scholarly journals Digital Media Platforms and the Use of TV Content: Binge Watching and Video-on-Demand in Germany

2016 ◽  
Vol 4 (3) ◽  
pp. 154-161 ◽  
Author(s):  
Lothar Mikos
Keyword(s):  
Digital Media ◽  
Video On Demand ◽  
Carrier Medium ◽  
Audience Studies ◽  
Film And Television ◽  
On Demand ◽  
Television Shows ◽  
The Future ◽  
Tv Shows ◽  
Television Market

The advancing digitalization and media convergence demands TV broadcasting companies to adjust their content to various platforms and distribution channels. The internet, as convergent carrier medium, is increasingly taking on a central role for additional media. Classical linear TV is still important, but for some audiences it has been developing from a primary medium to a secondary medium. Owing to the growing melding of classical-linear TV contents with online offerings (e.g. video-on-demand platforms or Web–TV), a great dynamic can be seen which has triggered numerous discussions about the future of TV for some time now. This article will summarize the results of two different audience studies. Film and television shows are meanwhile distributed online via Video-on-Demand platforms such as Netflix or Amazon Prime Video. The first audience study has dealt with the use of VoD-platforms in Germany investigating user rituals, user motivation to watch films and TV shows on these platforms, and the meaning of VoD in everyday life. Most of the participants in this study reported that they mainly watch TV drama series at Netflix or Amazon Prime. Therefore, the second audience study focused the online use of television drama series of individuals and couples elaborating the phenomenon of binge watching. In relating the audience practice to the new structures of the television market the article will shed light on the future of television.

scholarly journals The Effect of Binge-Watching on the Subscription of Video on Demand: Results from Randomized Experiments

2020 ◽  
Vol 31 (4) ◽  
pp. 1337-1360
Author(s):  
Miguel Godinho de Matos ◽  
Pedro Ferreira
Keyword(s):  
Field Experiments ◽  
Video On Demand ◽  
Control Group ◽  
Random Set ◽  
Randomized Experiments ◽  
Short Term ◽  
On Demand ◽  
Negative Effect ◽  
Tv Shows ◽  
Supply Costs

We analyze outcomes of two randomized field experiments to study the effect of binge-watching on subscription to video on demand. In both cases, we offered access to subscription video on demand (SVoD) to a random set of households for several weeks and used another random set of households as control group. In both cases, we find that the households induced to binge-watch TV shows are less likely to pay for SVoD after the free trials. Our results suggest that induced binge-watchers deplete the content of interest to them very quickly, which reduces their short-term willingness to pay for SVoD. We also show that carefully crafted recommendation reminders aimed at widening the preferences of consumers for content offset the negative effect of binge-watching and lessen the concerns of binge-watchers with lack of content refresh, and thus these reminders may help content providers manage supply costs, which may otherwise become prohibitive with frequent updates to SVoD catalogs.

scholarly journals TELEVISION MARKET DEVELOPMENT DURING THE COVID-19 PANDEMIC

2020 ◽  
Vol 10 (86) ◽  
Author(s):  
Hennadii Mitrov ◽  
Keyword(s):  
Service Providers ◽  
Video On Demand ◽  
The Internet ◽  
Positive Effects ◽  
On Demand ◽  
Main Requirement ◽  
Depth Analysis ◽  
The World ◽  
Streaming Services ◽  
Television Market

The article covers the issues surrounding the global Internet TV market’s evolution during the COVID-19 pandemic. The rapid changes in the modern Internet television market mean that an in-depth analysis of its development strategies is necessary for further development. The article goes over current trends that affect the development of the industry, and the factors that have led to its changes listed. Today, the main directions of the development of Internet television include multi-screen, video on demand, and the evolution of streaming platforms. This phenomenon became possible by the growing convergence of the Internet and television. The main driving force of the industry has become the so-called streaming services that provide content to subscribers anywhere and anytime — the main requirement to access it being the Internet. The battle for audiences has become truly international. But due to quarantine in many countries, most viewers have drastically changed their habits. Home entertainment has been taking first place, and television became one of them. For the first time in years, TV channel ratings have doubled, movie premieres have been delayed, and sports events around the world have come to a standstill. Audiences turned to those who could offer them the best content. The article examines trends caused by the pandemic, such as a significant increase in Internet traffic, the halting of movie and TV series production, a decrease in the number of sports games and related events, streaming services changing their tariff plans, and the subscription payment model taking leadership in the video-on-demand market. Both the negative and positive effects of these factors on television service providers’ activities, as well as the new habits of subscribers are analyzed. This situation has completely changed the industry, but it has only helped the business of large and local operators. Companies around the world have had to improve their service in a matter of weeks. These changes in the market would have taken years under normal conditions, but the pandemic has significantly accelerated the progress of Internet television and made it possible for end-users to get high-quality services.

scholarly journals A SURVEY ON CHURN ANALYSIS AND PREDICTION IN VIDEO ON DEMAND

2017 ◽  
Vol 10 (13) ◽  
pp. 158
Author(s):  
Venkatraman R ◽  
Ramesh Ragala
Keyword(s):  
Motion Pictures ◽  
Video On Demand ◽  
The Internet ◽  
Consumer Loyalty ◽  
On Demand ◽  
Television Shows ◽  
Churn Analysis

Consumer loyalty is a key measure of achievement. Despondent clients will not be staying around the service. When there are unhappy clients once in a while voice their disappointment before leaving. Streaming administration, motion pictures, and television shows are gushing over the internet, not being downloaded, so we should be associated with the internet all through your watch instantly experience. Hence, to help them recognize to “disappointed clients” from the get-go in their relationship. Doing as such would permit streaming administration to find a way to enhance “client’s joy” before it’s excessively late. To distinguish the purposes behind clients who are producing from the spilling administration furthermore anticipating what number of clients will get stick around the gushing administration. 

scholarly journals KOMUNIKASI PEMASARAN LAYANAN VIDEO STREAMING DAN ON DEMAND MNC GROUP (STUDI KASUS: APLIKASI RCTI+)

2022 ◽  
Vol 6 (1) ◽  
Author(s):  
Rizky Ramadhan Putra ◽  
Zinggara Hidayat
Keyword(s):  
Video Streaming ◽  
Video On Demand ◽  
Marketing Communication ◽  
Chief Operating Officer ◽  
On Demand ◽  
Video Viewing ◽  
Streaming Services ◽  
Tv Shows ◽  
Streaming Service ◽  
Demand Service

Current TV and video viewing patterns have changed. Viewers were not completely fixated by broadcast hours and broadcast times. In the internet era, people can watch TV anytime and anywhere. Besides, we do not necessarily watch TV shows from the TV set but our smartphone or laptop gadget. Video streaming services are now increasingly popular in various circles because it can be accessed quickly, anytime, and anywhere. As a significant media business in Indonesia, MNC Group is widening its market presence by launching RCTI+ to gain a large share in digital advertising. To complement its already strong FTA position, RCTI+, a multi-application, including the streaming TV and Video on Demand service, is expected to be Indonesia's most extensive streaming service. How marketing communication in the digitization process since MNC Media must reach a new audience is the digital audience. This article will examine how MNC Media conducts communication marketing in the digitization process in its television business by building RCTI+ to reach its new audiences or digital audiences. This paper used the Descriptive Qualitative method, and this research collects data by interviewing the Chief Operating Officer and Dept. Head of Promotion RCTI+, conducting literature and document studies. Based on the research results, RCTI+ integrates its promotional pillars acquisition and retention, running simultaneously to harmonize its marketing communication.  RCTI+ strives to build a brand and profitable relationships with customers through these two pillars to create brand equity.

scholarly journals Pengaruh Motivasi Binge Watching terhadap Behavioral Involvement

Warta ISKI ◽  
2020 ◽  
Vol 3 (02) ◽  
pp. 144-153
Author(s):  
Elsa Indah Libriani ◽  
Poppy Ruliana ◽  
Kresno Yulianto
Keyword(s):  
Social Influence ◽  
Word Of Mouth ◽  
Video On Demand ◽  
On Demand ◽  
Tv Shows

Penelitian ini membahas motivasi binge watching terhadap behavioral involvement. Layanan video on-demand merangsang motivasi pengguna layanan untuk binge-watching. Seseorang dikatakan binge watching jika menonton dua episode TVshows atau lebih dalam sekali waktu. Binge watching menjadi tren baru dalam mengonsumsi media karena banyaknya platform video on-demand di Indonesia. Salah satu penyedia layanan video on-demand yang paling popular untuk TV shows dan film adalah Iflix. Pendekatanan penelitian yang digunakan adalah kuantitatif dengan paradigma positivisme. Metode yang digunakan adalah eksplanatif dan jenis penelitiannya adalah survey. Pengumpulan data dilakukan melalui observasi, wawancara, dokumentasi, tinjauan pustaka serta penelusuran melalui internet untuk memperoleh informasi yang relevan.  Populasi penelitian ini adalah mahasiswa STIKOM Interstudi jurusan Broadcast tahun ajaran 2017 dan 2018 berjumlah 167 mahasiswa. Untuk mengukur sample digunakan rumus Issac dan Michael sehingga diperoleh 105 sample dengan tingkat kesalahan 10%. Teknik analisis data menggunakan analisis SEM untuk menguji beberapa hipotesis. Hasil penelitian menunjukkan, enjoyment, efficiency, escape berpengaruh positif pada attitude to use, continuence to use, dan word of mouth sedangkan fandom tidak memiliki pengaruh terhadap word of mouth dan social influence juga tidak berpengaruh pada continuence to use.

scholarly journals Digital omnivores? How digital media reinforce social inequalities in cultural consumption

2020 ◽  
pp. 146144482095763
Author(s):  
Sebastian Weingartner
Keyword(s):  
Digital Media ◽  
Social Inequalities ◽  
Video On Demand ◽  
Electronic Media ◽  
Cultural Consumption ◽  
Individual Decision ◽  
Cultural Products ◽  
Individual Decision Making ◽  
Feature Film ◽  
On Demand

In cultural consumption, higher social status is primarily reflected in the consumption of cultural products from diverse levels of sophistication, denoted as cultural omnivorousness. The article asks whether digital media are capable of attenuating these inequalities. Since digital media potentially make cultural products from all levels available to wider audiences, the distinguishing effect of omnivorousness might shrink. However, based on a model of individual decision-making, the article discusses several reasons why this assessment might be too optimistic. Empirically, the article focuses on omnivorousness and media use in feature film consumption. Differentiating between four types of electronic media (television, DVD, video on demand, Internet) and two types of omnivorousness (“by volume,” “by composition”), results reveal that digital media rather reinforce social inequalities in cultural consumption. Television, in contrast, has the highest levels of omnivorousness and the lowest levels of social structuration. Hence, not digital media are a democratizing force, but television.

Digital and Technical Developments in the Amblyopia Therapy

2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Technical Progress ◽  
Therapy Monitoring ◽  
Everyday Lives ◽  
Technical Developments ◽  
The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

STANDPUNKTE: Cloud-TV - Idee, Ausgestaltung und Wirkung

2017 ◽  
Vol 14 (2) ◽  
pp. 26-33
Author(s):  
Arnold Picot ◽  
Hermann Rotermund ◽  
Helwin Lesch
Keyword(s):  
Video On Demand ◽  
Internet Research ◽  
Sich Eine ◽  
On Demand ◽  
Arnold Picot

Das Medium Fernsehen hat sich in den letzten Jahrzehnten eher inkrementell weiterentwickelt. Durch neue Übertragungswege wie Satelliten und Kabelnetze haben sich Programmspektrum und Darstellungsqualität deutlich verbessert. Smartphones und andere Endgeräte ermöglichen den Zugriff auf Inhalte jenseits des klassischen Fernsehers. Mit Cloud-TV deutet sich nun eine grundlegende Veränderung an. Cloud-TV bündelt lineares Fernsehen, Video-on-Demand-Dienste und zahlreiche weitere Dienste in einem Angebot, das ein Nutzer von allen Endgeräten aus nutzen kann. Es stellt die bekannten Muster der Mediennutzung, der Wertschöpfung im Medienbereich und die vorhandene Regulierung genauso in Frage wie die Arbeitsteilung zwischen privaten und öffentlichen Anbietern. Diesem Thema hatte das Munich Center for Internet Research (MCIR), ein interdisziplinäres Forschungszentrum der Bayerischen Akademie der Wissenschaften, am 16. Mai 2017 eine Veranstaltung gewidmet. Im Rahmen einer Podiumsdiskussion hatten sich Arnold Picot, Hermann Rotermund und Helwin Lesch intensiv mit dem Thema Cloud-TV auseinandergesetzt. Nachfolgend findet sich eine Zusammenfassung ihrer Statements. Wir knüpfen damit an den Beitrag aus Heft 3/2016 zur Zukunft des Fernsehens und speziell zu der Rolle der öffentlich-rechtlichen Rundfunkanstalten in Zeiten der Cloud an. Sicherlich beschäftigen wir uns aber nicht das letzte Mal mit der Zukunft des klassischen Fernsehens!

Amazons Kampf um das Wohnzimmer

2016 ◽  
Vol 13 (3) ◽  
pp. 37-39
Author(s):  
Ralf Kaumanns
Keyword(s):  
Streaming Media ◽  
Video On Demand ◽  
Video Content ◽  
On Demand

Der Kampf um das Wohnzimmer ist voll entbrannt. Eine Reihe von Anbietern versuchen Streaming Media-Dienste im deutschen Markt zu etablieren. Amazon hat sich mit seiner Strategie eine marktführende Rolle erarbeiten können. Laut einer Analyse von Goldmedia¹ besitzt Amazon mittlerweile einen Anteil im Video-On-Demand-Markt von 38,9%, deutlich vor Wettbewerbern wie Apple, Maxdome, Google oder Netflix. Der Erfolg kommt nicht von ungefähr. Der Grund liegt vor allem in einer umfassenden Strategie rund um das Thema Bewegtbild und Video Content. Im Kampf um das Wohnzimmer haben selbst große und finanzkräftige Wettbewerber einen schweren Stand, um mit umfassend gebündelten Angeboten Schritt zu halten.

Kabelnetzbetreiber als Programmveranstalter?

2006 ◽  
Vol 3 (4) ◽  
pp. 51-56
Author(s):  
Constantin Lange ◽  
Bernd Kleinsteuber ◽  
Thomas Hintze
Keyword(s):  
Video On Demand ◽  
On Demand ◽  
Triple Play ◽  
Pay Tv

Als Premiere bei der Vergabe der Bundesliga-Fernsehrechte für die nächsten drei Jahre durch die DFL leer ausging, wurde von dort eine ordnungs- und medienpolitisch relevante Kritik geäußert. Arena, der neue Inhaber der Pay-TV-Rechte, ist nämlich eine hundertprozentige Tochtergesellschaft des Unternehmens Unity Media, das gleichzeitig die Kabelnetze von ish, iesy und Tele Columbus betreibt. Bisher war die Trennung von TV-Programm und -Distribution nicht nur ein Prinzip der Medienpolitik, sondern auch ein struktureller Vorteil aus ordnungspolitischer Sicht, da es den funktionierenden Wettbewerb auf der Programmebene von eventuellen Wettbewerbsproblemen auf der Distributionsebene unabhängig macht. Mehr als die Hälfte aller Haushalte erhalten ihre Fernsehprogramme über das TV-Kabel, das überall ein regionales Monopol besitzt. Allerdings steht das TV-Kabel in Substitutionskonkurrenz zu anderen Distributionswegen wie Satellit und Terrestrik (insb. DVB-T) und zukünftig auch zu den aufgerüsteten, breitbandigen Telekommunikationsnetzen (insb. VDSL) im Kontext von Triple Play. Diese verschärfte Wettbewerbssituation, die die Geschäftsmodelle der Kabelnetze in Gefahr bringt, zwingt diese, nach neuen Erlösmöglichkeiten Ausschau zu halten. Solche können einerseits im Angebot von Telefon- und Internetdiensten bestehen und andererseits im eigenen Angebot audiovisueller Inhalte, insbesondere als Pay-TV oder Pay-per-View bzw. Video-on-Demand. Damit ist die Interessenkollision zwischen Kabelnetzbetreibern und Programmanbietern vorgezeichnet. Im Folgenden beziehen Dr. Constantin Lange von der RTL inter active GmbH, Bernd Kleinsteuber von der Cablecom GmbH und Prof. DI Thomas Lange von der UPC Austria mit ihren Standpunktbeiträgen Position auf die Frage: Kabelnetzbetreiber als Programmveranstalter?

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