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The COVID-19 pandemic disrupted the U.S. film industry, prompting major studios to release blockbuster films on streaming platforms. This study examines the impact of pandemic-related changes on the film industry by analyzing social media conversations on Twitter as a proxy for success. We introduce a novel metric to measure social word-of-mouth (sWOM) longevity for 40 movies released across different genres and franchises. Results indicate that pandemic-era films experienced shorter sWOM lifespans than pre-pandemic counterparts, and streaming releases generated shorter sWOM conversations than theatrical releases. This suggests that streaming releases risk quicker cultural obsolescence due to limited social media discussion time. This study offers valuable insights for industry practitioners navigating the evolving cinematic landscape. [ABSTRACT FROM AUTHOR]

In the streaming era, the very thing that defines it is what threatens to impede access to important media history and cultural heritage. Streaming's barriers to entry and its interim content catalogs challenge the actual collection and preservation of it for research and teaching purposes. If researchers and libraries do not work together to document and preserve these, we will keep losing important sources and data. From a collection perspective, we argue that streaming services consist of their catalog, metadata, and graphical user interfaces. First, we map the large-scale legal deposit collection of streaming at a national library as well as a media researcher's small-scale targeted collection. Second, we compare the resulting collections of web sites and graphical user interfaces in order to discuss methodological challenges. The findings of this comparative analysis indicate the existing deficiencies in both collections and suggest potential improvements in the collection and preservation of streaming services. [ABSTRACT FROM AUTHOR]

This article examines the influence of the Indian government on digital content creation, amidst growing concerns about freedom of expression due to the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules 2021 (IT Rules). Introduced by the ruling Bharatiya Janata Party (BJP), these regulations have sparked debate over their impact on India’s vibrant digital audiovisual industry, which has been a bastion of diverse storytelling and production capabilities. The situation is complicated by threats from extremist groups affiliated with the BJP, and right-wing groups against platforms like Netflix and Amazon Prime Video, raising suspicions that these legislative measures serve ideological and political agendas under the guise of ‘digital welfare’. Through a mixed-method approach comprising qualitative content analysis of the IT Rules, discourse analysis of governmental communications, and interviews with practitioners and policy experts, the study explores the triangulated power dynamics between the state, global platforms, and content creators. It reveals how state intervention, presented as a nation-building effort, effectively legitimises digital and mob censorship, encourages self-censorship among creators due to policy ambiguity, and aligns digital content creation closely with the state’s ideological objectives. [ABSTRACT FROM AUTHOR]

During the pandemic, digital platforms had a boom in revenue or subscriptions. Despite their increasing relevance, few studies explore how different social strata experience such access. Based on 31 in-depth interviews in Rio de Janeiro, Brazil, this article discusses the meanings and practices of digital consumption among the 'new middle class.' By focusing on three platforms—ride-sharing apps, food delivery apps, and audio-visual streaming—we interrogate how digital consumption has shaped experiences of well-being and hardship during pandemic times and how it relates to social mobility. We argue that digital platforms brought comfort amidst precarity as mechanisms for accessing relaxing and fun moments while responding to structural issues of Brazilian megacities. Our data also suggest these digital platforms enhance middle-class symbolic status related to individualised and private practices, though collectiveness is still present in participants' liminal class experience. [ABSTRACT FROM AUTHOR]

The rapid growth of streaming services has significantly impacted traditional television viewership and advertising avenues. This study aims to examine how the increasing popularity of platforms such as Netflix and Hulu have affected traditional TV consumption and advertising strategies. A survey was conducted among 230 university students from South Punjab using a self-administered questionnaire. The data were analyzed through correlation and regression analyses, along with reliability and validity tests. Results indicate that streaming service usage significantly reduces traditional TV viewership (r = - 0.10, p = 0.001), with 48% of the variation explained by streaming habits. Additionally, personalized ads on streaming platforms were more effective than those on traditional TV, with 45% of ad engagement explained by streaming service preferences (ß = 0.45, p = 0.015). The findings align with previous studies, confirming the shift toward streaming services and the increasing importance of personalized, engaging ads. However, the study's sample is limited to a specific demographic, and future research should explore a more diverse population and consider the impact of emerging technologies like virtual reality. Despite these limitations, the study underscores the growing influence of streaming services on media consumption and advertising strategies. Traditional TV networks and advertisers must adapt to these changes to remain competitive in an evolving media landscape. [ABSTRACT FROM AUTHOR]

Through a close examination of various platforms and content offered by the top three Chinese streaming services, iQiyi, Tencent Video and YouKu, this study provides an overview of these services’ international operation and starts mapping out the global presence of Chinese pop culture content.

Digital streaming services are dominating global media, yet little research exists studying them as functions of multi-billion-dollar conglomerates that shape culture. Disney+ launched in 2019 and within three months had 30 million subscribers, ushering in what the company called a "new era" of media. However, Disney+ relies on its parent media conglomerate's film catalog, some of it racist, meaning the "new era" is anything but. This paper examines Disney+ to further explore one conglomerate-owned streaming service and shows, through an analysis of corporate records and trade publications using a political economy lens informed by Orientalism, how Disney+ positions itself as the future of media yet relies on "classic" content to fill consumer demand. This work extends a structural critique of Disney+ to show how "classic" racist content on the streaming platform of the future constructs a world of racism online that exists in perpetuity. [ABSTRACT FROM AUTHOR]

This article addresses the development of new scheduling practices within public service media (PSM) in the Nordic, focusing on DR and TV 2 in Denmark. These practices relate to in-house broadcaster-video-on-demand-services (BVoDs). Our findings show, first, that television's time-structured identity and liveness are re-configured for a mainstream audience as opposed to the segmented audiences approach of the earlier multi-channel era. Second, we find that the public service identity and the benefits of being PSM natives are harnessed to help the survivability of PSM companies in the digital era. [ABSTRACT FROM AUTHOR]

The proactive removal of condensed clips from TikTok decreased demand for corresponding full-length originals by 3%, revealing their positive impact to TV industry. Short-form video-sharing platforms have seen phenomenal growth in recent years. One type of video that often goes viral on such platforms is the condensed clips derived from existing full-length video content. The traditional entertainment industry has strongly criticized this new form of user-generated derivative content owing to the potential for infringement on copyright owners' exclusive rights and de facto theft of viewers from original works. However, little is known of the actual impact of condensed clips on the demand for corresponding original works. In this study, we seek to identify such impact with the help of an exogenous boycott event in April 2021 that forced Chinese TikTok to remove condensed clips more proactively. Our results indicate that their removal had reduced the demand for corresponding full-length original works on a major video streaming platform by approximately 3%. In other words, condensed clips serve as friends, rather than foes, of streaming services. Further analyses suggested that positive spillover effects resulted from the fact that condensed clips could enhance the visibility of original works, and such effects were stronger if the original work was of higher quality or had a more fascinating storyline. Our results offer rich managerial and policy insights. History: Catherine Tucker served as the senior editor for this article. This paper was accepted through the Marketing Science: Frontiers review process. Funding: This work was supported by the National Natural Science Foundation of China [Grants 72131001 and 72272003]. G. Yang also thanks the Credamo Scholarships for financial support. Supplemental Material: The online appendices and data files are available at https://doi.org/10.1287/mksc.2023.0031. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Social Sciences / Roczniki Nauk Społecznych is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cultural policies of the past decades in Europe and especially in France, have placed the objective of diversity at the heart of their field of action. However, no cultural diversity indicator is published, which would make it possible to evaluate the results of a policy in favour of diversity in audiovisual or music industries. However, we find in the scientific literature works that provide such measurement indicators. This article details the construction of these indicators and shows how they could be usefully mobilised in the service of new regulations in favour of cultural diversity on cultural online services. [ABSTRACT FROM AUTHOR]

Scarcity is the defining characteristic of television's history in Turkey due to the late arrival of a multi-channel structure, and the experience of television in Turkey is shaped by the extensive involvement of the government and the high level of social control over broadcasting. The dissatisfaction during the pre-streaming era among the audiences in Turkey started to intensify by early 2010s because of the formulaic and similar stories with no diversity, strict regulation and censorship, and the tediousness of long, slow-paced series and extended ad breaks. The arrival of streaming services in 2016–17 was initially disruptive of the strictly regulated market due to the lack of necessary laws for regulating online streaming. Streaming continues to be a significant alternative for producers/creators and audiences in Turkey, with increased political and cultural diversity in local stories and the emergence of diverse genres and formats with different aesthetic tendencies. [ABSTRACT FROM AUTHOR]

The article is devoted to one of the creative branches of the Japanese economy – the anime industry. The creative sector has become one of the promising and fast-growing segments of the global economy, including the economy of Japan. Anime, or Japanese animation, is a specific kind of animation that emerged in Japan as a unique product in the 1960s. Its distinctive visuals have turned anime into an authentic Japanese cultural phenomenon. In recent decades, the anime industry, like other creative businesses, has faced the need for significant transformation due to consequences of technological advancements and growing competition. There is a trend towards a drop in demand for animation products offered through traditional media, due to the rapid spread of high-speed Internet connection, which enabled consumers to quickly access content in excellent resolution without relying on physical media. Under these conditions, companies are changing their marketing strategies, in particular switching to the production and distribution of anime for online viewing. Streaming services have become one of the rapidly developing technologies for the anime distribution. There are several major national streaming services in Japan, which, despite being not very popular outside the country, have a wide audience at home. The transition of the anime business to the digital plane is inevitably associated with the complexity of copyright protection, since it has become possible to copy video materials without loss of quality and binding to physical media. At the same time, such unauthorized distribution serves as free advertising for the copyright holders, so the industry had been tolerant to this phenomenon until recently. The development of Japanese animation faces the problem of a shortage of animators. Due to growing demand in the 1970s, studios outsourced part of the work to reduce costs, which facilitated the creation of a multi-level subcontracting structure of the anime industry. Among the current trends in the development of the industry is the transition to a strategy of multiplatform exploitation of intellectual property – the so-called transmedia franchising, when many secondary works are created around the original intellectual product – an animated work. New technologies make it possible to make anime more accessible to wider audiences, but production structure and license management policies are not fully adapted to the new conditions, which creates new problems.

Past research has noted that alternative media often facilitate debate between activists and advocates for political policies. However, such research does not typically address the processes for those debates. In recent years, political influencers have increasingly made debates important content in the alternative media they produce through streaming services. In 2021, I observed a debate between three influencers that took place through YouTube and Twitch. In this research project, I engaged in a qualitative content analysis of key texts, using concepts concerning debate from past political communication research. Specifically, I examined the pre-debate, debate and post-debate stages in order to identify different attacks, acclaims or defences utilised by the influencers. The findings, viewed through the lens of mediated construction of reality described by Couldry and Hepp, demonstrate that those linear stages established in past campaign research do not fully apply to the context of alternative media found on streaming services. Instead, this debate was a nonlinear process in which the "pre-debate" stage was actually the debate. [ABSTRACT FROM AUTHOR]

In this Article, the Authors discuss how the rise of in-house streaming services will impact profit participation.  Specifically, this Article discusses: (1) the vertical integration of the television industry, including the recent advent of in-house streaming services exhibiting content produced by their related-party studios; (2) the context in which the Sales Comparison ATP became a standard provision in profit participant agreements and how this history aids in its interpretation; (3) the meaning and purpose of each sentence and term in the Sales Comparison ATP; and (4) a roadmap for how profit participants may be able to leverage the Sales Comparison ATP to preserve their rights as entertainment conglomerates increasingly use their own streaming platforms to exhibit the valuable library television programs that they own.

The following study aims to analyze the impact of COVID-19 on the film industry and the growth of streaming services. The qualitative method classified as exploratory is used to obtain updated and little-explored results. As an example, a high preference for the consumption of streaming services was found during the study period, indicating a strong growth of the same market, and thus increasing consumption capacities for the coming years. [ABSTRACT FROM AUTHOR]

The basic question of this research is for what reason and in what proportion Hungarian users choose torrenting, streaming, or possibly both methods to access online content. An important question is also what advantages and disadvantages are attributed to different content access options, but the research also provides information regarding consumption services related to different content (films, series, music and games). On the one hand, the research presents the relationship between torrent and streaming services in the Hungarian online marketplace, as well as a general survey of the market reorganization between torrent users and streaming service users. According to the traditional procedure, after the secondary research, the survey continued with qualitative and then quantitative research, mainly in relation to persons between the ages of 18-30. During the qualitative research, the interviews were conducted one by one. The questionnaire contained two types of questions, one focused on those who chose the streaming service, and the other on those who chose torrenting. The quantitative research was done using the Google system. The main topics of the questions focused on the consumption of different contents and the assessment of advantages and disadvantages. The research revealed that the respondents in Hungary consider streaming services to be overpriced, and in this context, they are not satisfied with the price of the service and, in this context, with the range. The majority of respondents do not use streaming services for music. HBO Go is the most used online service for watching movies and series, presumably because of its distribution linked to the TV service. In the gaming industry, Steam 's service enjoys outstanding support among consumers, but it can be observed that new entrants can easily gain a lot of recognition in this sector. The respondents see torrenting as a kind of guarantee before buying, as they can try the given product, on the basis of which they can decide whether the purchase is worth it for them. This research provides a kind of basis in the future, so that the streaming service market can more easily adapt to Hungarian market conditions through other research, so that the needs of domestic consumers can be served more easily. [ABSTRACT FROM AUTHOR]

In recent years, the longstanding practice of producing and circulating bootleg recordings of Broadway musicals has escalated as have condemnations of this activity as detrimental to the commercial theatre industry. Drawing on work from media industry studies, this article reframes theatre bootlegging not as a detrimental practice, but as one that may have generative contributions to the theatre industry for its promotional effects. Rather than celebrating such efforts as wholly resistant or co-opted, however, we must understand bootlegging as essentially fraught, staging the inherent tension between the Broadway musical as art and commerce and blurring the distinction between producers and consumers. Critical attention to theatrical bootlegging as a social and cultural practice foregrounds the range of stakeholders in theatre culture as well as the myriad ways that they function as market actors. [ABSTRACT FROM AUTHOR]

This article analyzes the significant events that led to the emergence and growth of the online Indian audio-visual sector. The principal argument that drives this narrative is the co-evolution of Indian formal and informal media economies that led to the media industries' digital transformation. Drawing on historical analysis of the Indian film and television industries, we argue that just as the informal means of finance, social relations, illegal cable and satellite distribution had a formative influence on how these industries formalized, the Indian online audio-visual sector is driven by distinctive formalization processes, led by creators who are engaging with both local and global UGC-led platforms as well as PGC-led portals. Using a critical media industries framework, with data gathered from semi-structured interviews with 'above-the-line' Indian online media practitioners together with trade press literature, we propose an analytical framework that incorporates both platforms and portals as industrial objects for mapping digital production cultures that originate as inherently informal. [ABSTRACT FROM AUTHOR]

This article explains how Netflix has transformed the ways in which we interact with media in the contemporary milieu. I argue that Netflix works through a process of planned differentiation, designing unique customization experiences to create a new type of media user that participates in its global and regional release and production strategies. This leads me into a discussion of how the Netflix interface manages the spectators' experience through a series of connected features. Thus, I detail Netflix' personalization mechanisms, proposing that, ultimately, its users 'pay to buy themselves', or the version of themselves its interface offers back to users upon systematically gathering data on their habits. Finally, I remark that the key characteristics of the current streaming service/spectator relationship are deceptive limitlessness, customization, the automation of content flow and ubiquity, weaving a form of audiovisual engagement that has partially and, at times completely, conquered our everyday. [ABSTRACT FROM AUTHOR]

The tremendous rise of demand for streaming services in the last decade, and during the pandemic COVID-19, has brought hope of a promising future for companies of this sector, where the determinants of customer satisfaction and loyalty are still to be fully understood. The empirical study presented in this paper seeks, as the primary goal, to analyze the factors that influence consumers’ loyalty to a streaming service. Seeking to answer the outlined research question, two types of sources were used in the present investigation: primary and secondary. Concerning the primary sources, quantitative research was used, with the convenience sampling technique for data collection, and a questionnaire that was applied online using institutional emails and social media (Facebook, Instagram, and Whatsapp). The data (n= 205) were analyzed using Structural Equation Modeling. From the results obtained, it is possible to conclude that the main factors influencing loyalty towards a streaming platform are: perceived quality, ease of use, performance expectancy, and satisfaction. The analysis revealed a predictive validity of the three factors with satisfaction and, through this, to loyalty.

Streaming services are creating significant shifts in Scandinavia, with audiobooks distributed through subscription-based services accounting for about a quarter of sales in the Swedish and Norwegian book markets. In this study we ask: What are the common and diverging themes of trade talk on audiobooks and streaming services in Sweden and Norway? Our findings indicate that trade talk in the two countries differs distinctively. The differences suggest that discussions over audiobooks and streaming form two quite distinct discourses: A business and innovation discourse which is dominant in Sweden and a cultural policy discourse which is dominant in Norway. [ABSTRACT FROM AUTHOR]

The printed book has been resilient to change, and the adoption of e-books has been slow. In this context, few studies have addressed a potential turn to streaming services for books. This paper examines the adoption of book streaming in the Norwegian market, where the market-leaders Storytel and Fabel report rapid increases in number of subscribers. We examine who these early adopters are, and what may predict future use of streaming services among non-users. Theoretically, the study is situated within the fields of innovation diffusion and technology acceptance. The study is based on a cross-sectional online survey with a representative sample of the Norwegian population. Results show that users are younger and more educated, and that book streaming is more popular among women than men. The audiobook format allows for flexible ways of consuming books, complementing rather than replacing the printed book. For non-users, results show that convenience value and price value predict behavioural intention to use book streaming services. While emotional attachment to printed books has been found to act as a barrier for adoption of e-books, its negative effect on behavioural intention for book streaming services is only modest. [ABSTRACT FROM AUTHOR]

Copyright of Consumer Behavior Review (CBR) is the property of Consumer Behavior Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this exclusive conversation, MYmovies.it founder and CEO Gianluca Guzzo sits down with Antonio Falduto, Glen Bonnici, Jim Carter and Flavia Laviosa to discuss his business, which is part online cinema magazine and part streaming platform. Guzzo gives an historical overview of the development of MYmovies.it before turning to the ongoing COVID-19 pandemic, during which the website pioneered a digital service for replicating the in-person film festival experience. This history serves as a jumping-off point for a series of reflections on the future of film festivals, the distribution of Italian cinema domestically and internationally and the need to promote quality, independent productions. In contrast to most commentators published in this journal, Guzzo speaks as a businessperson who is concerned with marketing Italian cinema in the world, including the use of data for commercial purposes. [ABSTRACT FROM AUTHOR]

Today, digital piracy remains a growing challenge for both legislators and businesses operating in the entertainment industry. This study explores when and why consumers make trade‐offs between illegal and legal streaming services. By drawing on protection motivation theory, we find that consumers' threat and coping appraisals increase their adaptive behavior, i.e., lower intention to consume illegal and higher intention to consume legal streaming services. We also show that the strength of consumers' inherent ethical (relativism) and political (economic liberalism) identities conditions adaptive behavior through social identity theory. We find that low relativism strengthens the adaptive behavior through threat appraisal, while economic liberalism strengthens the adaptive behavior through coping appraisal. Our robustness checks show that these results hold when the model accounts for the level of consumers' digital piracy attitudes. We used a scenario‐based approach to test our hypotheses and surveyed 244 consumers who use streaming services. Our study contributes to the literature by showing that consumers' adaptive behavior envisioned through protection motivation theory can be weakened or strengthened by their ethical and political identities. [ABSTRACT FROM AUTHOR]

This article explores the influence of platformization on literary publishing, focusing on the impact of audiobooks and streaming services on editorial processes and business objectives. Increased importance of some genres, sliding concepts of quality, increasing dependency on social media, diminishing economic margins, and stricter editorial decisions are transitioning traits highlighted in this study on Norwegian trade publishers. Further, the analysis brings forward three central challenges to today's publishers: dependence on digital platforms to obtain readership, favoring simple narrative structures countering broader catalogues, and increased press on prioritizing in a market characterized by customization. [ABSTRACT FROM AUTHOR]

The recording and radio industries have faced a reckoning over their lack of gender equity. While Generation Z is poised to become the dominant music audience, research on the wants and needs of young women listeners is lacking. This study used focus groups to investigate how Generation-Z women feel about today's music and audio media options. Specifically, their musical tastes are more eclectic, but they find little appeal in current popular music, and they see widespread disrespect for women in music. Participants also recognize that current trends of male-dominated radio presentation are likely to turn potential women listeners away. [ABSTRACT FROM AUTHOR]

The twenty-first century has seen the biggest breakthrough as regards the production and distribution of audiovisual culture. Slow cinema and serials--in particular those coming to us via streaming platforms as full seasons to binge-watch--are a special case of such a breakthrough for they offer us a new dynamics of experiencing culture; dynamics that relies on a meticulous orchestration of boredom to stimulate our creative participation in culture. This article will demonstrate, on the basis of selected Mubi, HBO, and Netflix productions, how the clever playing out of (serial) boredom can affect viewers' mental, emotional, and even physical capacity and how important it is for a more effective perception of the twenty-first-century--digital--reality to be able to actively manage our "boredom-activated" culture compass. [ABSTRACT FROM AUTHOR]

The industrial consortium AOMedia has recently developed the AV1 (AOMedia Video 1) format considered as a successor of VP9. One of the main goals with the video coding and compression format is to enable efficient web based video content delivery, as in the case of OTT (Over-the-top) services. Nowadays, there are different AV1 software implementations available for experimental analysis besides the reference tool libaom. The Scalable Video Technology for AV1, or SVT-AV1 codec, is oriented towards further optimizations for specific Intel hardware. In this paper, we have performed a video quality assessment experiment with some of the SVT-AV1 implementations using 4k like video. The results show the advantages of SVT-AV1 format, as well as its performance for different quantization factors.

The entertainment education (EE) approach shows that entertainment storylines influence people's attitudes, opinions, and behavior, and this occurs, among others, when it comes to health and disease. In the case of TV shows and movies cancer is the most frequently shown disease, and this is especially important when considering the rise of VOD platforms, gaining in subscribers and popularity. The article aims at signaling Netflix's EE potential, hence it could be a starting point for future studies of streaming platform's EE, a highly neglected area. Netflix is thus 1) compared with other popular VODs in terms of the number of cancer content (this being the main interest of the presented analysis) and 2) three content categories are indicated. Also, 3) a brief description of selected texts is presented. The aim of the article is exploratory, and it highlights the need for future research, as the potential of Netflix's EE seems the greatest when compared to other platforms analyzed. Netflix has the largest number of contents featuring cancer, and these could influence audiences, i.e., raise awareness, change attitudes, and motivate individuals to act. [ABSTRACT FROM AUTHOR]

This article rewinds a decade to reconstruct the arrival of streaming services and their impact on the music industry. It focuses on copyright holders and their experience with reaching out and getting paid via streaming, charting developments in the relationship between licensor and licensee such as the rise of direct licensing. The study is based on interviews with labels, publishers, collecting societies and interest organisations for composers and performers in Norway, where streaming caught on early. It finds that streaming services, with Spotify out in front, have led majors and indies to wage a war over rights and global market shares, while the ability of collecting societies to hang on to their bargaining cards now depends on the way in which on-demand access to music is legally defined. This article also concludes that, so far, these struggles have been easier on the composers than on the performers of music. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Subscription-based Video-on-Demand streaming services (SVODs) are popular hits nowadays on the online platform. The success of these SVODs is indeed dependent on consumer acceptance; however, the preference of the latter might vary. This study focused on targeting the millennials, as they are the biggest consumers of SVODs, by looking at Facebook advertisements, social pressure, consumer attitude, and purchase intention as the driving variables. This study included 196 respondents gathered through convenience sampling and was statistically processed through a linear regression to help determine the significance between variables contributing to a consumer's purchase intention of SVODs. Results show that social pressure and attitude significantly affect millennials' purchase intentions for SVODs in Central Luzon. Thus, the researchers recommend that SVOD companies develop Facebook advertisement content that is vigilant of their consumers' preferences, such as eliciting an attitude and social pressure. This study also suggests different strategies to capture millennials in Central Luzon further. [ABSTRACT FROM AUTHOR]

The article examines the reasons for Netflix's economic success. It is noted that Netflix's growing popularity is an example of the processes of digitization and globalization characteristic of modern cultural industries. Among the main reasons for Netflix's economic success are an effective automatic system of recommendations and a high degree of vertical integration – a combination of the service of all stages of the film business: from the decision to produce content to its display to final consumer. The impact of Netflix on the practice of consuming films in the digital age has been considered, noting that the automatic system of recommendations used by the service and algorithms of search optimization can pose a threat to the free choice of consumers. Netflix's success is seen in terms of the West's unsymmetrical influence on global culture. The author concludes that Netflix's model is an example of the growing commercialization of cultural industries, the commodification of culture and carries certain risks of an aesthetic and cultural nature. However, it shows economic feasibility. For minimization of the related sociocultural risks it is important to keep alive a variety of forms of cultural production and consumption – a task in which the state can play a significant role.

The rise of streaming services and decline of analog media have affected academic music libraries in their traditional role as a resource of listening materials. This study examines the listening-source preferences of college-level music students across multiple institutions through a survey in which students compared electronic commercial streaming services and both electronic and analog library multimedia collections to determine the factors that lead to the use of one source over the other. Findings indicate a strong preference for commercial streaming services over library materials, emphasizing the importance of convenience. However, the perceived quality of library materials remains high among participants. [ABSTRACT FROM AUTHOR]