief Operating Officer and Dept. Head of Promotion RCTI+, conducting literature and document studies. Based on the research results, RCTI+ integrates its promotional pillars acquisition and retention, running simultaneously to harmonize its marketing communication. RCTI+ strives to build a brand and profitable relationships with customers through these two pillars to create brand equity.

Strategi Digitalisasi dan Viabilitas PT Visi Media Asia Tbk di Masa Pandemi Covid – 19

Perkembangan teknologi komunikasi membawa perubahan pada industri media, ditambah dengan adanya pandemi covid-19 yang membuat media terpaksa harus membatasi ruang gerak karena adanya aturan baru. Industri media harus merumuskan ulang strategi di masa pandemi dan memaksimalkan saluran digital. Paper ini berupaya untuk mengkaji strategi digitalisasi yang dilakukan oleh PT Visi Media Asia Tbk atau VIVA selama masa pandemi covid-19 di tahun 2020. VIVA mengimplementasikan empat strategi digital untuk perusahaannya: peluncuran online sites, video on demand, dan aplikasi, serta pemanfaatan media sosial. VIVA juga melakukan integrasi saluran televisi ke website, serta perumusan ulang daypart slot di TV FTA Channelsnya. Strategi digital ini memberi beberapa perubahan dan implikasi terhadap viabilitas industri media VIVA yang dikaji melalui performa finansialnya.

The Effectiveness of Facebook Advertisements of Subscription-based Video-On-Demand Streaming Services to Filipino Millennials

Subscription-based Video-on-Demand streaming services (SVODs) are popular hits nowadays on the online platform. The success of these SVODs is indeed dependent on consumer acceptance; however, the preference of the latter might vary. This study focused on targeting the millennials, as they are the biggest consumers of SVODs, by looking at Facebook advertisements, social pressure, consumer attitude, and purchase intention as the driving variables. This study included 196 respondents gathered through convenience sampling and was statistically processed through a linear regression to help determine the significance between variables contributing to a consumer’s purchase intention of SVODs. Results show that social pressure and attitude significantly affect millennials' purchase intentions for SVODs in Central Luzon. Thus, the researchers recommend that SVOD companies develop Facebook advertisement content that is vigilant of their consumers' preferences, such as eliciting an attitude and social pressure. This study also suggests different strategies to capture millennials in Central Luzon further.

Hacia un nuevo canon televisivo: La historia reciente de la ficción española creada para el VOD (2016-2020)

Introducción. El presente trabajo analiza el estado actual de la producción de la ficción española seriada para las plataformas de video on demand (VOD), desde una perspectiva canónica que permita establecer características y patrones comunes en los contenidos seriados de producción española de las plataformas de VOD y que ofrezca la posibilidad de esbozar una historia reciente de la ficción española creada para ser emitida en el universo in streaming. Metodología. Basado en una metodología mixta que combina el análisis cualitativo con los datos cuantitativos, en el artículo se analizan un total de 60 series creadas para las plataformas de mayor alcance en España y se establecen patrones sobre formas, estilos y cuestiones narrativas. Resultados. Los resultados apuntan a un interés creciente por la producción de ficción española para el VOD, motivada por la demanda de las plataformas y sus audiencias, con unas características productivas propias, que marcan la nueva forma de hacer ficción española. Discusión y conclusiones. A pesar de que se evidencia poca innovación y transgresión en lo que a narraciones y relatos se refiere, el trabajo pone de manifiesto un canon productivo naciente que se repite y que asienta un sello personal que beneficia la acogida de la ficción española en las plataformas de VOD.

Plataformas de contenidos audiovisuales y el product placement: el caso Netflix

Desde muy pronto, en la primera mitad del siglo pasado, con el desarrollo del cine como industria, el product placement o emplazamiento de producto ha estado presente en muchas de las obras, cobrando cada vez más importancia e insertándose - al mismo tiempo - en todo tipo de formas artísticas y culturales. En los últimos años, con la aparición y creciente desarrollo de las SVOD (Subscription Video On Demand), el product placement no ha tardado en incorporarse a este nuevo modelo de consumo de contenidos audiovisuales. Netflix, una de las SVOD pioneras, ha convertido esta plataforma en un medio ideal en el que las marcas se están insertando a pesar de su modelo aparentemente “sin publicidad”. Esta investigación analiza la presencia del product placement en las series de la plataforma Netflix, sirviendo como ejemplo referencial de otras plataformas con el mismo modelo. Mediante el uso de la metodología cualitativa y cuantitativa, como son la encuesta y el análisis de contenido respectivamente, se confirma la existencia de esta técnica publicitaria en la plataforma, analizando al mismo tiempo su tipología, así como el beneficio que se advierte del uso de la misma entre los usuarios de este tipo de plataforma.

Streaming Wars. La nueva televisión [Reseña]

Con Streaming Wars, la licenciada en Derecho y Comunicación Audiovisual y especializada en nuevos modelos de distribución de contenidos de video digital, Elena Neira, hace un repaso al panorama audiovisual actual y a su historia más reciente. El análisis de las principales plataformas de Video On Demand (VOD) y su funcionamiento, es esclarecedor dentro del contexto de continua evolución y mutación que estas experimentan. El carácter divulgativo de la obra, hibridado con el tono más académico que en ocasiones es necesario para describir algunos fenómenos más complejos del ámbito de la comunicación, hacen que esta obra sea fácilmente accesible para el gran público, pero también resulta muy útil para el sector profesional y académico a la hora de comprender mejor cómo el ecosistema de medios audiovisuales ha evolucionado durante la última década. Asimismo, este libro se constituye como una especie de manual que pretende esclarecer el pasado reciente de este tipo de servicios, así como lanzar hipótesis de cara a su futuro más inmediato.

Netflix's Strategy to Dominate the World's Entertainment Media Market After the Death of Blockbuster

Multinational corporations (MNCs) are non-state actors who have a significant role in international relations. Globalization has facilitated the development of MNCs as well as the transformation of media. It impacts the presence of multinational entertainment media companies operating with the SVOD (Subscription video-on-demand) system like Netflix and Blockbuster. Netflix chooses Indonesia as one of its potential markets. However, Netflix has to face new competitors and resolve several obstacles and regulations from other companies and governments in Indonesia. This research aims to find out and analyze the strategy of Netflix is dominating the Entertainment Media market in Indonesia with the concept of MNC, international strategy, and competitive advantages. This research used a qualitative approach with descriptive methods where the data collection came from secondary data such as books, academic literature, and news portals. In data analysis, the researcher reviews and draw an explanation regarding the phenomenon. The strategies and efforts made by Netflix can make Netflix become the number one choice for the SVOD platform in the Indonesian market based on the supremacy that Netflix has, especially in providing original content. By developing its strategy, Netflix can continue to internationalize its product services in the Indonesian market.

Quality Control of Subtitles

Quality control of subtitles is a relatively unresearched field, even though it has a significant influence on the overall quality, and thus viewers’ experience of subtitles. It is carried out in different ways: various language service providers and broadcasters have different procedures, for instance, it sometimes solely involves proofreading. An online questionnaire has been distributed among professionals involved in the production chain of subtitles: broadcasters, streaming and video-on-demand services, vendors also known as language service providers, subtitlers, quality controllers and proofreaders.The hope is that this report will enable professionals involved in quality control of subtitles to further enhance their quality control procedures. The results of this research could also be used in experimental investigation of viewers’ perception of quality in subtitling by using the same research methods applied in this study. Lay Summary We do not know much about the quality control of subtitles on which many viewers depend to be able to follow TV content in foreign languages, or because they are deaf or hard-of-hearing. I conducted research by means of an online questionnaire among professionals and organisations involved in the production of subtitles to check how and whether they ensure viewers get subtitles of the highest possible quality. One of the main findings of the survey is that all professionals involved in the subtitling process think that the quality of subtitles is important, and that freelance subtitlers largely don’t think their clients pay enough attention to subtitling quality. The questionnaire was sent to TV and streaming broadcasters, agencies that work as intermediaries between broadcasters and subtitlers, quality controllers and proofreaders. Based on the findings of this survey, I have recommended several steps that can be taken to ensure better quality subtitles.