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Media industries recognise the extent to which the potential audiences for their products are now made up significantly of "roamers," people finding diverse routes through the options available and combining them in different ways. The main research question in this article is: what sort of precise movements, combinations and connections become possible for roaming audiences in rapidly expanding commercial entertainment platforms? The article draws on emergent findings of a qualitative audience study in Malaysia and Indonesia, analysing patterns of movement across streaming services, e.g. Netflix, entertainment platforms, e.g. YouTube, and national cable and public television channels. Through empirical and theoretical research, we critically examine how the virtual and material are intertwined in audience mobility and motility. Through the use of visualisations of the media landscape by roamers, the trope of the "Netflix Park" signifies how motility is closely tied to media freedom and power. In our study, audiences adapt to life in a commodified culture; roamers combine global entertainment platforms and other piracy services, becoming enmeshed in the commercial foreclosure of new media spheres. KEYWORDS media audiences; entertainment platforms; media freedom; media power; mobility and motility; Southeast Asia Media industries recognise the extent to which the potential audiences for their products are now made up significantly of "roamers," people finding diverse routes through the options available and combining them in different ways. We can imagine audiences in topographical terms as roaming around various entertainment platforms, such as Netflix, Disney Plus, Amazon Prime, YouTube and Twitch, alongside national cable and broadcast television. In the process, they are following indicated pathways established by contemporary capitalist media, and also acting as pathmakers themselves, producing new connections, as they "criss-cross" these entertainment platforms (Hill 2019). This article addresses how roaming offers a new means to critically analyse motility and media freedom; our theoretical and empirical analysis of roamers for entertainment platforms in Southeast Asia during the COVID-19 pandemic brings into sharp relief the inherent contradictions of media power as experienced by audiences themselves (Freedman 2014).Platforms for streaming services underscore the relationship across place and mobility, as the very term "streaming" signifies the movement of audiences-subscribers within these entertainment flows. Any assumptions about audiences "going with the flow" need to be empirically investigated.
Media industries recognise the extent to which the potential audiences for their products are now made up significantly of "roamers," people finding diverse routes through the options available and combining them in different ways. The main research question in this article is: what sort of precise movements, combinations and connections become possible for roaming audiences in rapidly expanding commercial entertainment platforms? The article draws on emergent findings of a qualitative audience study in Malaysia and Indonesia, analysing patterns of movement across streaming services, e.g. Netflix, entertainment platforms, e.g. YouTube, and national cable and public television channels. Through empirical and theoretical research, we critically examine how the virtual and material are intertwined in audience mobility and motility. Through the use of visualisations of the media landscape by roamers, the trope of the "Netflix Park" signifies how motility is closely tied to media freedom and power. In our study, audiences adapt to life in a commodified culture; roamers combine global entertainment platforms and other piracy services, becoming enmeshed in the commercial foreclosure of new media spheres. KEYWORDS media audiences; entertainment platforms; media freedom; media power; mobility and motility; Southeast Asia Media industries recognise the extent to which the potential audiences for their products are now made up significantly of "roamers," people finding diverse routes through the options available and combining them in different ways. We can imagine audiences in topographical terms as roaming around various entertainment platforms, such as Netflix, Disney Plus, Amazon Prime, YouTube and Twitch, alongside national cable and broadcast television. In the process, they are following indicated pathways established by contemporary capitalist media, and also acting as pathmakers themselves, producing new connections, as they "criss-cross" these entertainment platforms (Hill 2019). This article addresses how roaming offers a new means to critically analyse motility and media freedom; our theoretical and empirical analysis of roamers for entertainment platforms in Southeast Asia during the COVID-19 pandemic brings into sharp relief the inherent contradictions of media power as experienced by audiences themselves (Freedman 2014).Platforms for streaming services underscore the relationship across place and mobility, as the very term "streaming" signifies the movement of audiences-subscribers within these entertainment flows. Any assumptions about audiences "going with the flow" need to be empirically investigated.
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