Have a personal or library account? Click to login
Are Video Streaming Platforms Stifling Local Production Creativity? The Spanish Case Cover

Are Video Streaming Platforms Stifling Local Production Creativity? The Spanish Case

Open Access
|Feb 2023

References

  1. Álvarez-Monzoncillo, J.M. & López Villanueva, J. (1999). La producción de ficción en España: un cambio de ciclo. Zer, 7, 65–87.
  2. Arnold, S. (2016). Netflix and the myth of choice/participation/autonomy. In K. McDonald & D. Smith-Rowsey (Eds.), The Netflix Effect: Technology and entertainment in the 21st century (pp. 49–62). Bloomsbury.10.5040/9781501309410.ch-004
  3. Arrese, A. (2004) Some considerations on the management of media products and contents. Communication and Society, 17(2), 9–44. https://revistas.unav.edu/index.php/communication-and-society/article/view/36331/010.15581/003.17.36331
  4. Athique, A. (2017). The dynamics and potentials of big data for audience research. Media, Culture & Society, 1–16. https://doi.org/10.1177/0163443717693681">https://doi.org/10.1177/016344371769368110.1177/0163443717693681
  5. Askwith, I. (2007). Television 2.0: Reconceptualizing TV as an Engagement Medium. https://cms.mit.edu/television-2-0-tv-as-an-engagement-medium/
  6. Auletta, K. (2014). Outside the Box. Netflix and the future of television. February 03. https://www.newyorker.com/magazine/2014/02/03/outside-the-box-2
  7. Barlovento (2020). OTT y plataformas de pago en España. Informes Barlovento. https://www.barloventocomunicacion.es/informes-barlovento/analisis-ott-tv-pago-espana/
  8. Barroso, J. (1996). Realización de los géneros televisivos. Síntesis.
  9. Buzzard, K. (2012). Tracking the Audience. The Ratings Industry from Analog to digital. Routledge.10.4324/9780203149492
  10. Castro, D. & Cascajosa, C. (2020). From Netflix to Movistar+: How Subscription Video-on-Demand Services Have Transformed Spanish TV Production. JCMS: Journal of Cinema and Media Studies, 59(3), 154–60.10.1353/cj.2020.0019
  11. Caves, R.E. (2000). Creative Industries. Contracts Between Art and Commerce. Harvard University Press.
  12. Chan-Olmsted, S. & Wang, R. (2019). Shifts in Consumer Engagement and Media Business Models. In M. Deuze & M. Prenger (Eds.), Making Media: Production,Practices, and Professions (p. 133–146). Amsterdam University Press. https://doi.org/10.1515/9789048540150-010">https://doi.org/10.1515/9789048540150-01010.1515/9789048540150-010
  13. Diego, P. (2005). The profile of the fiction producer in television. Communication and Society, 18(1), 9–30.
  14. Diego, P. & Pardo, A. (2009). Family Dramedy Production Standards. In M. Medina (Ed.), Creating, Producing and Selling TV Shows (pp. 45–74). Mediaxxi.
  15. Doyle, G. (2016). Television production, Funding Models and Exploitation of Content. Icono 14, 14(2), 75–96. https://doi.org/10.7195/ri14.v14i1.991">https://doi.org/10.7195/ri14.v14i1.99110.7195/ri14.v14i2.991
  16. Drita (2019). Así nos clasifica Netflix como usuario: ‘iniciador’, ‘observador’ o ‘completador’. El Output, October, 22. https://eloutput.com/noticias/cultura-geek/netflix-iniciadores-observadores-completadores/
  17. Evans, E. (2019). Understanding Engagement in Transmedia Culture. Routledge. https://doi.org/10.4324/9781315208053">https://doi.org/10.4324/978131520805310.4324/9781315208053
  18. Farchy, J., Mêadel, C. & Anciaux, A. (2016). Content recommendation, a challenge for television. Icono 14, 14 (2), 156–181. https://doi.org/10.7195/ri14.v14i2.987">https://doi.org/10.7195/ri14.v14i2.98710.7195/ri14.v14i2.987
  19. Fernández, E.P. (Coord.) (2016). Big data: Eje estratégico en la industria audiovisual. Universitat Oberta de Catalunya.
  20. Fernández-Manzano, E.-P. & González-Vasco, M.-I. (2018). Analytic surveillance: Big data business models in the time of privacy awareness. El Profesional de La Información, 27(2), 402–409. https://doi.org/10.3145/epi.2018.mar.19">https://doi.org/10.3145/epi.2018.mar.1910.3145/epi.2018.mar.19
  21. Fernández-Manzano, E.-P., Neira, E., & Clares-Gavilán, J. (2016). Gestión de datos en el negocio audiovisual: Netflix como estudio de caso. El Profesional de La Información, 25(4), 568–577. https://recyt.fecyt.es/index.php/EPI/article/view/5162610.3145/epi.2016.jul.06
  22. Flint, J. (2019). The War for Talent in the Age of Netflix. The Wall Street Journal, September, 1–8. https://www.wsj.com/articles/the-war-for-talent-in-the-age-of-netflix-11569038435 [Retrieved 09.23.2019]
  23. García-Avilés, J.A. (2012). Roles of audience participation in multiplatform television: From fans and consumers to collaborators and activists, Participations. Journal of Audience and Reception Studies, 9(2), 429–447. http://dspace.umh.es/handle/11000/4574
  24. García de Castro, M. (2002). La ficción popular. Una evolución de las series de televisión en España. Barcelona: Gedisa y ATV.
  25. Guo, M. (2018). How Television Viewers Use Social Media to Engage with Programming: The Social Engagement Scale Development and Validation. Journal of Broadcasting and Electronic Media, 62(2), 195–214. https://doi.org/10.1080/08838151.2018.1451856">https://doi.org/10.1080/08838151.2018.145185610.1080/08838151.2018.1451856
  26. Havens, T. (2014). Media programming in an era of big data. Media Industries Journal, 1(2), 4–9. https://doi. org/10.3998/mij.15031809.0001.20210.3998/mij.15031809.0001.202
  27. Hellgren, B., Melin, L., & Pettersson, A. (1993). Structure and Change: The Industrial Field Approach. Advances in International Marketing, 5, 87–106.
  28. Hill, A., Steemers, J., Roscoe, J., Donovan, J., & Wood, D. (2017). Media industries and engagement: A dialogue across industry and academia. Media Industries, 4(1), 1–12. https://doi.org/10.3998/mij.15031809.0004.108">https://doi.org/10.3998/mij.15031809.0004.10810.3998/mij.15031809.0004.108
  29. Iordache, C. (2021). Netflix in Europe: Four Markets, Four Platforms? A Comparative Analysis of Audio-Visual Offerings and Investment Strategies in Four EU States. Television and New Media, 1–22. https://doi.org/10.1177/15274764211014580">https://doi.org/10.1177/1527476421101458010.1177/15274764211014580
  30. Kaye, K. (2013). Welcome to the Era of the Data-Driven Programmer. Yet Algorithms Won’t Replace Humans Any Time Soon. Published on April 08. http://adage.com/article/dataworks/era-data-driven-programmer/240724/
  31. Kelly, J.P. (2017). Television by the numbers. The challenges of audience measurement in the age of Big Data. Convergence, 25(1), 113–132. https://doi.org/10.1177/1354856517700854">https://doi.org/10.1177/135485651770085410.1177/1354856517700854
  32. Lee, D. (2012). Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector. Creative Industries Journal, 4:2, 155–170. https://doi.org/10.1386/cij.4.2.155_1">https://doi.org/10.1386/cij.4.2.155_110.1386/cij.4.2.155_1
  33. Lee, H-K. (2022). Rethinking creativity: creative industries, AI and everyday creativity. Media, Culture & Society, 44(3), 601–612. https://doi.org/10.1177/01634437221077009">https://doi.org/10.1177/0163443722107700910.1177/01634437221077009
  34. Lobato, R. (2018). Rethinking International TV Flows Research in the Age of Netflix. Television & New Media, 19(3), 241–256. https://doi.org/10.1177/1527476417708245">https://doi.org/10.1177/152747641770824510.1177/1527476417708245
  35. Lotz, A.D. (2017). Portals: A Treatise on Internet-Distributed Television. Ann Arbor, MI: Michigan Publishing, University of Michigan Library. 10.3998/mpub.9699689">http://dx.doi.org/10.3998/mpub.969968910.3998/mpub.9699689
  36. Lotz, A.D. (2019). Teasing apart television industry disruption: consequences of meso-level financing practices before and after the US multiplatform era. Media, Culture & Society, 41(7), 923–938. https://doi.org/10.1177/0163443719863354">https://doi.org/10.1177/016344371986335410.1177/0163443719863354
  37. Lundin, R.A. & Norbäck, M. (2009). Managing Projects in the TV Production Industry: The Case of Sweden. Journal of Media Business Studies, 6(4), 103–121. https://doi.org/10.1080/16522354.2009.11073497">https://doi.org/10.1080/16522354.2009.1107349710.1080/16522354.2009.11073497
  38. Marín-Cano, D. (2017). Encuentra la historia: una aproximación al periodismo de datos en el cine. TecCom Studies. Estudios de Tecnología y Comunicación, 8(6), 34–42. http://www.teccomstudies.com/index.php?journal=teccomstudies&page=article&op=view&path%5B%5D=20&path%5B%5D=55
  39. Melander, A. (1997). Industrial Wisdom and Strategic Change: The Swedish Pulp and Paper Industry 1945–1990. Jönköping, Sweden: Jönköping International Business School.
  40. Medina, M. & Prario, B. (2013). The transformation of audiovisual media companies: The cases of Mediaset (Italy) and Antena 3 (Spain). Studies in Communication Sciences, 13, 166–173.10.1016/j.scoms.2013.10.001
  41. Napoli, P. & Ropenack, A. (2018-2ª ed.). Big Data and Media Management. In A. Albarran, B.I. Miezejewska & J. Jung (Eds.), Handbook of Media Management and Economics (pp. 410-422). Routledge.10.4324/9781315189918-26
  42. Neira, E. et al. (2020). Impact of over-the-top services on the generation of taste communities and global niches: Netflix as case study. Comunicació: Revista de Recerca i d’Anàlisi, 37(2), 93–111. http://revistes.iec.cat/index.php/TC
  43. Nelson, J.L. (2021). The next media regime: The pursuit of ‘audience engagement’ in journalism. Journalism, 22(9), 2350-2367. https://doi.org/10.1177/1464884919862375">https://doi.org/10.1177/146488491986237510.1177/1464884919862375
  44. Nelson, J.L. & Webster, J.G. (2016). Audience Currencies in the Age of Big Data. International Journal on Media Management, 18(1), 9–24. https://doi.org/10.1080/14241277.2016.1166430">https://doi.org/10.1080/14241277.2016.116643010.1080/14241277.2016.1166430
  45. Noam, E.M. (2019). Managing Media and Digital Organizations. Palgrave Macmillan. Pardo, A. (1999) David Puttnam. Un productor creativo. Rialp.10.1007/978-3-319-71288-8
  46. Pardo, A. (2014). Fundamentos de producción y gestión de proyectos audiovisuales. Eunsa.
  47. Pardo, A (2020) Creativity in Film Production: The Film Producer as a Creative Force. Communication and Society, 13(2), 227-249. https://revistas.unav.edu/index.php/communication-and-society/article/view/36389/3107510.15581/003.13.36389
  48. Picard, R.G. (2010). Value Creation and the Future of News Organizations. Media XXI.
  49. Portilla, I. (2018). Retos éticos en la investigación de mercados: protección de datos, transparencia y honestidad. Investigación y marketing. AEDEMO, April, 66–68.
  50. PricewaterhouseCoopers (2015). Global Entertainment and Media outlook. España (2016–2020). PwC. https://www.pwc.es/es/entertainment-media-outlook-2016-2020-espana.html
  51. Saiz, D. (2018). “Paolo Vasile y la ficción en Mediaset: “Buscamos el éxito, no la innovación. Es de idiotas hacer series solo por prestigio” [Paolo Vasile and fiction in Mediaset: “We seek success, not innovation. It is idiotic to make series just for prestige”. Ecoteuve, October 30th. https://ecoteuve.eleconomista.es/series/noticias/9487455/10/18/Vasile-y-la-ficcion-en-Mediaset-Buscamos-el-exito-no-la-innovacion-Esde-idiotas-hacer-series-solo-por-prestigio.html
  52. Salgado, A. (2010). Una mirada a la creatividad televisiva”: Creatividad en televisión: entretenimiento y ficción. Fragua.
  53. Sanson, K. & Steirer, G. (2019). Hulu, streaming, and the contemporary television-Ecosystem. Media, Culture And Society, 41(8), 1210–1227. https://doi.org/10.1177/0163443718823144">https://doi.org/10.1177/016344371882314410.1177/0163443718823144
  54. Shattuc, J. (2020). Netflix, Inc. and Online Television. In J. Wasko & E.R. Meehan (Eds.), A Companion to Television (pp. 145–164). Wiley.10.1002/9781119269465.ch7
  55. Spanish Government (2021). España. Hub audiovisual de Europa. Plan de Impulso al sector audiovisual. https://www.lamoncloa.gob.es/presidente/actividades/Paginas/2021/240321-hub-audiovisual.aspx
  56. TheAtlantic (2018). Big Data and Hollywood. https://www.theatlantic.com/sponsored/ibm-transformation-of-business/big-data-and-hollywood-a-love-story/277/
  57. Vacas-Aguilar, F. (2021). El mercado del vídeo en streaming: un análisis de la estrategia de Disney+. El Profesional de la Información, 30(4). https://doi.org/10.3145/epi.2021.jul.13">https://doi.org/10.3145/epi.2021.jul.1310.3145/epi.2021.jul.13
  58. Vara, A. & Burguera, M.A. (2018). Branding e integración de las audiencias en la creación de la marca periodística. Miguel Hernández Communication Journal, 9(2), 491–509. https://doi.org/10.21134/mhcj.v0i9.261">https://doi.org/10.21134/mhcj.v0i9.26110.21134/mhcj.v0i9.261
  59. Vargo, S. & Lush, R. (2008). Service-dominant logic: continuing the evolution. Journal of the Academy Marketing Science, 36, 1–10. DOI: 10.1007/s11747-007-0069-610.1007/s11747-007-0069-6
  60. Vargo, S.L. (2009). Toward a transcending conceptualization of a relationship: a service-dominant perspective. Journal of Business and Industrial Marketing, 26(5–6), 373–379.10.1108/08858620910966255
  61. Wayne, M.N. (2021). Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television. Media, Culture and Society, 1–17. https://doi.org/10.1177/01634437211022723">https://doi.org/10.1177/0163443721102272310.1177/01634437211022723
  62. Wolf, M.J. (1999). The Entertainment Economy. How Mega-Media Forces Are Transforming Our Lives. Times Books.
Language: English
Page range: 138 - 155
Submitted on: Jan 13, 2022
Accepted on: Sep 8, 2022
Published on: Feb 4, 2023
Published by: University of Bialystok
In partnership with: Paradigm Publishing Services
Publication frequency: 2 times per year

© 2023 Mercedes Medina, Patricia Diego, Idoia Portilla, published by University of Bialystok
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.