Video on Demand Research Papers (original) (raw)

L’economia del film è un’area di ricerca relativamente giovane e in espansione dedicata all’industria cinematografica e allo studio delle logiche che governano le sue attività. Il volume analizza i processi di finanziamento, produzione, distribuzione e circolazione dei film, il mercato cinematografico, i protagonisti tradizionali e di più recente comparsa che operano nel settore (come Netflix e Amazon), e la complessa rete di politiche europee, nazionali e locali che regolamentano e sostengono il sistema, soffermandosi di volta in volta a riflettere sulle diverse forme di valore che il film assume per gli stakeholder coinvolti. Il film è infatti un prodotto complesso, su cui convergono interessi pubblici e privati diversificati, istanze artistiche ed economiche, frutto di un processo che si declina in maniera differente a seconda della cultura produttiva di cui è espressione. Questa complessità da una parte articola il ruolo che il film ricopre all’interno del sistema economico e della società contemporanea; dall’altra rende più che mai complesso quantificare e determinare il suo successo.

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- Italian Cinema, Film Production, Film Distribution, Product Placement

Nowadays dynamic service management frameworks are proposed to ensure end-to-end QoS. To achieve this goal, it is necessary to manage Service Level Agreements (SLA) which specify quality parameters of the services operation such as... more

- by Jorge Mata
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- Markov Processes, Video Streaming, Service management, Quality of Service

Internet usage has changed dramatically in the past few years. Content is no longer dominated by static websites, but comprises an increasing number of multimedia streams. With the widespread availability of broadband connections, the quality of the media provided by video-on-demand as well as streaming services increases constantly. Even though today most videos are still encoded with a rather low bit rate, large Internet service providers already foresee highdefinition media becoming the predominant format in the near future. However, a larger number of clients requesting media at high bit rates poses a challenge for the server infrastructure. Conventional stream dissemination methods, such as RTP over UDP or HTTP over TCP, result in high server loads due to excessive local data copy, context switching, and interrupt processing overhead. In this paper, we illustrate and discuss this problem in detail through extensive experiments with existing solutions. We then present a new approach based on zero-copy protocol stack implementations in software as well as dedicated RDMA hardware. Our performance experiments indicate that these optimizations allow servers to scale better and remove most of the overhead caused by current approaches.

- by Bernard Metzler
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- Internet Service Provider, Internet Usage, Multimedia Streaming, Video on Demand

Considering that current end to end communication services are not adapted for supporting efficiently distributed multimedia application, this paper introduces a new family of generic transport protocols directly instantiated from application layer quality of service requirements. This Generic Transport Protocol (GTP) has been successfully tested for video on demand systems and is one of the major building block of the currently under development GCAP European project. GTP allows one to apply in the transport layer powerful adaptation mechanisms to the network behavior while preserving application requirements and alleviating network bandwidth and buffering needs

- by Patrick Senac
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- Multimedia, Service Quality, Quality of Service, Formal method

Next Generation Network (NGN) Release 1 is the ITU-T architecture for packet-switched networks that supports the provisioning of broadband and QoS-guaranteed multimedia services, such as Video on Demand and TV streaming, independently of... more

- by Piero Castoldi
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- Noms, Multimedia Services, Transportation Networks, Video on Demand

IMS has been widely recognized as the control and signaling framework for delivering of the rich communication and multimedia services to the broadband users. Amongst others, it is deployable as the service (middleware) platform for the interactive and personalized IPTV services. The goal of this paper is to provide an investigation of the advanced use cases in practical perspective. The work has been done at Hanoi University of Technology (HUT) in the scope of its initiatives for NGN research program. Major usecases, or we called intelligent features, are the advanced electronic service guide, video on demand (VoD), (IPTV) session continuity, and parental control. Development prototypes for each of the use-cases are depicted. ©2010 IEEE.

- by Nguyen Thanh
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- Middleware, Use Case, Multimedia Services, Video on Demand

India is a very large TV market. India now has over 277 million individuals (out of 312 million) with television sets, of which over 145 million have access to Cable TV or Satellite TV, including 78 million households which are DTH subscribers. Also India has over 55 million unique users visiting YouTube per month (2013) and the number is going to be bigger in coming years because India has only 20% internet penetration which makes it only 8% of the entire world’s internet population. Identifying the opportunity many big corporate have launched their video on demand service in India.

- by Tanuja Gaikwad
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- Indian Cinema, Television, India, Video Streaming

In the present study, we focus on local distributors operating on the small national market, whose voices were rather missing in the pan-EU debates or under-represented in the policies of international interest groups (i.e. professional associations) and national political positions. The aim of the study is to reconstruct and compare Czech distributors’ attitudes toward the Digital Single Market strategy (DSM) and its individual regulatory initiatives, starting from May 2015. First, we situate the DSM into the wider cultural-political context, marked by tensions between basic principles of free market in the EU and the territoriality of copyright, the latter being a fundamental component of European audiovisual distributors’ business models. We also introduce three legislative proposals that are the most relevant from the perspective of audiovisual industries’ functioning and audiovisual content’s cross-border availability. In the analytical part of the study, this is followed by a reconstruction and classification of our respondents’ attitudes to the DSM strategy and their views of the current problems of digital distribution, with particular attention to the reasons for the poor cross-border availability of audiovisual works in the EU.

- by Pavel Zahrádka and +1
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- Film Industries, Territoriality, Copyright Law, Video on Demand

Informar, entretener y educar son las funciones clásicas de la televisión tradicional pero la llegada de nuevos servicios televisivos como las plataformas de vídeo bajo demanda plantean una nueva situación para este medio de comunicación aún por estudiar. A través de la cuantificación y clasificación del contenido de no ficción de estas plataformas, este Trabajo de Fin de Grado busca confirmar si estas plataformas han asumido el rol de un medio de información.

- by Irene Zurita
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- Television Studies, Periodismo, Comunicacion, Netflix

Resumo: Nos últimos anos, as empresas de tecnologias e de mídia apostaram nas funcionalidades das plataformas de vídeo sob demanda para inovar os negócios da indústria audiovisual, criando uma base de usuários que faz uso da visualização conectada para acessar conteúdo em múltiplas telas quando desejar, onde desejar e como desejar. Neste artigo, pretende-se analisar as mudanças no mercado e na experiência de consumo audiovisual provocadas pela abertura de novos canais de distribuição online, a partir da convergência das empresas de tecnologia e de mídia, procurando entender os serviços de vídeo sob encomenda como uma nova plataforma televisiva, entre outas formas de distribuição de conteúdo audiovisual, especialmente no atual cenário midiático brasileiro. Palavras-Chave: 1.Televisão 2. Plataformas 3. Vídeo Abstract: In recent years, the technology and media companies bet on the functionality of the on-demand video platforms to innovate the audiovisual industry business, creating a user base that uses the connected viewing to access content on multiple screens when and where you want and as desired. In this paper, we intend to analyze the changes in the market and audiovisual consumption experience caused by the opening of new online distribution channels, from the convergence of technology and media companies, trying to understand the video on demand services as a new television platform, among other forms of audiovisual distribution, especially in the current Brazilian media context.

- by João J C M Massarolo
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- Television Studies, Transmedia, Video on Demand, video sob demanda

In this article, an analysis of the over-the-top video on demand (VOD OTT) services’ market in Latin America is proposed, to account for its penetration, relationship with traditional pay-TV, content policies and current (and nowadays under debate) regulations for the sector. The analysis departs from a comparative study on the five main audio-visual markets of the region: Argentina, Brazil, Chile, Colombia and Mexico, within which it is analysed Netflix, the predominant VOD OTT service. First, it will be argued that Internet’s potential to generate higher levels of competition and diversity from online distribution of audio-visual
content has been limited by practices of vertical integration between a few new entrants and pre-existing, dominant players of the infocommunications industry.
Secondly, the State’s role as a guarantor of public interest is discussed, particularly in periphery contexts with deeply structural asymmetries, as is the case in the countries mentioned above.

- by Mariela Baladron and +1
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- Information Technology, Television Studies, Internet Studies, Regulation And Governance

Emblazoned with the headline "Transparency," Google released dozens of interior and exterior glossy images of their data centers on the company's website in 2012. Inviting the public to "come inside" and "see where the Internet lives," Google proudly announced they would reveal "what we're made of-inside and out" by offering virtual tours through photo galleries of the technology, the people, and the places making up their data centers. 2 Google's tours showed the world a glimpse of these structures with a series of photographs showcasing "the physical Internet" as the site characterized it. The pictures consisted mainly of slick, artful images of buildings, wires, pipes, servers, and dedicated workers that populate the centers.

- by Patrick Vonderau
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- Political Economy, New Media, Media and Cultural Studies, Digital Humanities

Aiming to examine Netflix's strategies in its global expansion and based on the debates on the transnationalization of tv flows, we observe the platform's presence in two peripheral markets: Brazil and South Korea. In both, we find similar tactics, such as the licensing and commissioning of local content and partnerships with national production companies. Although we identified a recent shift in the company's strategies from Latin America towards the Asian market, we argue that it is imperative to deconstruct Netflix's position as a mediator of narratives to and from the "rest of the world".

- by Melina Meimaridis and +2
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- Television Studies, Transnational television, TV studies, Video Streaming

La radio e la televisione non sono più le stesse dopo il passaggio definitivo al digitale e l’intreccio con la rete e i social network.
Questo manuale offre uno sguardo tutto orientato al presente sui due grandi media contemporanei: palinsesti, format, programmi, audience, video on demand, Youtube e Facebook, rapporti con la società, strategie di produzione e distribuzione.

Eva-Patricia Fernández-Manzano graduated in audiovisual communication and obtained her PhD degree (2005) from Complutense University of Madrid. She has a Master's in audiovisual business management from Instituto de Empresa, and a Master's in big data and business intelligence management from Escuela de Organización Industrial (EOI), both in Madrid. She is a professor at the Rey Juan Carlos University on media management. Her research focuses on how media companies work with technology. She has published several papers and books about media and big data, the last one being Big data, eje estratégico de la industria audiovisual (UOC, 2016).

- by Elena Neira and +1
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- Business Intelligence, Big Data, Netflix, Video on Demand

The COVID pandemic had a huge impact on the Italian film industry. This article aims to provide a critical chronicle of the events that happened from March 2020 to the present, in order to understand and discuss the decisions undertaken by the many stakeholders of the film value chain. In doing that, the article devotes particular attention to film distribution and to the dilemma between waiting to re-open theaters and the direct-to-stream solution. The final section provides suggestions for the post-pandemic period, wishing for greater flexibility in managing film distribution/circulation, and more cooperation between traditional stakeholders and VOD platforms.

- by Marco Cucco
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- Italian Cinema, Cinema Studies, Film industry, Video on Demand

This paper examines the contextual challenges that characterise the Video On Demand market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past five years. This is attributed to the transnational reach of the streaming services as they are patronised by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This paper specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about internet-distributed video using the African context. This paper is situated within the Media Industry Studies framework and draws from semi structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This paper underscores the necessity of contextualised research with the digital turn in video distribution. Through contextualised analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of internet-distributed video to marginal contexts.

- by Godwin I . Simon
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- Digital Divide, The Nigerian film industry, Video Streaming, Nollywood

A new narrative structure for the digital age. With the advent of the internet and on-demand video distribution, old narratives are not compelling and entertaining anymore. We need a new narrative structure that revolutionize the Hero's... more

A new narrative structure for the digital age.
With the advent of the internet and on-demand video distribution, old narratives are not compelling and entertaining anymore. We need a new narrative structure that revolutionize the Hero's Journey template, using instead the Hidden Desire's Journey template.

- by Jacopo Mascolini
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- Screenwriting, Media Studies, Narrative, Digital Media
- by Huw D Jones
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- Film Studies, Film Industries, Film Distribution, Media Audiences
- by André LANGE
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- Television Studies, Television, Online Video, Video on Demand

This is an open access book. Media industry research and EU policymaking are predominantly tailored to large (and, in the latter case, Western) European markets. This open access book addresses the specific qualities of smaller media markets, highlighting their vulnerability to global digital competition and outlining survival strategies for them. New online distribution models and new trends in the consumption of audiovisual content are limited by, and pose new challenges for, existing audiovisual business models and their legal framework in the EU. The European Commission’s Digital Single Market (DSM) strategy, which was intended e.g. to remove obstacles to the cross-border distribution of audiovisual content, has triggered a heated debate on the transformation of the existing ecosystem for European screen industries. While most current discussions focus on the United States, Western Europe, and the multinational giants, this book approaches these industry trends and policy questions from the perspective of relatively small and peripheral (in terms of their population, language, cross-border cultural flows, and financial and/or symbolic capital) media markets.

- by Jakub Macek and +2
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- Media Studies, Cultural Policy, Digital Media, Media Industries

The European Audiovisual Observatory Yearbook offers a comprehensive overview of the audiovisual sector in the Observatory’s 40 member states. Data from more than 1,000 different sources are collected and analysed, and information is presented in over 500 graphs and tables. The result is a unique overview of Europe’s audiovisual markets in film, television and video.
The impartiality of the data presented is guaranteed by the Observatory’s
status as a pan-European public body.
The Yearbook constitutes an outstanding source for all those involved
in the audiovisual sector, whether policy makers, professionals or academics.

- by André LANGE
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- European Studies, Statistics, Television Studies, Online Video

Seen as disruptive forces in national media ecologies or just new players among others, the launch of American subscription based video-on-demand services (SVOD), in big, medium or small scale European audio-visual markets has recently been subject of scholar interest. Drawing on these works which revolve around the problematics of localization, national politics of taste, cultural diversity and access, this paper focuses on the introduction of the digital platform Netflix in Turkey in January 2016. It explores how this global streaming giant builds its promotional discourse in relation to the positioning of existing cultural, industrial and political players in the given context. Taking into account the national specificities of the audio-visual market in Turkey, not only does it provide some insight into how Netflix customizes its marketing materials, it also underscores the company’s understanding of a potential Netflix subscriber in the country.

- by Ece Vitrinel
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- Localization, Turkey, Film Industries, Piracy

Résumé L'analyse économique des droits d'auteur dans le secteur du cinéma s' est fondée sur des données provenant tant du Cnc que des sociétés de perception et de répartition de droits (S prd) concernées qui ont permis... more

- by philippe Chantepie
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- Economics, Art, French Cinema, National Cinemas

A presente tese tem como objetivo compreender de que forma a homologia estrutural entre as disposições e os desejos de tomada de posição por parte dos gestores do portal de televisão distribuída pela internet Netflix e da equipe criativa da série de comédia Arrested Development, no momento histórico do início dos anos 2010 no campo de produção de séries televisivas estadunidenses, permitiram a manutenção e a exacerbação do caráter inovador e experimental da série na construção narrativa dos episódios de sua quarta temporada, lançados integralmente no serviço de streaming de vídeo online em 2013. A construção do efeito cômico do quarto ano da série, por meio de alternações temporais e da fragmentação narrativa, foi idealizada, por exemplo, tendo em vista a possibilidade de consumo contínuo dos 15 episódios por parte do público – o fenômeno binge-watching, característico do modelo de distribuição da Netflix. Tal decisão resultou em uma radicalização da construção da serialidade e do design em quebra-cabeças da narrativa. Para analisar esse processo, utilizamos o repertório teórico de Pierre Bourdieu, especialmente os apontamentos do sociólogo em As Regras da Arte (1996), de modo a compreender a atuação da Netflix no processo de produção de Arrested Development através da ideia de que a produção de séries constitui um campo que implica um espaço social de tomadas de posição (tanto criativas quanto gerenciais) pelos principais agentes envolvidos – particularmente, os executivos de desenvolvimento de programação original das empresas e os showrunners, roteiristas-chefes e produtores-executivos responsáveis pelas equipes criativas que trabalham nessas séries. Operacionalizada junto com a perspectiva de estilo de Baxandall (2006) e de Bordwell (2008), a abordagem de Bourdieu nos permitiu construir um arcabouço teórico-metodológico que contribui para a superação do antagonismo que divide as pesquisas acadêmicas entre aquelas que examinam a autoria dos produtos culturais focadas somente na forma e no conteúdo, ou seja, nos aspectos poéticos da obra, e as que compreendem as relações entre as condições contextuais de produção das séries por parte das empresas produtoras e distribuidoras, os processos de criação executados pelas equipes criativas envolvidas com as séries e as instâncias de reconhecimento destas experiências. Portanto, o referencial bourdieusiano instiga a análise relacional das duas instâncias – da produção e da obra – em uma visão compreensiva da série, dos agentes envolvidos (das organizações produtoras e dos criadores), segundo as lógicas específicas em disputa no cenário social, econômico e midiático em que estão inseridos. No caso do estudo da produção de Arrested Development comissionada pela Netflix, investigamos o posicionamento do portal de televisão distribuída pela internet (Lotz, 2017) e sua trajetória no mercado de distribuição de audiovisual licenciado, bem como o momento em que a empresa se insere no campo de produção seriada televisiva, ao investir em séries no formato televisivo para circulação exclusiva por meio da internet. Exploramos também o contexto concorrencial do campo que permite compreender as escolhas dos gestores da organização de investirem em programação original, bem como o papel do gerenciamento da Netflix ao assumir riscos e se posicionar como lugar de liberdade e de autonomia criativa em seus investimentos iniciais, em 2013 – posicionamento essencial para a compreensão das tomadas de posição do showrunner Mitch Hurwitz no desenvolvimento narrativo inovador e experimental da quarta temporada de Arrested Development.

- by Maíra Bianchini
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- Television Studies, U.S. Television Studies, Series TV, Television series

No resultará sostenible en el mediano plazo un sistema nacional de producción audiovisual basado exclusivamente en las formas tradicionales de financiamiento por publicidad y en nichos de abono o suscripción, sin considerar a las redes digitales.
En un contexto de concentración de actores, y nuevas tensiones entre incumbentes y entrantes propio de la convergencia de servicios, se identifican riesgos progresivos de sostenibilidad del sistema por falta de reinversión debido a problemas de territorialidad, imposición y gestión de recursos públicos afectados, además de la deriva a plataformas globales de publicidad y distribución.

- by Diego Rossi and +1
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- Political Economy of Communication, Digital Media, Media Policy, Cultural Industries

In this article, we investigate Netflix, questioning the expectations of the public and the critics regarding changes that arise from the introduction of this service in the market. From the analysis of trade press coverage, access data, and the company's investment trends, we inquire what types of TV consumption experiences are at stake in the discourse promoted by analysts and novelty enthusiasts. We also discuss how evaluations on these platforms renew the ongoing controversies about television quality. In spite of the type of elucubration awakened by the sensation of ubiquity and stylistic revolutions, we will defend that the practices related to streaming work, in fact, as updated models of linear TV.

- by Melina Meimaridis
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- Television Studies, TV studies, Video Streaming, TV Series

In recent years, the increasing popularity of video-on-demand (VOD) platforms has changed Spanish audiovisual consumption. The main objectives of this article are to analyze the representation of gender in VOD Spanish productions. We pay particular attention to whether there is underrepresentation of character types and gender stereotyping with respect to occupation, traits, attitudes, and conversations. In addition, we set out to verify whether the image of women is different in VOD platforms compared with generalist television channels. To this end, we carried out a quantitative content analysis on a sample of 760 characters from Spanish fiction series produced by VOD platforms, broadcast between 2017 and 2020. The results obtained prove that even though new audiovisual platforms tend to incorporate equality, the underrepresentation and stereotyping of female characters in terms of professional occupation, family, and emotions still exist.

- by Beatriz González de Garay and +1
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- Gender Studies, Content Analysis, Spain, Video on Demand

The research explores the little-understood phenomena of new media based film distribution system in Bangladesh, finds the consequences of new media in film distribution, and makes a recommendation for developing an effective film distribution system. This research employs a qualitative approach where indepth interviews of people involved in traditional and online film distribution systems are taken to collect data. The study finds that new media based film distribution is an emerging sector in Bangladesh, and it will strengthen the overall distribution system by reducing the distribution costs and increasing revenue.

- by Saiyeed Shahjada Al Kareem
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- New Media, Internet Studies, Film Distribution, Platform Studies

Se presentan los resultados del Observatorio Iberoamericano de Ficción Televisiva, capítulo México, respecto a lo acontecido en el año 2017 en la ficción producida en TV abierta nacional (ratings, principales programas de ficción, 10 más vistos); así como un contexto audiovisual, los perfiles de la audiencia, recepción transmedia, y una descripción como tema del año de los sistemas de Video on Demand en México.

- by Gabriela Gómez Rodríguez
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- Television Studies, Audience Studies, Fiction, Estudios de Recepción

Las plataformas de video a demanda Over-the-Top (VOD OTT) para la distribución de video en Internet, con YouTube y Netflix entre sus máximos exponentes, generaron cambios en el ecosistema audiovisual. Este mercado, en América Latina, no está exento de las desigualdades históricas que se verifican en los medios tradicionales, debido a la subsistencia de fenómenos de alta concentración de la propiedad, de mercado y prácticas de integración entre los principales prestadores. De esta forma, la tendencia actual plantea desafíos regulatorios en relación con la promoción de la competencia, la diversidad, la producción de contenidos locales y el pluralismo en un escenario digital. Este artículo adopta la perspectiva de la Economía Política de la Comunicación para analizar las transformaciones del sector audiovisual en Internet. Se recurrió al análisis de informes oficiales, estudios de mercado y legislación de Europa, Estados Unidos y los cinco principales mercados audiovisuales de América Latina: Argentina, Brasil, Chile, Colombia y México. Parte de un recorrido por los modelos regulatorios de los VOD OTT en Europa y Estados Unidos y las discusiones actuales. Luego se sistematizan y analizan los aspectos impositivos y los debates regulatorios en los países latinoamericanos seleccionados. Finalmente, se presentan conclusiones donde se argumenta que los avances y discusiones respecto de la regulación de esta actividad en la región son incipientes y no permiten vislumbrar un "modelo latinoamericano" ni una relación directa con los internacionales.

- by Ezequiel A . Rivero and +1
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- Television Studies, Internet & Society, Television, Online Video

A mixed-signal digital cable-TV transceiver IC containing two distinctly separate quadrature amplitude modulation (QAM) receivers and a single QAM modulator has been designed. An integrated 10-b analog-to-digital converter (A/D) interfaces the first receiver directly to an analog signal. This receiver demodulates 4/16/32/64/128/256-QAM signals carrying the television programs or cable modem data with a variable symbol rate from 1 to 7 MBaud. A 6-b A/D is integrated to interface the second receiver to an analog signal. This receiver, used by cable operators for access control, demodulates quadrature phase shift keying (QPSK) signals with a variable symbol rate from 0.75 to 1.6 MBaud. The upstream modulator provides two-way communication required for interactive television or cable modem services. Capable of QPSK/16-QAM modulation with a variable transmission rate up to 25 Mb/s, the modulator also includes an integrated 10-b digital-to-analog converter to provide radio-frequency analog output from 0 to 65 MHz. Both receivers and the transmitter incorporate on-chip forward error correction compliant with multiple worldwide standards allowing global deployment. The carrier, phase, and timing recovery for each receiver is achieved with on-chip tracking loops. Adaptive decision feedback equalizers are incorporated to eliminate intersymbol interference. The transmitter incorporates preamble prepending and preequalization to facilitate reception. The device further integrates access control message separation, set-top box control circuitry, and a parallel microprocessor bus interface to boost system performance. The design employs a combination of semicustom and custom circuit design techniques for speed, mixed-signal performance, and layout density. Fabricated in a single poly, four-layer-metal, 0.35-m standard CMOS process, the chip area is 64 mm 2 . The device is packaged in a 256 tape ball grid array (TBGA), and dissipates 3 W at 3.3 V.

- by fang lu
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- Access Control, Digital Communication, Interactive Television, Radio Frequency

This article discusses the stress between some actions taken by the Argentine government, aimed at preserving the film heritage; and the respect for the copyright of these works. The text discusses two specific cases: the creation of INCAA TV channel
and Internet on-demand streaming Odeon, both belonging to the National Institute of Cinema and Audiovisual Arts (INCAA) from Argentina. From the analysis of these cases, and taking as reference the legislation developed by the European Community
against this problem, some guidelines are proposed here tending to correct the limitations of the copyright law in force in Argentina regarding the audiovisual
preservation field.

- by eugenia Izquierdo
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- Copyright (Law), Cinema, DISTRIBUTION, Video on Demand

Today, VOD (video on demand) sites and portals specializing in long-form, high-quality documentary and factual content proliferate online. This article explores the multiplatform strategies of public service broadcasters in the UK in this context. It examines how the BBC and Channel 4 address the masses of user generated content that flood the documentary market and partake in the battle for audiences for documentary films and factual content in a multiplatform context. Both channels seek to reinvent themselves as public service media providers and curators of documentary content online, in order to fulfil public service remits and secure their positions as leading providers of documentary and factual content across platforms in a global multiplatform mediascape. However, by contrasting Channel 4’s online ‘verticals’ with the BBC’s themed and branded documentary portals, the article argues that although Channel 4 and BBC pursue similar strategies online they do so for different reasons and to different effect.

- by Inge Sorensen
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- Web 2.0, Television Studies, Public Service Media, Online and Web Strategies

- by Sebastien Poulain
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- Economics, French Cinema, National Cinemas, Digital Cinema