The Art of Distribution: Video on Demand

Hilderbrand, Lucas

doi:10.1525/fq.2010.64.2.24

Cited by 13 publications

(11 citation statements)

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“…The condition of multi-platform digital delivery opens up new and increasingly accessible ways for visitors to enjoy movies without the need to go to a cinema. By changing this distribution, the revenue for specific hits may be consistently lower than before (in physical model) (Hilderbrand, 2010). In this practice, an exchange is not purely an exchange for money, but through conversion from traffic to ads for impression and clicks.…”

Section: Website Streaming Movie: a Promising Businessmentioning

confidence: 97%

Understanding Movie Streaming Websites in Indonesia as Unlimited Movie Access in the Digital Era

Wibowo

2019

JKMJC

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This study was aimed to explore the issue of watching movies through movie streaming website in Indonesia. The presence of internet technology in the digital era has transformed the practice of watching movies that can now be accessed anywhere and anytime through more practical devices (mobile). It brings up two dispute sides, hacktivist movement (left side, seen as illegal) and movie industries and government (right side), and the internet opens this new 'war'. The internet has changed the physical distribution and enabled an efficient content distribution through peer-topeer. The movie streaming website enables viewers to accessvia streaming all movies stored in cloud storage and they can also download them freely to their computer. This study also highlights the streaming movie website as a promising business. It converts the web traffic to ads for impression and clicks for generating a revenue. In the final section, this article highlights the activities of the other side to avoid the deterministic perceptions that perceive as mere hijacking acts and consider the future of movie-watching practices in the digital era with the presence of various streaming media, such as Netflix, Iflix, Viu, Mox and Genflix. The research findings show that the dispute of watching movies online brings the complexity and rivalry between government and the website owner.

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Section: Website Streaming Movie: a Promising Businessmentioning

confidence: 97%

Understanding Movie Streaming Websites in Indonesia as Unlimited Movie Access in the Digital Era

Wibowo

2019

JKMJC

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“…DVDs by mail or streaming over the Internet allow audience members to avoid theatres or even rental stores altogether (Hilderbrand, 2010). New technologies have allowed a lag time to replace waiting time.…”

Section: Time-constraintmentioning

confidence: 99%

Is Time Money? Media Expenditures in Economic and Technological Turbulence

McDonald

Johnson

2013

Journal of Broadcasting & Electronic Media

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“…As Lucas Hilderbrand points out, VOD initially surfaced as a competitive strategy for media Television & New Media 15(5) conglomerates looking to navigate the impact of digitization vis-à-vis new media outlets; since then, it has been used to identify two distinct kinds of video offerings: downloadable/streaming of web-based video and cable television content (2010,26). However, to the extent cable operators have successfully appropriated this double meaning, specifically as a means of promoting their own business model, which seeks to integrate VOD and high-speed Internet in a bundle package "according to the logic that it's all a matter of digital delivery" (Hilderbrand 2010), web-based video and online content are more often understood as instant-play streaming. As a result, VOD has become the primary preserve of cable and satellite distributors.…”

Section: The Benefits To Cable: Joint Ventures and Bundled Servicesmentioning

confidence: 99%

Horror 2.0 (On Demand)

Tompkins

2013

Television & New Media

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This article examines the horror movie industry’s mobilization of web content and digital distribution outlets, such as video-on-demand (VOD), and how specific fan practices get encoded into business models shaping web 2.0 strategies. Specifically, it examines the emergence of the multiplatform brand Fearnet, a joint cable channel, website, and VOD service owned by Comcast, Lionsgate, and Sony Pictures Entertainment. It argues that the service, which features horror movies taken from the Sony/MGM library and includes a host of interactive features, not only illustrates the changing impact of new media technologies on film distribution but also the growing industrial utility of VOD services for both cable and film industries. By relying on subcultural practices and discourses specific to horror fandom, digital services like Fearnet act as branded media conduits for the various markets and commerce that sustain niche-oriented categories of horror as a commodified experience.

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The Art of Distribution: Video on Demand

Abstract: An account of the rise of Video on Demand as a method of distribution for arthouse and independent films, focusing on the IFC Films and Magnolia Pictures companies, and charting the growing success of streaming video as opposed to DVD and theatrical releasing.

Cited by 13 publications

References 0 publications

Understanding Movie Streaming Websites in Indonesia as Unlimited Movie Access in the Digital Era

Understanding Movie Streaming Websites in Indonesia as Unlimited Movie Access in the Digital Era

Is Time Money? Media Expenditures in Economic and Technological Turbulence

Horror 2.0 (On Demand)

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