ABSTRACT
In order to determine the trend of studies on the factors that generate the consumption of paid video streaming platforms during the COVID-19 pandemic, a systematic review of scientific literature was conducted. To search for the information, the Scopus database and the Concytec repository, Alicia, were consulted. The keywords "streaming”, "platform”, "media”, "COVID-19”, "Netflix”, "video” and "pandemic” were used. Sources were located in three languages. The data analysis allowed dividing the information into five categories: background on the positioning of streaming platforms, audience behaviour, consumption drivers, cases related to Netflix and platforms in times of confinement. It is concluded that during the pandemic, people mutated their mode of digital consumption, becoming more dependent, which has been capitalised on by streaming platforms that, taking advantage of habits, adaptability, and consumption trends, and responding with innovation, have increased users, in a distribution of the sector in which Netflix, thanks to its own strategies, is the leader. These reviewed factors move a consumer marketplace uphill, creating loyalty among previous audiences and tempting new ones, which could even overcome the pandemic period. © 2023, The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.
ABSTRACT
In the early months of 2020, pandemic covid-19 hit many parts of the world. Especially developing countries like India observed a negative growth rate in few quarters of last financial year. Retailing is one of the key sectors that contribute to Indian GDP with a share of nearly 10 percent. Hence there is a need for the retail sector to bounce back which is possible with the efficient use of new digital technologies. Market basket analysis is used here to extract the association rules which can be directly used for formulating discount and combo offers. Along with that, these rules can be used to decide the product positioning in the retail store. Items which are bought together can be placed next to each other to increase sales. Recommendation systems are most commonly used in ecommerce websites like Amazon, Flipkart, etc, and streaming platforms like Netflix to recommend the items that are to be purchased by users. Although recommendation engines are implemented in multiple web and mobile applications, these are not in the implementation stage in offline retail stores due to many implications associated with them like infrastructure, cost, etc. In this project, we have used market basket analysis and recommendation systems to propose a model to implement in retail stores to increase sales revenues and enhance customer experience. © 2022 IEEE.
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This study focuses on how Netflix Spain harnessed Instagram to acquaint young people with its catalogue during the Covid-19 pandemic, with the sudden increase in OTT consumption. This led Netflix Spain to adapt its social media strategies and production release dates to a situation without parallel and in the face of intense competition. We analyze the messages during the state of alarm in Spain (from 15 March to 21 June of 2020), when Netflix was the most consumed OTT service. Netflix promoted recently released productions and used proximity strategies, both to GenZ and to Spanish audience, such as toning down with humor the daily problems of lockdown, using juvenile slang ("crush", "shipping"), referring to the habits of young people (taking selfies, sending audio messages) and using the social media of the cast of their most popular series, promoting them as "Netflix celebrities" and emphasizing their good-looks and sexual attractive. © 2023 Universidad Complutense de Madrid. All rights reserved.
ABSTRACT
Purpose: Unintended consequences of knowledge management (KM) can be harmful if they are calamitous. However, they can occasionally be advantageous during catastrophes. The purpose of this study is to investigate how KM can be accidentally propitious during the COVID-19 pandemic using the case of Netflix. Design/methodology/approach: Explanatory factor analysis, multilevel and multiple regressions were used with a sample of 45 countries. Findings: In the authors' sample, the hypothesized direct relationship between culture (i.e. individualism, power distance and indulgence) and collective pandemic resilience (CPR) was found. In addition, the hypothesized moderating effect of Netflix KM on the relationship between culture and CPR was partially confirmed. The findings suggest that KM during the pandemic can generate an unintended consequence of intensifying the degree of CPR. Research limitations/implications: Small sample size, data paucity and the constructed variable of CPR might limit the generalizability of this study's results. Nonetheless, one important research implication is that KM qua unintended consequences can have a significant moderating effect on the relationship between culture and resilience. Practical implications: This paper highlights how organizations and society can cocreate the value of KM accidentally for the benefit of a larger public during calamities. Also, firms should proactively search for a wider application of their KM beyond their original intention. Originality/value: This paper initiates a new discussion of positive consequences of unintended KM. Unlike individual-level studies of collective resilience in the past, to the best of the authors' knowledge, this study generates country-level implications for the first time. © 2022, Emerald Publishing Limited.
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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 internation-ally 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. © 2023 Intellect Ltd Interview. English language.
ABSTRACT
Covid-19 generated new interactions and changes in the practices and habits of Netflix users in Mexico, establishing agencies that include innovative social and cultural relationships. In the line of this research, this article sought to identify these changes and transformations, as well as the "power circuits” developed by Netflix to produce, distribute and sell its audio-visual content. Based on the use and application of a descriptive quantitative methodology, indicators were obtained on the regular and daily consumption of Netflix in Mexico during the pandemic, after applying questionnaires to users of the platform. The study identified a robust integration of Netflix into the daily activities of cultural consumption, thereby consolidating its power, hegemony and predominance in the Mexican market. The findings highlight the increase in Netflix use during the Covid-19 pandemic, an increase in selectivity in content, greater shared access, an intensive use of the platform's recommendation mechanisms, the use of fandom as a database and the strengthening of corporate interests. © 2022 Deuton-X Ltd. All rights reserved.
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Movie Theaters in India face a big crisis amid COVID-19, which leads to the shutdown of Theaters for more than five months. In the meantime, Online Streaming Services are expanding their business and revenue like never before. This scenario raises the very prominent questions (1) whether the movie theater business will survive this hard time and get back to normal growth and business once COVID-19 cases will reduce. The situation gets back to `old normal'. (2) Will Online Streaming services and Movie Theater business co-exist in the future, as Satellite TV and Movie Theater exist for many decades. Based on data from an empirical survey conducted among regular moviegoers, this paper questions the claims of the industry that the Movie Theater business is in danger due to the emergence of online streaming services. It has been observed that the increase in traffic on these online streaming services is mainly because of the lockdown situation, and once theater reopens and the COVID-19 health crisis went, people will get back to Theaters in a large number. Data from the reopening of Theaters in other countries are also showing the same result.
ABSTRACT
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 internation-ally 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. © 2023 Intellect Ltd Interview. English language.
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In recent years, globalization has progressed, and Japan's international students have increased. However, many international students study while working part-time, and due to the impact of Covid-19, face-to-face conversation with people has become difficult. Therefore, regular study time alone has become insufficient for practicing the Japanese language. On the other hand, there are video distribution services that have become popular in recent years. Therefore, we thought we could create a language learning support system by using them. This research aims to develop a language learning support system that uses the subtitle function of a video distribution service to improve learning motivation and to solve the lack of time to learn a foreign language(the Japanese, in this case). This paper mainly reports on the development of the system by using those video content. © 2022 IEEE.
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In English for Specific Purposes (ESP), an area which focuses on learners' acquisition of language used to carry out tasks in specific contexts, digital mediation proves invaluable, since, among other things, it allows learners' exposure to subject-specific terminology and genre. Netflix, a subscription-based streaming service that allows members to watch TV shows, movies and documentaries on internet-connected devices, has been gaining popularity among young audiences. Even though the use of videos in the ESP teaching and learning process is not new, research that describes the experience of using Netflix in ESP is limited. This paper presents an action research study, conducted during the COVID-19 pandemic, in the context of an English for Specific Academic Purposes (ESAP) course for first year students of Commerce, Finance and Shipping at the Cyprus University of Technology. The purpose of the study was to find a way in which students would be exposed to more authentic-like language related to their field of study and to increase motivation, amidst social distancing and online instruction;for this purpose, the course facilitator utilised Netflix. The participants in the study were 42 first year students of the Department of Commerce, Finance and Shipping. Data were collected through a mixed methods approach, an online questionnaire and student reflections. The results of the study showed students' overall satisfaction with the integration of Netflix in the learning process. Despite certain challenges they faced, students noted that generally the experience was beneficial in terms of language skills improvement as well as professional skills development, among others. © 2022, Springer Nature Switzerland AG.
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Video streaming market has been growing rapidly for the past two decades. YouTube and Netflix, for example, are part of everyday life for many of us. Although network bandwidth has increased with the development of 5G and fiber, user demand and expectations have also increased with 4K videos, larger screens, and COVID-19. Recent explosive increase in video traffic made it difficult for the network and applications to satisfy the user requirements of video streaming. Multi-access edge computing (MEC) is a promising technology to resolve this problem. MEC is a network architecture concept that offers cloud-computing capabilities and an IT service environment at the edge of the network. In this paper, we review the research efforts in video streaming with MEC over the past few years. We have clustered and categorized the literature according to the optimization criteria, with focus on cache management. We aim this survey to be a cornerstone for designing effective novel caching scheme in MEC for video streaming. © 2022 IEEE.
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The Covid-19 pandemic and the arrival of Disney + marked the second quarter of 2020 in the Spanish audiovisual market. Thus, the period of home confinement among the Spanish population coincided with the irruption of the new streaming service of one of the best-known and most loved brands worldwide. However, Netflix was the most consumed SVoD during this period. The objective of this research is to find out what the Californian company has done in communicative terms as a market leader and in the face of the need to adapt to the new circumstances of its audiences. The results show how Netflix Spain has integrated COVID-19 in its social media strategy in the pass between the lockdown and maximum consumption to a progressive lessening of social restrictions. The content analysis of Twitter and Instagram found 121 messages regarding pandemic (from a total of 1380). Netflix employed Twitter to connect with its audiences with humor, proximity and information, using taboos in the hardest moments, and an increased frequency of publications as the health situation improved. On the contrary, on Instagram there was no specific strategy, but imitation of the practices on Twitter and scarce references to COVID. Besides, there has been an evolution of the messages more or less parallel to the public health changes, choosing a strategy of proximity with the users, and with a communication closer to an influencer rather than a company. Copyright © 2022 (Fernández-Gómez, Martín-Quevedo, Feijoo Fernández).
ABSTRACT
The COVID-19 pandemic changed the television and movie streaming habits of Millennial consumers. This study examines the streaming services Millennials subscribe to, which features are important to them, the genres they are watching, the technology they use for streaming, how much content they stream, how these categories have changed during the COVID-19 pandemic and what they anticipate in the future regarding streaming. A survey and focus group were conducted, and the data revealed that 96 per cent of respondents subscribe to at least one video streaming service. Overall, streaming has increased for the surveyed Millennials since March 2020. Streaming businesses and advertisers will be interested to learn about the high expectations that Millennials have for personalisation in their entire streaming experience even, and especially, during a pandemic. Furthermore, the qualitative results expose how motives for streaming have changed and fluctuated as a result of the pandemic. © 2022, Henry Stewart Publications. All rights reserved.
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This article is focused on the differences in the brand equity of the streaming service Netflix before and during the COVID-19 pandemic in the Czech Republic. Brand equity is measured by a specially modified conceptual model. Based on a two-wave questionnaire survey, the possible impact of the pandemic on the dimension of the conceptual model was examined. The results showed that there was no statistically significant change in the level of brand equity but there was a change in its structure. It was also found that although the number of people who tried Netflix’s services increased during the COVID-19 pandemic, they did not become long-term users. © 2022 Diciembre 2015 Aspe. All rights reserved.
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The viral video is an extremely well-known concept in the present era, especially fueled by the COVID-19 pandemic. A great example of this phenomenon is the video of Elisa Lam, a Canadian student, who vanished mysteriously at the Cecil Hotel in Los Angeles during her vacation to California in the United States of America on January 31, 2013. The video of Elisa Lam became viral after the Los Angeles Police Department (LAPD) released the only video surveillance of her in the elevator of the Cecil Hotel on February 15, 2013, via its website. The reason for releasing the video by the LAPD was that they had difficulty finding Lam, and there was not enough evidence thus;they hoped that the public would help solve the case. After its release, the eerie video became viral as digital content creators and conspiracy theorists started sharing the video on multiple social media platforms. The primary platform, which supported and accelerated the viral spreading of the video, was YouTube. One of the first YouTubers who encountered the video on the LAPD website while looking for popular content that would grab people’s attention was John Lordan, the owner of the YouTube account LordanARTs. Lordan, among other YouTubers, started sharing the Lam video and began a discussion dissecting the many unusual aspects of the video, including Lam’s behavior, gestures, and environment. Following this, what started as a local missing person investigation became a global phenomenon. The viral video prompted the production of the Netflix documentary called Crime Scene: The Vanishing at the Cecil Hotel (2021), exploring the Elisa Lam case, the notorious Cecil Hotel, and its violent unnerving history. As Netflix became one of the most popular subscription videoon-demand services (SVODs) in the era of the COVID-19 pandemic, the release of the documentary re-fired the popularity of this case and the Elisa Lam video even after eight years. This ongoing popularity is showcased by the view count of the Elisa Lam video uploaded by the YouTuber Dennis Romero, which has over 30 million views at the moment since its first release date of February 13, 2013. The purpose of this chapter is to examine how local news can become viral, therefore;global, especially fueled by the increase of digital content and while being spread by various platforms. This study investigates the concepts of media convergence, participatory culture, collective intelligence, and how various accounts on various digital platforms approached this case, making the video a global phenomenon. In addition, the public’s behavior on social media, shaped and influenced by each other, and how this behavior may transform into cyberbullying while impacting innocent bystanders’ lives are analyzed. © Peter Lang GmbH Internationaler Verlag der Wissenschaften Berlin 2022. All rights reserved.
ABSTRACT
Purpose: Unintended consequences of knowledge management (KM) can be harmful if they are calamitous. However, they can occasionally be advantageous during catastrophes. The purpose of this study is to investigate how KM can be accidentally propitious during the COVID-19 pandemic using the case of Netflix. Design/methodology/approach: Explanatory factor analysis, multilevel and multiple regressions were used with a sample of 45 countries. Findings: In the authors’ sample, the hypothesized direct relationship between culture (i.e. individualism, power distance and indulgence) and collective pandemic resilience (CPR) was found. In addition, the hypothesized moderating effect of Netflix KM on the relationship between culture and CPR was partially confirmed. The findings suggest that KM during the pandemic can generate an unintended consequence of intensifying the degree of CPR. Research limitations/implications: Small sample size, data paucity and the constructed variable of CPR might limit the generalizability of this study’s results. Nonetheless, one important research implication is that KM qua unintended consequences can have a significant moderating effect on the relationship between culture and resilience. Practical implications: This paper highlights how organizations and society can cocreate the value of KM accidentally for the benefit of a larger public during calamities. Also, firms should proactively search for a wider application of their KM beyond their original intention. Originality/value: This paper initiates a new discussion of positive consequences of unintended KM. Unlike individual-level studies of collective resilience in the past, to the best of the authors’ knowledge, this study generates country-level implications for the first time. © 2022, Emerald Publishing Limited.
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By utilizing transnational proximity as a primary theoretical framework, I analyze the reasons why global audiences beyond Asia prefer contemporary Korean popular culture to other cultural products. I investigate several distinctive cultural programs and Korean screen spheres—BTS and Squid Game (2021) in particular—as well as fan communities. I mainly discuss whether “transnational proximity” based on similar socio-cultural experiences, including social inequality and social injustice, which are rampant in late capitalist society, works as a new theoretical frame in comprehending the global success of Hallyu. Finally, I discuss whether transnational proximity plays a pivotal role in determining the growth of local popular culture in the global cultural sphere. © 2022 Kyujanggak Institute for Korean Studies.
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With the current COVID-19 situation on hand, the load of entertainment has completely fallen onto the OTT platforms for over a year now, and as a significant rise in viewership has been seen in the recent years and especially the past year, it is particularly important that these systems are used in best way. Along this increase a big issue becoming among the viewers is the quality and content of the films, documentary films, etc., which depends highly on some factors like choice of actors, genre, availability in different languages and most importantly reviews. So, to solve this issue, a decision was made to try new approach and put some new life into an old and trusted system, incidentally which has been one of the earliest implementations in the field of machine learning and is fondly known or called by the name of the recommender system or the recommendation system. This paper emphasizes on providing with an over-the-top media-service provider (OTT) film recommendation system which aims to deliver a personalized choice of the films as per the new trends among the viewers, the ratings, the reviews and sometimes as per the previous experiences of the user. The so-called recommender systems have been in use for more than a decade now, but the interesting thing with these machine learning-based systems is that there is always scope for some new features or improvements to be added or channelled in and further on when you think that it is perfect and requires no changes or additions to it, but in fact everything in machine learning can be designed and implemented or given a new direction as per your own perspective. The thought to simply redefine this system mainly grew because of a big issue that is the wastage of time in selecting appropriate films as per the choice, non-engaging films and in a bid to make people watch more quality and knowledgeable content. This paper reviews a host of previous work done in this field along with chalking out issues which can be improved along the way. This paper further talks about the methodology for conceiving the system and as well as sheds light on the implementation of the system using Python language and open-source tools. The paper further moves onto dictate about the applications of the system for OTT services and also take a bit of sneak peek into the applications beyond the OTT services. © 2022, The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.
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PurposeThe purpose of the study is to dive into various binge-watching habits of Netflix users amidst the COVID-19 pandemic. Consumers find themselves amidst the COVID-19 lockdown with more free time to indulge in these viewing habits. This study investigates motivational factors, amount of media consumption and negative attributes associated with binge-watching on Netflix during the COVID-19 outbreak.Design/methodology/approachThis study has employed an exploratory research design and obtained primary data via an online survey using a semistructured questionnaire. Convenience sampling has been used to choose a sample (n = 105) of Netflix binge-watchers during the COVID-19 pandemic. Both sample selection and survey administration have been done through social media messaging services owing to the COVID-19 lockdown measures.FindingsThe results indicate that most of the respondents use smartphones for binge-watching on Netflix. Moreover, they have expressed that a wide range of shows available on Netflix incline them to engage in marathon viewing. However, the respondents spend just over 70 h per month binge-watching on Netflix. Finally, the majority of respondents have flagged “one more episode” syndrome as the most challenging aspect of being marathon viewers on Netflix during the COVID-19 pandemic.Originality/valueThis is one of the few papers to exclusively focus on the impacts of binge-watching on Netflix during the COVID-19 pandemic. The findings will originate the value with novelty and important implications to the Netflix consumers, telecom service providers and payment gateways.
ABSTRACT
BACKGROUND: Social and physical distancing in response to the coronavirus disease (COVID-19) pandemic has made screen-mediated information and communication technologies (media) indispensable. Whether an increase in screen use is a source of or a relief for stress remains to be seen. OBJECTIVE: In the immediate aftermath of the COVID-19 lockdowns, we investigated the relation between subjective stress and changes in the pattern of media use. Based on Lazarus's transactional model of appraisal and coping, and building on an earlier similar survey, we hypothesize that individual differences in the appraisal of media predict variations in approach or avoidance of media for coping with COVID-19 stress. METHODS: Between March 20 and April 20, 2020, a brief snowball survey entitled: "What media helps, what media hurts: coping with COVID19 through screens" was distributed via Concordia University's mailing lists and social media (PERFORM Centre, EngAGE Centre, and Media Health Lab). Using a media repertoire method, we asked questions about preferences, changes in use, and personal appraisal of media experiences (approach, avoid, and ignore) as a result of the COVID-19 pandemic and investigated interindividual differences in media use by factors such as subjective stress, age, gender, and self-reported mental health. RESULTS: More than 90% of the survey respondents were in Canada and the east coast of the United States. From 685 completed responses, 169 respondents were "very stressed" and 452 were "slightly worried" about the pandemic. COVID-19 stress led to increased use of Facebook (χ23=11.76, P=.008), television (χ23=12.40, P=.006), YouTube (χ23=8.577, P=.04), and streaming services such as Netflix (χ23=10.71, P=.01). Respondents who considered their mental health "not good" were twice as likely to prefer streaming services as a coping tool for self-isolation. Women and nonbinary respondents were twice as likely than men to pick social media for coping. Individuals younger than 35 years were 3 times more likely to pick computer games, and individuals older than 55 years were more likely to pick network television or print media. Gender affected the appraisal of media (less in men than others) in terms of avoid (F1,637=5.84, P=.02) and approach scores (F1,637=14.31, P<.001). Subjective mental health affected the ignore score (less in those who said "good" than others; F1,637=13.88, P<.001). The appraisal score and use increase explained variations in worrying about physical and mental health stress due to increased screen time. A qualitative analysis of open-ended questions revealed that media (especially social networks) were important for coping if they provided support and connection through the dissemination of factual and positive information while avoiding the overflow of sensational and false news. CONCLUSIONS: The relationship between appraisal of media's positive and negative facets vary with demographic differences in mental health resiliency. The media repertoire approach is an important tool in studies that focus on assessing the benefits and harms of screen overuse in different populations, especially in the context of the COVID-19 pandemic.