Abstract

Audiovisual content has become a major leisure option in our society, and Internet has transformed its consumption patterns and market population. Identifying the websites that support this type of leisure activity is not a simple task. With data obtained from Alexa.com, it is possible to quantify the ecosystem of websites that provide links to audiovisual content in Spain.

Abstract

Cognitive neuroscience has provided a better understanding of the impact of media stimuli on cognitive and emotional processing. This article offers an exploratory bibliographic review on the contribution of neuroscience in the design of audiovisual content (N=57). This review was carried out in three stages: a) review of unstructured information; b) analysis, organization, and synthesis of content; c) conclusions. Likewise, interviews with experts in the television field, neuromarketing consultants, and neuroscientists (N=10), support the conclusions from the bibliographic review. Subsequently, the paper provides a set of scientifically endorsed guidelines for the efficient design of TV content for entertainment, education, and information, based on storytelling, edition, and the creation of new platforms. The bibliographic research reveals that emotion and attention are the key indicators of effectiveness for the design of television products.

Abstract

The aim of this article is to trace new audiovisual consumption habits, analyzing which screens are preferred by people in Spain when watching different types of content online. In addition, we study the use of second screens, an increasingly common phenomenon. The main sources of data for this empirical study are two original surveys carried out online in May 2012 and in December 2016. The sample size was 1,200 in both cases, and interviews were conducted via the Internet. The target population consisted of Internet users in Spain and the sample distribution was designed to be representative of this population. Our results show that audiovisual consumption habits are changing dramatically, especially when looking at younger users, whose loyalty and attention is even more difficult to attract due to their disruptive practices. In this sense, great uncertainties and risks have emerged in the entertainment industry, although valuable opportunities may also arise.

Abstract

New actors who link their activity to content distribution are leading the business of online media content. These actors adapt their operations to the demands of converging media context, and they propose business models oriented to user satisfaction. Among them, Netflix is notably highlighted for leadership in its home market, the United States, and in its international expansion. This paper presents in detail the Netflix business model with a case study that focuses on three key areas: the catalogue and monetization formula, policy relationships with key audiences (users, content providers and internet providers) and its internationalization strategy. Based on the results, the projection of this model in the Spanish media market can begin to be discussed.

Abstract

YouTube is a company representative of its original context, Web 2.0, that originally positioned itself as an open and collaborative platform to broadcast videos created by all kinds of users; their slogan was, and remains, Broadcast yourself. The acquisition of YouTube by Google introduced it in the search for profit in the framework of OTT (over the top) communication. The YouTube homepage reveals the successive business policies followed by the platform. In this work we analyze the evolution of the unlogged homepage of YouTube Spain between 2009 and 2018. We observe the gradual disappearance of the videos produced by private users and its replacement by those made by professional users (youtubers) and cultural industries. There is a remarkable parallelism between the implementation of business models and the greater or lesser recommendation of video from one kind of user or another.

Abstract

The core programming activity of the traditional television business has been strongly impacted by the disruptive alteration of the media ecosystem caused by over-the-top (OTT) platforms. Despite the new programmatic challenges that this suggests, such as conquering global audiences or defining engagement strategies appropriate to new consumer habits, OTTs share the needs of linear television that justified the development of television programming. The main objective of this work is to verify the validity of programming in the new context of nonlinear consumption and to determine the importance of the different factors that determine it. The premise is that programming is an enduring activity, regardless of the structural changes in the ecosystem. The factors that condition the activity linked to the development of the offering and, therefore, the function of the platforms as content providers continue in force. However, the impact of these factors varies depending on the different needs of the platforms in comparison with linear television. A hypothetical–deductive methodology is applied based on a literature review of factors related to television programming, followed by an exploratory and descriptive analysis of the main platforms operating in Spain. The results contribute to the generation of a conceptualization of programming as a fundamental activity in the streaming platform system.