Shaping OTT Movie Consumption through Immersive Cinema: A Qualitative Investigation of Consumer Perspectives

Abstract

Due to the COVID-19 pandemic, the entertainment sector saw a worldwide disruption with restrictions on outdoor activities. Consequently, consumers turned towards video and music streaming services for their entertainment consumption. Several film studios have taken the digital release route on over-the-top (OTT) sites to avoid revenue losses and indefinite delays. However, these non-theatrical OTT film releases need to experiment with different strategies to bring the experiences to par with theatrical ones. This exploratory study aims to provide insights on whether Immersive Cinema can be used to imitate the physical world through digital simulation on OTT platforms to gain credibility in a competitive entertainment market. We conducted semi-structured, qualitative interviews with 21 consumers and Focus Group Discussions with 14 MBA students to understand perspectives about Immersive Cinema consumption on OTT platforms and its potential when compared to traditional theatrical releases. Using the findings of this study, OTT platforms can curate their new films as a direct alternative to theatrical releases.

Are Audience Preferences for Electronic Cinema Affected by Preferences in Indonesian Movie Choices?

“…The global movie business has experienced significant changes in the fast-paced digital era, leading to a transformative shift in film consumption through the introduction of electronic cinema (popular known as OTT and Video on Demand services) (Basu et al, 2022;Gaustad, 2019;Higson, 2021;Major, 2022). The advent and widespread use of digital platforms and streaming services (such as Netflix, Disney Hotstar, VIU) have brought about a significant transformation in the way consumers obtain, interact with, and encounter films (Ildir & Celik Rappas, 2022;Indriani et al, 2022;Kania et al, 2022).…”

“…The movie industry in Indonesia has witnessed significant expansion, generating a wide array of films that encapsulate the spirit of the country's historical, traditional, and modern social landscape (Hughes-Freeland, 2011;Karolina et al, 2021;. Gaining a comprehensive understanding of the intricate relationship between these distinct cinematic preferences and the rise of electronic cinema is crucial for filmmakers, content providers, and distributors who aim to capitalise on the immense opportunities presented by the Indonesian market (Basu et al, 2022;Menon, 2022;Shon et al, 2021).…”