Abstract

The introduction of VOD in Spain has been a slow process. The sector has developed over the last few years with international projects like Netflix and HBO and national operators such as Movistar+ and Vodafone One. Also prominent at a national level is Filmin, a project with its origins in the Spanish film industry. In this article we examine the main elements which have enabled VOD to become established in Spain and analyze the case of Filmin as an alternative model based on three variables: a) catalogue and editorial policy; b) business model and lines; c) internationalization strategy. The most significant results deriving from the Filmin case study are: its specialization in independent film and its focus on European audiovisual content; its role as a portal and rights management company; its internationalization strategy initially associated with Media and EuroVoD; and distinguishing features such as simultaneous releases, alliance with and creation of festivals and its commitment to in-house production.

Abstract

The advent of the internet has changed the way we distribute media content, autonomously and independently, calling into question the audiovisual model that emerged in the second half of the twentieth century. Understanding this new way of doing things, in a constant state of evolution, gives us the opportunity to investigate the digital environment in order to take advantage of interactive possibilities. This paper presents the results of an investigation into a new format within the documentary genre that combines visual and literary content, which we have labelled documentarybook. This case study focuses on the documentarybook Hacia una primavera rosa (Towards a pink spring), which was freely distributed through the iBooks Author tool. This documentarybook offers an example, outside the standard conventions of the industry, of a differing supply chain, various reading levels and lenghts, and social public participation with optional levels of involvement. The results of this case study have allowed us to compare the degree of integration between old and new practices and propose theoretical and applied conclusions that may be useful for future social audiovisual projects.