"This book addresses the issues raised by digital platforms in the Global South, with an emphasis on the cultural stakes involved. It brings together an interdisciplinary team of researchers - including political economists, socio-economists, geographers, media sociologists or anthropologists - who
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each explore these issues through an insightful case study at a local, national, regional or international scale. While studying the strategies of some of the main US-based Big Tech platforms or video streaming platforms towards the Global South, the chapters also consider the often-neglected active role local or regional actors play in the expansion of those Western digital players, and highlight the existence of a constellation of local or regional platforms that have emerged in Africa, Asia, Latin America or the Middle East. In addition to analysing the complex relationships of competition, collaboration or dependence between these diverse actors, this volume examines the ways in which the rise of these digital platforms has generated new forms of cultural entrepreneurship and participated in the reconfiguring of the conditions in which cultural contents are produced and circulated in the Global South." (Publisher description)
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"New Screen Ecology in India is an open access book that provides an in depth exploration of the digital transformation of the Indian media industry. Smith Mehta takes a deep dive into the world of social media platforms and their impact on contemporary film and television production, arguing that t
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hey have fundamentally shifted the creator dynamics of these industries. Through first-hand research with creators, platform and portal executives, and intermediaries such as talent agents and multi-channel networks, Mehta develops the concept of the new screen ecology. He reveals how the Indian screen industries are affected by the social relations between these agents, and how industrial practices are blurring the amateur-professional divide through creator and content interdependencies. Mehta goes beyond theoretical analysis by interrogating the production practices of 13 different platforms and portals, including Hotstar, Netflix, YouTube, and TVFPlay. He analyses the extent to which they benefit from the lack of censorship and restrictive industrial practices that are characteristic of traditional media structures." (Publisher description)
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"This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streamin
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g TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries global regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience." (Publisher description)
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"This book places television in Africa in the digital context. It addresses the onslaught of multimedia platforms, digital migration and implication of this technology for society. The discussions in the chapters contained in this book encompass a wide range of issues such as digital disruption of t
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elevision news, internet television and video on demand platforms, adaptations, digital migration, business strategies and management approaches, PBS, consumption patterns, scheduling and programming, evangelical television, and many others." (Publisher description)
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"La primera vez que CPI midió la presencia de Netflix en los hogares, fue en el 2017, logrando una penetración de 17,4% en Lima metropolitana. Al año siguiente, 2018, Netflix experimentó un crecimiento de 62% con una penetración de 28,2%. Durante el presente año, según nuestra última mediciÃ
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³n de agosto, el crecimiento mantiene su ritmo exponencial alcanzando un 34% más respecto al 2018, y casi 120% respecto al 2017. Actualmente, la penetración es de 37,7%; sin embargo, el analisis según niveles socioeconómicos (NSE), es interesante ver que el A/B alcanzar una alta penetración con 75,8%, lo que representa un crecimiento del 91% respecto al 2017; mientras que el NSE C ha crecido crecido un 134% y el NSE D/E un 267% respecto al mismo año. Se estima para los próximos años un crecimiento mayor, no solo del servicio de Netflix, sino del servicio de streaming en general en cualquiera de sus plataformas. Este crecimiento, creemos, deberÃa reflejarse en segmentos de menores recursos, los cuales ya han ido presentando incrementos importantes." (Página 1-2)
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"Der US-amerikanische Streamingdienst kauft sich in Afrikas wichtigste Filmindustrie ein. Ob das anspruchsvollen afrikanischen Filmemachern mehr Geld und mehr Zuschauer bringt, ist jedoch fraglich." (Einleitung)
"Los ensayos del libro analizan el éxito de la serie Narcos desde una perspectiva crÃtica. Explican la popularización de la misma, su estrategia de publicidad retorcida o su poco éxito en Colombia. Y también su juego entre el realismo mágico y los «retazos» de la realidad colombiana. El libr
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o se cierra con una entrevista realizada a Sebastián MarroquÃn (Juan Pablo Escobar Henao) en la que el hijo de Pablo Escobar comparte su visión sobre Narcos como serie de ficción, sobre el problema de las drogas en Colombia y sobre su lucha constante en contra de la heroización de su padre. Es el cierre perfecto para un libro crÃtico sobre el fenómeno de la narcoficción en el siglo XXI." (Descripción de la casa editora)
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