Digital Peripheries : : The Online Circulation of Audiovisual Content from the Small Market Perspective.

• Superior document: Springer Series in Media Industries Series
• Author: Szczepanik, Petr.
• TeilnehmendeR: Zahrádka, Pavel.; Macek, Jakub.; Stepan, Paul.
• Place / Publishing House: Cham : : Springer International Publishing AG,, 2020.; ©2020.
• Year of Publication: 2020
• Edition: 1st ed.
• Language: English
• Series: Springer Series in Media Industries Series
• Physical Description: 1 online resource (303 pages)

Table of Contents

Digital Peripheries -- Contents -- Editors and Contributors -- List of Figures -- List of Tables -- 1 Introduction: Theorizing Digital Peripheries -- 1.1 Globalization and Digitalization from the Perspective of the Small and the Peripheral -- 1.2 Scale Matters -- 1.3 Renewed Debate on Cultural Flows and Center-Periphery Hierarchies -- 1.4 Evolving Systemic Relations of Media Markets: Toward a New Typology of Digital Peripheries -- 1.5 Crossing Boundaries: The Impact of EU Media Policy at the Periphery -- 1.5.1 An Overview of the Book Sections3pc -- References -- Part I On Boundaries and Scales: Reconceptualizing Digital Markets -- 2 Small, Middle, Test: Rescaling Peripheral Media Markets -- 2.1 Introduction -- 2.2 Scale, Markets and Value -- 2.3 (Relatively) Small Media Markets -- 2.4 Middle Media Markets -- 2.5 Test Markets -- 2.6 Conclusion -- References -- 3 On the Boundaries of Digital Markets -- 3.1 Introduction -- 3.2 What Is a Market? -- 3.3 Market Space and Social Space -- 3.4 The Digital Single Market and Its Discontents -- 3.5 The Geoblocking Problem -- 3.6 Boundary Trouble -- 3.7 Conclusion -- References -- Part II Regulating Online Boundaries: Territoriality Versus Digital Single Market -- 4 Territoriality of Copyright Law -- 4.1 Territoriality and Sovereignty -- 4.2 Territoriality in Copyrights -- 4.3 Geoblocking and Technical Measures -- 4.4 Place of Availability of Works -- 4.5 Place of Communicating Works to the Public -- 4.6 Concluding Remarks -- References -- 5 Geoblocking: At Odds with the EU Single Market and Consumer Expectations -- 5.1 Introduction -- 5.2 Geoblocking Locks Out Audiences -- 5.3 Geoblocking Is Discrimination -- 5.4 Geoblocking Locks in Creators -- 5.5 Geoblocking Harms the Economy -- 5.6 Geoblocking Betrays EU Principles -- 5.7 European Commission Initiatives to Abolish Geoblocking, 2014-2019.

5.8 Conclusions-Solutions -- References -- 6 The Czech and Slovak Audiovisual Market as a Laboratory Experiment for the Digital Single Market in Europe -- 6.1 What's Wrong with the Audiovisual Industries in Europe? -- 6.2 Don't Panic? The Digital Single Market and the Concerns of the Audiovisual Industry in the EU -- 6.3 Who Was Interviewed and What About? -- 6.4 Digital Single Market as a Threat or Opportunity for Small-Market Players? -- 6.4.1 Cross-Border Portability of Online Audiovisual Services3pc -- 6.4.2 Cross-Border Availability of Audiovisual Content and the Importance of Geoblocking3pc -- 6.5 Sustainable Business Models? -- References -- Part III A New Game with Old Players: Distribution Practices in Small and Peripheral Markets -- 7 Television Distribution in Flanders: Who Takes the Lead and Is Content Always King? -- 7.1 Introduction -- 7.2 Television Distribution: From Cable to Over-the-Top Delivery -- 7.3 Why Small Media Markets Should Care About Pressure on Broadcasting -- 7.3.1 The Structural Fragility of Small Television Markets3pc -- 7.3.2 When Small Television Markets Are Hit, They Are Hit Hard3pc -- 7.4 Flanders: A Fragile, yet Vibrant Market -- 7.5 How Media Managers Act Upon This: A Case Study of Flanders -- 7.5.1 A (One-Sided) Ecosystem Approach3pc -- 7.5.2 Increasing Scale, or the Continuing Struggle for a Joint VOD Portal3pc -- 7.5.3 Increased Valorization: The Many Attempts to Compensate for TV Advertisement3pc -- 7.5.4 Valorization Through International Content Distribution3pc -- 7.6 Discussion and Conclusions -- References -- 8 Industry Divide: The Interdependence of Traditional Cinematic Distribution and VOD in Poland -- 8.1 Introduction -- 8.2 Structure of the Polish Market and Interdependence of Industries -- 8.3 The VOD Market in Poland: Concentration Around the Powerful.

8.4 The Separation of Cinema Distribution and the VOD Market -- 8.5 Conclusions -- References -- 9 Channels and Barriers of Cross-Border Online Circulation: Central and Eastern Europe as a Digital Periphery -- 9.1 Introduction -- 9.2 VOD in the Small Media Industry Ecosystem -- 9.3 Online Distribution Practices and Intermediaries -- 9.4 TVOD's Extensive, Bottom-Up Distribution Model -- 9.5 SVOD's Intensive, Top-Down Model and the Original Local Content Production -- 9.6 Conclusion -- References -- 10 Digital Film and Television Distribution in Greece: Between Crisis and Opportunity -- 10.1 Introduction -- 10.2 Film and Television Industries in Greece: Structure, Policy and Debates -- 10.3 The Distribution Ecology of Over-The-Top (OTT) Video on Demand (VOD) Provision in Greece -- 10.4 Conclusion -- References -- Part IV The Other Audiences: Convergent Viewership in Small and Peripheral Markets -- 11 Finding Larger Transnational Media Markets: Media Practices of the Vietnamese Diasporic Community -- 11.1 Introduction -- 11.2 Vietnamese in the Czech Republic -- 11.3 Media Practices in Diasporic Communities -- 11.4 Contextualizing Vietnamese Populations in the CR -- 11.5 Crossing the Binational Border: Media Practices of the Early First Generation -- 11.6 Crossing the Binational Border Online: Media Practices of the Recent First Generation -- 11.7 Crossing Multiple Borders: Transnational Media Practices of the 1.5 Generation -- 11.8 Conclusion -- References -- 12 Configurable Culture in Wealthy and Developing Markets: A Comparative Cross-National Perspective -- 12.1 Introduction -- 12.2 Methods -- 12.3 Analysis -- 12.3.1 Awareness of Configurable Culture3pc -- 12.3.2 Consumption of Configurable Culture3pc -- 12.3.3 Engagement with Configurable Culture3pc -- 12.3.4 Civic Engagement via Digital Media3pc -- 12.3.5 Opinions on Ethics and Legality3pc.

12.4 Conclusion -- References -- 13 Structured Film-Viewing Preferences and Practices: A Quantitative Analysis of Hierarchies in Screen and Content Selection Among Young People in Flanders -- 13.1 Introduction -- 13.2 Hierarchies in Origin: Hollywood Film, European Film and National Film -- 13.3 Hierarchy in Screens: A Matter of Size -- 13.4 Methods -- 13.5 Measures of Film Consumption: Watching Film Today -- 13.6 Films on Screens: Detailed Measurements of Film Consumption -- 13.7 Conclusion -- References -- 14 Uses Genres and Media Ensembles: A Conceptual Roadmap for Research of Convergent Audiences -- 14.1 Introduction -- 14.2 Uses Genres -- 14.3 Media Ensembles -- 14.4 Researching the Uses Genres and Media Ensembles of Current Post-TV Audiences -- 14.5 Specifics of Small-Market Audiences? -- 14.6 Conclusion -- References -- Part V Audiovisual Policy and the Future of Copyright Economy -- 15 Compensation Systems for Online Use -- 15.1 Introduction -- 15.2 The Basic Economics of Copyrights -- 15.3 Copyright Compensation Systems (CCS) -- 15.3.1 The Reasoning Behind CCS3pc -- 15.3.2 The Empirical Evidence3pc -- 15.4 Copyright Compensation Systems in the Context of CEE Countries -- 15.5 Conclusions -- References -- 16 Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution -- 16.1 Introduction -- 16.2 Peculiarities of Traditional Music Licensing in Audiovisual Production and Distribution -- 16.2.1 Licensing Author's Rights3pc -- 16.2.2 Licensing Rights Related to Copyright (Neighboring Rights)3pc -- 16.3 Licensing Online Film Distribution -- 16.3.1 Rights Affected3pc -- 16.3.2 Global Licensing Arrangements3pc -- 16.4 The Ultimate Task: Simplifying Rights Clearance, Standardizing the Procedures -- References -- 17 Small Country, Complex Film Policy: The Case of the Czech Film Funding System.

17.1 Cultural Policy as a Dispute Between Two Concepts -- 17.2 Development of Film Policies and Funding Schemes After 1989 -- 17.2.1 Accession to the EU3pc -- 17.2.2 Finances and Funding3pc -- 17.3 New Law, New Conditions -- 17.3.1 Support Typology3pc -- 17.3.2 Minority Co-production3pc -- 17.3.3 The Current Funding Scheme3pc -- 17.4 Mapping the Czech Film Industry -- 17.4.1 Attracting Runaway Productions3pc -- 17.5 Digitalization -- 17.6 The Lack of Analysis and Future Hopes -- References.