ANUARIO 2023 inglés

International Journal of Cultural Policy, 2024

This article analyses the case of Cine.Ar Play, an Argentinian video-on-demand service (VOD) launched in 2015 by the National Institute of Cinema and Audiovisual Arts (INCAA) with the support of the state-owned telecommunications company ARSAT. Cine.Ar Play expresses the will to democratise access to domestic audiovisual production, intervening in the distribution and dissemination phase. This VOD service is particularly relevant in a country with a considerable territorial extension and a high volume of domestic films that do not find adequate conditions for their commercial exploitation. Two elements stand out in the case of Cine.Ar Play: its insertion in a public policy led by the INCAA, whose aim is to guarantee the circulation of works produced in the country, and the implementation of a particular mechanism that serves to nurture the service’s catalogue by linking public funding for new film projects with the temporary and non-exclusive transfer of exhibition rights. Six years after its launch, the service has more than two million users and has a catalogue of more than 3,300 titles.

2014

SPRINGER, 2022

The pandemic caused by COVID-19 has created an uncertain scenario for independent films, forcing them to explore other exhibition opportunities and having streaming as the protagonist. In this context, identifying the access gaps that Peruvian cinema have for entering the international market in a digital environment is a topic of current interest. This article aims to identify the difficulties encountered by Peruvian independent films in order to enter the main platforms (Netflix, HBO, Amazon Prime, among others). The methodology used is based on semi-structured interviews conducted to Peruvian filmmakers who have had the experience of having their films via streaming. In order to understand better the object of study, an in-depth interview was conducted to the General Management of Guarango Cine y Video, which is a production studio specialized in post-production, delivery and preparation of films for digital platform. For analyzing the results, there is a classification proposal of difficulties: technical, economical, production and sociocultural. These four categories and their effect on film circulation are the central axis of this research. The most important findings of the research suggest that economic issues and the lack of knowledge or planning in terms of distribution possibilities are the main and transversal difficulties encountered by independent Peruvian filmmakers to exhibit on streaming platforms.

Studies in World Cinema, 2022

The article analyzes the catalog, acts of curation, and promotional materials of the Romanian-based vod platform Cinepub (www.cinepub.ro). It also draws evidence from an interview conducted with the founder and manager of the platform, Lucian Georgescu. The analysis reveals the embedding of the service in the Romanian cinema culture, as well as in a global digital periphery. Some of the aspects that make Cinepub's service stand out, the article argues, can be interpreted as responses to and reflections of its embedding. The broader question raised by my case study is to what extent and under what conditions VODs from the European periphery can become viable actors on present-day markets.

International Journal of Communication, 2024

The ascent of streaming video catalyzed a global transformation in production and consumption practices, leading to a marked increase in scholarly research exploring its multifaceted implications. In their book Streaming Video: Storytelling Across Borders, editors Amanda D. Lotz and Ramon Lobato aim to analyze how subscription video-on-demand services (SVODs) have impacted global production cultures. The book navigates these services' production strategies across markets and contests the notion of a uniform disruption. It explores how these services engage with, adapt, or challenge storytelling norms. Moving beyond conventional debates that pit global SVODs against local services, this collection highlights how different services complement each other, emphasizing their role in magnifying voices typically marginalized in mainstream media, fostering a renaissance of neglected genres and formats.

Production Studies, The Sequel! explores the experiences of media workers in local, global, and digital communities—from prop-masters in Germany, Chinese film auteurs, producers of children’s television in Qatar, Italian radio broadcasters, filmmakers in Ethiopia and Nigeria, to seemingly-autonomous Twitterbots. Case studies examine international production cultures across five continents and incorporate a range of media, including film, television, music, social media, promotional media, video games, publishing and public broadcasting. Using the lens of cultural studies to examine media production, Production Studies, The Sequel! takes into account transnational production flows and places production studies in conversation with other major areas of media scholarship including audience studies, media industries, and media history. A follow-up to the Production Studies, this collection highlights new and important research in the field, and promises to generate continued discussion ...

This conference aims to deepen the scientific understanding of digital platforms in the MENA region, moving beyond generalizations to examine their specific impact on the region's diverse media landscape. The conference will explore how these platforms navigate the region's unique socio-political and economic contexts, adapting content and strategies to cater to diverse audiences. Key areas of inquiry include how platforms integrate with existing cultural production and circulation, their influence on established cultural producers, and the role of public policy in regulating this evolving media landscape. The conference will focus specifically on audiovisual platforms, including video streaming and music platforms, analyzing their motivations, strategies, and impact on the complex interplay between internationalization, cultural hegemony, and the promotion of locally produced content. -- Please submit your paper proposals (3000 to 4000 characters or 600 to 800 words) to the following address by September 15, 2024 September 15, 2024 to: communication.menaplatforms@gmail.com

Creat!vity, 2022

International Journal of Social Science Research and Review

Various streaming entertainment platforms, or often referred to as SVOD, have become entertainment for Indonesian viewers, shifting television as their daily entertainment channel. However, research that raises this issue is still very rare, especially in looking at how the viewers and subscribers of these various streaming services are. This paper aims to see, firstly, how entertainment streaming subscribers respond to this development, and secondly, how streaming subscribers negotiate local Indonesian shows on these various SVOD channels. The research was conducted by distributing questionnaires filled out by 264 respondents and then followed by qualitative interviews through FGDs with 25 participants who identified themselves as heavy viewers. Research shows that Netflix is ​​still the most-subscribed streaming channel, although many also subscribe to it illegally. Regarding local content, participants expect Netflix to imitate similar streaming channels by producing works by loc...