Television production, Funding Models and Exploitation of Content

Abstract

El creciente aumento de las plataformas digitales está transformando las estrategias de financiación de los medios de comunicación para la producción y la explotación del valor económico de los contenidos creativos. En la industria de la televisión, los cambios que se han producido en las tecnologías de distribución y la aparición de servicios VOD (video bajo demanda) como Netflix están cambiando gradualmente tanto al público como el poder financiero de los radiodifusores, al tiempo que está generando oportunidades sin precedentes para los realizadores de programas. A partir de los resultados de un reciente investigación financiada por la RCUK (Research Councils UK), este artículo examina cómo estos cambios están afectando a la financiación de la producción de contenidos para televisión. En particular se centra en evaluar los cambios en las dinámicas de los mercados de derechos así como los nuevos enfoques estratégicos para la financiación<br />de la producción de la televisión con el fin de comprender el valor que tienen para los mercados, las industrias y las políticas destinadas a apoyar la sostenibilidad económica de las empresas de producción de contenidos televisivos independientes.

Teasing apart television industry disruption: consequences of meso-level financing practices before and after the US multiplatform era

“…Others have investigated meso-level financial relationships between producers and firstrun distributors and the general economic conditions from which business strategies develop that encourage, discourage, and variably incentivize creators and gatekeepers (Brannon Donoghue, 2017;Doyle, 2016aDoyle, , 2016bDoyle, , 2018Doyle and Paterson, 2008;Havens, 2006). Of course these economic conditions, and the industrial practices and strategies they support, do not alone determine the outcome of industrially produced culture.…”

“…In exchange, the production company gives full rights to the first-run distributor, so that the distributor, rather than the production company, is the beneficiary of any subsequent licensing or rights sales (Doyle, 2013). Netflix gradually introduced a 'cost plus' model similar to that which dominated British industry norms until recently (Doyle, 2013(Doyle, , 2016b.…”

Public policy, independent television production and the digital challenge

“…A further consideration is that, however generous the fees on offer from an SVoD service in return for global rights, because ownership of rights and of an asset base are pivotal to raising capital and securing investment, without such ownership production companies cannot really develop as sustainable businesses. As has been argued elsewhere, 'the lessons provided by the history of the UK production sector suggest that programme-makers must be circumspect about being lured by big fees into a cost plus model of production financing in which the outlet that is commissioning the content expects to take ownership of almost all the rights' (Doyle, 2016).…”

Understanding the changing television market: A comparison of the macroeconomy of the United States, United Kingdom and Australia

“…The increased reliance on international finance has led to concerns, particularly in drama, that UK broadcasters will over-focus on productions designed to sell well in international markets at the expense of UK-focused content with little wider export value. (Doyle, 2016). The BBC and ITV have both responded by increasing investment in their studio divisions, although quotas remain on the percentage of productions that they must commission from independents.…”