digital distribution thesis

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

We're Hiring!
Help Center

DIGITAL MARKETING STRATEGIES FOR NEXT- GENERATION FILM DISTRIBUTION

2018, International Journal of Film and Media Arts

Digital distribution led to the rise of next-generation filmmakers, whose content (both short and feature length) was created for and distributed to online audiences (Ryan & Hearn, 2010). Independent companies and large studios (Netflix, Amazon Studios, Hulu) producing next-generation film do not rely on theatrical success, since they work on micropayment, subscription or advertising driven business models. This paper includes a literary review that maps the digital marketing strategies over the purchase journey, and define key performance indicators for each digital marketing strategy. To explore how next-generation film distributors are currently employing digital marketing strategies , a survey and a multiple case study methodology was designed and then implemented. The findings of the literary review, the survey, and case study are used to point out the limitations , industry challenges and research opportunities in the field of next-generation cinema.

Related Papers

Friedrichsen, Mike y Wolfgang Mülh-Benninghaus (eds.), Handbook of Social Media Management: Value Chain and Business Models in Changing Media Markets, Berlin: Springer-Verlag, pp. 329-348

Alejandro Pardo

The history of Hollywood runs in tandem with the history of technological develop- ment. The inclusion of sound, followed by that of color, along with the need to adapt to new audiovisual media (first television and then video), are milestones in the history of the largest entertainment factory in the world. Each of these forms of technological development in turn marked a growing pain or turning point at the time of its invention, by which the Hollywood industry was ultimately strengthened. However, the changes over the last decade have been both more fast-paced and more far-reaching than anything that came before. The digital revolution and globalization have transformed the film and TV industry in ways that could never have been foreseen. The big Hollywood studios have been forced to respond to the uncertainty—and potential for profit—prompted by the popularity of the Internet and the success of new digital platforms, especially among young people. This chapter is an attempt to trace the recent evolution of the present and future challenges the Hollywood industry is facing up in this paradigm shift—from analogical to digital. In order to respond to the complex nature of this phenomenon, I will try to cover, in an exploratory way, a different set of topics, going from the change in consumption habits and the emergence of new virtual markets to the clash of management mentalities, the search for the right business model and a summary of some of the key transformations the entertainment industry is experiencing.

Business Horizons

Frank Alpert

Perihan AbouZeid

This thesis proposes a new model for online platforms for independent films. Today, platforms such as Netflix, iTunes, and YouTube are in the face of major industry challenges: more competitors are entering the market; consumers are demanding more diverse content and higher quality service; and cost of content acquisition keeps increasing. In addition, the independent film industry has a fragmented value chain, which makes it challenging for filmmakers to fund and distribute their films. By applying the platforms framework proposed by Prof. Annabelle Gawer, as well as the “coring and tipping” strategy outlined by Prof. Gawer and Prof. Cusumano, the analysis in this paper shows that a company can become a platform leader by integrating two sides of the value chain: distribution and funding. This strategy will incentivize filmmakers and distributors to use the platform instead of competitors; and it will solve the problem of industry fragmentation. This model can also give the platform access to new data on its consumers’ preferences; and enable it to acquire films in its early stages at a lower cost.

Nico Meißner

This article examines how the story of the making of the independent Spanish feature film The Cosmonaut resembles traditional narrative structures and story elements. It relates the ongoing sharing of the film's production process, and argues that this sharing provided the basis for the film's audience-building. Independent films no longer have to be standalone products that are marketed only after their creation. Related events or products allow the story of the making of a film to transcend the film's temporal boundaries and even the limitations of its medium. The paper concludes that telling the story of a film's making while it happens (a) helps to create communities and audiences, who (b) individually experience the making of a film and (c) view a film merely as an end-product while " watching " takes place over an extended period of time. Such ongoing storytelling allows continuous audience growth that helps the filmmaker to self-distribute.

Albarran, Alan, Paulo Faustino & Rogério Santos (eds.), The Media as a Driver of the Information Society: Economics, Management, Policies and Technologies, Lisbon: MediaXXI/Formalpress and Universidade Católica Editora, Unipessoal Lda, pp. 67-97.

The history of Hollywood runs in tandem with the history of technological development. However, the changes over the last ten years have been both more fast-paced and more farreaching than anything that came before. The digital revolution and globalization have transformed the film and TV industry in ways which could never have been foreseen. The big Hollywood studios have been forced to respond to the uncertainty-and potential for profit-prompted by the popularity of the internet and the success of new digital platforms, especially among young people. Thus, Hollywood would appear to be standing at a new digital (and global) crossroads, charted by two basic movements: on one hand, the emergence of a new market for the commercialization of audiovisual products (internet, IPTV, digital reproduction devices, mobile telephones), referred to as the long tail market; and, on the other, the emergence of new type of consumer, known collectively as the iPod or net-generation. The two, linked questions set out below sum up the challenges facing the major studios in Hollywood: What new consumer habits define this emerging viewer/audience profile? What business model will define the network of relations on the internet with regard to the commercial practices of the film and TV series industry; or, in other words, what are the rules governing this new market? These two questions are closely bound up together; the response to one conditions any response to the other. This paper is an attempt to trace the framework of present and future challenges facing the entertainment industry. First, the defining features of the consumer profile shaped by the development of new technologies are examined. Second, the latest operational strategies of the entertainment industry, which also shed light on the alliance between Hollywood and Silicon Valley, are discussed. Then, the business models adopted by major American studios in relation to the downloading of films and TV programs are described. Finally, the most significant elements of the new digital economy are addressed, giving rise to a more structured conclusion in the form of a SWOT analysis of the new window of commercial opportunity opened on the internet for entertainment products.

TURKISH ONLINE JOURNAL OF DESIGN ART COMMUNICATION

OKAN ORMANLI

Amelie Eder

Technological change and development have been ongoing in the motion picture industry since its beginnings some 125 years ago. What further advancements of digitalization can be expected over the next decade and what are its implications for the industry’s value chain? To answer this question, we conducted an international two-stage Delphi study. The results suggested a more frequent use of smartphones as cameras, the emergence of full digital film sets and digital star avatars, as well as advancements in VR-based and interactive movies. The findings imply challenges for traditional players in the motion picture value chain. Production technology becomes both simpler and more complex, leading to the threat of new entrants.

Marketing Science

Mark AAM Leenders

Journal of British Cinema and Television

Roderik Smits

Acta Universitatis Sapientiae, Communicatio

tommaso fabbri

Digitalization has been changing the methods of production, distribution, and use of written and audiovisual products, according to a process of “platforming”. Most audiovisual content is available via streaming platforms, through a lot of devices (PCs, tablets, smartphones, smart TVs, and videogame consoles), which have empowered the process of media convergence. Based on a theoretical framework related to the impact of the platforms on the ongoing process, we intend to analyse how platforms are changing the identity of the audiovisual industry and how they represent themselves online. In order to analyse the ongoing process, we intend to examine some platforms that could be considered as best practices in the audiovisual field: Netflix, MUBI, and Festival Scope. On the one hand, using these platforms as case studies will enable us to highlight some beneficial aspects of the ongoing process of digitalization and platforming: holding many gazes and points of view; catching market ni...

RELATED PAPERS

Chemchemi International Journal of Humanities and Social Sciences

Ramanujam Sooriamoorthy

Ramy Mansour

Hikmah Journal of Islamic Studies

Diana Ambarwati

Andrea Nevi

Denny Darlis

Zohreh Nafissi

Mário Bismarck

Revista de Occidente

Sandra I. Ramos Maldonado

Paladyn, Journal of Behavioral Robotics

Adeline Chanseau

Progress In Electromagnetics Research M

Dr. Partha P Shome

Kajal Singh

Journal of the Association For the Study of Australian Literature Jasal

paul Genoni

Jurnal Penelitian dan Evaluasi Pendidikan

noer hidayah

Natalie Borg

Journal of Diabetes Research

Ana luisa Quevedo

Juha-Matti (Juhis) Katajajuuri

William Valencia

Mary Kosmidis

Journal of Immunotoxicology

Marija Popovic

Insect Science

Yaghoub Fathipour

Revista española de lingüística …

Yonarki Alberto Ramírez

International higher education

Detlef Müller-Böling

Catherine Butler

International Journal of Food Science and Technology

Valérie Almli

See More Documents Like This

Digital News Distribution and Intermediaries

First Online: 15 February 2022

Cite this chapter

Barbara Brandstetter 3 ,
Jan Krone 4 &
Juliane A. Lischka 5

2387 Accesses

1 Citations

Newspaper publishers in German-speaking countries have been facing major challenges in mastering the digital transformation. Beyond digitised news production and consumption, news media companies must also manage the transition from an analogue to a digital sales organisation. The choice of distribution channels is closely linked to normative tasks of journalism, namely, to create a public sphere in which social discourse can be effectively conducted. This article describes the analogue as well as the digital sales organisation and the role of external actors in digital distribution in the form of new intermediaries such as online kiosks, social media platforms and service intermediaries. The chapter thus lays a foundation for the design of a digital sales matrix to maintain the social function of news media.

Digital platforms
Sales organisation
Intermediaries
Media change

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Available as PDF
Read on any device
Instant download
Own it forever
Available as EPUB and PDF
Compact, lightweight edition
Dispatched in 3 to 5 business days
Free shipping worldwide - see info
Durable hardcover edition

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Batzer, E., & Laumer, H. (1970). Die Aufgaben und Leistungen des Zeitungs- und Zeitschriftengroßhandels und ihre Auswirkungen auf die Kosten- und Spannensituation. Der Neue Vertrieb, 22 (507) from 05.06.1970, 489–506.

Google Scholar

BDZV. (2020a). Paid content . Last called 08.10.2020, from https://www.bdzv.de/maerkte-und-daten/digitales/paidcontent/

BDZV. (2020b). Zeitungszustellung: Medienhäuser dringen auf zügigen Start der geplanten staatlichen Förderung . Last called 08.10.2020, from https://www.bdzv.de/nachrichten-und-service/presse/pressemitteilungen/artikel/detail/zeitungszustellung-medienhaeuser-dringen-auf-zuegigen-start-der-geplanten-staatlichen-foerderung/

Biermeier, S. (2002). Pressevertrieb in Europa: Analyse unter Berücksichtigung des Preisbildungs-Aspektes zur Aufrechterhaltung deutscher Pressevertriebsstruktureigenheiten . Dt. Univ.-Verlag.

Book Google Scholar

Blom, J. N., & Hansen, K. R. (2015). Click bait. Forward-reference as lure in online news headlines. Journal of Pragmatics, 76 , 87–100.

Article Google Scholar

Brandstetter, B., & Fürsich, M. (2020). Easy access? The usability of the payment processes for paywalls on newspaper websites and the online Kiosk Blendle: A comparative analysis. In S. Böhm & S. Suntrayuth (Eds.), Proceedings of the IWEMB 2019: Third international workshop on entrepreneurship in electronic and mobile business (pp. 71–92).

Braun, J. A. (2019). News distribution. In J. A. Braun (Ed.), Oxford research encyclopedia of communication . Oxford University Press.

Brummund, P. (2005). Bahnhofsbuchhandel. Von der Versorgung mit Reiseliteralien zum Premiumhandel für Zeitungen und Zeitschriften. Dortmunder Beiträge zur Zeitungsforschung (Vol. 61). De Gruyter Sauer.

Brummund, P. (2006). Struktur und Organisation des Pressevertriebs. Absatzformen, Absatzhelfer und Absatzwege in der Vertriebsorganisation der Zeitungs- und Zeitschriften-Verlage. Dortmunder Beiträge zur Zeitungsforschung (Vol. 62). De Gruyter Saur.

Buschow, C., & Wellbrock, C. (2019). Money for nothing and content for free? Zahlungsbereitschaft für digitaljournalistische Inhalte. Landesanstalt für Medien NRW . Last called 25.10.2020, from https://www.medienanstalt-nrw.de/fileadmin/user_upload/lfm-nrw/Foerderung/Forschung/Zahlunsbereitschaft/LFMNRW_Whitepaper_Zahlungsbereitschaft.pdf

Carlson, M. (2018). Confronting measurable journalism. Digital Journalism, 6 (4), 406–417.

Chalaby, J. K., & Plunkett, S. (2020). Standing on the shoulders of tech giants. Media delivery, streaming television and the rise of global suppliers. New Media & Society , 146144482094668.

Cherubini, F., & Nielsen, R. K. (2016). Editorial analytics. How news media are developing and using audience data and metrics . Last called 23.11.2020, from http://www.digitalnewsreport.org/publications/2016/editorial-analytics-2016/

Clement, M., & Schulz, P. (2017). Digitalkioske kannibalisieren Verlagsangebote . Last called 23.11.2020, from https://www.unihamburg.de/newsroom/presse/2017/pm14.html

Doyle, G. (2013). Understanding media economics (2nd ed.). Sage.

Doyle, G. (2016). Resistance of channels. Television distribution in the multiplatform era. Telematics and Informatics, 33 (2), 693–702.

Dreier, H. (2005). Multimedia and multidimensional: Concepts of utilisation and individualisation in the age of “digitalisation”. In A. Zerdick, et al. (Eds.), E-merging media. Communication and the media economy of the future . European communication council report (together with Arnold picot, Klaus Schrape, Jean-Claude Burgelmann, Roger Silverstone, Valerie Feldmann, Dominik K. Heger, Carolin Wolff) (pp. 75–96). Berlin: Springer.

Gabszewicz, J. J., Resende, J., & Sonnac, N. (2015). Media as multi-sided platforms. In R. Picard & S. Wildman (Eds.), Handbook on the economics of the media (pp. 3–35). Edward Elgar Publishing.

Hagenhoff, S., & Pfahler, S. (2013). Der Einsatz von Content-Management-Systemen beim crossmedialen Publizieren in Fachverlagen – Ergebnisse einer Erhebung. In Proceedings of the International Conference on Wirtschaftsinformatik , Leipzig (pp. 359–374).

Hartung, H. (2020). Pressemedien in der Subventionsfalle? Last called 06.11.2020, from https://www.medienpolitik.net/2020/10/pressemedien-in-der-subventionsfalle/

Hass, B. (2004). Desintegration und Reintegration im Mediensektor: Wie sich Geschäftsmodelle durch Digitalisierung verändern. In: A. Zerdick, et al. (Eds.), E-Merging Media. Kommunikation und Medienwirtschaft der Zukunft . European Communication Council Report (together with Arnold Picot, Klaus Schrape, Jean-Claude Burgelmann, Roger Silverstone, Valerie Feldmann, Dominik K. Heger, Carolin Wolff) (pp. 33–57). Berlin: Springer.

Heinrich, J. (2001). Medienökonomie. Volume 1: Mediensystem, Zeitung, Zeitschrift, Anzeigenblatt (2., extended and revised ed.). Westdeutscher Verlag.

Hölig, S., Domeyer, H., & Hasebrink, U. (2011). Souveräne Bindungen: Zeitliche Bezüge in Medienrepertoires und Kommunikationsmodi. In M. Suckfüll, H. Schramm, & C. Wünsch (Eds.), Rezeption und Wirkung in zeitlicher Perspektive (pp. 71–88). Nomos.

Hooss, F. (2020). Journalismus-start-up Blendle wird verkauft. Faz.net . Last called 03.11.2020, from https://www.faz.net/aktuell/wirtschaft/digitec/journalismus-start-up-online-kiosk-blendle-wird-verkauft-16882474.html

Kaiser, J. T. (1979). Das Recht des Presse-Grosso . Nomos.

Kaiser, J., Keller, T. R., & Kleinen-von Königslöw, K. (2018). Incidental news exposure on Facebook as a social experience. The influence of recommender and media cues on news selection. Communication Research , 009365021880352.

Kalogeropoulos, A., & Newman, N. (2017). “ I saw the news on Facebook ”. Brand attribution when accessing news from distributed environments. Last called 11.09.2017, from http://reutersinstitute.politics.ox.ac.uk/sites/default/files/Brand%20attributions%20report.pdf

Kansky, H. (2015). Paid Content-Modelle in der Übersicht. In T. Breyer-Mayländer (Ed.), Vom Zeitungsverlag zum Medienhaus: Geschäftsmodelle in Zeiten der Medienkonvergenz (pp. 83–102). Springer.

Keller, D., & Stavenhagen, L. (2020). Zur wirtschaftlichen Lage der deutschen Zeitungen 2020. BDZV . Last called 06.11.2020, from https://www.bdzv.de/nachrichten-und-service/branchennachrichten/artikel/detail/zur-wirtschaftlichen-lage-der-deutschen-zeitungen-2020/

Kenneth, L., & Coster, H. (2019). New York Times CEO warns publishers ahead of Apple news launch . Last called 03.11.2020, from https://www.reuters.com/article/us-media-new-york-times-idUSKCN1R22MZ

Klammer, B. (1998). Pressevertrieb in Ostdeutschland. Die wirtschaftlichen und politischen Interessen beim Aufbau eines Pressegroßhandelssystems nach der Oktoberwende 1989 . Dortmunder Beiträge zur Zeitungsforschung (Vol. 56). Saur.

Klöpping, A. (2015). Blendle: A radical experiment with micropayments in journalism, 365 days later . Last called 18.09.2020, from https://medium.com/on-blendle/blendle-a-radical-experiment-with-micropayments-in-journalism-365-days-later-f3b799022edc

Knoche, M., & Zerdick, A. (1992). Postzeitungsdienst und alternative Zustellformen im Vertriebssystem der Presse . Wissenschaftliches Institut für Kommunikationsdienste, Diskussionsbeiträge, Nr. 80. Bad Honnef.

Köneke, V. (2015). Blendle, Pocketstroy und Co: Die Zeitungszerpflücker. Wirtschaftswoche , 03.12.2015. Last called 18.09.2020, from https://gruender.wiwo.de/blendle-pocketstory-und-co-die-zeitungszerpfluecker/

Kornfeld, H. (2020). Cafeyn kauft Online-Kiosk Blendle. Kress News . Last called 03.11.2020, from https://kress.de/news/detail/beitrag/145611-cafeyn-kauft-online-kiosk-blendle.html

Krebs, I., Lischka, J., & Barro, P. (2015). Online-Kioske und ihr Einfluss auf Printmarken. MedienWirtschaft, 12 (3), 24–28.

Krone, J., & Grüblbauer, J. (2015). Paid Content für Verlage: Indirekte Erlösmodelle via Infrastruktur-Netzbetreiber. CARTA . http://www.carta.info/79238/paid-content-fuer-verlage-indirekte-erloesmodelle-via-infrastruktur-netzbetreiber/ (Also released in: Kappes, C.; Krone, J. & Novy, L. (2017) (Eds.). Medienwandel kompakt 2014–2016. Netzveröffentlichungen zu Medienökonomie, Medienpolitik und Journalismus. Springer VS, 377–382).

Krone, J., & Pinkl, V. (2017). Technologie- & Medienakzeptanz. Eine theoretische Modellierung zur Abwägung der Nutzernachfrage nach Kommunikationsdiensten im Medienwandel. In J. Krone & T. Pellegrini (Eds.), Handbuch Medienökonomie (Life ed.). Springer VS.

Kümpel, A. (2020). Nebenbei, mobil und ohne Ziel? Eine Mehrmethodenstudie zu Nachrichtennutzung und -verständnis von jungen Erwachsenen. Medien & Kommunikationswissenschaft, 68 , 11–31.

Lischka, J. A. (2018). Logics in social media news making. How social media editors marry the Facebook logic with journalistic standards . Journalism, Advance online publication.

Lischka, J. A. (2019). Strategic renewal during technology change. Tracking the digital journey of legacy news companies. Journal of Media Business Studies, 16 (3), 182–201.

Meese, J., & Hurcombe, E. (2020). Facebook, news media and platform dependency. The institutional impacts of news distribution on social platforms . New Media & Society.

Murschetz, P. C. (2018). Geschäfts- und Erlösmodelle in den Medien. In J. Krone & T. Pellegrini (Eds.), Handbuch Medienökonomie (Life ed.). Springer VS.

Neuberger, C., Nuernbergk, C., & Langenohl, S. (2018). Journalism as multichannel communication. Journalism Studies, 20 (9), 1260–1280.

Newman, N., Fletcher, R., Schulz, A., Andi, S., & Nielsen, R. K. (2020). Digital news report 2020 . Last called 03.11.2020, from https://reutersinstitute.politics.ox.ac.uk/sites/default/files/2020-06/DNR_2020_FINAL.pdf

Nielsen, R. K., & Ganter, S. A. (2017). Dealing with digital intermediaries. A case study of the relations between publishers and platforms. New Media & Society, 20 (4), 1600–1617.

Nohr, H. (2011). Vom Zeitungsverlag zur News Industry: Veränderung von Wertschöpfungsstrukturen und Geschäftsmodellen. Information Systems & Services, Volume 11 . Logos Verlag.

Perren, A. (2013). Rethinking distribution for the future of media industry studies. Cinema Journal, 52 (3), 165–171.

Picard, R. (2011). The economics and financing of media companies . Fordham University Press.

Pisjak, P., & Waldhauser, A. (2019). Zur Offenheit des Internets. Betriebssysteme, Apps und App Stores . RTR GmbH, Fachbereich Telekommunikation und Post: Wien. Last called 12.11.2020, from https://www.rtr.at/files/epaper/OffenesInternetApps-2019/#0

Pvd. (2017). Blick zurück in die Zukunft: der Einzelartikelkiosk Blendle . Edition 12/2017, 18.

Pvd. (2019a). Zeitungen bei Readly: Dammbruch oder Durchbruch? Edition 4/2019.

Pvd. (2019b). Dank Bild und Welt wird aus der Zeitschriftenflatrate Readly eine Presseflatrate . Edition 4/2019, 16–20.

Rashidian, N., Brown, P., & Hansen, E. (2018). Friend and foe: The platform press at the Heart of Journalism . Last called 24.11.2020, from https://www.cjr.org/tow_center_reports/the-platform-press-at-the-heart-of-journalism.php/

Röper, H. (2020). Tageszeitungen 2020: Schrumpfender Markt und sinkende Vielfalt. In Media Perspektiven 6/2020. Last called 08.10.2020, from https://www.ard-werbung.de/media-perspektiven/fachzeitschrift/artikel/detailseite-2020/tageszeitungen-2020-schrumpfender-markt-und-sinkende-vielfalt/

Schickler. (2020). Standortanalyse der Zustellung für Tageszeitungen in Deutschland . Analyse der SCHICKLER Unternehmensberatung GmbH im Auftrag des Bundesverbands Digitalpublisher und Zeitungsverleger e. V. Last called 04.11.2020, from https://www.bdzv.de/fileadmin/bdzv_hauptseite/aktuell/pressemitteilungen/2020/Assets/SCHICKLER_Standortanalyse_Zeitungszustellung_-_Bericht_.pdf

Schmidt, H. (2015). Digitaler Journalismus 2015 . Last called 20.11.2015, from https://www.netzoekonom.de/

Schroeder, M. (1994). Internationale Markt- und Managementstrategien für Print-Medien. Reihe Medien-Skripten, Volume 19 . Verlag Reinhard Fischer.

Schulte, B. (2009). The distribution revolution. American Journalism Review, 31 (5), 22–25. Last called 23.11.2020, from http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=46819129&site=ehost-live

Simon, F., & Graves, L. (2019). Pay models for online news in the US and Europe . 2019 update. Last called 03.11.2020, from https://reutersinstitute.politics.ox.ac.uk/sites/default/files/2019-05/Paymodels_for_Online_News_FINAL_1.pdf

Stringer, P. (2020). Viral media. Audience engagement and editorial autonomy at BuzzFeed and Vice. Westminster Papers in Communication and Culture, 15 (1), 5–18.

Sywottek, C. (2018). Prinzip Hoffnung. Brand eins online . Last called 18.09.2020, from https://www.brandeins.de/magazine/brand-eins-wirtschaftsmagazin/2016/richtig-bewerten/prinzip-hoffnung

Welbers, K., van Atteveldt, W., Kleinnijenhuis, J., Ruigrok, N., & Schaper, J. (2016). News selection criteria in the digital age. Professional norms versus online audience metrics. Journalism, 17 (8), 1037–1053.

Welke, M., & Wilke, J. (Eds.). (2008). 400 Jahre Zeitung. Die Entwicklung der Tagespresse im internationalen Kontext . Edition lumiere.

Wellbrock, C.-M. (2020). Plattformökonomik, Bundling und Marktpotential. MedienWirtschaft, 17 (2020), 6–17.

Wersig, G. (2009). Einführung in die Publizistik- und Kommunikationswissenschaft. Erweitert und aktualisiert von Jan Krone und Tobias Müller-Prothmann . Nomos.

Winter, S., & Krämer, N. C. (2014). A question of credibility – Effects of source cues and recommendations on information selection on news sites and blogs. Communications, 39 (4).

Winterbauer, S. (2017). Fünf Gründe, warum Blendle in Deutschland (noch) nicht aus der Nische kommt . Meedia. Last called 03.11.2020, from https://meedia.de/2017/02/27/fuenf-gruende-warum-blendle-in-deutschland-noch-nicht-aus-der-nische-kommt/

Wright, S. (2012). Politics as usual? Revolution, normalization and a new agenda for online deliberation. New Media & Society, 14 (2), 244–261.

Zerdick, A., et al. (2001). Die Internet-Ökonomie. Strategien für die digitale Wirtschaft . European Communication Council Report (together with Arnold Picot, Klaus Schrape, Alexander Artopé, Klaus Goldhammer, Dominik K. Heger, Ulrich T. Lange, Eckart Vierkant, Esteban Lopez-Escobar, Roger Silverstone) (3., extended and revised ed.). Springer.

Zerdick, A., et al. (2005). E-merging media. Communication and the media economy of the future . European communication council report (together with Arnold Picot, Klaus Schrape, Jean-Claude Burgelmann, Roger Silverstone, Valerie Feldmann, Dominik K. Heger, Carolin Wolff). Springer.

Download references

Author information

Authors and affiliations.

Hochschule Neu-Ulm, Neu-Ulm, Germany

Barbara Brandstetter

St. Pölten University of Applied Sciences, St. Pölten, Austria

Universität Hamburg, Hamburg, Germany

Juliane A. Lischka

You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Jan Krone .

Editor information

Editors and affiliations.

Institute for Comparative Media and Communication Studies (CMC), University of Klagenfurt, Klagenfurt am Wörthersee, Austria

Matthias Karmasin

Department of Media and Communications, University of Klagenfurt, Klagenfurt am Wörthersee, Austria

Sandra Diehl & Isabell Koinig &

Rights and permissions

Reprints and permissions

Copyright information

About this chapter

Brandstetter, B., Krone, J., Lischka, J.A. (2022). Digital News Distribution and Intermediaries. In: Karmasin, M., Diehl, S., Koinig, I. (eds) Media and Change Management. Springer, Cham. https://doi.org/10.1007/978-3-030-86680-8_22

Download citation

DOI : https://doi.org/10.1007/978-3-030-86680-8_22

Published : 15 February 2022

Publisher Name : Springer, Cham

Print ISBN : 978-3-030-86679-2

Online ISBN : 978-3-030-86680-8

eBook Packages : Business and Management Business and Management (R0)

Share this chapter

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

Publish with us

Policies and ethics

Find a journal
Track your research

Digital Nollywood: Implications of digital distribution for the Nigerian video industry

Simon, Godwin Iretomiwa (2022) Digital Nollywood: Implications of digital distribution for the Nigerian video industry. PhD thesis, Queensland University of Technology.

Description

This thesis analyses the implications of digital distribution for the Nigerian video industry (Nollywood). Following a media industry studies research framework and drawing from interviews with more than 50 industry stakeholders, this project argues the advent of digital distribution has opened formal pathways to transnational capital and audiences hitherto unseen in Nollywood. Yet rather than a rational and linear transition away from the industry’s historical informal dynamics, the emergence of streaming services in Nollywood has been marked by complexity, contradiction, and ambivalence through what I suggest are ‘pluriformalising’ market mechanisms.

Impact and interest:

Citation counts are sourced monthly from Scopus and Web of Science® citation databases.

These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.

Citations counts from the Google Scholar™ indexing service can be viewed at the linked Google Scholar™ search.

Notify us of incorrect data
How to use citation counts
More information

Full-text downloads:

Full-text downloads displays the total number of times this work’s files (e.g., a PDF ) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.

Export: EndNote | Dublin Core | BibTeX

Repository Staff Only: item control page

Browse research
TEQSA Provider ID: PRV12079 (Australian University)
CRICOS No. 00213J
ABN 83 791 724 622
Accessibility
Right to Information

Erasmus School of Economics
Erasmus School of History, Culture and Communication
Erasmus School of Law
Erasmus School of Philosophy
Erasmus School of Social and Behavioural Sciences
Erasmus School of Health Policy & Management
International Institute of Social Studies
Rotterdam School of Management
Tinbergen Institute
Institute for Housing and Urban Development Studies
RSM Parttime Master Bedrijfskunde
Erasmus University Library
Thesis Repository.
Erasmus School of History, Culture and Communication /
Media & Journalistiek /
Master Thesis
Search: Search

Online distributie van Digitale media

Publication.

Een onderzoek naar de invloeden van de digitale distributie op mediaproductie en mediaconsuptie

This research paper focuses on the digital distribution of media products. The main hypothesis is based on the theory of The Long Tail by Anderson and the Resource Dependency Theory by Pfeffer and Salancik et al. Digital distribution makes it possible to offer more diverse products on demand and lowering distribution costs. When using digital distribution strategies are developed to ensure independence from other companies while creating a bond with the consumers. Three media sectors have been selected: newspapers, movies and games. For this research project, three major companies have been chosen to act as case-study’s within these sectors: the NRC Handelsblad, a newspaper which has the first digital newspaper called the iLiad eReader, iTunes Movie Rentals by Apple Inc. poses a the second case to be studied and Valve’s Steam Platform, a piece of software to distribute pc games created by Valve and other independent game developers. These three cases offer insight in the way producers are using online distribution to innovate and set up new business models for the future. The most relevant results of these case-study’s are that the NRC Handelsblad is using digital distribution mainly to profile itself as an innovative and modern company. The company doesn’t see this development as an alternative for its regular distribution channels. Apple however is using digital distribution to create a solid group of consumers who use all kinds of Apple products for their multimedia needs: listen to music and watch movies on iPod, iPhone, AppleTV, Mac computers by using Apple software and buying movies and music through iTunes. Valve, a computer game developer, uses digital distribution to be less dependent of major game publishers. Besides this, the software, called Steam, gives the company an effective weapon against software piracy. The consumer side of the story is based on a survey research conducted through internet. In this survey the respondents were asked several questions about their current use of digital distribution channels followed by questions and statements concerning their vision and attitudes towards digital distribution. The goal of this part of the research project was to find whether the consumers were in line with the producers and how the acceptance of these new technologies. The use of digital distribution by consumers is based on the fact that most of the time it is more convenient then regular distribution. However, when the costs of digital distribution exceeds the costs of regular distribution the consumers pull out. Investing in technological product to make it possible to use certain digital distribution channels, like video on demand, are hard to be justified for the consumer. In the future, technologies will develop to make it more affordable to use digital distribution on a very broad scale. At that time it will be possible to replace certain other products by digital variants. It is most likely that the game industry will be the first one to fully adopt this. Newspaper corporations will hold on to their expensive and intensive way of distributing papers through the existing distribution channels. The company that has the most to gain by switching to digital distribution will most likely be the last one to actually do so.

Add Content

Bibliography
More Referencing guides Blog Automated transliteration Relevant bibliographies by topics
Automated transliteration
Relevant bibliographies by topics
Referencing guides

Dissertations / Theses on the topic 'Digital distribution'

Create a spot-on reference in apa, mla, chicago, harvard, and other styles.

Consult the top 50 dissertations / theses for your research on the topic 'Digital distribution.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

Allen-Robertson, James. "Digital culture industry: a history of digital distribution." Thesis, University of York, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546806.

Engler, Richard, and Dwight Tiqui. "DIGITAL DISTRIBUTION SYSTEMS - GET CONNECTED." International Foundation for Telemetering, 2006. http://hdl.handle.net/10150/603928.

Danielsson, Niclas, and Håkan Mattsson. "Prissättning av musik vid digital distribution." Thesis, Linköping University, Department of Management and Economics, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-395.

Bakgrund: De senaste åren har alltmer musik börjat distribueras digitalt via Internet. Detta har framförallt skett via fildelningsnätverk men under de senaste två åren har allt fler legala tjänster växt fram. Prisnivån hos dessa tjänster är väldigt enhetlig och återförsäljarna har små marginaler på sin försäljning. Teorier påstår att Internet ger möjligheten att skära bort delar i distributionskedjan och det kan leda till lägre priser. Internet ger också ökade möjligheter att ändra priser på daglig basis. Syfte: Det övergripande syftet med uppsatsen är att identifiera och söka förklaringar till prissättningen av musik vid digital distribution.

Metod: Undersökningen har genomförts via 7 personliga intervjuer, 1 telefonintervju och 3 e-mailintervjuer med personer som arbetar i musikbranschen. Dessutom har en enkätundersökning genomförts där 200 studenter från Linköpings universitet deltog.

Resultat: Distributionskedjan kommer inte att kortas av, och det är inte troligt att den nya distributionsformen leder till lägre priser. Transaktionsavgifterna är mycket höga i dagsläget och om dessa avgifter sänks finns det utrymme för prissänkningar. Eftersom Internet ger möjligheter att ändra priser på daglig basis borde musikbranschen använda prissättningen på ett mer dynamiskt sätt genom olika prisstrategier såsom exempelvis skummning och penetrering. Det kommer också att bli mycket viktigt för musikbranschen att försöka skapa ett värde i den digitala musikdistributionen, något som kunden är beredd att betala för. Studenterna i Linköping har god kännedom av musiknedladdning men deras vilja att betala för musiken är begränsad. Studenter är troligtvis en mer priskänslig grupp är förvärvsarbetande personer.

Johansson, Beatrice. "Consumer values in digital music distribution." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-150466.

Hlaváček, Ondřej. "Business models of digital audio distribution." Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-7907.

Simon, Godwin Iretomiwa. "Digital Nollywood: Implications of digital distribution for the Nigerian video industry." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235388/1/Godwin%2BIretomiwa%2BSimon%2BThesis.pdf.

Curreem, Hanif. "A watermarking protocol for digital contents distribution /." View Abstract or Full-Text, 2002. http://library.ust.hk/cgi/db/thesis.pl?COMP%202002%20CURREE.

Carvalho, Hugo Rodrigues Braz de. "Video distribution over fiber." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/10230.

Nime, Nicole Marie. "The impact of digital technology on documentary distribution." Thesis, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589008.

Norén, Andreas. "All-Digital Aggregator for Multi-Standard Video Distribution." Thesis, Linköpings universitet, Kommunikationssystem, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-149301.

Saunders, Heath G. "Wax distribution quantification using digital image analysis techniques." Thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-11102009-020230/.

Löytynoja, M. (Mikko). "Digital rights management of audio distribution in mobile networks." Doctoral thesis, University of Oulu, 2008. http://urn.fi/urn:isbn:9789514289378.

Gan, Lin. "A new stream cipher for secure digital media distribution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2002. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ65620.pdf.

Elkington, Ruari B. "The education market for documentary film: Digital shifts in an age of content abundance." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98494/4/Ruari_Elkington_Thesis.pdf.

Stenborg, Karl-Göran. "Distribution and individual watermarking of streamed content for copy protection /." Linköping : Linköpings universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-4592.

Thomas, Renji George. "A Full Digital Phase Locked Loop." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268184406.

Ericsson, Ronnie. "Videoproduktion och distribution av gudstjänster." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1132.

Sammanfattning: Det är minst lika många människor som besöker arrangemang och gudstjänster i kyrkor som besöker idrottsevenemang. Det behövs studiogudstjänster dock sänds det allt färre Tv-gudstjänster direkt från kyrkor och medlen för att göra detta är också på väg att minskas. Många som ser dessa gudstjänster har av olika orsaker inte möjlighet att besöka en kyrka. Detta kan t ex bero på funktionshinder och sjukdom men också att många äldre har svårt att förflytta sig och se gudstjänster live. Ett sätt för kyrkorna att nå ut på bredare front skulle kunna vara att använda sig av Internet som media.

Syftet med uppsatsen är att genom intervjuer, användningstestning och slutligen prototyptestning, ta fram en lösning för digital överföring av ljud och bild från ett ställe till ett annat via ett IP-nätverk och finna en avvägning mellan det tekniska och användbarheten då användaren har begränsad teknisk kunskap.

Vid datainsamlingen användes en kvalitativ forskningsprocess med intervjuer och observation som insamlingstekniker. Vid användningstesterna användes observation som metod och testpersonerna uppmanades att tänka högt. Analysen av testerna visade vikten av att minimera inblandning av för mycket teknik i lösningarna då områdeskunskapen hos användare varierar kraftigt.

Al-Thyabat, Salah Salem. "Measurement of bulk particulate size distribution by digital image processing." Thesis, University of Nottingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421489.

Pickavance, Keith. "Weight enumerators and weight distribution of KM codes." Thesis, University of Glasgow, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362947.

Tavakoli, Behrooz, and Mohammadi Ismail. "Digital maturity within distributionA study within the Swedish retail industry." Thesis, KTH, Industriell Management, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-214812.

TAVAKOLI, BEHROOZ, and ISMAIL MOHAMMADI. "Digital maturity within distribution A study within the Swedish retail industry." Thesis, KTH, Skolan för industriell teknik och management (ITM), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-232488.

Peng, Linghua. "Normalizing constant estimation for discrete distribution simulation /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

El-Hami, Mehdi. "Research into a new fault generated noise distribution system fault detector." Thesis, City University London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276737.

Ewert, Felix, and Linnea Olby. "Designing Distribution Channel Strategies in the Digital World : An Exploratory Case Study on a Swedish Manufacturing Film." Thesis, KTH, Skolan för industriell teknik och management (ITM), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279644.

De, Young Mikaela, William Lehmus, and Viktor Sundqvist. "Physical Distribution in a Digital World : A study of the gaming industry." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-19012.

Chung, Edward C. "The implementation of a personal computer-based digital facsimile information distribution system." Ohio : Ohio University, 1991. http://www.ohiolink.edu/etd/view.cgi?ohiou1183661772.

Al-Atrash, Hussam. "INTEGRATED TOPOLOGIES AND DIGITAL CONTROL FOR SATELLITE POWER MANAGEMENT AND DISTRIBUTION SYSTEMS." Doctoral diss., University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3287.

Rajendran, Rajarajan. "Model, design and demonstrate an integrated optical pulse distribution system /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426095.

Cheng, Siuling. "Signal reconstruction from discrete-time Wigner distribution." Thesis, Virginia Tech, 1985. http://hdl.handle.net/10919/41550.

Wigner distribution is considered to be one of the most powerful tools for time-frequency analysis of rumvstationary signals. Wigner distribution is a bilinear signal transformation which provides two dimensional time-frequency characterization of one dimensional signals. Although much work has been done recently in signal analysis and applications using Wigner distribution, not many synthesis methods for Wigner distribution have been reported in the literature.

This thesis is concerned with signal synthesis from discrete-time Wigner distribution and from discrete-time pseudo-Wigner distribution and their applications in noise filtering and signal separation. Various algorithms are developed to reconstruct signals from the modified or specified Wigner distribution and pseudo-Wigner distribution which generally do not have a valid Wigner distributions or valid pseudo-Wigner distribution structures. These algorithms are successfully applied to the noise filtering and signal separation problems.

Kwok, Vi-Keng David. "Effective distribution of high bandwidth to the last mile." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2003. http://library.nps.navy.mil/uhtbin/hyperion-image/03Dec%5FKwok%5FV.pdf.

Mandrekar, Rohan Uday. "Modeling and Co-simulation of Signal Distribution and Power Delivery in Packaged Digital Systems." Diss., Georgia Institute of Technology, 2006. http://hdl.handle.net/1853/10459.

Barrsäter, Patrik. "Distribution av digitaliserad information : en studie av musikmarknaden." Thesis, Linköping University, Department of Management and Economics, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2107.

Bakgrund: Från att ha förmedlats via grottmålningar, papperstidningar, böcker och skivor har distributionen av contentprodukter blivit smidigare i och med att internet har fått genomslagskraft. Denna typ av distribution är mycket snabbare och dessutom i många fall billigare än de tidigare typerna. Dessutom finns det numer möjligheter för gemene man att publicera och distribuera content.

Syfte: Att undersöka hur contentdistribution i musikindustrin förändras på grund av den pågående övergången från analog till digital ljudförmedling. Dessutom undersöka vad det finns för incitament till fortsatta förändringar i framtiden. Avgränsning: Uppsatsen kommer inte att behandla upphovsrättsliga problem eller försöka föreslå en lösning på problem med icke auktoriserad kopiering.

Genomförande: För att uppfylla syftet har data insamlats från sekundära källor samt genom intervjuer och en enkätundersökning.

Resultat: Distributionen kommer mer och mer ske i elektronisk form, det vill säga via kanaler som internet. Fördelarna relativt den fysiska distributionen är betydande. Denna förändring i distributionskanal får implikationer på marknadsföringen och i hur contentskaparna kan göra för att nå ut till den publiken. En annan följd av digitaliseringen blir att contentskaparna kommer att få större möjligheter att publicera sitt material utan extern hjälp.

Dillon, Monihar. "The orbital period distribution of cataclysmic variables from the Sloan Digital Sky Survey (SDSS)." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1047/.

Johnstone, Kevin Kennedy. "On the nature and effect of power distribution noise in CMOS digital integrated circuits." Thesis, Middlesex University, 1991. http://eprints.mdx.ac.uk/13368/.

Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

Andrade, Paulo Jorge Afonso de. "Distribution of OFDM and video signals over fiber." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7342.

Doble, James Carleton University Dissertation Engineering Electrical. "Distribution of protocol functions in an interworking-based ISDN switching node implementation." Ottawa, 1988.

Nkala, Dumisani Nomagugu. "Towards a model for digital distribution and value capture in the South African music industry." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/22812.

Olsson, Johanna. "Fuel dispersion and bubble flow distribution in fluidized beds." Licentiate thesis, Högskolan i Borås, Institutionen Ingenjörshögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3580.

Du, Preez Liska. "Effects of selected modes of digital distribution on music consumerism, with reference to the album format." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1427.

Chiwaya, A. A. W. "Polarised polyphase current differential protection for distribution feeder circuits using a digital voice frequency communications channel." Thesis, University of Bath, 1994. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.760664.

Crigler, Walter Douglas. "iMusic/myMusic: The Apple iPod(c), circuits of digital music distribution, and technics of the self." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1460197.

Laubscher, Robert Alan. "An investigation into the use of IEEE 1394 for audio and control data distribution in music studio environments." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006483.

Pomeranz, Ryan. "Theodore is Dying: From Development Through Distribution." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5689.

Grigoryan, Vahagn. "Tom Kabinet - The Aftermath : A critical evaluation of the CJEU's judgment and its market effects on digital distribution." Thesis, Uppsala universitet, Juridiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412156.

Abrahamsson, Daniel, Jens Eriksson, and Martin Larsson. "Oberoende skivbolag i förändringstider : Om den förändrade affärslogiken i skivbolagsbranschen." Thesis, University of Kalmar, Baltic Business School, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1843.

During the last decade the conditions for the music industry have been changed significantly. With the dropping sales of physical phonograms and the increasing illegal file sharing, the record labels have been forced to adapt and thus seek alternative sources of income next to the traditional sales of phonograms. Our purpose was to investigate how smaller Swedish record labels adapt themselves to the changing environment within the music industry and which new alternative sources of income they can use to finance their music production. To do this we used a deductive approach where we started by researching theories we thought were relevant to the subject, which we then used to get valuable information out of our informants.

From our empirical investigations it appears that the independent record labels are rather positive about the future and that they will be able to survive, even though they will have to change their ways of working to a large extent. Our results show that the record labels as we know then will disappear. Instead, the future will consist of music companies where the phonograms mainly will function in marketing purposes and the income will come from other sources like advertising, sponsorship and synchronisation et cetera. The record labels, as we know them, are indeed a fading phenomenon.

Lewin, Lovisa. "Lyx är att inte dela på allt : Begränsningar för auktoriserade återförsäljare i selektiva distributionssystem att använda digitala plattformar." Thesis, Uppsala universitet, Juridiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-350175.

Barros, Sara Pena. "OFDM for data distribution in phased array antennas." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12879.

Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

Craddolph, Hayden V. "Developing a community of independent fim/video producers to foster creation, marketing, and distribution of digital media." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Hayden Film Festival website, 2006. http://www.haydenfilms.com/.

The Networked Digital Library of Theses and Dissertations (NDLTD) is an international organization dedicated to promoting the adoption, creation, use, dissemination, and preservation of electronic theses and dissertations (ETDs). We support electronic publishing and open access to scholarship in order to enhance the sharing of knowledge worldwide.

The call for papers for etd2024 is now open.

27th International Symposium on Electronic Theses and Dissertations *Electronic Thesis and Dissertation Visibility at a Global Scale* /Join us, along with global leaders, from Wednesday, October 30th to Friday, November 1st, in Livingstone, Zambia./ The theme for ETD 2024 is “Electronic Thesis …

ETD 2024 Announcement

We are thrilled to announce that the 27th International Symposium on Electronic #Theses and #Dissertations (#ETD2024) will take place on October 30th to November 1st in Livingstone, Zambia. Hosted by The University Of Zambia (UNZA), Higher Education Authority of Zambia and Zambia Research and Education Network together with …

USETDA 2024 Conference September 25-27, 2024 in Provo, Utah

The USETDA 2024 Conference will be held September 25-27, 2024 as a hybrid event in Provo, Utah on the campus of Brigham Young University and the Provo Marriott Hotel. For details visit https://www.usetda.org/usetda-conferences/usetda-2024/. Call for proposals. Important Dates Call for proposals …

USETDA 2024 Conference: Call for Proposals now open

The United States Electronic Thesis and Dissertation Association (USETDA) will hold its 14th annual conference USETDA 2024 from September 25-27, 2024 on the campus of Brigham Young University (BYU), in Provo, Utah and online as a hybrid event via Zoom. The conference …

Subscribe to our newsletter

Join our community and get the latest news on NDLTD events and resources

Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC

VANCOUVER, BC / ACCESSWIRE / April 2, 2024 / Jackpot Digital Inc. (the "Company" or "Jackpot") (TSXV:JJ)(TSXV:JJ.WT.B)(TSXV:JJ.WT.C)(US OTCQB:JPOTF)(Frankfurt Exchange:LVH3), a leading manufacturer of electronic multiplayer dealerless poker tables, ...

VANCOUVER, BC / ACCESSWIRE / April 2, 2024 / Jackpot Digital Inc. (the “Company” or “Jackpot”) (TSXV:JJ)(TSXV:JJ.WT.B)(TSXV:JJ.WT.C)(US OTCQB:JPOTF)(Frankfurt Exchange:LVH3), a leading manufacturer of electronic multiplayer dealerless poker tables, announces that it has signed a distribution agreement with A&W Enterprises, LLC ( “A&W Enterprises” ) to distribute, install and service the Company’s Jackpot Blitz® casino machines throughout tribal casinos in the State of Oklahoma and other regions in the United States.

Due to its location bordering the State of Texas, Oklahoma is a large gaming market with 139 casinos and US$4.36 billion in gross gaming revenue (source American Gaming Association). The Oklahoma territory boasts several large casino properties and includes the 600,000 square foot WinStar World Casino, located in Thackerville, Oklahoma, and owned by The Chickasaw Nation.

Jackpot CEO, Mr. Jake Kalpakian, states “We are excited to collaborate with A&W Enterprises as we expand into the Oklahoma market. A&W Enterprises is a trusted distributor with a long-standing reputation and deep relationships in this market. We anticipate that this turnkey relationship will accelerate our ability to deploy our Jackpot Blitz® machines into many well-known casinos throughout Oklahoma.”

In addition to Jackpot’s cruise ship customers, which include Carnival Cruises, Virgin Voyages, Princess Cruises, Holland America, AIDA, and Costa Cruises, Jackpot has announced land-based installations or orders in the Canadian provinces of Québec and Saskatchewan, 12 states and territories in the U.S., including California, Kansas, Louisiana, Michigan, Minnesota, Mississippi, Montana, Nevada, Oregon, South Dakota, U.S. Virgin Islands, Washington, as well as several international jurisdictions.

To view a short video of Jackpot Digital’s Brand Ambassador, Pro Football Hall of Fame and Super Bowl winning coach, Jimmy Johnson, describing the advantages of the world leading Jackpot Blitz®, click the thumbnail below:

About A&W Enterprises, LLC

A&W Enterprises distribute Class 2 and Class 3 electronic gaming machines within tribal casinos in Oklahoma and the rest of the United States. A&W Enterprises also maintain and provide on-site technical services for all games that are distributed throughout the footprint. Additionally, A&W Enterprises provide various consulting services within the tribal gaming industry. To learn more about A&W Enterprises, please visit https://www.aw-gaming.com.

About Jackpot Digital Inc.

A positive disruptor in the casino business, Jackpot Digital Inc. is a leading manufacturer of dealerless multiplayer electronic poker tables for the cruise ships and land-based regulated casino industries. The Company specializes in dealerless poker which is complemented by a robust suite of backend tools for casino operators to efficiently control and optimize their poker business.

For more information on the Company, please contact Jake H. Kalpakian, President and CEO, at (604) 681- 0204 ext. 6105, or visit the Company’s website at www.jackpotdigital.com .

On behalf of the Board of Jackpot Digital Inc.

“Jake H. Kalpakian”

_____________________________

Jake H. Kalpakian

President & CEO

Trading in the securities of the Company should be considered speculative.

The TSX Venture Exchange has neither approved nor disapproved the contents of this news release.

Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this news release.

Certain statements contained herein are “forward-looking”. Forward-looking statements may include, among others, statements regarding Jackpot’s future plans, the obtaining ofcustomary regulatory approvals, projected or proposed financings, costs, objectives, economic or technical performance, or the assumptions underlying any of the foregoing. In this News Release, words such as “may”, “would”, “could”, “will”, “likely”, “enable”, “feel”, “seek”, “project”, “predict”, “potential”, “should”, “might”, “objective”, “believe”, “expects”, “propose”, “anticipate”, “intend”, “plan”, “plans” “estimate”, “in due course” and similar words are used to identify forward-looking statements. Forward-looking statements are subject to a variety of risks and uncertainties and other factors that could cause actual events or results to differ materially from those expressed or implied. Although management believes that the expectations reflected in such forward-looking statements are based on reasonable assumptions, projections and estimations, there can be no assurance that these assumptions, projections or estimations are accurate. Readers, shareholders and investors are therefore cautioned not to place reliance on any forward-looking statements as the plans, assumptions, intentions or expectations upon which they are based might not occur.

SOURCE: Jackpot Digital Inc.

View the original press release on accesswire.com

an image, when javascript is unavailable

Paramount Streaming CEO Tom Ryan on Pluto TV Turning 10, What’s Next for Paramount+ and More: Streaming Biz Is ‘Underestimated by the Market’

By Todd Spangler

Todd Spangler

NY Digital Editor

Endeavor to Go Private in Deal With Silver Lake Valuing Company at $13 Billion 54 mins ago
Disney’s Board Candidates Pull Ahead of Activist Investor Nelson Peltz With More Than Half Votes Cast: Report 5 hours ago
Variety Lands Three Webby Award Nominations, Including for Best Entertainment Website 6 hours ago

Tom Ryan co-founded the free, ad-supported streaming service Pluto TV , which launched 10 years ago with a linear TV-like grid and a cluster of “live” channels stocked with online videos. Viacom, one of Paramount Global ’s two predecessor companies, acquired Pluto TV for $340 million in cash in January 2019. Ryan stayed on board as chief exec of Pluto, and in October 2020 he assumed leadership for the parent company’s entire streaming operations , including CBS All Access, which relaunched as Paramount+ in early 2021.

“I think we’re still scratching the surface,” he said in an interview with Variety . Pluto TV has major potential to expand internationally with its integrated distribution model, he said: “It’s really a universally appealing product around the world.”

As for the Paramount+ side of the house, which has soaked up billions of dollars of investment and remains unprofitable, Ryan disputes Wall Street naysayers who believe the subscription play is a lost cause. Does it make sense to shut down Paramount+ and cede victory to Netflix, Disney and Amazon? “I fundamentally disagree with that analysis,” he said. (Ryan, by the way, declined to discuss the M&A talk swirling around Paramount Global .)

Here’s a transcript of Variety ’s interview with Ryan, edited for length and clarity:

Take us back to the beginning of when you were part of the founding team at Pluto TV. What was the original vision for the service?

At what point did the light bulb go off and you were like, “Hey, we can bring premium TV [content] to this thing?”

So we launched this, again, April Fools’ Day 2014 and we were excited by the progress. The viewership was better than it was on other similar services serving up that type of content. However, we couldn’t monetize through the YouTube API. So we started to license similar content directly from [multichannel networks]. The MCNs were looking for additional distribution channels. They didn’t want to be just on YouTube and beholden to YouTube alone. So a lot of them were willing to license their content to us even though we didn’t have a big user base or any real revenue.

There’s some things from back then that still work well today on Pluto, things like FailArmy, and we still have our Cats 24/7 channel , for example. But by and large, we couldn’t build a sustainable business on web and mobile with short-form curated channels, and we needed to get into longer-form, more traditional TV programming. Even when we did that, we found that on web and mobile it was much more difficult to monetize because you couldn’t get people to truly lean back and watch in the way in which we hoped people would watch to allow for sufficient monetization.

Ten years ago, the model for free, ad-supported TV was already well established, with broadcast TV Why was there skepticism in the early days that Pluto could become a viable outlet for premium content that was totally free?

I think a few reasons. As all startups do, you sort of launch a product with a thesis and some of that thesis turns out to be right. Some of it turns out to be wrong, and you learn and iterate, and hopefully you can find a way to a sustainable business. But you know, with Pluto, I think we were partly a victim of our initial [minimum viable product feature set] in that we didn’t become known as a true [free, ad-supported streaming TV] player really for another couple of years, because that’s when we moved to the living room and really had a broader array of channels that were traditional long-form TV programming that viewers could lean back and enjoy.

But I’d say probably the biggest thing was just the general conventional wisdom, back in the day, that everyone believed the future of streaming would look like Netflix, where it would be subscription, no advertising and on-demand. And here we were, as this company where we were linear in the age of on-demand. We were ad-supported at a time when people thought ads would not exist on streaming.

So at some point you caught the attention of Viacom and [CEO] Bob Bakish. How did that all come together?

You could have cashed out [after Viacom bought Pluto TV] and done something else. Why did you stay?

Because first of all, Pluto’s my baby. I love seeing it grow. And you know, we grew the business significantly in that time… Taking it to over a billion-dollar business in just a few short years was for me, very gratifying. Our last reported [monthly active user] number, which was about nine months ago, was 80 million. So scaling a service to that level for me was particularly attractive. So No. 1 was, I wanted to continue to grow what I had started. Two was, I had stood up and sold my team on why this was the right partner. And I still believe that was absolutely the right partner for us to work with. And I wasn’t going to just, you know, jump ship immediately after the deal closed. And then lastly, I really appreciated Bob’s approach as an executive in the media business and someone who really wanted to partner with me to turn Viacom into a streaming player and then ultimately Paramount into a streaming player.

How has Pluto changed in the past decade?

It’s vastly larger, it’s global, it is really a force to be reckoned with in streaming. We’re the only FAST player that’s announced profitability. The only one that’s announced, to my knowledge, that we crossed a billion in revenue. We scaled this business really quickly, and it’s now a central part of our overall Paramount streaming business, which as we reported recently delivered $6.7 billion revenue in 2023. We use both Paramount+ and Pluto TV symbiotically to feed off of each other and to help build each other. And so it’s become a really big, global business that I’m very proud of, and I’m so grateful for the team that I’ve got around me that has helped me bring it to that point.

What are the synergies between Pluto and Paramount+? How are you trying to optimize those?

Yeah, we continue to optimize those. Pluto is a huge funnel for brand awareness and ultimately subscription consideration for Paramount+ because we promote Paramount+ not just with advertising on Pluto but also with dedicated channels that include Paramount+ content. We also have brought Pluto-style channels into Paramount+. Being able to bring Paramount+ original programming in front of the pay window on Pluto has been great for Pluto audiences, and being able to promote back for subscription consideration from Pluto to Paramount+ has proven to be very effective. And we’re taking the learnings of the best of each product and trying to apply it to the other. So there’s a bunch of things that we’re doing on the data side between the platforms, there’s a bunch of things that we’re doing just in terms of technology and feature sets.

How do you decide what content goes on which service?

The company has said Paramount+ is expected to be profitable in the U.S. by the end of 2025. What are the key factors to achieve that?

Listen, we’re only three years in the market with Paramount+. It’s kind of hard to believe. It feels it feels like longer. But you know, we’ve been in the market for three years, we’ve achieved 67.5 million subscribers [as of the end of 2023]. In such a short period of time, you know, it’s been quite staggering. So it’s really driving subscribers, driving ARPU [average revenue per subscriber] and being able to leverage our cost base more effectively. When you just zoom out a little bit in our streaming segment, direct-to-consumer revenue in 2020 was $1.8 billion. As I mentioned, we closed out ’23 at $6.7 billion and we hit our peak investment year ahead of expectations. So we are very rapidly bridging the gap here to deliver a very successful streaming business that I feel is underestimated by the market.

[Paramount Global CFO] Naveen [Chopra] suggested on the Q4 call that there’s going to be an $800 million content write-down in the first quarter , out of a $1 billion total one-time charge. How is that going to affect Paramount+ and Pluto?

I mean, I feel we’re very well positioned given the content offering that we have on both services to compete. We wouldn’t be announcing things like we announced at earnings if I didn’t feel that way.

Some analysts have said, “You know, Paramount Global should shut down Paramount+” and become an arms dealer [selling content] to other platforms. You’ve heard this. The theory is that you simply can’t get the scale to compete globally with Netflix or Disney+. Why is that wrong?

I think I just explained why. We just grew from $1.8 billion to $6.7 billion in three years. Pluto’s a key part of that segment; it has been profitable for a few years. Paramount+ is going to be domestically profitable next year, and we’re going to get this segment profitable [overall] after that. And so I fundamentally disagree with that analysis.

What’s next for the business? Where is the growth going to come from?

On the global side [with Pluto] — and this is one of the things when I look back at what’s changed so much — we’re in over 35 markets. And when you think about FAST, it’s free television. As I look out into the future, it’s really a universally appealing product around the world. There’s huge headroom here in the U.S. for FAST. I think we’re still scratching the surface. But globally, we already see a third of our viewership coming from outside of the U.S., and we’re just getting started there. We’ve got really strong partnerships where we’re able to go in with the best-of-breed local partner. They bring local content, local ad sales and local marketing ability and we bring our global technology and product platform with Pluto, all of our Paramount Global content and together we’re able to really accelerate FAST in a particular market.

You’ve touted Pluto’s integrated distribution strategy. What does that look like, how did it come about?

We basically knew when we were building Pluto that this was going to be a highly competitive market and that there were going to be a lot of different players who would want to get into it. Most notably, with the connected TV platforms like Roku, Samsung, Vizio, LG, etcetera, we decided it was better to join them in order to grow Pluto than to try to just build our business independently. And so Pluto really started focusing on helping these platforms launch their own their own FAST platforms from very early on. Getting a large portion of Pluto into every major connected TV platform… that’s not picked up by things like Nielsen’s Gauge [viewer measurement report for the U.S.]. So I feel we’re underrepresented there. If you look at our total viewing hours, about a third of our total viewing hours are coming from this integrated distribution strategy that we pioneered and which continues to be a growing, important part of our business today.

Over the long term, does Pluto have better margins than a subscription VOD service like Paramount+?

Well, FAST is a more capital-efficient business. We pioneered the 50-50 rev-share model that everyone generally uses now in the category. And so it’s no coincidence that a little start-up was the company that was able to actually pioneer and popularize this whole new category of streaming because it is much more capital efficient. Whereas yeah, a paid streaming service needs to invest, you know, billions of dollars in original programming if you’re going to be at a mainstream-scale offering from the get-go before you have any subscribers. That’s really much more of a fixed-cost approach than a variable-cost approach. FAST is much more of a variable-cost approach, which is why we were able to build it as a little start-up and then scale to what it is today. [With SVOD] it’s basically getting enough subscribers paying you enough money to more than offset your content and marketing and of course team costs, but it’s really content and those content costs are pretty fixed and you only start really getting leverage over those once you hit a certain subscriber number, which is why we’re so excited that we’ve already gotten to 68 million subscribers in three years. You guys have done a couple of bundle deals with Paramount+. Are the subscriber dynamics different? Is that strategy going to continue?

Yeah, we’ve got hard bundle deals with the likes of Sky and Canal+ in Europe, we’ve got the Walmart+ deal here in the U.S. Bundling has been a big part of how we’ve grown Paramount+ over the years. So we’re absolutely going to continue bundling. The advantages of each bundle are different, and it depends on the dynamics of how the customer accesses the app, or the content, who the partner is, etcetera. So there’s too many variables to just give a one-size-fits-all response except to say that in many cases the advantages that you can get from having a bundled partnership are that your customer-acquisition costs can approach, or even be, zero — because the partner is acquiring the customer for you, and those bundled customers can be quite sticky because they’re part of a larger bundle.

We don’t have any plans to announce right now regarding that.

Why do you think Netflix did that?

You’d have to ask Netflix.

OK, fair enough. Well, Tom, thanks again. And I guess you’re going to stick around for another 10 years, at least?

[ Laughs ] I’m enjoying what I’m doing, so I hope to continue building Pluto TV and Paramount+ long into the future.

SEE ALSO: What’s Next for Paramount? Shari Redstone Has a Preferred M&A Path

Now dig into a data-fueled VIP+ subscriber report …

More From Our Brands

Taylor swift ‘channel 13 (taylor’s version)’ is coming to siriusxm, a tesla cyberbeast is up for auction for the first time—and it’s being sold without reserve, silver lake taking endeavor private with mubadala, dell investment, the best loofahs and body scrubbers, according to dermatologists, heartland: season 17 of hit canadian drama sets u.s. premiere (exclusive), verify it's you, please log in.

Get 7 Days Free

Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC

VANCOUVER, BC / ACCESSWIRE / April 2, 2024 / Jackpot Digital Inc. (the "Company" or "Jackpot") (TSXV:JJ)(TSXV:JJ.WT.B)(TSXV:JJ.WT.C)(US OTCQB:JPOTF)(Frankfurt Exchange:LVH3), a leading manufacturer of electronic multiplayer dealerless poker tables, announces that it has signed a distribution agreement with A&W Enterprises, LLC ( "A&W Enterprises" ) to distribute, install and service the Company's Jackpot Blitz® casino machines throughout tribal casinos in the State of Oklahoma and other regions in the United States.

Jackpot CEO, Mr. Jake Kalpakian, states "We are excited to collaborate with A&W Enterprises as we expand into the Oklahoma market. A&W Enterprises is a trusted distributor with a long-standing reputation and deep relationships in this market. We anticipate that this turnkey relationship will accelerate our ability to deploy our Jackpot Blitz® machines into many well-known casinos throughout Oklahoma."

In addition to Jackpot's cruise ship customers, which include Carnival Cruises, Virgin Voyages, Princess Cruises, Holland America, AIDA, and Costa Cruises, Jackpot has announced land-based installations or orders in the Canadian provinces of Québec and Saskatchewan, 12 states and territories in the U.S., including California, Kansas, Louisiana, Michigan, Minnesota, Mississippi, Montana, Nevada, Oregon, South Dakota, U.S. Virgin Islands, Washington, as well as several international jurisdictions.

To view a short video of Jackpot Digital's Brand Ambassador, Pro Football Hall of Fame and Super Bowl winning coach, Jimmy Johnson, describing the advantages of the world leading Jackpot Blitz®, click the thumbnail below:

About A&W Enterprises, LLC A&W Enterprises distribute Class 2 and Class 3 electronic gaming machines within tribal casinos in Oklahoma and the rest of the United States. A&W Enterprises also maintain and provide on-site technical services for all games that are distributed throughout the footprint. Additionally, A&W Enterprises provide various consulting services within the tribal gaming industry. To learn more about A&W Enterprises, please visit https://www.aw-gaming.com.

About Jackpot Digital Inc. A positive disruptor in the casino business, Jackpot Digital Inc. is a leading manufacturer of dealerless multiplayer electronic poker tables for the cruise ships and land-based regulated casino industries. The Company specializes in dealerless poker which is complemented by a robust suite of backend tools for casino operators to efficiently control and optimize their poker business.

For more information on the Company, please contact Jake H. Kalpakian, President and CEO, at (604) 681- 0204 ext. 6105, or visit the Company's website at www.jackpotdigital.com .

On behalf of the Board of Jackpot Digital Inc.

"Jake H. Kalpakian" _____________________________ Jake H. Kalpakian President & CEO

Trading in the securities of the Company should be considered speculative.

The TSX Venture Exchange has neither approved nor disapproved the contents of this news release.

Certain statements contained herein are "forward-looking". Forward-looking statements may include, among others, statements regarding Jackpot's future plans, the obtaining of customary regulatory approvals, projected or proposed financings, costs, objectives, economic or technical performance, or the assumptions underlying any of the foregoing. In this News Release, words such as "may", "would", "could", "will", "likely", "enable", "feel", "seek", "project", "predict", "potential", "should", "might", "objective", "believe", "expects", "propose", "anticipate", "intend", "plan", "plans" "estimate", "in due course" and similar words are used to identify forward-looking statements. Forward-looking statements are subject to a variety of risks and uncertainties and other factors that could cause actual events or results to differ materially from those expressed or implied. Although management believes that the expectations reflected in such forward-looking statements are based on reasonable assumptions, projections and estimations, there can be no assurance that these assumptions, projections or estimations are accurate. Readers, shareholders and investors are therefore cautioned not to place reliance on any forward-looking statements as the plans, assumptions, intentions or expectations upon which they are based might not occur.

SOURCE: Jackpot Digital Inc.

Market Updates

Why we expect the job market’s slowdown to renew in 2024, 5 undervalued stocks to buy during q2 2024, 13 charts on the q1 stock rally that just wouldn’t quit, when will the fed start cutting interest rates, 10 top-performing dividend stocks for the quarter, markets brief: why q1 was a triumph for optimists, q2 stock market outlook: contrarian plays look increasingly attractive, what’s happening in the markets this week, stock picks, technology: strength continues, resulting in few obvious buying opportunities, communication services: advertising continues to rule, ge aerospace stock: stand-alone jet engine maker slightly undervalued, tesla: first-quarter deliveries show surprising decline, 33 undervalued stocks, how large will losses be in commercial real estate, 3 stocks to sell for 2q 2024, best-performing stocks for the quarter, sponsor center.

IMAGES

Preparing for Digital Distribution
Distribution Channels: The Definitive Guide
Digital Image Processing Research Proposal [Professional Thesis Writers]
Thesis Template & Digital Thesis Format Checking
Why insurers need to transform digital distribution and how to do it in
Digital Distribution: How it Impacts Public Service Advertising

VIDEO

Thesis may four song
UMass CS677 Spring 22

COMMENTS

PDF Designing Distribution Channel Strategies in the Digital World
The purpose of sub-question 1 and 2 of this thesis was to grasp the key implications of digital transformation on manufacturers' distribution, and thus capture the main reasons to why a manufacturing company may need to engage in digital transformation of it distribution channel strategy. The first sub-question revolves around the.
The impact of blockchain on digital content distribution: a ...
Blockchain technology may drastically alter the production, dissemination, and reception of digital media. A systematic review was performed to evaluate the current status of research in this field, and 102 studies published until January 2023 were included in the analysis. The bulk of studies, as determined by the review, focused on technical aspects of blockchain-based digital content ...
The streaming industry and the platform economy: An analysis
The emergence of the Internet as a means of video distribution is turning out to be among the most radical transformations the medium has ever seen (Johnson, 2019).As television is embracing a new set of internet-related technologies that combine cloud infrastructure with tools such as artificial intelligence and machine learning (AI/ML) and content delivery networks (CDNs), the medium is ...
Chapman University Digital Commons
This Thesis is brought to you for free and open access by the Dissertations and Theses at Chapman University Digital Commons. It has been accepted for inclusion in Film Studies (MA) Theses by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Digital ...
Digital Transformation: An Overview of the Current State of the Art of
Digital transformation is the use of technology to radically improve the performance or reach of enterprises. Solis et al. (2014, p. 3) Digital transformation is the realignment of, or new investment in, technology and business models to more effectively engage digital customers at every touch point in the customer experience lifecycle.
Digital Disruption and Innovation in Distribution ...
The significance of digital distribution and its impact on research-based filmmaking is evidenced by this single provider arriving into the digital distributionlandscape. As of 2018, Kanopy had a global reach in excess of 3000 educational institutions and provided students with online access to over 30,000 titles.
PDF Comparative Life Cycle Impact Assessment of Digital and Physical
digital distribution resulted in lower emissions for last generation consoles across all TRACI 2.1 impact categories, but were mixed on current generation consoles and PC. Once results were normalized, digital distribution had higher emissions for the TRACI 2.1 categories with significant impact factors than their physical counterparts. Sensitivity
PDF Digital Technology and Film Distribution in Kenya
A RESEARCH THESIS SUBMITTED IN THE DEPARTMENT OF LITERATURE FOR ... Digital Distribution- Involves the delivery of digital media content such as audio, videos, software, and e-books. In this paper, the term has been used as the distribution and exhibition of motion picture content over the internet. ...
PDF ENTERING MUSIC MARKET THROUGH DIGITAL DISTRIBUTION CHANNELS
This thesis focuses on digital music distribution in services driven era, and how music can be distributed and listened. For the musicians, distribution has never been easier or more diverse as in 2016. Before iTunes, distribution was strictly a retail process in which the customer purchased directly from retail store.
PDF Physical Distribution in a digital world
Purpose: The aim of this thesis is to explore the impact that increased availability of digital distribution has on physical distribution. The focus is on the effects that digital distribution has on the value creating processes of game developers with regard to distribution alterna-tives, strategic networks and consumer interaction.
PDF Influence of Digital Distribution Strategies on Uptake of Bank Products
INFLUENCE OF DIGITAL DISTRIBUTION STRATEGIES ON UPTAKE OF BANK PRODUCTS AND SERVICES IN KENYA Edwin Murangiri Ireri A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Business Administration (Strategic Management Option) of Murang'a University of Technology November, 2022
Digital platforms and development: a survey of the literature
Full article: Digital platforms and development: a survey of the literature. Innovation and Development Volume 11, 2021 - Issue 2-3: Special 10th Anniversary Issue: A Decade of Innovation and Development in honor of Bengt-Åke Lundvall, Richard R Nelson and Shulin Gu. Open access. 16,489. Views.
PDF Selling and marketing music through digital platforms as
The thesis consists of four different parts: the introductory part, aims to shed light into the observed topic by examining the realities that independent musicians face in the era of dig-ital music distribution and marketing, as well as explain the thesis purpose, its key con-cepts and the case projects studied in the research part of the thesis.
Digital Marketing Strategies for Next- Generation Film Distribution
Digital distribution led to the rise of next-generation filmmakers, whose content (both short and feature length) was created for and distributed to online audiences (Ryan & Hearn, 2010). ... This thesis proposes a new model for online platforms for independent films. Today, platforms such as Netflix, iTunes, and YouTube are in the face of ...
Impact of supply chain digitalization on supply chain resilience and
1. Introduction. Decentralized supply chain activities, complex supply chain networks, and volatile market environments can undermine the stability of supply chains and make them more vulnerable to disruptions and risks (Kamalahmadi and Parast, 2016; Pettit et al., 2010, 2019).For example, the sudden outbreak of the COVID-19 pandemic in such a massive scale has made it impossible for ...
Digital News Distribution and Intermediaries
Digital distribution structures should be used both for the subscription, just as digital distribution intermediaries—for example, in comparison with the analogue postal newspaper service—serve sales areas in a time-critical manner. ... The scenario conveys a thesis of the Internet economy that a new complex value-added networks require ...
PDF Digital music distribution channels for independent bands
This thesis is representing different digital distribution and. 8 promotion channels that are available for an independent band to utilize and hopefully find ... digital distribution channels for independent bands. distribution channels for independent bands. University of Applied Sciences .
Digital Nollywood: Implications of digital distribution for the
This thesis analyses the implications of digital distribution for the Nigerian video industry (Nollywood). Following a media industry studies research framework and drawing from interviews with more than 50 industry stakeholders, this project argues the advent of digital distribution has opened formal pathways to transnational capital and audiences hitherto unseen in Nollywood.
Erasmus University Thesis Repository: Online distributie van ...
This research paper focuses on the digital distribution of media products. The main hypothesis is based on the theory of The Long Tail by Anderson and the Resource Dependency Theory by Pfeffer and Salancik et al. Digital distribution makes it possible to offer more diverse products on demand and lowering distribution costs.
Dissertations / Theses: 'Digital distribution'
Dissertations / Theses on the topic 'Digital distribution' To see the other types of publications on this topic, follow the link: Digital distribution. Author: Grafiati. Published: 4 June 2021 Last updated: 26 January 2023 Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles ...
Networked Digital Library of Theses and Dissertations
The Networked Digital Library of Theses and Dissertations (NDLTD) is an international organization dedicated to promoting the adoption, creation, use, dissemination, and preservation of electronic theses and dissertations (ETDs). We support electronic publishing and open access to scholarship in order to enhance the sharing of knowledge worldwide.
Evaluation of Highly Efficient Distribution Transformer Design and
Case 1d - Phases Balanced, Linear Loading of 38.19% and 18%. Case 1c will use a transformer that is rated for less power to supply the same. loads as in Case 1b and 1c. A 12.73 per cent load and a 6 per cent load on the 225 kVA. transformer translate to approximately a 38.19 per cent load and a 18 per cent load when.
Launch of the Martial Law Digital Library
Everyone is invited to the launch of the Martial Law Digital Library happening on Monday, 08 April 2024 at 10AM (Manila) and on Sunday, 07 April 2024 at 4PM (Honolulu)/7PM (PST)/10PM (EST). The hybrid event will be held at the 5/F New Rizal Library, Ateneo de Manila University (Loyola Heights Campus) and via Zoom.
Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC
Any person with disabilities who needs help accessing the content of the FCC Public File may contact KSTP via our online form or call 651-646-5555. This website is not intended for users located ...
Paramount Streaming CEO Tom Ryan on Pluto TV, Paramount+ and More
Tom Ryan, CEO of Paramount Streaming, spoke about what's next for Pluto TV — which he co-founded 10 years ago — and Paramount+.
Entering music market through digital distribution channels ...
The thesis defines the steps of music production as well it presents the available digital music distribution channels for independent artist. The strengths and weaknesses of each digital music distributor are evaluated and viewed. Also, an action of cooperation has partaken with a distribution company to forecast an ability of independent ...
Analysis: Texas A&M football scholarship distribution in the spring of
With spring football now underway, GigEm247 is ready to examine what their entire roster looks like from a scholarship distribution standpoint. For the fall, A&M has an unofficial scholarship ...
Applied Systems Connects Coalition to Tarmika to Expand Agency
- April 2, 2024 - Applied Systems today announced that Coalition, the world's first Active Insurance provider designed to prevent digital risk before it strikes, will support Cyber Insurance quoting on Tarmika, the single-entry commercial lines quoting application powered by the Ivans Distribution Platform.
Evaluating BYU's scholarship situation and transfer portal needs
We have to look at scholarship distribution and find out exactly how much scholarship capital BYU has available to them. Disclaimer: BYU's specific scholarship status is not public information.
Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC
A positive disruptor in the casino business, Jackpot Digital Inc. is a leading manufacturer of dealerless multiplayer electronic poker tables for the cruise ships and land-based regulated casino ...

DIGITAL MARKETING STRATEGIES FOR NEXT- GENERATION FILM DISTRIBUTION

Related Papers

RELATED PAPERS

RELATED TOPICS

Digital News Distribution and Intermediaries

Cite this chapter

Access this chapter

Author information

Corresponding author

Editor information

Rights and permissions

Copyright information

About this chapter

Download citation

Share this chapter

Digital Nollywood: Implications of digital distribution for the Nigerian video industry

Description

Online distributie van Digitale media

Add Content

Dissertations / Theses on the topic 'Digital distribution'

ETD 2024 Announcement

USETDA 2024 Conference September 25-27, 2024 in Provo, Utah

USETDA 2024 Conference: Call for Proposals now open

Subscribe to our newsletter

Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC

VANCOUVER, BC / ACCESSWIRE / April 2, 2024 / Jackpot Digital Inc. (the "Company" or "Jackpot") (TSXV:JJ)(TSXV:JJ.WT.B)(TSXV:JJ.WT.C)(US OTCQB:JPOTF)(Frankfurt Exchange:LVH3), a leading manufacturer of electronic multiplayer dealerless poker tables, ...

Paramount Streaming CEO Tom Ryan on Pluto TV Turning 10, What’s Next for Paramount+ and More: Streaming Biz Is ‘Underestimated by the Market’

Todd Spangler

More From Our Brands

Jackpot Digital Signs Distribution Deal With A&W Enterprises, LLC

Market Updates

IMAGES

VIDEO

COMMENTS