SVOD Production in East-Central Europe: Understanding the ‘Streamer Imaginaries’ of Independent Producers

Result code in IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F24%3A10494448" target="_blank" >RIV/00216208:11210/24:10494448 - isvavai.cz</a>

Result on the web

<a href="https://www.researchgate.net/publication/379720980_SVOD_Production_in_East-Central_Europe_Understanding_the_'Streamer_Imaginaries'_of_Independent_Producers#fullTextFileContent" target="_blank" >https://www.researchgate.net/publication/379720980_SVOD_Production_in_East-Central_Europe_Understanding_the_'Streamer_Imaginaries'_of_Independent_Producers#fullTextFileContent</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1007/978-3-031-42182-2_11" target="_blank" >10.1007/978-3-031-42182-2_11</a>

Result language

angličtina

Original language name

SVOD Production in East-Central Europe: Understanding the ‘Streamer Imaginaries’ of Independent Producers

Original language description

Transnational SVOD services have been redefining and, in many ways, reinforcing centre-periphery hierarchies in the global screen media industries through the uneven cross-border distribution of content and local production investment. After reaching high levels of SVOD penetration and local content investment in the mature digital markets of the &apos;big five&apos; West European countries, whose national production has traditionally travelled relatively well across borders (Grece 2017; Higson 2018; Jones 2020), transnational streamers&apos; attentions have also been shifting gradually to the smaller Western European countries, such as Belgium, and most recently to the more peripheral, but fast-growing markets of East-Central Europe (Iordache et al. 2022, 315). The objective of the chapter, however, goes beyond a traditional regional case study. In its first part, it aims to propose a conceptual framework for critically studying streamer dependency in small and/or peripheral markets. To develop such a framework, it draws on three fields of research: platform studies (to tackle transnational SVOD economic and cultural logics, as well as the uneven power relations that platforms create in different industries), ethnographically-oriented production studies (to analyse power relations inscribed in the professional &apos;self-conceptions&apos;, &apos;industry lores&apos; and &apos;platforms imaginaries&apos; of independent producers from small/peripheral countries), and policy studies (especially studies on the European Commission&apos;s Digital Single Market strategy, the EU&apos;s efforts to regulate transnational platforms, and the position of small states in this context). By using these approaches to ask questions about quantitative and qualitative data on Czech producers gathered in a unique survey commissioned by the Czech Film Fund during the Covid 19 pandemic, it then shows that &apos;streamer dependency&apos; does not result unilaterally from the extractive global business models, but that it is also conditioned by market peripherality, insufficient regulation of online services, and the structural weaknesses of independent producers.

Czech name

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Czech description

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Type

C - Chapter in a specialist book

CEP classification

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OECD FORD branch

50802 - Media and socio-cultural communication

Project

<a href="/en/project/EF16_019%2F0000734" target="_blank" >EF16_019/0000734: Creativity and Adaptability as Conditions of the Success of Europe in an Interrelated World</a><br>

Continuities

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Publication year

2024

Confidentiality

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Book/collection name

European Cinema in the Streaming Era: Policy, Platforms, and Production

ISBN

978-3-031-42181-5

Number of pages of the result

24

Pages from-to

215-238

Number of pages of the book

304

Publisher name

Palgrave Macmillan

Place of publication

Cham

UT code for WoS chapter

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