Digital Peripheries : The Online Circulation of Audiovisual Content from the Small Market Perspective.
| Main Author: | |
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| Other Authors: | , , |
| Format: | eBook |
| Language: | English |
| Published: |
Cham :
Springer International Publishing AG,
2020.
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| Edition: | 1st ed. |
| Series: | Springer Series in Media Industries Series
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| Subjects: | |
| Online Access: | Click to View |
Table of Contents:
- Digital Peripheries
- Contents
- Editors and Contributors
- List of Figures
- List of Tables
- 1 Introduction: Theorizing Digital Peripheries
- 1.1 Globalization and Digitalization from the Perspective of the Small and the Peripheral
- 1.2 Scale Matters
- 1.3 Renewed Debate on Cultural Flows and Center-Periphery Hierarchies
- 1.4 Evolving Systemic Relations of Media Markets: Toward a New Typology of Digital Peripheries
- 1.5 Crossing Boundaries: The Impact of EU Media Policy at the Periphery
- 1.5.1 An Overview of the Book Sections3pc
- References
- Part I On Boundaries and Scales: Reconceptualizing Digital Markets
- 2 Small, Middle, Test: Rescaling Peripheral Media Markets
- 2.1 Introduction
- 2.2 Scale, Markets and Value
- 2.3 (Relatively) Small Media Markets
- 2.4 Middle Media Markets
- 2.5 Test Markets
- 2.6 Conclusion
- References
- 3 On the Boundaries of Digital Markets
- 3.1 Introduction
- 3.2 What Is a Market?
- 3.3 Market Space and Social Space
- 3.4 The Digital Single Market and Its Discontents
- 3.5 The Geoblocking Problem
- 3.6 Boundary Trouble
- 3.7 Conclusion
- References
- Part II Regulating Online Boundaries: Territoriality Versus Digital Single Market
- 4 Territoriality of Copyright Law
- 4.1 Territoriality and Sovereignty
- 4.2 Territoriality in Copyrights
- 4.3 Geoblocking and Technical Measures
- 4.4 Place of Availability of Works
- 4.5 Place of Communicating Works to the Public
- 4.6 Concluding Remarks
- References
- 5 Geoblocking: At Odds with the EU Single Market and Consumer Expectations
- 5.1 Introduction
- 5.2 Geoblocking Locks Out Audiences
- 5.3 Geoblocking Is Discrimination
- 5.4 Geoblocking Locks in Creators
- 5.5 Geoblocking Harms the Economy
- 5.6 Geoblocking Betrays EU Principles
- 5.7 European Commission Initiatives to Abolish Geoblocking, 2014-2019.
- 5.8 Conclusions-Solutions
- References
- 6 The Czech and Slovak Audiovisual Market as a Laboratory Experiment for the Digital Single Market in Europe
- 6.1 What's Wrong with the Audiovisual Industries in Europe?
- 6.2 Don't Panic? The Digital Single Market and the Concerns of the Audiovisual Industry in the EU
- 6.3 Who Was Interviewed and What About?
- 6.4 Digital Single Market as a Threat or Opportunity for Small-Market Players?
- 6.4.1 Cross-Border Portability of Online Audiovisual Services3pc
- 6.4.2 Cross-Border Availability of Audiovisual Content and the Importance of Geoblocking3pc
- 6.5 Sustainable Business Models?
- References
- Part III A New Game with Old Players: Distribution Practices in Small and Peripheral Markets
- 7 Television Distribution in Flanders: Who Takes the Lead and Is Content Always King?
- 7.1 Introduction
- 7.2 Television Distribution: From Cable to Over-the-Top Delivery
- 7.3 Why Small Media Markets Should Care About Pressure on Broadcasting
- 7.3.1 The Structural Fragility of Small Television Markets3pc
- 7.3.2 When Small Television Markets Are Hit, They Are Hit Hard3pc
- 7.4 Flanders: A Fragile, yet Vibrant Market
- 7.5 How Media Managers Act Upon This: A Case Study of Flanders
- 7.5.1 A (One-Sided) Ecosystem Approach3pc
- 7.5.2 Increasing Scale, or the Continuing Struggle for a Joint VOD Portal3pc
- 7.5.3 Increased Valorization: The Many Attempts to Compensate for TV Advertisement3pc
- 7.5.4 Valorization Through International Content Distribution3pc
- 7.6 Discussion and Conclusions
- References
- 8 Industry Divide: The Interdependence of Traditional Cinematic Distribution and VOD in Poland
- 8.1 Introduction
- 8.2 Structure of the Polish Market and Interdependence of Industries
- 8.3 The VOD Market in Poland: Concentration Around the Powerful.
- 8.4 The Separation of Cinema Distribution and the VOD Market
- 8.5 Conclusions
- References
- 9 Channels and Barriers of Cross-Border Online Circulation: Central and Eastern Europe as a Digital Periphery
- 9.1 Introduction
- 9.2 VOD in the Small Media Industry Ecosystem
- 9.3 Online Distribution Practices and Intermediaries
- 9.4 TVOD's Extensive, Bottom-Up Distribution Model
- 9.5 SVOD's Intensive, Top-Down Model and the Original Local Content Production
- 9.6 Conclusion
- References
- 10 Digital Film and Television Distribution in Greece: Between Crisis and Opportunity
- 10.1 Introduction
- 10.2 Film and Television Industries in Greece: Structure, Policy and Debates
- 10.3 The Distribution Ecology of Over-The-Top (OTT) Video on Demand (VOD) Provision in Greece
- 10.4 Conclusion
- References
- Part IV The Other Audiences: Convergent Viewership in Small and Peripheral Markets
- 11 Finding Larger Transnational Media Markets: Media Practices of the Vietnamese Diasporic Community
- 11.1 Introduction
- 11.2 Vietnamese in the Czech Republic
- 11.3 Media Practices in Diasporic Communities
- 11.4 Contextualizing Vietnamese Populations in the CR
- 11.5 Crossing the Binational Border: Media Practices of the Early First Generation
- 11.6 Crossing the Binational Border Online: Media Practices of the Recent First Generation
- 11.7 Crossing Multiple Borders: Transnational Media Practices of the 1.5 Generation
- 11.8 Conclusion
- References
- 12 Configurable Culture in Wealthy and Developing Markets: A Comparative Cross-National Perspective
- 12.1 Introduction
- 12.2 Methods
- 12.3 Analysis
- 12.3.1 Awareness of Configurable Culture3pc
- 12.3.2 Consumption of Configurable Culture3pc
- 12.3.3 Engagement with Configurable Culture3pc
- 12.3.4 Civic Engagement via Digital Media3pc
- 12.3.5 Opinions on Ethics and Legality3pc.
- 12.4 Conclusion
- References
- 13 Structured Film-Viewing Preferences and Practices: A Quantitative Analysis of Hierarchies in Screen and Content Selection Among Young People in Flanders
- 13.1 Introduction
- 13.2 Hierarchies in Origin: Hollywood Film, European Film and National Film
- 13.3 Hierarchy in Screens: A Matter of Size
- 13.4 Methods
- 13.5 Measures of Film Consumption: Watching Film Today
- 13.6 Films on Screens: Detailed Measurements of Film Consumption
- 13.7 Conclusion
- References
- 14 Uses Genres and Media Ensembles: A Conceptual Roadmap for Research of Convergent Audiences
- 14.1 Introduction
- 14.2 Uses Genres
- 14.3 Media Ensembles
- 14.4 Researching the Uses Genres and Media Ensembles of Current Post-TV Audiences
- 14.5 Specifics of Small-Market Audiences?
- 14.6 Conclusion
- References
- Part V Audiovisual Policy and the Future of Copyright Economy
- 15 Compensation Systems for Online Use
- 15.1 Introduction
- 15.2 The Basic Economics of Copyrights
- 15.3 Copyright Compensation Systems (CCS)
- 15.3.1 The Reasoning Behind CCS3pc
- 15.3.2 The Empirical Evidence3pc
- 15.4 Copyright Compensation Systems in the Context of CEE Countries
- 15.5 Conclusions
- References
- 16 Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution
- 16.1 Introduction
- 16.2 Peculiarities of Traditional Music Licensing in Audiovisual Production and Distribution
- 16.2.1 Licensing Author's Rights3pc
- 16.2.2 Licensing Rights Related to Copyright (Neighboring Rights)3pc
- 16.3 Licensing Online Film Distribution
- 16.3.1 Rights Affected3pc
- 16.3.2 Global Licensing Arrangements3pc
- 16.4 The Ultimate Task: Simplifying Rights Clearance, Standardizing the Procedures
- References
- 17 Small Country, Complex Film Policy: The Case of the Czech Film Funding System.
- 17.1 Cultural Policy as a Dispute Between Two Concepts
- 17.2 Development of Film Policies and Funding Schemes After 1989
- 17.2.1 Accession to the EU3pc
- 17.2.2 Finances and Funding3pc
- 17.3 New Law, New Conditions
- 17.3.1 Support Typology3pc
- 17.3.2 Minority Co-production3pc
- 17.3.3 The Current Funding Scheme3pc
- 17.4 Mapping the Czech Film Industry
- 17.4.1 Attracting Runaway Productions3pc
- 17.5 Digitalization
- 17.6 The Lack of Analysis and Future Hopes
- References.