Netflix and other transnational online video streaming services are disrupting long-established arrangements in national television systems around the world. In this paper we analyse how public service media (PSM) organisations (key purveyors of societal goals in broadcasting) are responding to the fast-growing popularity of these new services. Drawing on Philip Napoli’s framework for analysing strategic responses by established media to threats of competitive displacement by new media, we find that the three PSM organisations in our study exhibit commonalities. Their responses have tended to follow a particular evolution starting with different levels of complacency and resistance before settling into more coherent strategies revolving around efforts to differentiate PSM offerings, while also diversifying into activities, primarily across new platforms, that mimic SVoD approaches and probe production collaborations. Beyond these similarities, however, we also find that a range of contextual factors (including path-dependency, the role and status of PSM in each country, the degree of additional government support, cultural factors and market size) help explain nuances in strategic responses between our three cases.
This article focuses on contributions and pitfalls of multistakeholder approaches to Public Service Media policymaking. It asks whether the inclusion of stakeholders effectively leads to more coherent and sustainable policies or whether it mainly serves as window dressing and as additional inroad for the private sector to lobby against Public Service Media. First, we discuss multistakeholderism on the basis of deliberative democracy research and scholarly insights on the inclusion of stakeholders in media policy. Subsequently, we present results from Public Service Media policymaking in Flanders since 2010, examining seven instances of multistakeholder policymaking. Findings show that the reality of multistakeholderism is not necessarily inclusive, seems concerned predominantly with the interests of legacy media and does not prevent continued informal lobbying from commercial media. Even when the process is led by academics, politicians instrumentalize results and rarely with a view to improve Public Service Media as democratic policy project.
The European audiovisual market has unique contextual characteristics that constrain the sustainability and development of audiovisual content. Among other shifts, the rise of global subscription video-on-demand players like Netflix have been reshaping this market. Although Netflix has been investing in Europe, little is known about their actual investment strategies. This study’s goal is to analyse Netflix original investment in European scripted series and examine their implications for the European market. Based on a mapping of all European Netflix Originals, we identify four investment patterns. The analysis shows a significant uptake of Netflix investment, yet concurrently these reinforce existing discrepancies between large and small states in Europe.
Via a comparative case study of VRT/Flanders and DR/Denmark, we investigate the role of public service media in sustaining the expensive but important genre of TV drama in small markets in the face of recent cutbacks, shifting revenues, and global competition. Although the study shows some similarities, there are notable differences between the two. VRT has significantly higher production volume and commissions most productions externally, thus supporting the sustainability of the wider Flemish TV production market. DR has lower production volume and produces largely in-house, enabling larger budgets per series and, hence, higher production values, which in turn has contributed to an upward global export spiral for DR, thus supporting the sustainability of DR’s drama content itself.
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