| Přispěvatelé: |
Grassmuck, Volker, Boshnakova, Dessislava, Christova, Evelina, Dankova, Dessislava, Gigova, Boryana, Petkov, Stoyko, Toms, Justine, Ingebretsen Carlson, Jim, Latronico, Valentina, Lupiáñez-Villanueva, Francisco, Biltereyst, Daniël, De Sutter, Femke, Van Bauwel, Sofie, Gümüş Ağca, Yasemin, Dündar, Irmak, Peschke. Lutz, Seyfafjehi, Seyedehshahrzad, Karadimitriou, Achilleas, Papathanassopoulos, Stylianos, Moreno, José, Santos, Sofia F., Sepúlveda, Rita, Vasconcelos, António, Andersson, Vilhelm, Carpentier, Nico, Hroch, Miloš |
| Popis: |
The specific goal of this report is to focus on the connection between video platformization and Europeanization, by working with both secondary analyses and first-hand data related to the ten countries represented in the EUMEPLAT consortium. The first part of the report [sections 1 and 2] focuses on the big picture, by taking into account two major aspects of the problem: the geo-blocking of content releasing, for what concerns audiovisual production; and, when it gets to audiences and consumption modalities, the centrality of American and national products. Section 4 offers a deepening of a specific matter: piracy, which is commonly considered a main negative externality of video platformization (and a consequence of digitization at large, at that). As we will see, the relation between VODs and piracy, in Europe, takes on a specific, and perhaps unexpected dimension. In section 5, we will discuss the implementation of the European regulation of video-on-demand services, with a focus on the so-called Netflix Tax. Effectiveness and consistency of the rules established in different countries will be considered. The final part [Section 6] looks for best-practices in the circulation and success of European movies and Tv-series – which, so far, are more the exception to the rule, than the rule. To what extent these cases can be considered as emblematic of a common European culture, and whether or not they reveal any pattern, will be discussed in this section. |
