"The handbook presents key contributions from scholars worldwide, providing a comprehensive exploration of current trends in media industries from diverse perspectives. Within the framework of understanding contemporary and future trajectories in media markets and industries, the volume delves into
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their influence on media organization and delivery, along with broader societal and market implications. Encompassing research at the crossroads of economics, management, political economy, and production studies, the handbook emphasizes the necessity for a robust interdisciplinary dialogue. Beyond scrutinizing present and forthcoming industry developments, the handbook addresses pivotal issues pertaining to media economics research methods and pedagogy." (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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"Em popularidade, as telenovelas são o equivalente, na cultura brasileira, aos blockbusters de Hollywood, aos livros best-sellers mundiais, às músicas ouvidas por milhões ao redor do planeta e aos megashows que lotam estádios. Mas, com a consolidação do streaming e das novas mídias digitais,
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qual será o futuro da telenovela e da indústria televisiva brasileira como um todo? Em A telenovela e o futuro da televisão brasileira, Rosane Svartman, cineasta, escritora, diretora, produtora, pesquisadora e autora de novelas da TV Globo como Vai na fé (2023), Bom sucesso (2019) e Totalmente demais (2015), avalia que a resposta está na convergência midiática e na participação dos espectadores. Retomando a história do formato e sua transformação ao longo de mais de meio século, o livro oferece uma imersão no universo dos folhetins televisivos. A autora analisa a estrutura das telenovelas – tanto narrativa quanto de negócios – para entender sua relação com o público e sua consequente modificação a partir da popularização das plataformas de streaming, da diversificação das telas e das demandas e desejos da audiência. Para Rosane Svartman, a telenovela, enquanto se mantiver como parte da cultura do Brasil, não perderá seu lugar como produto de massa – podendo, dessa forma, ser consumida em qualquer plataforma, mídia ou tela sem perder sua essência e relevância. “O futuro da telenovela está nas mãos do telespectador e o futuro da televisão brasileira está nas mãos da telenovela”, escreve. A telenovela e o futuro da televisão brasileira é leitura essencial não só para quem estuda e se interessa por cultura e mídia, mas para todos aqueles que desejam se aprofundar nos caminhos da cultura e da sociedade brasileiras." (Descrição da editora de livros)
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"This book explores how television in the global South is 'future-proofing' its continued relevance, addressing its commercial, social and political viability in a constantly changing information ecosystem. The chapter contributions in the book are drawn from countries in East, South and West Africa
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, the Middle East and Latin America, specially selected for their illustrative potential of the key issues addressed in the book. Scholarly attention on television in the global South has largely been limited to studying evolving television formats with broader structural issues covered almost entirely by industry reports. Major gaps remain in terms of understanding how television in the global South is changing within the context of the significant technological developments and what this means for television's future(s). The chapters reflect on these futures, not in the sense of predicting what these might be, but rather anticipating important areas of intellection. The contributors contend that much of the scholarship on the global South, by scholars from the South, is often stilted by a reluctance to anticipate. This failure leads to a largely reactionary scholarship, constantly oppositional, and unable to recentre conversations on the South. This volume finds intellectual incentive in this urgent need to anticipate, hence its particular focus on television futures." (Publisher description)
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"Este es un reporte sobre el comportamiento de los hogares con posibilidad real de consumir contenidos en línea." (commbox)
"In some of the countries, to a greater extent Spain and the Hispanic USA, fiction consistently occupies at least 40% of the programming time. This occurs in countries that, due to income levels, should be those with a higher degree of access to other sources of fiction audiovisual content, such as
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pay TV or streaming platforms. In contrast to these cases, we can observe Argentina, Brazil and Mexico, where fiction barely exceeds 15% in the years of greatest participation and is close to 10% in others. Paradoxically, both Brazil and Mexico are fiction producers and exporters to the rest of the region. Halfway between both extremes, Chile, Colombia, Peru, Portugal, Uruguay and Venezuela can be observed in the years in which it has been possible to observe their behavior. Since open television is a system of contents structured in schedules associated with household routines, it is worth asking about differences in roles and uses of television by audiences or the eventual substitution of these roles by alternative media or genres. The second aspect is one of trends. Except for the case of Spain, the general trend seems to be towards a decrease in the involvement of fiction in programming. And, although the Top 10 most watched fiction productions offer a very partial view of the whole, they also show a decrease in time of the audience levels reached." (Pages 24-25)
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"En algunos de los países, en mayor medida España y los EE.UU. Hispanos, la ficción ocupa de un modo consistente al menos el 40% de los tiempos de programación. Esto, en países que por niveles de ingreso deberían ser los con un mayor grado de acceso a otras fuentes de contenidos audiovisuales
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de ficción, como la televisión de pago o las plataformas de streaming. En contraste a estos casos, se observa a Argentina, Brasil y México, donde la ficción apenas supera el 15% en los años de mayor participación y se acerca al 10% en otros. Paradojalmente, tanto Brasil como México son países productores y exportadores de ficción al resto de la región. A medio camino entre ambos extremos se observa a Chile, Colombia, Perú, Portugal, Uruguay y Venezuela, en los años en que ha sido posible observar su comportamiento. Siendo la televisión abierta un sistema de contenidos estructurados en horarios asociados a las rutinas del hogar, cabe preguntarse por diferencias de roles y usos de la televisión por parte de las audiencias o la eventual sustitución de estos roles por medios o géneros alternativos. El segundo plano es de tendencia. Salvo por el caso de España, la tendencia general pareciera ser hacia una disminución de la participación de la ficción en la programación. Y, aunque los Top 10 de títulos de ficción más vistos ofrecen una mirada muy parcial del conjunto, en ellos también se observa una disminución en el tiempo de los niveles de audiencia alcanzados." (Página 24-25)
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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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"Die strengen Einschränkungen [aufgrund der COVID-19-Pandemie], die wir als katholische Kirche solidarisch mittragen, machen vieles, das uns bisher vertraut und selbstverständlich war, zurzeit unmöglich. Eine der schmerzlichsten Erfahrungen dabei ist der Verzicht auf die gottesdienstlichen Versam
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mlungen in unseren Kirchen. Umso erfreulicher ist es, dass es durch die modernen Medien möglich ist, vielen wenn auch fern vom Kirchenraum so doch nahe vor den Bildschirmen die frohe Botschaft zu verkünden und ihnen auf diese Weise Anteil zu geben an Christi Heilswerk. Daher gilt zunächst ein großer Dank all denen, die sich vielleicht zum ersten Mal auf dieses ungewohnte Terrain begeben, um mit Kreativität und missionarischer Bereitschaft zum Neuen diesen Dienst tun. Nachdem aber noch „kein Meister vom Himmel gefallen“ und „gut gemeint“ leider nicht immer automatisch gleich „gut“ ist, erscheint es ratsam, auf einige wichtige Grundregeln zu verweisen, die vom Referat für Gottesdienstübertragungen zusammengestellt wurden. Alle, die sich zum Streamen von Gottesdiensten aus ihren Kirchen entschließen, werden gebeten sich daran zu orientieren." (Seite 1)
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"Jeder, der sich in irgendeiner Form mit digitalen Medien beschäftigt, lebt in einer paradoxen Welt: Denn zu keinem Feld existieren mehr Daten, Informationen und Statistiken. Aber zugleich handelt es sich stets um isolierte, winzige Partikel und Fragmente, die sich nicht integrieren lassen. Das Pro
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blem ist: Wir verstehen die Zusammenhänge nicht. Wir sehen den Wald vor lauter Bäumen nicht mehr. Es existiert bis heute keine zusammenhängende, ganzheitliche Darstellung digitaler Medien auf Grundlage ein und derselben Datenbasis – geschweige denn über die Nutzungszusammenhänge der verschiedenen Endgerätekategorien (Desk- bzw Laptop, Smartphone, Tablet). Der Atlas der digitalen Welt liefert erstmals einen allgemeinen Referenzrahmen, der alle unterschiedlichen digitalen Angebote (z. B. Facebook, WhatsApp, Google etc.), Aktivitäten (z. B. Konsum von Content, Shopping, Search, Social Media, etc.), die verschiedenen Endgerätekategorien (Desktop, Smartphone, Tablet) und die unterschiedlichen Nutzerprofile in einer 360° Darstellung abbildet. Diese Darstellung wurde ermöglicht durch die Auswertung des GfK CrossMedia Link Panels, welches die reale Mediennutzung von 16.000 Personen in Deutschland erfasst (es handelt sich hier also nicht um Ergebnisse von Befragungen, sondern um echtes Nutzungsverhalten). Diese Daten werden der Öffentlichkeit hier erstmals zugänglich gemacht. Die Zusammenhänge werden übersichtlich aufbereitet und durch anschauliche Infografiken illustriert, so dass die Inhalte für jedermann verständlich und zugänglich sind." (https://atlasderdigitalenwelt.de)
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"This volume provides a critical examination of the evolution of platform economies in India. Contributions from leading media and communications scholars present case studies that illustrate the social and economic ambitions at the heart of Digital India. Across interdisciplinary domains of busines
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s, labour, politics, and culture, this book examines how digital platforms are embedding automated systems into the social fabrics of everyday life." (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 medici
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n 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, debería reflejarse en segmentos de menores recursos, los cuales ya han ido presentando incrementos importantes." (Página 1-2)
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"In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on li
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censed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of au dience consumption in China have informed the localization of this specific transnational TV content." (Abstract)
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"Peter Stewart, an experienced TV and radio presenter, producer and author, now shares the training he’s given to professional broadcasters, with you. From structuring and developing a show to establishing an effective online persona and getting more people to watch you. The book includes dozens o
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f tried-and-tested formats for your live-video show, alongside case studies highlighting how businesses and professionals are using live-streaming in their brand and marketing strategies." (Publisher description)
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