Windowed Distribution Strategies for Substitutive Television Content: An Audience-Centric Typology

Shay, Ronen

doi:10.1080/14241277.2015.1099526

Cited by 10 publications

(3 citation statements)

References 21 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Past studies have looked at how consumers adopt media platforms. Content distributors must be prudent in their dissemination of content, as the same content aired or made available on different platforms can create cannibalization of content (Shay, 2015). It is necessary to consider how consumers adopt technology to view SVOD services.…”

Section: Diffusion Of Innovationmentioning

confidence: 99%

How consumers' personalities, lifestyles and demographics predict SVOD genre and SVOD platform consumption

Palomba

2021

JCMARS

View full text Add to dashboard Cite

PurposeStreaming video on demand (SVOD) services are comprised of digital media content creation and content distribution that provide a vast array of genre content playable on an assortment of different technology platforms. Additionally, these digital services are equipped to collect data and information on consumers. However, these services do not capture extensive consumer demographics, lifestyles or personalities information.Design/methodology/approachTo resolve this discrepancy, collecting external information such as complete demographics, personalities and lifestyles of consumers can be useful in advancing SVOD consumer behavior knowledge. This study examined how consumer demographics, lifestyles and personalities may predict SVOD genre consumption and SVOD platform consumption. A survey was executed and disseminated to collect consumer information across these dimensions. Multiple linear regressions and a structural equation model were formed to explicate variance.FindingsConsumer demographics, lifestyles and personalities’ information do predict SVOD genre consumption and SVOD platform consumption.Originality/valueMedia selection and trait theory have not been applied to understanding unexplained variance behind consumer media consumption, and are often used to predict media consumption variance among consumers. These findings illustrate that, while digital consumer touchpoints are necessary to collect and analyze, marketers should not lose sight of easily-obtainable consumer data, much of which dictates consumption choices.

show abstract

Section: Diffusion Of Innovationmentioning

confidence: 99%

How consumers' personalities, lifestyles and demographics predict SVOD genre and SVOD platform consumption

Palomba

2021

JCMARS

View full text Add to dashboard Cite

show abstract

“…The high initial costs involved in production make it imperative for content owners to deploy effective so-called 'windowing' strategies to maximise the value of their wares. Windowing describes a process in which content is released in a carefully planned sequential order across a number of distributive outlets (August, Dao and Shin, 2012;Shay, 2015;Ulin, 2014). It is about arranging the release sequence for content to differing portions of the audience in such a way as maximises overall returns.…”

Section: Economics Of Content Supplymentioning

confidence: 99%

Television production, Funding Models and Exploitation of Content

Doyle

2016

icono14

View full text Add to dashboard Cite

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.

show abstract

“…Some recent research has highlighted how, as processes of globalization diminish national boundaries, television suppliers are using windowing to engineer scarcity and build local demand so as to 'get their products to the maximum (preferably global) geographic audience' (Christophers, 2012: 142). New approaches to segmentation have been analysed from an audience-centric and consumption perspective (Shay, 2015). From a policy perspective, an important emergent theme for legal analysis has been the potential for clash between the territorial nature of copyright and aspirations to promote open digital markets (Cabrera Blázquez et al, 2015).…”

mentioning

confidence: 99%

Digitization and Changing Windowing Strategies in the Television Industry

Doyle

2016

Television & New Media

View full text Add to dashboard Cite

Telephone: 0141 330 3806; Fax: 0141 330 4142. I expect to be available via email during office hours at all times over coming weeks. Author's biography:Gillian Doyle is Professor of Media Economics and Director of the Centre for Cultural Policy Research (CCPR) at the University of Glasgow where she directs Glasgow's MSc in Media Management. 2 Abstract:Windowing -the process of managing the release sequence for content so as to maximise the returns from intellectual property rights (IPRs) -is changing because of transformations in the way that television is distributed and consumed. Drawing on original research into the experience of leading international television producers and distributors, this article breaks new ground by examining how rights owners are adjusting strategies for exploitation of the economic value in their content. Findings show how the rise of digital platforms and outlets whose footprints are diffuse and boundaries are porous is disrupting traditional windowing models. This has necessitated new thinking about how best to organize the sequential roll out of content so as to build audience demand, avoid overlaps and maximise returns. This article argues that changes in the dynamics of television distribution have altered not just processes for exploiting the value in IPRs but also content and content production, with implications for audiences as well as industry.

show abstract

Windowed Distribution Strategies for Substitutive Television Content: An Audience-Centric Typology

Cited by 10 publications

References 21 publications

How consumers' personalities, lifestyles and demographics predict SVOD genre and SVOD platform consumption

How consumers' personalities, lifestyles and demographics predict SVOD genre and SVOD platform consumption

Television production, Funding Models and Exploitation of Content

Digitization and Changing Windowing Strategies in the Television Industry

Contact Info

Product

Resources

About