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Journal articles on the topic 'SVOD platforms'

Author: Grafiati

Published: 22 September 2021

Last updated: 30 July 2025

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1

Müller-Pérez, Jessica, Ángel Acevedo-Duque, Rina Alvarez-Becerra, and Irma Yomaira Verges. "A SVoD Platforms: A Comprehensive Analysis through Technology Adoption Models." Revista Venezolana de Gerencia 30, no. 109 (2025): 335–50. https://doi.org/10.52080/rvgluz.30.109.22.

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Nowadays, companies operating in the Over-The-Top (OTT) market, particularly those within the Subscription Video on Demand (SVoD) model, face increasing diversification and competitiveness with numerous alternatives. Unforeseen developments have necessitated adjustments in the pricing strategy of these platforms. Therefore, the objective of this research is to identify the primary factors affecting the intention of continued use of SVoD platforms through the technology acceptance model (TAM), the Value-based Adoption Model (VAM), and the extended Unified Theory of Acceptance and Use of Technol

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Rios, Sofia, and Alexa Scarlata. "Locating SVOD in Australia and Mexico: Stan and Blim contend with Netflix." Critical Studies in Television: The International Journal of Television Studies 13, no. 4 (2018): 475–90. http://dx.doi.org/10.1177/1749602018798158.

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This study employs a comparative analysis of industrial practices and marketing campaigns utilised by subscription video-on-demand (SVOD) platforms, Stan and Blim. It evaluates Stan’s creation and launch prior to the advent of Netflix in Australia, and the introduction of Blim well after Netflix had already established itself as the preferred SVOD in Mexico. Despite the substantial differences between the histories and impacts of these respective national television markets, this study identifies that both platforms have experienced relative success by capitalising on Netflix’s problematic ‘gl

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Redondo, Ignacio, and Diana Serrano. "Authorized and Unauthorized Consumption of SVOD Content: Modeling Determinants of Demand and Measuring Effects of Enforcing Access Control." Journal of Theoretical and Applied Electronic Commerce Research 19, no. 1 (2024): 467–85. http://dx.doi.org/10.3390/jtaer19010025.

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Consumers are attracted by the increasing number of available SVOD platforms, but it would be too expensive to pay the subscription fees for all of them. To reduce costs, consumers can combine the use of proprietary subscriptions, non-proprietary subscriptions, and illegal streaming sites. In turn, platforms could enforce access control, a decision that might produce the desired reduction in non-proprietary subscriptions but also an undesired reduction in proprietary subscriptions. The effects of this decision and the determinants of SVOD content demand remain largely unexplored. We propose a

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Palomba, Anthony. "How consumers' personalities, lifestyles and demographics predict SVOD genre and SVOD platform consumption." Journal of Contemporary Marketing Science 4, no. 3 (2021): 362–84. http://dx.doi.org/10.1108/jcmars-06-2021-0020.

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PurposeStreaming video on demand (SVOD) services are comprised of digital media content creation and content distribution that provide a vast array of genre content playable on an assortment of different technology platforms. Additionally, these digital services are equipped to collect data and information on consumers. However, these services do not capture extensive consumer demographics, lifestyles or personalities information.Design/methodology/approachTo resolve this discrepancy, collecting external information such as complete demographics, personalities and lifestyles of consumers can b

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Rodríguez-Camacho, Javier Alejandro, Andrés Laguna-Tapia, Jens Bürger, and Vania Landívar-Freire. "Content characterization of Latin American film productions on Netflix: a Bolivian perspective." Comunicación y Sociedad 2021 (September 1, 2021): 1–41. http://dx.doi.org/10.32870/cys.v2021.8037.

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We study international film flows between Bolivia and Latin America to explore the lack of Bolivian content on Netflix and its limited presence in other SVOD platforms. We characterize Netflix originals, third-party content, and recent Bolivian films, and develop a thematic analysis of their synopsis and genre description, completed with the results of a survey on the Bolivian consumption of streaming content. We identify common patterns in Netflix content and show how it differs from the more nationally minded Bolivian cinematic tradition. Our results point to a homogenizing effect SVOD platf

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Redondo, Ignacio, and Diana Serrano. "Incentivizing Video-on-Demand Subscription Intention Through Tiered Discounts and Anti-Piracy Messages." Journal of Theoretical and Applied Electronic Commerce Research 20, no. 1 (2025): 9. https://doi.org/10.3390/jtaer20010009.

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Subscription video-on-demand (SVOD) platforms face high churn rates and substantial revenue losses from SVOD content piracy, all of which limit their ability to invest in acquiring/creating content compelling enough to win and retain subscribers. Based on social exchange theory, this study argues that platforms can improve relationships with SVOD content users by offering tiered discounts in exchange for advertising/loyalty and by promoting anti-piracy messages with a prosocial (threatening) approach that emphasizes harm to filmmakers (punishment for pirates). We hypothesize that these incenti

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Fisher, Nathan, Hyelim Lee, and Glenn Flansburg. "When the Known Well May Sell." Journal of Telecommunications and the Digital Economy 13, no. 1 (2025): 406–26. https://doi.org/10.18080/jtde.v13n1.1011.

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While Streaming Video on Demand (SVOD) consumers may express a desire for unlimited new and novel choices, excess choice can cause anxiety and choice overload. Further, familiarity can also influence perceptions of available choices. Addressing a gap in the literature on familiarity’s interaction with choice numeracy in an SVOD recommendation environment, this 2x2 experiment examines effects of choice-set size of TV sitcoms on potential use/perceptions of SVOD platforms and to what extent familiarity with the choices interacts with those perceptions through examining differences and interactio

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Schaffner, Brennan, Antonia Stefanescu, Olivia Campili, and Marshini Chetty. "Don't Let Netflix Drive the Bus: User's Sense of Agency Over Time and Content Choice on Netflix." Proceedings of the ACM on Human-Computer Interaction 7, CSCW1 (2023): 1–32. http://dx.doi.org/10.1145/3579604.

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Users often turn to subscription video on demand (SVOD) platforms for entertainment. However, these platforms sometimes employ manipulative tactics that undermine a user's sense of agency over time and content choice to increase their share of a user's attention. Prior research has investigated how interface designs affect a user's sense of agency on social media and YouTube. For example, YouTube's autoplay left users feeling like they had less control over their time. We extend this work by investigating the design elements of Netflix, the most used SVOD, for the impact they have on users' se

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Raats, Tim, and Tom Evens. "‘If you can’t beat them, be them’." MedieKultur: Journal of media and communication research 37, no. 70 (2021): 050–65. http://dx.doi.org/10.7146/mediekultur.v37i70.122208.

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Faced with heavy competition of global subscription-video-on-demand (SVOD) streaming services, along with increased pressure on fi nancing and distribution of domestic content, legacy media players are increasingly exploring the potential of local SVOD services as domestic alternatives to global platforms such as Netflix and Disney+, often in collaboration with other European broadcasters and/or distributors.This article presents an in-depth case study of Streamz, a domestic SVOD alternative launched in Belgium in September 2020. Building on scholarly work on media disruption and platform powe

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Subkhan, Farid, and Firqi Barrygian. "Pengaruh Brand Awareness, Brand Image, dan Brand Personality terhadap Keputusan Pembelian Layanan Hiburan Digital Subscription Video on Demand (SVOD)." Jurnal Administrasi Bisnis 13, no. 1 (2024): 72–83. http://dx.doi.org/10.14710/jab.v13i1.62101.

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The era of digitalization and the internet continues to influence consumer behavior changes in accessing digital entertainment services, such as the transition from CD–DVD players and Bluray Discs to Television on Demand (TVOD) and then to Subscription Video on Demand (SVOD) platforms such as Netflix, Amazon Prime Video, Disney+ Hotstar, HBO, Iflix, Vidio, etc. This study seeks to determine the influence of brand equity factors such as brand awareness, brand image, and brand personality on consumer purchase decisions for digital entertainment services “Subscription Video on Demand (SVOD).” The

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Kania, Rafiati, Nabila Shafira Ramadhani, Nono Wibisono, and Arie Indra Gunawan. "Understanding behavioral intention to subscribe video-on-demand platform during COVID-19 pandemic: evidence from Indonesia." Asian Journal of Technology Management (AJTM) 15, no. 2 (2022): 126–40. http://dx.doi.org/10.12695/ajtm.2022.15.2.3.

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Subscriber-based Video on Demand (SVoD) is currently growing business sector during the COVID-19 pandemic. Since the pandemic effect human mobilization, the Indonesian government strictly regulated visiting the cinema to press Covid-19 outbreak. Consequently, film providers and consumers adopt SVoD as an alternative digital platform. Nevertheless, Indonesian subscriptions are currently lagging behind other countries. In addition, a survey from Coalition Against Piracy in 2019 has discovered that 63 % of Indonesian consumers opt to access illegal streaming services instead of paying subscriptio

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Muñoz Larroa, Argelia. "Supply Diversity in Subscription Video-on-Demand Platforms in Mexico and Canada." Canadian Journal of Communication 48, no. 4 (2023): 663–88. http://dx.doi.org/10.3138/cjc-2022-0081.

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Background: Using the term “cultural diversity” as an analytical framework and normative guideline to assess cultural flows, this article analyzes the catalogs of major platforms for subscription video-on-demand (SVOD) in Mexico and Canada. Analysis: This study systematized the catalogs’ content titles to produce statistics on country of origin as indicators of “supply diversity.” Conclusions and implications: The results reveal that (1) content from the United States and Europe predominates; (2) tech platforms offer a higher degree of international content (“external diversity”) than platform

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Aranzubia, Asier, and J. Ignacio Gallego. "Spanish cinema in the Netflix catalog: a diversity perspective." Comunicación y Sociedad 2021 (September 8, 2021): 1–21. http://dx.doi.org/10.32870/cys.v2021.8030.

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The arrival of the multinational Netflix has had a strong impact in all markets. This article analyzes the diversity of its catalog in Spain using the results of two catalog stills taken in November 2018 and July 2019. In addition, these data are compared with those of the main international SVOD platforms operating in Spain (HBO, Amazon Prime Video and Rakuten TV) and with those of the platforms of Spanish origin (Movistar+, Filmin and FlixOlé). The work draws conclusions that are not very encouraging regarding the diversity of Spanish cinema in the Netflix catalog.

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Sanson, Kevin, and Gregory Steirer. "Hulu, streaming, and the contemporary television ecosystem." Media, Culture & Society 41, no. 8 (2019): 1210–27. http://dx.doi.org/10.1177/0163443718823144.

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In this essay, we take up three distinctive features of the US-based subscription video-on-demand (SVOD) platform Hulu: its ownership structure, its business deals, and its televisual aesthetics. Although there are substantial overlaps among these categories, we approach each of them separately so as to better enable us to link our analyses to some of the key questions and concerns about what contemporary television has become and how it should best be studied. By inserting Hulu into a conversation about today’s television ecosystem – a context from which it has been absent for too long – we p

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Heri, Jihan. "The Effect Of Price Fairness And E- Service Quality On Loyalty With Customer Satisfaction As An Intervening (A Study On Netflix Users)." Social Science Studies 3, no. 6 (2023): 485–99. http://dx.doi.org/10.47153/sss36.7772023.

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The SVoD streaming service industry is currently being widely used by the public. One of the SVoD platforms available is Netflix. Netflix has the highest number of subscribers compared to other similar services, but while all of its competitors are experiencing an increase in the number of subscribers, Netflix is experiencing a decline. Based on this phenomenon, the aim of the authors to conduct this research is to determine the level of loyalty of Netflix customers in Indonesia through price fairness and e-service quality variables with customer satisfaction as an intervening variable. This

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Kespandiar, Tengku, and Sudarmiatin. "The Analysis of Determinant Factors Intention to Use Video Streaming: Study Case Customer of Goplay." JEMSI (Jurnal Ekonomi, Manajemen, dan Akuntansi) 9, no. 2 (2023): 275–84. http://dx.doi.org/10.35870/jemsi.v9i2.942.

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The development of the internet, one of which is in the world of entertainment with the emergence of streaming video on demand (SVOD) services, marks the entry into the era of digitalization 4.0. SVOD is an interactive television service that can be watched via the internet. SVOD is one of the forms of entertainment that is increasingly in demand by the public, especially young people. One of the SVOD services that has recently appeared is GoPlay. GoPlay is an application that provides streaming video on demand services, which is similar to other streaming applications. GoPlay is an applicatio

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Haddad, Fadi G., and Alexander Dhoest. "Netflix speaks Arabic, Arabs speak Netflix: How SVOD is transforming Arabic series screenwriting." Journal of Arab & Muslim Media Research 14, no. 2 (2021): 261–80. http://dx.doi.org/10.1386/jammr_00034_1.

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While subscription of video-on-demand (SVOD) services has become increasingly popular across the world in recent years, the arrival of Netflix to the Arab world was transformational. As it stepped up to produce original Arabic series, Netflix-modelled services from the region proliferated, promising to challenge the existing Arabic series’ (musalsalat) routines in content and form. Since the Arab World is scarcely mentioned in the growing scholarly literature on SVODs, this article attempts to understand how the Arabic TV drama industry is recalibrating to this new transnational co-production

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Shen, Fangzhou. "Navigating Digital Borders: Netflix’s inclusion and Exclusion in China." Journal of Social Science and Humanities 7, no. 1 (2025): 89–92. https://doi.org/10.53469/jssh.2025.7(01).11.

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Since the television has gradually been expanded into the digital world, streaming platforms are becoming more and more popular. Netflix, as one of the most representative one around the worlds, made an impact on media infrastructures. Its ambition is not merely about content transmission but to be a media institution to control media resources. This essay concentrates on the condition of Netflix in China, representing that its inclusion and inaccessibility were embedded in the complex relations. Netflix’s case in China serves as a striking example of how digital sovereignty can function as a

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Karadimitriou, Achilleas, and Stylianos Papathanassopoulos. "Public Service Media in the Platform Era: The Cases of Britain, Denmark, and Greece." Journalism and Media 5, no. 2 (2024): 646–70. http://dx.doi.org/10.3390/journalmedia5020043.

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Public service media (PSM) are grappling with structural shifts in the audio-visual sector, notably the shift of audiences towards over-the-top (OTT) or subscription video-on-demand (SVOD) services. They have also heavily invested in online platforms, adapting their policies to engage digital users on their video-on-demand (VOD) platforms. This paper assesses PSM policies in Britain, Denmark, and Greece, examining initiatives regarding adaptation to the digital era. It explores whether they implement new strategies to expand their digital reach. Data from policy documents and interviews with B

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Karadimitriou, Achilleas, and Stylianos Papathanassopoulos. "Public Service Media in the Platform Era: The Cases of Britain, Denmark, and Greece." Journalism and Media 5, no. 2 (2024): 646–70. https://doi.org/10.3390/journalmedia5020043.

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Public service media (PSM) are grappling with structural shifts in the audio-visual sector, notably the shift of audiences towards over-the-top (OTT) or subscription video-on-demand (SVOD) services. They have also heavily invested in online platforms, adapting their policies to engage digital users on their video-on-demand (VOD) platforms. This paper assesses PSM policies in Britain, Denmark, and Greece, examining initiatives regarding adaptation to the digital era. It explores whether they implement new strategies to expand their digital reach. Data from policy documents and interviews with B

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Gonçalves, Carlos Pereira. "A série policial Bom dia, Verônica: intermidialidade, hibridação narrativa e a mediação cultural local-global." RuMoRes 18, no. 36 (2024): 92–110. https://doi.org/10.11606/issn.1982-677x.rum.2024.226256.

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This study proposes to critically analyze the first season of Bom dia, Verônica (2020), a Netflix co-production with the Zola Filmes company, which was created by crime writers Raphael Montes and Ilana Casoy based on the homonymous novel and directed by and videomaker filmmaker José Henrique Fonseca. This study aims to discuss three media and narratological approaches: the social and aesthetic process of intermediality in SVoD platforms; the genres and the narrative hybridization question; and local-global cultural mediation.

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Chalaby, Jean K. "Global streamers: Placing the transnational at the heart of TV culture." Journal of Digital Media & Policy 00, no. 00 (2021): 1–19. http://dx.doi.org/10.1386/jdmp_00083_1.

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As media globalization has progressed, transnational media have evolved, and this article contends that a new generation has emerged. The first that developed in the latter part of the twentieth century consists of cross-border TV networks and formats. The second is the rise of streaming platforms. During the first generation, the transnational remained a professional practice out of viewers’ reach. With the arrival of the second generation, the transnational has become an everyday mode of media consumption and interaction. Online entertainment services have altered the status of the transnati

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Rahmawati, Aulia, Syafrida Nurrachmi Febriyanti, Ririn Puspita Tutiasri, Poppy Febriana, and Sumardjijati Sumardjijati. "Transmediation of Local Production in the Global Entertainment." International Journal of Social Science Research and Review 5, no. 10 (2022): 481–88. http://dx.doi.org/10.47814/ijssrr.v5i10.676.

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Various streaming entertainment platforms, or often referred to as SVOD, have become entertainment for Indonesian viewers, shifting television as their daily entertainment channel. However, research that raises this issue is still very rare, especially in looking at how the viewers and subscribers of these various streaming services are. This paper aims to see, firstly, how entertainment streaming subscribers respond to this development, and secondly, how streaming subscribers negotiate local Indonesian shows on these various SVOD channels. The research was conducted by distributing questionna

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Potter, Anna, and Jeanette Steemers. "Children’s television in transition: policies, platforms and production." Media International Australia 163, no. 1 (2017): 6–12. http://dx.doi.org/10.1177/1329878x17693936.

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While the internet has facilitated a proliferation in children’s media offerings and platforms, television remains the dominant medium in children’s lives. Broadcasters and subscription services both compete for their attention, as viewers and as potential consumers of merchandise. Within this transforming landscape, children’s television is now produced and distributed through complex processes for global and local markets. The arrival of SVOD services like Netflix and Amazon and a dedicated YouTube children’s app further complicated the global production ecology, increasing the transnational

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Chakraborty Paunksnis, Runa. "Empowered, thy name is woman: lite feminism and Hindi SVOD platforms in India." Inter-Asia Cultural Studies 24, no. 3 (2023): 538–53. http://dx.doi.org/10.1080/14649373.2023.2209437.

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Srivastava, Mrs. Sonali, and Dr. Rakhee Pushparaj Singh. "An Analytical Study of Growth, Trends and Market Share of OTT Platforms in India." International Journal of Advance and Applied Research 6, no. 25 (2025): 219–24. https://doi.org/10.5281/zenodo.15295515.

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<strong>Abstract:</strong> This paper provides an analytical overview of the growth, trends, and market share of Over-the-Top (OTT) platforms in India, drawing on secondary data from various industry reports, databases, and market research. This study follows a descriptive research design. The data has been analysed using Microsoft excel. It focuses on factors such as mobile-first consumption, the rise of regional content, and changing consumer behavior, exploring the rapid expansion of OTT services in the country. The market shares of leading OTT platforms are analyzed in terms of subscriber

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Agirre, Katixa. "Streaming Minority Languages: The Case of Basque Language Cinema on Netflix." Communication & Society 34, no. 3 (2021): 103–15. http://dx.doi.org/10.15581/003.34.3.103-115.

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This article explores the way Basque language cinema is adapting to streaming platforms, focusing on the case of the three Basque language films that have made it to Netflix: Loreak (2014), Handia (2017) and Errementari (2018). Firstly, it explains Netflix particularities and its emphasis on diversity, among other reasons that could explain the platform’s interest in these particular films. Secondly, it describes the way these aforementioned films have landed on Netflix and the impact this exhibition has had. I base my research on in-depth interviews with directors Jon Garaño and Paul Urkijo a

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Cole, Rachel. "The changing context of age-based classification and policy research in the age of subscription-video-on-demand." Journal of Digital Media & Policy 12, no. 2 (2021): 311–24. http://dx.doi.org/10.1386/jdmp_00063_1.

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This article draws on a history of media classification in Australia to consider how this field is developing. The focus is on age-based classification of commercially and professionally produced content, specifically made available through streaming and subscription-video-on-demand (SVOD) platforms. As platform company Netflix steps into the terrain of regulation, this environment is changing quite dramatically. The Netflix tool emerges in a governmental space characterized by new and emerging transnational governance and monitoring Boards, ghost work and moral panics in the form of online fi

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Miller, Thaïs. "Tropes of Jewish Humor in Women-Led Digital Streaming Productions (2010 – 2019)." Poetics Today 45, no. 3 (2024): 435–69. http://dx.doi.org/10.1215/03335372-11225465.

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Abstract The influx of digital streaming platforms from 2005 to 2008 enabled more nuanced representations of Jewish cultures, rituals, and subjects than on traditional distribution platforms. In front of and behind the camera, Jewish women, once marginalized, are now taking center stage and portraying the complexities of Jewish American life. Ilana Glazer and Abbi Jacobson (creators of Broad City) and Rachel Bloom (creator of Crazy Ex-Girlfriend) successfully navigated open-access digital streaming platforms to promote their comedic work, then modified their content to meet the needs of broadc

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Stephan, Gaël, Joëlle Farchy, and Jaercio da Silva. "US-based SVoD services and the restructuring of the audio-visual production market: The French case." Journal of Digital Media & Policy 14, no. 3 (2023): 323–38. http://dx.doi.org/10.1386/jdmp_00132_1.

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This article studies the impact of the rise of new content consumption methods on French audio-visual production. To this end, we conducted 26 semi-structured interviews with producers, investigating their relationship with new online players, as well as their work habits. This study makes it possible to distinguish between two market segments: the first is organized around US-based subscription video on demand platforms (Netflix, Amazon Prime and Disney+) and the second around players from the competitive fringe, who are smaller but whose demand still fuels the French audio-visual sector.

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Elsafty, Ashraf, and Abdulaziz Boghdady. "The Cognitive Determinants Influencing Consumer Purchase-Intention Towards Subscription Video on Demand (SVoD): Case of Egypt." International Journal of Marketing Studies 14, no. 1 (2022): 95. http://dx.doi.org/10.5539/ijms.v14n1p95.

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Over the past few decades, there has been a significant change, as smartphones and digital devices paved the way for developing new e-business models to articulate and cultivate further magnitudes such as &ldquo;shared economy&rdquo;. Video on demand has become one of the most vital shared-economy play-actors. This study aims to provide valuable information to SVoD industry players, marketers, and producers about the Egyptian consumers&rsquo; motivations, preferences, and willingness to subscribe to video-on-demand services. In this regard, the proposed research model has been deve

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D’Arma, Alessandro, Tim Raats, and Jeanette Steemers. "Public service media in the age of SVoDs: A comparative study of PSM strategic responses in Flanders, Italy and the UK." Media, Culture & Society 43, no. 4 (2021): 682–700. http://dx.doi.org/10.1177/0163443720972909.

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Netflix and other transnational online video streaming services are disrupting long-established arrangements in national television systems around the world. In this paper we analyse how public service media (PSM) organisations (key purveyors of societal goals in broadcasting) are responding to the fast-growing popularity of these new services. Drawing on Philip Napoli’s framework for analysing strategic responses by established media to threats of competitive displacement by new media, we find that the three PSM organisations in our study exhibit commonalities. Their responses have tended to

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Astriani, Yulia, Dwi Rosa Indah, Meylani Utari, and M. Husni Syahbani. "Evaluating Netflix’s User Experience (UX) Through The Lens Of The HEART Metrics Method." Journal of Applied Informatics and Computing 8, no. 2 (2024): 639–45. https://doi.org/10.30871/jaic.v8i2.8727.

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Netflix is one of the most popular subscription video-on-demand (SVoD) platforms, offering a wide range of authentic, high-quality content and features that allow users to select, enjoy, and share their viewing experiences on social media. Despite its popularity, Netflix often receives complaints from users, including issues with accessing the application and various features related to viewing activities. The aim of this study is to evaluate the user experience of the Netflix application and provide recommendations for improvement based on data analysis. To achieve this, the HEART Metrics are

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Szydełko, Joanna. "The quest for a successful book-to-series adaptation in the times of SVOD — using the examples of “The Handmaid’s Tale and Alias Grace” by Margaret Atwood." Prace Kulturoznawcze 24, no. 4 (2021): 93–103. http://dx.doi.org/10.19195/0860-6668.24.4.7.

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A fascinating factor of so-called mass culture is the ability to adapt to society and its needs. The same pattern seems to be followed by the film industry, as it has been influenced by other branches of entertainment, television included. These are SVODs (Streaming Video on Demand platforms), which offer a growing number of screen adaptations of literary works. The following paper aims to analyse some criteria upon which book-to-series adaptations might be regarded as successful, using examples from The Handmaid’s Tale and Alias Grace.Produced respectively by Hulu and CBC, both based on books

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Ogea Pozo, María del Mar, Carla Botella Tejera, and Alejandro Bolaños García-Escribano. "Exploring Stereotypes and Cultural References in Dubbed TV Comedies in the Spanish-as-a-Foreign-Language Classroom." Íkala, Revista de Lenguaje y Cultura 28, no. 2 (2023): 1–22. http://dx.doi.org/10.17533/udea.ikala.v28n2a04.

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Streaming video-on-demand (SVoD) platforms have recently set out to produce an ever-increasing number of non-English-language films and tv series distributed worldwide. These, in turn, have become the perfect vehicle for disseminating cultural realities other than those from English-speaking countries. In this article, we endeavour to analyse the presence of stereotypes and cultural references in the English-dubbed version of the Spanish tv series Valeria (Benítez, 2020–present) and the way they travel through dubbing. To this end, we conducted a comparative study in which seven video excerpts

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Sitepu, Petrus Damiami, and Kus Sudarsono. "Genre Drama sebagai Favorite di Netflix Periode Januari – Juni 2021." Rekam 19, no. 2 (2023): 143–52. http://dx.doi.org/10.24821/rekam.v19i2.9201.

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Netflix is a film exhibition platform in digital format. Netflix is one of the favourite platforms for film enthusiasts, especially among the respondents in this study. Netflix is included in the Non-Theatrical Exhibition Film category with its popular term Over-The-Top. Netflix is categorized explicitly as SVOD (Subscription Video On Demand). In this study, we do not only look at the categorization of films based on the primary genre but also look at the secondary film genres. According to respondents, the secondary genre of films is one aspect of selecting films on the Netflix platform.This

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Febby Gracea Ekklesi and Oliandes Sondakh. "The Influence of Social Media Activities on Brand Loyalty: The Mediating Role of Brand Equity with the S-O-R Model on Netflix Customers." International Journal of Economics, Accounting and Management 1, no. 6 (2025): 440–52. https://doi.org/10.60076/ijeam.v1i6.1128.

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In recent years, the internet has become increasingly popular in Indonesia, transforming individual behavior and creating new habits that were impossible with traditional media. The rise of the internet has also revolutionized global communication and entertainment, particularly through social media and SVOD platforms like Netflix, which has now become the world's most popular entertainment application. This study aims to analyze the influence of Entertainment, Interactivity, Trendiness, Customization, and EWOM on Brand Equity, as well as the role of Brand Equity in shaping Brand Loyalty among

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Labio-Bernal, Aurora, Lorena R. Romero-Domínguez, and María José García-Orta. "Protection of minors in the European digital audiovisual context: a necessary dialogue between parents, academy, regulators and industry." Comunicação e Sociedade 37 (June 29, 2020): 127–46. http://dx.doi.org/10.17231/comsoc.37(2020).2162.

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This paper represents the initial phase of a larger project being developed by the “Media, communication policy and democracy in the European Union” research group, which is currently working on the study “Communication policies, SVOD platforms and values education for minors in the single digital market (2020-2022)”. We wish to pursue in this study that, beyond technological considerations, it is necessary to expand the scope of child protection by establishing mutual collaboration between regulators, distributors and video on demand services, as well as co

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Meléndez, Amelia. "El relato transmedia Itaewon Class (JTBC, 2020) entre la plataforma SVOD Netflix y la plataforma webtoon Tapas Media." Original y copia, del remake al meme: adaptaciones, réplicas y recreaciones en la comunicación, no. 17 (March 8, 2022): 252–73. http://dx.doi.org/10.24137/raeic.9.17.11.

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La plataforma SVOD Netflix acercó a la audiencia española a un abundante catálogo de títulos surcoreanos. Esta producción audiovisual de Hallyuwood forma parte de un fenómeno más amplio, la nueva ola surcoreana o hallyu, integrado también por el desarrollo particular de la industria del cómic en Corea del sur en webtoons que cuenta con sus propias plataformas de distribución transnacional de contenidos. Este artículo aborda el estudio de caso de la serie televisiva Itaewon Class (JTBC, Netflix, 2020) dirigida por Kim Sung Yoon a partir del webtoon homónimo distribuido por Tapas Media con la co

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Vrabič, Gorazd, and Tomaž Klobučar. "Izmenjava učnega gradiva za potrebe e-izobraževanja." Andragoška spoznanja 7, no. 4 (2001): 110–13. http://dx.doi.org/10.4312/as.7.4.110-113.

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Ta prispevek predstavlja univerzalno posredniška platformo - sistem odprte izmenjave učnega gradiva pri učenju na daljavo. Ta povezuje učitelje, izobraževalce in trenerje na tržnici e-izobraževanja in podpira izmenjavo, distribucijo in upravljanje z učnim gradivom. Platforma omogoča lažji in hitrejši prenos znanja, ker premošča vrzel med tistimi, ki organizirajo gradivo, in njegovimi uporabniki. Višješolske ustanove in druga podjetja imajo priložnost ponuditi svoje učno gradivo ogromnemu izobraževalnemu trgu. Po drugi strani pa lahko iščejo in dobijo zelo kakovostno eksterno izobraževalno gr

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Dębski, Andrzej. "Subskrypcja wideo na żądanie w Niemczech." Kwartalnik Filmowy, no. 124 (December 28, 2023): 115–38. http://dx.doi.org/10.36744/kf.1839.

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Artykuł dotyczy rynku SVoD w Niemczech na tle rynku kinowego i innych (płatnych) rynków kina domowego. Rynek ten ukazano w perspektywie historycznej i współczesnej, nie zapominając o jego (możliwej) przyszłości. Przedstawiono jego wzrost, głównych graczy, charakterystykę widzów i wpływ na branżę produkcyjną w Niemczech. Ważne cezury tego rynku to pojawienie się pierwszej platformy SVoD (2006), start Netfliksa (2014), osiągnięcie wyższych przychodów z subskrypcji niż ze sprzedaży biletów w kinach (2019), pojawienie się platform należących do „starych studiów filmowych”: Disney i Paramount (2020

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Hayes, Lydia. "Netflix Disrupting Dubbing." Journal of Audiovisual Translation 4, no. 1 (2021): 1–26. http://dx.doi.org/10.47476/jat.v4i1.2021.148.

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In 2017, English dubbing entered the mainstream on the initiative of the subscription video-on-demand service (SVoD) Netflix. Recent English dubs have taken advantage of the largely convention-free English dubbing industry and, in 2019, dubs outsourced by Netflix to VSI London saw the introduction of linguistic variation into the dubs of Spanish originals, such as Alta Mar (High Seas) (Campos and Neira 2019–) and, most notably, Hache (Torregrossa and Trullols 2019–). In these series, a myriad of British accents is used for characterisation as an alternative to standardisation strategies that c

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Ly, Nguyễn Hoàng, Sang Jun Son, Soonmin Jang, Cheolmin Lee, Jung Il Lee, and Sang-Woo Joo. "Surface-Enhanced Raman Sensing of Semi-Volatile Organic Compounds by Plasmonic Nanostructures." Nanomaterials 11, no. 10 (2021): 2619. http://dx.doi.org/10.3390/nano11102619.

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Facile detection of indoor semi-volatile organic compounds (SVOCs) is a critical issue to raise an increasing concern to current researchers, since their emissions have impacted the health of humans, who spend much of their time indoors after the recent incessant COVID-19 pandemic outbreaks. Plasmonic nanomaterial platforms can utilize an electromagnetic field to induce significant Raman signal enhancements of vibrational spectra of pollutant molecules from localized hotspots. Surface-enhanced Raman scattering (SERS) sensing based on functional plasmonic nanostructures has currently emerged as

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Wicaksana, Nico Yonatan, and Jarot Sembodo Suroso. "Implementasi Model Kesuksesan Sistem Informasi DeLone dan McLean pada SVOD Platform (Studi Kasus: Netflix)." ITEJ (Information Technology Engineering Journals) 7, no. 2 (2022): 109–22. http://dx.doi.org/10.24235/itej.v7i2.98.

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Abstract — Netflix is a pioneer in the video on demand subscription platform in Indonesia and remains the most popular video streaming service in the world, but Netflix has been forced to relinquish its position as the SVOD provider with the highest subscribers to become the fourth position in Indonesia. The SI DeLone and McLean success model modified by Hudin and Riana in 2016 is used in this study to determine Netflix's success factors and can be used for sustainability progress. The Smart PLS software program was used to evaluate survey data from 410 respondents, which indicated that inform

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Batorshina, G. D. "Digital Technologies in the Agro-Industrial Complex on the Example of the Electronic Platform of Rosselkhozbank svoe-rodnoe.ru." World of Economics and Management 22, no. 4 (2023): 146–60. http://dx.doi.org/10.25205/2542-0429-2022-22-4-146-160.

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The subject of the study is digital technologies in the sphere of agro-industrial complex on the example of Ecosystem “Svoe” of JSC Rosselkhozbank. The purporse of the work are: analytical assessment of the essence and function of digital technologies in the Russian agricultural industry using economic and statistical methods; identification of the problems that are an obstacle to the introduction of modern technologies; and providing practical recommendations on informing more agro-industrial companies about the resources of the “Svoe’’ ecosystem for their use in their current activities. In

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Breznik, Maja, and Maja Turnšek. "Platformno delo: kartiranje razprav in konceptov." Journal for Geography 18, no. 2 (2023): 5–22. http://dx.doi.org/10.18690/rg.18.2.3331.

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Članek prinaša kartiranje znanstvenih razprav o platformnem delu s poudarkom na njihovih konceptih. Eksplozivna rast platformnega dela je prinesla veliko znanstvenih prispevkov po vsem svetu. V pregledu nas je zato zanimalo, kako znanstvenice in znanstveniki obdelujejo svoje »surovo gradivo« in kako oblikujejo svoj »predmet spoznanja«, ko polemizirajo s samopodobo platform kot »tehnoloških podjetij«, ki naj bi bili čisti nasledek avtomatizacije, robotizacije, delitvene ekonomije in četrte industrijske revolucije. Pregled je izluščil pet glavnih konceptov, ključnih za razumevanje dela v na IKT

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Lozić, Joško. ""Mjuzica.hr" kao poduzetnički projekt u modelu glazbene streaming platforme." Obrazovanje za poduzetništvo - E4E 10, no. 2 (2020): 177–90. http://dx.doi.org/10.38190/ope.10.2.4.

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Stara je medijska industrija ušla u razdoblje potpune transformacije proizvodne i menadžerske paradigme. Klasična medijska industrija, stvorena u krilu moderne, razvila se tek uz industrijsku proizvodnju i masovno oglašavanje. Glazbena je industrija nastala početkom 20. stoljeća razvojem radio prijemnika, a svoj će vrhunac vezati uz televiziju i „broadcasting“. Cilj je ovog rada otvoriti novi horizont u promišljanju razvoja novih medijskih odnosno glazbenih industrija i poduzetničkih projekata iz toga područja industrije. Model distribucije proizvoda glazbene industrije, kao fizičkih proizvoda

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Petrović, Jelena, and željko Zeljković. "TRGOVINA UŽIVO NA PLATFORMI FACEBOOK - MODEL KOMPANIJE SAMSUNG-." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 37, no. 01 (2022): 117–20. http://dx.doi.org/10.24867/16ef01petrovic.

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Globalno stanje na tržištu kao i perspektiva tržišta potpuno su se promenili pojavom Korona virusa i proglašenjem pandemije što je rezultiralo opštim ,,zatvaranjem’’ i nemogućnošću da potrošači kupuju proizvode i usluge. Isto tako, kompanijama je postalo otežano poslovanje na svetskom nivou, kao i širenje sopstvenog brenda na tržištu, prodaja proizvoda i usluga. Kao posledica svega toga, došlo je do ekspanzije digitalizacije i prelaska na internet. Kompanije, veliki i mali biznisi suočili su se sa problemom opstanka u novonastaloj situaciji, te su morali prilagoditi svoj način poslovanja ta

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Vukašinović, Nikola. "ARHITEKTURA VEB-BAZIRANOG SISTEMA ZA NADZOR I UPRAVLJANJE UREĐAJIMA." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 35, no. 03 (2020): 549–52. http://dx.doi.org/10.24867/07be28vukasinovic.

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Ovaj rad se bavi problematikom kreiranja platforme veb-baziranog sistema čija je primarna uloga udaljen nadzor i kontrola uređaja. Sistemi za upravljanje i kontrolu karakteriše veliki broj članova, svaki sa zasebnim zadacima koji međusobnom komunikacijom dovode do realizovanja namenske funkcionalnosti rešenja. Analiza se prevashodno svodi na opisivanje arhitekture sistema koja uključuje opisivanje svakog pojedinačnog podsistema. Posebna pažnja poklonjena je komunikacionom aspektu podsistema sa akcentom na izbor protokola mreže, formatom i načinom prenosa poruka. Drugi aspekt analize podrazu

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Hristić, Ljubomir. "Mit, (nova) istorija i modernizacija Divljeg zapada." Issues in Ethnology and Anthropology 6, no. 2 (2011): 457–67. http://dx.doi.org/10.21301/eap.v6i2.10.

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Teritorija je bila i nastavlja da bude način konstruisanja i raspoređivanja značenja i smisla, delom zbog svog odnosa sa mapama i mapiranim prostorom zapada, a delom zbog svoje pojave u velikom broju drugih folklornih sadržaja, tekstova i diskursa koji su nastajali na prostoru Severne Amerike. U analizi o Granici američkog Divljeg zapada pristupljeno je u onom obliku u kome se ona koristi u odnosu na mito-istorijsko iskustvo, posebno kroz interpretaciju Granice kao konstrukta a protiv uobičajenog verovanja da je po sredi metafora, sagledavajući ovaj višedimenzionalni pojam iz rakursa različiti

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