SVOD

This article explores the changes of the Spanish television industry upon the arrival of the international Subscription Video on Demand (SVoD) platforms and how Spain has become a noticeable player in the international market. To analyze the hybridization of the industry, a content analysis of the Spanish catalog of SVoD services has been conducted to evaluate the offerings of local series. To further exemplify the current complex relationships among traditional broadcasters, independent producers, and SVoD platforms, an analysis of the evolution of the series The Ministry of Time and Money Heist (two of the most internationally successful Spanish shows) in terms of production, distribution, and cultural trades, reveals the different types of agreements with SVoD players and the balance between the international and domestic markets. Results also indicate the importance of the Spanish geolinguistic market for the success of Spanish series even as the popularity of its shows has transcended the language borders.

L’arrivo di Eleonora Andreatta a Netflix e la quasi contemporanea apertura di una sede legale e fisica sul suo italiano del gigante di Los Gatos hanno sancito uno spartiacque chiaro e netto sull’impegno della creatura di Hastings nel mercato di casa nostra. Ed è proprio da qui che questa ricerca è partita, nel cercare di capire come e quanto questo abbia influenzato le strategie di Netflix in Italia.

Este estudo tem por objetivo recontar a trajetória de crescimento da Netflix, o maior serviço de vídeo sob demanda pela Internet do mundo, além de tratar da concorrência, da aquisição e produção de conteúdo original. Atualmente a Netflix é a empresa de mídia mais valiosa do mundo. A popularização de seu modelo de negócios alterou a forma de se produzir e consumir entretenimento audiovisual, ameaçando a tradicional indústria da televisão

El objetivo de este trabajo es estudiar la publicidad audiovisual en línea que emplean las tres empresas líderes en el mercado mexicano de Subscripción de Video en Demanda: Netflix, Claro Video y Blim. Se analizan nueve spots que estas compañías han publicado en sus canales oficiales en YouTube entre 2015 y 2017, con el objetivo de identificar las estrategias publicitarias usadas. Los spots pertenecen a tres categorías: (a) promoción de las características del servicio, (b) énfasis en los contenidos, y (c) promoción de producciones originales. Se realizó un post-guión de cada spot para revisar a profundidad los mensajes a nivel denotativo y connotativo. Siguiendo la tipología de Kurtz (2012), se identificó la aplicación de las siguientes estrategias publicitarias: (a) Publicidad comparativa y (b) Testimonio de celebridades. Además, se observó la importancia que tiene el uso de la estructura de trailer, que funciona como paratexto de filmes y series completos. A nivel de segmentación de audiencias, es notoria la apuesta de Claro video y Blim por posicionar su producción original entre las clases populares mexicanas, mientras que los spots de Netflix se dirigen a públicos caracterizados como más globales y sofisticados. Se concluye que el mercado SVOD en México está en franco crecimiento. En este marco de competencia, la publicidad debe ser estructurada minuciosamente para crear, satisfacer, o recordar la demanda del servicio en segmentos específicos de consumidores.

By using algorithms to track the data of their users in Mexico, Netflix has managed to solve the equation of cultural proximity. Since 2015 it has produced original series that include melodramatic traits, even if they align with genres like comedy, biopic and political thriller. Applying industrial and textual analysis, this article argues that Netflix has established a love-hate relationship with Mexican melodrama, making fun of its conventions but using them nevertheless. It concludes that algorithms have the potential to transform Internet tv providers into competitors for local producers.

La popularización del consumo de contenidos bajo demanda, impulsado por los grandes agentes globales como Netflix, Amazon o HBO, ha provocado una importante disrupción en los hábitos de consumo y ha intensificado el fenómeno de la fragmentación de audiencias. El gran aumento de contenido ofrecido al usuario (que reduce la concentración de espectadores a una selección limitada), su explotación dentro del modelo económico de la suscripción (que elimina la cotización publicitaria del espacio) y la multiplicación de consumos en distintos horarios y a través de distintos receptores, muchos de ellos móviles y fuera del hogar (lo que complica su monitorización), ha generado un nuevo ecosistema. Dentro del mismo, el éxito ya no se puede evaluar en base a los indicadores de la audimetría tradicional. En el presente artículo se aborda cómo se comporta la audiencia en el consumo de contenidos en plataformas de streaming y las nuevas dimensiones con las que se evalúa el éxito de una serie televisiva más allá de los datos que ofrecen las técnicas de medición de audiencias (TAM). Se repasa la transformación del concepto de popularidad y el impacto en el medio que distribuye el contenido de estos nuevos indicadores de audiencia, que añaden a los elementos tradicionales (anunciantes y ventas internacionales) nuevas dimensiones (engagement, retención de clientes, captación de talento, nuevas altas, branding, etc.). El estudio se integra en un marco de investigación más amplio que avanza en la construcción de un nuevo concepto de audiencia en el consumo de video bajo demanda en modelo de suscripción (tomando Netflix como referencia, dada su cuota de mercado) y reflexiona sobre si es posible un concepto de audiencia único aplicable a todos

How to cite this article: Neira, Elena; Clares-Gavilán, Judith; Sánchez-Navarro, Jordi (2021). "New audience dimensions in streaming platforms: the second life of Money heist on Netflix as a case study". Profesional de la información, v. 30, n. 1, e300113.

Violence against women is one of the most persistent and widespread phenomena that human societies know and in many contexts its practice still proves difficult to eradicate. On the other hand, its perception and acceptance as normative are rapidly changing in every part of the globe, thanks to feminism, policies derived from studies of gendered violence, and global phenomena such as #Metoo. In this change, the medium of television has played and continues to play a fundamental role, both as a receiver and diffuser of the collective imaginary, and as a generator of its transformations. In this essay we ask about the specific logics that emerge from television narrative in relation to violence against women, especially around rape. Through a discussion of the different television formats and genres (fiction and non fiction, including broadcast, cable TV, streaming and video demand) we intend to examine the links beteween social change and television clichés in the representation of violence and rape, to see if and how these have changed over time. How does the culture of rape emerge and/or appear in various television genres and how is it changing in new streaming video content? What factors are most influencing the changes taking place in television representations of violence against women?

Embora a China tenha se tornado um país bastante expressivo no campo políticoeconômico, poucos estudos são realizados no Brasil sobre o país numa perspectiva midiática. O artigo discute a indústria televisiva chinesa, a partir das recentes transformações causadas pela emergência do ambiente digital. Exploramos o caso da plataforma de vídeo sob demanda iQIYI, um dos maiores representantes do segmento. Ancorado na revisão bibliográfica, visamos contribuir com a desocidentalização dos estudos sobre televisão e sobre plataformas digitais. Concluímos que o Estado é um elemento-chave para se compreender as dinâmicas do mercado de SVOD na China.

The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demand platforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.

How can you measure the percentage of sensory accessibility in the new Subscription Video on Demand (SVOD) platforms? This investigation aims to answer this research question. For this, a qualitative methodology model based on a content analysis of 37 variables is presented, which have been written based on the Spanish technical regulations UNE 153010 de mayo 2012 del Subtitulado para personas sordas y personas con discapacidad auditiva and UNE 153020 de enero 2005 de la Audiodescripción para personas con discapacidad visual. This method is applicable for cinema, series and short films presented at SVOD and is limited to the accessibility of subtitling for deaf people (CC) and the audio description for blind people.

EU films make up 14% of all unique titles in the 79 non -European SVOD catalogues studied
North America (16 SVOD services) and China (3 SVOD services) have the largest number of unique EU film titles in their catalogues with respectively 4 095 and 2 585 unique EU titles.
The biggest buyer for EU film titles is Amazon with 3 281 unique titles in its 14 country catalogues, followed by Netflix with 1 816 unique titles for its 20 catalogues. Russian service Ivi and the 3 Chinese services Youku, iQiyi, Tencent Video were the biggest single country services acquiring EU films.
Christian Grece, Observatory European Television and On-demand Audiovisual Markets Analyst, has focused on a sample of 79 non-EU SVOD services and their catalogues in 21 countries across the globe. The aim of this study, based on new data collected in June 2019, is to determine the market for EU films on SVOD beyond the borders of the European Union. Ce rapport a été soutenu par le programme Creative Europe de l'Union européenne.

1. Production and export: Which countries are the biggest exporters of EU films to SVOD beyond Europe’s borders?
The majority of EU films found on SVOD services around the world are produced in EU-5. The United Kingdom is by far the biggest supplier of EU films with 38% of all unique EU titles, followed by France with 18%, Germany with 12%, Italy with 11% and Spain with 6%. Together, these 5 countries account for 85% of all unique EU film titles available on SVOD outside of Europe in the sample catalogues studied.

However, medium size film producing countries, with diversified filmographies (Belgium, the Netherlands, Austria), special genres (e.g. Nordic noir: Sweden, Denmark, Finland), or English-speaking (Ireland), manage also to export films outside of Europe. These 7 countries account for 11% of all unique film titles found in the SVOD catalogues analysed.

With 7 450 unique film titles, EU film titles represent 14% of film titles on offer in the 79 SVOD catalogues studied.

2. Which regions and SVOD services are the biggest buyers of EU film titles?
North America (16 services) and China (3 services) offer the largest number of unique EU film titles with respectively 4 095 and 2 585 unique EU titles. Russia (3 services) and Australia & New Zealand (8 services) are other regions with an above average number of unique EU films titles with respectively 1 813 and 1 644 unique titles.

The biggest buyer for EU film titles is Amazon with 3 281 unique titles in its 14 country catalogues, followed by Netflix with 1 816 unique titles for its 20 catalogues

Russian service Ivi and the 3 Chinese services Youku, iQiyi, Tencent Video were the biggest single country buyers of EU films.

Indian service Eros Now, Canadian service Sundance Now, Viu (6 countries) and CBS All Access on the other hand carry between 31 and 3 unique EU film titles in their catalogues.

How can you measure the percentage of sensory accessibility in the new Subscription Video on Demand (SVOD) platforms? This investigation aims to answer this research question. For this, a qualitative methodology model based on a content analysis of 37 variables is presented, which have been written based on the Spanish technical regulations UNE 153010 de mayo 2012 del Subtitulado para personas sordas y personas con discapacidad auditiva and UNE 153020 de enero 2005 de la Audiodescripción para personas con discapacidad visual. This method is applicable for cinema, series and short films presented at SVOD and is limited to the accessibility of subtitling for deaf people (CC) and the audio description for blind people.