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

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

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Bibliographic Details
Superior document:Springer Series in Media Industries Series
:
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
Online Access:
Physical Description:1 online resource (303 pages)
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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.

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