独家
的上下文中理解印度的流媒体平台产业锁定
行业专家认为,由于潜在的威胁与冠状病毒感染,人们可能会避免集团参与活动,如在剧院看电影很久了。考虑到这一事实,生产商发布流媒体平台上的电影在剧院将被释放。
-
WhatsApp新特性允许在Android上传输数据
WABetaInfo表示,该公司将给未来带来新功能更新的应用程序在开发阶段。有了这个特性,用户可以聊天记录转移到一个新的设备通过扫描二维码。
-
-
-
在书中民间故事从极端印度culture-poet宝贵的贡献,和印度的权威美学K Ramanujan讲述南印度的民间故事。这个民间故事叫做失去自我。这是一个故事的大师和他的十二个白痴的门徒。他们想要过河。但河是靠不住的。他们等待一段时间。做一个公司解决后,他们过河。当他们到达另一端,一个弟子开始计算以确定是否所有能够过河。他把每个人除了他自己。都相信一个人过河时死亡。 But they are unable to figure out who died. A magician passing by listens to their problem patiently. He reassures them that he will solve this conundrum. He asks a disciple to bring cow dung and make a long line of cow dung. After asking all to stand in a row in front of the cow dung line, he asks all to bend down and press their noses in the dung. He asks them to count the number of dents in the cow dung. They unanimously agree that the number is thirteen and realise no one has died while crossing the river. In an allegorical sense, this folktale—like many folktales which have a certain amount of truth in them—reflect an inveterate tendency in娱乐产业电影院和剧院注定每次娱乐的新途径获得高接受观众之一。
在几乎每一个进化阶段,假设一个新的大道的娱乐会让旧的或现有的娱乐途径无关紧要或无利可图。它开始随着电视的出现。其次是巨大的接受有线电视和在家看电影租电影从视频库,扩散私人电视频道,Direct-To-Home (DTH)服务。在这些阶段中,一个常数的担忧是盗版,仍然持续。现在,最新的威胁或关注越来越接受的流媒体平台是一个严重的竞争者会危及剧院的存在和我们看电影或消费内容的方式。这些观察发现更多的上下文中的相关性封锁这使得一大部分的观众意识到流媒体平台的力量提供引人入胜的内容。
行业专家认为,由于潜在的威胁与冠状病毒感染,人们可能会避免集团参与活动,如在剧院看电影很久了。考虑到这一事实,生产商发布流媒体平台上的电影在剧院将被释放。考虑到这些新的现实,几个关键的问题已经出现在了专家和观众的思想是:将流媒体平台定义我们看电影的方式随着越来越多的电影被公布在这些平台上吗?剧院将失去其作为成本的相关性在剧院看电影不是经济相比,流媒体平台上看电影在一个装备精良的环绕声家庭影院环境?到底发生什么事随着流媒体平台其他娱乐形式在印度吗?最重要的是,像南印度的民间故事,将流媒体平台与旧的或已经存在的娱乐形式如电视和戏剧?让我们详细了解这些方面:
波上涨
很长一段时间在私人频道数量激增,观众共享一个共同的经验看连续剧在政府支持的频道Doordarshan。这些连续剧的物质,娱乐价值和一定接触简单的表示元素使他们怀旧的东西。即使在今天这些连续剧爸妈用同样的热情和温暖当他们看到当他们在Doordarshan。从1980年代中期,连续剧哼日志等Buniyaad, Nukkad, Ramayan,尼泊尔,Byomkesh问题,Vikram Vetal Trishna, Oshin Kirdaar有限集的格式显示一个可以娱乐和吸引广泛和广阔的观众。这些连续剧是基于文学的真实事件,独到的见解和神话。清楚,这些成分使流媒体平台提供一个独特的今天。的经验看连续剧在1980年代中期Doordarshan几乎类似于今天的观众体验看系列网络流媒体平台。唯一的区别是网络流媒体平台上的系列对Doordarshan产值比连续剧。这方面可能给流媒体平台有什么新奇的感觉。
在1990年代中期,情况彻底改变了。大量的私人频道推出的电视作为媒介的力量向广大读者被生产商和广告商承认和认可。电视提供了一个可行的经济模式的创造者和投资者赚钱。这导致通常会发生什么当太多的球员进入一个产业。当一个结构和相关成本结构并非如此之高,创作自由也很高。这种结构创建艺术内容挺投缘。但当结构成长和发展更多的玩家进入和竞争,创作自由被牺牲,更重要的是内容的可行性。在这样的结构中,“科学”盛行。重点转移到创建连续剧可以拉长和不够紧提供有益健康的和有意义的娱乐在有限集的格式。这是因为这样一个结构的生产者而言,电视评级分,因此,广告。 Consequently, serials became imitative and monotonous. This brought division in categories of audiences.
观众渴望健康的,有意义的和发人深省的娱乐完全被忽略了。很少,这个观众满意这个味道的电影或连续剧,其中显示的承诺好娱乐在早期阶段但随后符合格式由市场力量决定。这个部门在观众和创建显然广告商的目标受众一般在电视上娱乐内容将非工作男性和女性感兴趣的运动和娱乐性频道。
多年来,几个类别的观众,已经存在,表现出他们的区别在他们观看内容的方式。这些类别显示一个明确的趋势将如何在戏剧内容随着电视上的内容变得非常公式化的,模仿和无菌。一般来说,六个类别的受众出现了二十年。首先,有一个进化的观众口味。只不过他们的观众。他们获得信息和了解他们喜欢什么,他们不喜欢。这一类主要是大量观众从互联网下载电影。然后,有一个观众,很大程度上,赶上其他人。这个听众失望比进化而来的观众,因为它经常去剧院通常进化的观众口味。然后,有城市观众只是追求纯粹的娱乐。 This audience does not have keen interest in cinema. They don’t have any viable and equally interesting means or avenues of entertainment on weekends. For them, going to theatre for a film is a family outing. This ritual borders on discharging family duty of taking care and being considerate towards wife and kids.
这一类是紧随其后的是中产阶级的下层,的主要观众是印地语电影。这个观众持续的公式巨人叫做印地语电影已经建立。电影也合并著名比喻没有使它深奥和呈现在这个观众新鲜的方式是一个事件。看电影在观众剧院是一个严格的仪式,因为它就像一个精神仪式在黑暗给了他们强烈的快乐。这是最稳定的剧院有进取心的人。第五类是观众在第二层和tier-III城市。这个观众在第二层和tier-III城市驾驶的票房收入,因为两个原因。多放映场影剧院,迅速扩大在这些位置在过去的五年里在城市空间约束和成本上升使外扩张地铁更可行的和可行的。2、观众在第二层和tier-III相信会多放映场影剧院的仪式他们赶上城市居民的一种方式。最后,有农村观众是不严格的,内容是什么。
增加可预测性的内容在电视上,机票价格上涨,经济网络包(Jio的发射服务发挥了关键作用),编写良好的接触和理解,庄重地从西方英语和非英语的内容执行,容易获得通过盗版电影最重要的是,自由观看内容的主观速度和方便的时间没有patience-testing广告播下的种子急需的空间给观众与进化的味道。流或在顶部(OTT)平台填满这个空间在过去的五年里。
今天,在印度,有接近36流媒体平台是由印度公司。除了这些,还有全球Netflix等流媒体平台,Amazon Prime视频和迪斯尼+ Hotstar。
自锁定它显然是明显的意识和重要性流或奥特平台增加了。根据各种评估和报告,跳8 - 100%用户的添加主要奥特平台。据业内专家,封锁了奥特平台安全的新用户。甚至宇宙的平均年龄用户增加了。电影制作人Shivdarshan貂说,“我认为这是显而易见的,锁定因祸得福了流媒体平台。早些时候,宇宙的平均年龄用户可能小于30。由于封锁,我认为宇宙的平均年龄用户上涨了。我确信今天一个公平份额的新用户添加将在- 55的年龄组。”This means that there are an increasing number of people who are acknowledging the engaging and superior production value of the content offered up by streaming platforms.
最近一系列释放印地语电影也在流媒体平台上增加他们的越来越重要,因为它表明,生产商已经承认这些平台在分发内容的效力和宇宙接触大量的观众。Amazon Prime视频获得了七个宝莱坞电影和地区。这一系列释放一个值得注意的方面是还包括电影有大明星和著名的导演和制片人。一个恰当的例子是这部电影Gulaabo Sitabo。成熟的和将导演Shoojit Sircar执导这部电影成功配对的人点石成金Ayushmann Khurrana Amitabh巴克强。
有影响吗?
现在,在这种情况下越来越重要的流媒体平台在观众和生产者为内容消费和分布,在电视或剧院需要了解业务受到影响。
计量模式的电视和流媒体平台提供内容,很明显,电视和流媒体平台提供给对方。已经观察到的内容由电视发现在目录或产品的流媒体平台。著名的电视连续剧Kyunki Saas Bhi Kabhi Bahu迪斯尼+ Hotstar流媒体平台上是可用的。也观察到broadcast-backed流媒体平台显示内容的流媒体平台在各自的频道。例如,Zee5的内容,一个流媒体平台的Zee娱乐企业,被显示在其渠道,反之亦然。这方面的喂到对方可能会延长电视和平息任何恐慌的相关性下意识假设流媒体平台会杀了电视。
除此之外,电视会以不同的方式达到目的。智能电视的出现与环绕声的家庭影院设施赋予了新的目的在电视上观看流媒体内容平台。还体育赛事需要大屏幕比手机还将证明电视的存在。最重要的是,印度的基础设施将为电视提供寿命存在因为宽带,电信连接尚未穿透更深的位置除了第二层和tier-III城市。这是明显的事实,其中一个最高度关注系列封锁期间的重新运行串行Ramayan DD国家。这表明没有威胁电视从流媒体平台。
甚至至于剧院,流媒体平台并没有威胁到他们的商业模式。它已经超过五年全球流媒体平台进入印度。鼓励他们,电视频道推出自己的流媒体服务。在过去的五年里,在剧院的脚步声没有影响。脚步声在两个主要的多放映场影剧院PVR和不锈钢等休闲已经在这个时期。脚步声在PVR和不锈钢休闲增加到9940万和6250万年分别在FY19 FY14分别从5990万年和3860万年。也是一个财务绩效分析的多放映场影剧院出现之前和之后的出现流媒体平台(FY14)显示,已经有不错收入的增长屏幕FY14之前和之后。
收入每屏幕不锈钢增加到Rs2.9卢比在FY19 Rs2.6 FY14卢比。同样,每屏幕PVR的收入增加到卢比卢比在FY19 Rs3.1 FY14卢比。还电影记录超过的数量从而卢比的票房接近两倍跃升至13在FY14 FY19从7,毕马威(KPMG)的一份调查报告指出。甚至票房集合已经Rs3759卢比在FY19 Rs2493 FY15卢比。这是尽管多放映场影剧院的平均机票价格一直在上涨的范围5 - 8%在过去的五年里。这表明流媒体平台还没有创建任何材料对戏剧的影响业务,因为它的内容吸引观众的剧院不仅仅是娱乐的“大道”。
争议的问题
虽然直到去年,流媒体平台没有伤害戏剧或电影业务,由于最近宣布的电影流媒体发布平台在未来几个月内,人们越来越关注电影和戏剧的未来业务。这是因为数字发布不取回报高达影院上映。根据分析审计机构毕马威(KPMG)对电影整体营收的75%左右来自大屏幕电影释放而数字占13%,其余的来自电视和卫星广播。考虑到小份额的收入流媒体平台产生,它不太可能会危及商业电影和剧院的商业模式。
除此之外,它的结构内容提供流媒体平台在电影和剧院业务的支持工作。这是因为结构并不吸引各种各样的观众。近年来,有一些观测的知名电影制作人充分解释,电影或电影业务可能会继续存在,而且将魅力观众多年来。有著名的三个关键的观察和广受好评的电影为什么电影院或剧院作为大道生存和不会失去相关性。这些评论中心结构的流媒体平台。导演奥利弗•斯通,在牛津联盟对话,说流媒体平台上的内容是新闻和电影有一个文献的质量。他说,“它(流媒体平台上的内容)初稿再…历史的第一份草稿。换句话说,它就像一个新闻帐户。你不得不去更深层次的,这也是电影有趣。一旦电影通常年后你真的可以进去看到工作的模式。“导演阿方索·卡隆,YouTube通道BAFTA大师说,“我们正在经历什么平台不一定是电影院。更与电视。我迷失在一个系列,并不是因为它的电影系列。我迷失在一个故事。在许多方面,它是成为懒惰的媒体的读者。我更感兴趣的是电影。”An interesting remark of director Joel Coen of director duo Coens Brothers also shows how the structure of content of streaming platforms does not pose a threat to movie and theatre business. He said the content on streaming platforms has start, middle but no end and goes on and on. Cinema, on the other hand, has an end which gives it a sense of finality in presentation in limited time.
还的结构内容提供流媒体平台上需要长时间的观察带来了一系列的健康问题。NH罢工一事沙Dattani博士咨询心理学家医院,哈吉·阿里,孟买说,“我认为这些平台在很大程度上是放纵的概念。早些时候你将等待事情将会被延迟满足。但这个概念的暴看即时的满足感是一个严重的问题需要考虑。其中一个严重后果是整个运动麻木。你成为感情麻木了。在心理学中,据说可以治愈你的感觉。但是当你感情麻木变得难以评估到底是什么问题。结果各种精神和身体上的疾病,如抑郁症和脊柱炎由于连续观看的内容。”她补充道,“除此之外,不构建任何社交技巧与外界交互是最低限度。整个过程你断开与外界的联系并提供另一种现实的范围内一个虚拟的世界。 This is suspension from reality and it disconnects a person from her inner world. One hardly acquires any skills.” She pointed, “As regards adults, stress levels have gone up. The idea of recreation has changed to watching content on these platforms rather than talking to child or spouse. Children are lot more affected than adults. Since they have more time and chemically wired to emulate adults, their sleep pattern is massively affected. A lot of children are sleeping as late as 2 am. Across the board one can see how the content has created distraction affecting relationship, work and productivity. ”
在某种意义上,流媒体平台就像电视频道。他们表演节目数字平台。唯一的区别是奥特平台提供内容以以下的方式查看器:当他们想要的,他们想要和他们想要的东西。这意味着有观众观看内容随时方便和自由,在任何时候在一系列的叙述。尽管这些平台已经创建了一个认为他们迎合观众的某些类别,事实上,他们只是创建“图书馆”的内容。很明显,他们想要迎合所有人。这是明显的从这些平台上的内容是如何实现的。这些平台提供字幕。可以听故事系列的多语言(包括地方语言)除了英语。据安永(Ernst & Young),印度消费者更愿意观看视频在方言和地方语言。 In India, close to 93% of the time spent on videos is in Hindi and other regional languages. As a result, streaming platforms have content which go beyond Hindi and English and reach out to these consumers.
流媒体平台的商业模式的另一个方面是看似这些平台的力量也可以限制。这些平台保持创造力,这与普通的广告模式,并不弥补变化无常的订阅模式。根据一些研究,观众显示明显偏好原始和新鲜的内容。这说明,用户是新鲜和原创内容更感兴趣,在一定程度上这是一个艰巨的任务。鉴于这些现实,观众不会紧盯着奥特屏幕并将走出自己的舒适区,在剧院看电影。
在未来几年,一个是可能会看到三个趋势在增加的背景下接受流媒体平台。一,mid-budget和低成本电影可能马上发布流媒体平台上。这种趋势已经发展。但它将变得更加突出。这是由于两个原因。1、高成本参与推广或宣传mid-budget或低成本电影。mid-budget电影成本Rs25-40卢比和低成本电影在小于Rs25卢比。但宣传是一个巨大的费用。一个恰当的例子是Apoorva Lakhia的电影Haseena Parkar于2017年发布。导演在接受采访时提到,这部电影是由11个卢比和电影的宣传预算8卢比。 Two, low-and-mid-budget films have to compete with big-budget films, which occupy disproportionately higher screens in theatres.
第二个趋势是电影制作的经济模式的改变。制片人指出,在不久的将来一定印地语电影将预算下,即使他们得到连续发布流媒体平台上生产商不会失去很多钱。最后,流媒体平台行业将巩固。目前,有三十六奥特或流媒体平台。这意味着流媒体平台之间存在激烈的竞争来吸引观众的时候,观众是有关内容可供选择。流媒体平台不遵循传统advertisement-based收入模式这意味着他们不得不依靠巨额现金,可能会导致高负债的公司。用户也在很大程度上是变化无常的,他们自己的账户切换到不同的平台,他们发现一系列激动人心的。
只有那些平台的支持强劲的资产负债表和金钱或战略投资者将生存和获得较弱的球员可能会死是自然死亡由于缺乏资金。根据行业老兵,一个web系列的预算几乎是类似于电影的预算。web系列拍成电影并削减和情景格式的编辑。这需要更多的钱比电视连续剧,每集的基础上提供资金和地点大多是内部。这将给流媒体平台定价压力。很可能broadcast-backed和国际流媒体平台将生存。他们有长期的经验和品牌力量,这将有助于安全基金。
在事物的总体方案,大多数娱乐形式共存,因为他们不仅将为彼此独立但也和明显的目的服务。已经观察到,即使是长电影导演只为奥特工作平台。此外,他们只拍电影释放在剧场,然后奥特平台。剧院将发行电影将在自然和经验只能在剧院享受更好的比任何平台。电视也会生存下来,因为它来自于剧院的休息和奥特平台。但是奥特平台面临着两个主要的威胁。这些都是盗版和审查。如果政府审查制度变化而带来了新鲜的流媒体平台行业规则,那么它可能会影响流媒体平台上的内容的质量。这是因为审查将抑制创造性的自由,这是巨大的认可和成功的根本原因流媒体内容平台。盗版,这也影响了电影院,影响奥特平台。
在这些现实的背景下,这将是观众将充分受益。他们将继续获得巨大无比的内容。娱乐电视台的各种途径,奥特,电影和其他社交媒体平台创建了一个粮食大盘菜满足饥饿的几乎所有类型的观众。但是观众的胃口也是巨大无比的。内容创造者知道他们是谁。借用诗人Dom莫拉的著作,内容创造者知道他们是服务的一种凶猛的大师”在观众。在未来几年,这些途径的成功和长寿的娱乐将测试这个问题:观众观看的内容,因为他们手头有时间或内容很好,观众正在观看它?
行业专家认为,由于潜在的威胁与冠状病毒感染,人们可能会避免集团参与活动,如在剧院看电影很久了。考虑到这一事实,生产商发布流媒体平台上的电影在剧院将被释放。考虑到这些新的现实,几个关键的问题已经出现在了专家和观众的思想是:将流媒体平台定义我们看电影的方式随着越来越多的电影被公布在这些平台上吗?剧院将失去其作为成本的相关性在剧院看电影不是经济相比,流媒体平台上看电影在一个装备精良的环绕声家庭影院环境?到底发生什么事随着流媒体平台其他娱乐形式在印度吗?最重要的是,像南印度的民间故事,将流媒体平台与旧的或已经存在的娱乐形式如电视和戏剧?让我们详细了解这些方面:
很长一段时间在私人频道数量激增,观众共享一个共同的经验看连续剧在政府支持的频道Doordarshan。这些连续剧的物质,娱乐价值和一定接触简单的表示元素使他们怀旧的东西。即使在今天这些连续剧爸妈用同样的热情和温暖当他们看到当他们在Doordarshan。从1980年代中期,连续剧哼日志等Buniyaad, Nukkad, Ramayan,尼泊尔,Byomkesh问题,Vikram Vetal Trishna, Oshin Kirdaar有限集的格式显示一个可以娱乐和吸引广泛和广阔的观众。这些连续剧是基于文学的真实事件,独到的见解和神话。清楚,这些成分使流媒体平台提供一个独特的今天。的经验看连续剧在1980年代中期Doordarshan几乎类似于今天的观众体验看系列网络流媒体平台。唯一的区别是网络流媒体平台上的系列对Doordarshan产值比连续剧。这方面可能给流媒体平台有什么新奇的感觉。
在1990年代中期,情况彻底改变了。大量的私人频道推出的电视作为媒介的力量向广大读者被生产商和广告商承认和认可。电视提供了一个可行的经济模式的创造者和投资者赚钱。这导致通常会发生什么当太多的球员进入一个产业。当一个结构和相关成本结构并非如此之高,创作自由也很高。这种结构创建艺术内容挺投缘。但当结构成长和发展更多的玩家进入和竞争,创作自由被牺牲,更重要的是内容的可行性。在这样的结构中,“科学”盛行。重点转移到创建连续剧可以拉长和不够紧提供有益健康的和有意义的娱乐在有限集的格式。这是因为这样一个结构的生产者而言,电视评级分,因此,广告。 Consequently, serials became imitative and monotonous. This brought division in categories of audiences.
观众渴望健康的,有意义的和发人深省的娱乐完全被忽略了。很少,这个观众满意这个味道的电影或连续剧,其中显示的承诺好娱乐在早期阶段但随后符合格式由市场力量决定。这个部门在观众和创建显然广告商的目标受众一般在电视上娱乐内容将非工作男性和女性感兴趣的运动和娱乐性频道。
多年来,几个类别的观众,已经存在,表现出他们的区别在他们观看内容的方式。这些类别显示一个明确的趋势将如何在戏剧内容随着电视上的内容变得非常公式化的,模仿和无菌。一般来说,六个类别的受众出现了二十年。首先,有一个进化的观众口味。只不过他们的观众。他们获得信息和了解他们喜欢什么,他们不喜欢。这一类主要是大量观众从互联网下载电影。然后,有一个观众,很大程度上,赶上其他人。这个听众失望比进化而来的观众,因为它经常去剧院通常进化的观众口味。然后,有城市观众只是追求纯粹的娱乐。 This audience does not have keen interest in cinema. They don’t have any viable and equally interesting means or avenues of entertainment on weekends. For them, going to theatre for a film is a family outing. This ritual borders on discharging family duty of taking care and being considerate towards wife and kids.
这一类是紧随其后的是中产阶级的下层,的主要观众是印地语电影。这个观众持续的公式巨人叫做印地语电影已经建立。电影也合并著名比喻没有使它深奥和呈现在这个观众新鲜的方式是一个事件。看电影在观众剧院是一个严格的仪式,因为它就像一个精神仪式在黑暗给了他们强烈的快乐。这是最稳定的剧院有进取心的人。第五类是观众在第二层和tier-III城市。这个观众在第二层和tier-III城市驾驶的票房收入,因为两个原因。多放映场影剧院,迅速扩大在这些位置在过去的五年里在城市空间约束和成本上升使外扩张地铁更可行的和可行的。2、观众在第二层和tier-III相信会多放映场影剧院的仪式他们赶上城市居民的一种方式。最后,有农村观众是不严格的,内容是什么。
增加可预测性的内容在电视上,机票价格上涨,经济网络包(Jio的发射服务发挥了关键作用),编写良好的接触和理解,庄重地从西方英语和非英语的内容执行,容易获得通过盗版电影最重要的是,自由观看内容的主观速度和方便的时间没有patience-testing广告播下的种子急需的空间给观众与进化的味道。流或在顶部(OTT)平台填满这个空间在过去的五年里。
今天,在印度,有接近36流媒体平台是由印度公司。除了这些,还有全球Netflix等流媒体平台,Amazon Prime视频和迪斯尼+ Hotstar。
自锁定它显然是明显的意识和重要性流或奥特平台增加了。根据各种评估和报告,跳8 - 100%用户的添加主要奥特平台。据业内专家,封锁了奥特平台安全的新用户。甚至宇宙的平均年龄用户增加了。电影制作人Shivdarshan貂说,“我认为这是显而易见的,锁定因祸得福了流媒体平台。早些时候,宇宙的平均年龄用户可能小于30。由于封锁,我认为宇宙的平均年龄用户上涨了。我确信今天一个公平份额的新用户添加将在- 55的年龄组。”This means that there are an increasing number of people who are acknowledging the engaging and superior production value of the content offered up by streaming platforms.
最近一系列释放印地语电影也在流媒体平台上增加他们的越来越重要,因为它表明,生产商已经承认这些平台在分发内容的效力和宇宙接触大量的观众。Amazon Prime视频获得了七个宝莱坞电影和地区。这一系列释放一个值得注意的方面是还包括电影有大明星和著名的导演和制片人。一个恰当的例子是这部电影Gulaabo Sitabo。成熟的和将导演Shoojit Sircar执导这部电影成功配对的人点石成金Ayushmann Khurrana Amitabh巴克强。
有影响吗?
现在,在这种情况下越来越重要的流媒体平台在观众和生产者为内容消费和分布,在电视或剧院需要了解业务受到影响。
计量模式的电视和流媒体平台提供内容,很明显,电视和流媒体平台提供给对方。已经观察到的内容由电视发现在目录或产品的流媒体平台。著名的电视连续剧Kyunki Saas Bhi Kabhi Bahu迪斯尼+ Hotstar流媒体平台上是可用的。也观察到broadcast-backed流媒体平台显示内容的流媒体平台在各自的频道。例如,Zee5的内容,一个流媒体平台的Zee娱乐企业,被显示在其渠道,反之亦然。这方面的喂到对方可能会延长电视和平息任何恐慌的相关性下意识假设流媒体平台会杀了电视。
除此之外,电视会以不同的方式达到目的。智能电视的出现与环绕声的家庭影院设施赋予了新的目的在电视上观看流媒体内容平台。还体育赛事需要大屏幕比手机还将证明电视的存在。最重要的是,印度的基础设施将为电视提供寿命存在因为宽带,电信连接尚未穿透更深的位置除了第二层和tier-III城市。这是明显的事实,其中一个最高度关注系列封锁期间的重新运行串行Ramayan DD国家。这表明没有威胁电视从流媒体平台。
甚至至于剧院,流媒体平台并没有威胁到他们的商业模式。它已经超过五年全球流媒体平台进入印度。鼓励他们,电视频道推出自己的流媒体服务。在过去的五年里,在剧院的脚步声没有影响。脚步声在两个主要的多放映场影剧院PVR和不锈钢等休闲已经在这个时期。脚步声在PVR和不锈钢休闲增加到9940万和6250万年分别在FY19 FY14分别从5990万年和3860万年。也是一个财务绩效分析的多放映场影剧院出现之前和之后的出现流媒体平台(FY14)显示,已经有不错收入的增长屏幕FY14之前和之后。
收入每屏幕不锈钢增加到Rs2.9卢比在FY19 Rs2.6 FY14卢比。同样,每屏幕PVR的收入增加到卢比卢比在FY19 Rs3.1 FY14卢比。还电影记录超过的数量从而卢比的票房接近两倍跃升至13在FY14 FY19从7,毕马威(KPMG)的一份调查报告指出。甚至票房集合已经Rs3759卢比在FY19 Rs2493 FY15卢比。这是尽管多放映场影剧院的平均机票价格一直在上涨的范围5 - 8%在过去的五年里。这表明流媒体平台还没有创建任何材料对戏剧的影响业务,因为它的内容吸引观众的剧院不仅仅是娱乐的“大道”。
争议的问题
虽然直到去年,流媒体平台没有伤害戏剧或电影业务,由于最近宣布的电影流媒体发布平台在未来几个月内,人们越来越关注电影和戏剧的未来业务。这是因为数字发布不取回报高达影院上映。根据分析审计机构毕马威(KPMG)对电影整体营收的75%左右来自大屏幕电影释放而数字占13%,其余的来自电视和卫星广播。考虑到小份额的收入流媒体平台产生,它不太可能会危及商业电影和剧院的商业模式。
除此之外,它的结构内容提供流媒体平台在电影和剧院业务的支持工作。这是因为结构并不吸引各种各样的观众。近年来,有一些观测的知名电影制作人充分解释,电影或电影业务可能会继续存在,而且将魅力观众多年来。有著名的三个关键的观察和广受好评的电影为什么电影院或剧院作为大道生存和不会失去相关性。这些评论中心结构的流媒体平台。导演奥利弗•斯通,在牛津联盟对话,说流媒体平台上的内容是新闻和电影有一个文献的质量。他说,“它(流媒体平台上的内容)初稿再…历史的第一份草稿。换句话说,它就像一个新闻帐户。你不得不去更深层次的,这也是电影有趣。一旦电影通常年后你真的可以进去看到工作的模式。“导演阿方索·卡隆,YouTube通道BAFTA大师说,“我们正在经历什么平台不一定是电影院。更与电视。我迷失在一个系列,并不是因为它的电影系列。我迷失在一个故事。在许多方面,它是成为懒惰的媒体的读者。我更感兴趣的是电影。”An interesting remark of director Joel Coen of director duo Coens Brothers also shows how the structure of content of streaming platforms does not pose a threat to movie and theatre business. He said the content on streaming platforms has start, middle but no end and goes on and on. Cinema, on the other hand, has an end which gives it a sense of finality in presentation in limited time.
还的结构内容提供流媒体平台上需要长时间的观察带来了一系列的健康问题。NH罢工一事沙Dattani博士咨询心理学家医院,哈吉·阿里,孟买说,“我认为这些平台在很大程度上是放纵的概念。早些时候你将等待事情将会被延迟满足。但这个概念的暴看即时的满足感是一个严重的问题需要考虑。其中一个严重后果是整个运动麻木。你成为感情麻木了。在心理学中,据说可以治愈你的感觉。但是当你感情麻木变得难以评估到底是什么问题。结果各种精神和身体上的疾病,如抑郁症和脊柱炎由于连续观看的内容。”她补充道,“除此之外,不构建任何社交技巧与外界交互是最低限度。整个过程你断开与外界的联系并提供另一种现实的范围内一个虚拟的世界。 This is suspension from reality and it disconnects a person from her inner world. One hardly acquires any skills.” She pointed, “As regards adults, stress levels have gone up. The idea of recreation has changed to watching content on these platforms rather than talking to child or spouse. Children are lot more affected than adults. Since they have more time and chemically wired to emulate adults, their sleep pattern is massively affected. A lot of children are sleeping as late as 2 am. Across the board one can see how the content has created distraction affecting relationship, work and productivity. ”
在某种意义上,流媒体平台就像电视频道。他们表演节目数字平台。唯一的区别是奥特平台提供内容以以下的方式查看器:当他们想要的,他们想要和他们想要的东西。这意味着有观众观看内容随时方便和自由,在任何时候在一系列的叙述。尽管这些平台已经创建了一个认为他们迎合观众的某些类别,事实上,他们只是创建“图书馆”的内容。很明显,他们想要迎合所有人。这是明显的从这些平台上的内容是如何实现的。这些平台提供字幕。可以听故事系列的多语言(包括地方语言)除了英语。据安永(Ernst & Young),印度消费者更愿意观看视频在方言和地方语言。 In India, close to 93% of the time spent on videos is in Hindi and other regional languages. As a result, streaming platforms have content which go beyond Hindi and English and reach out to these consumers.
流媒体平台的商业模式的另一个方面是看似这些平台的力量也可以限制。这些平台保持创造力,这与普通的广告模式,并不弥补变化无常的订阅模式。根据一些研究,观众显示明显偏好原始和新鲜的内容。这说明,用户是新鲜和原创内容更感兴趣,在一定程度上这是一个艰巨的任务。鉴于这些现实,观众不会紧盯着奥特屏幕并将走出自己的舒适区,在剧院看电影。
在未来几年,一个是可能会看到三个趋势在增加的背景下接受流媒体平台。一,mid-budget和低成本电影可能马上发布流媒体平台上。这种趋势已经发展。但它将变得更加突出。这是由于两个原因。1、高成本参与推广或宣传mid-budget或低成本电影。mid-budget电影成本Rs25-40卢比和低成本电影在小于Rs25卢比。但宣传是一个巨大的费用。一个恰当的例子是Apoorva Lakhia的电影Haseena Parkar于2017年发布。导演在接受采访时提到,这部电影是由11个卢比和电影的宣传预算8卢比。 Two, low-and-mid-budget films have to compete with big-budget films, which occupy disproportionately higher screens in theatres.
第二个趋势是电影制作的经济模式的改变。制片人指出,在不久的将来一定印地语电影将预算下,即使他们得到连续发布流媒体平台上生产商不会失去很多钱。最后,流媒体平台行业将巩固。目前,有三十六奥特或流媒体平台。这意味着流媒体平台之间存在激烈的竞争来吸引观众的时候,观众是有关内容可供选择。流媒体平台不遵循传统advertisement-based收入模式这意味着他们不得不依靠巨额现金,可能会导致高负债的公司。用户也在很大程度上是变化无常的,他们自己的账户切换到不同的平台,他们发现一系列激动人心的。
只有那些平台的支持强劲的资产负债表和金钱或战略投资者将生存和获得较弱的球员可能会死是自然死亡由于缺乏资金。根据行业老兵,一个web系列的预算几乎是类似于电影的预算。web系列拍成电影并削减和情景格式的编辑。这需要更多的钱比电视连续剧,每集的基础上提供资金和地点大多是内部。这将给流媒体平台定价压力。很可能broadcast-backed和国际流媒体平台将生存。他们有长期的经验和品牌力量,这将有助于安全基金。
在事物的总体方案,大多数娱乐形式共存,因为他们不仅将为彼此独立但也和明显的目的服务。已经观察到,即使是长电影导演只为奥特工作平台。此外,他们只拍电影释放在剧场,然后奥特平台。剧院将发行电影将在自然和经验只能在剧院享受更好的比任何平台。电视也会生存下来,因为它来自于剧院的休息和奥特平台。但是奥特平台面临着两个主要的威胁。这些都是盗版和审查。如果政府审查制度变化而带来了新鲜的流媒体平台行业规则,那么它可能会影响流媒体平台上的内容的质量。这是因为审查将抑制创造性的自由,这是巨大的认可和成功的根本原因流媒体内容平台。盗版,这也影响了电影院,影响奥特平台。
在这些现实的背景下,这将是观众将充分受益。他们将继续获得巨大无比的内容。娱乐电视台的各种途径,奥特,电影和其他社交媒体平台创建了一个粮食大盘菜满足饥饿的几乎所有类型的观众。但是观众的胃口也是巨大无比的。内容创造者知道他们是谁。借用诗人Dom莫拉的著作,内容创造者知道他们是服务的一种凶猛的大师”在观众。在未来几年,这些途径的成功和长寿的娱乐将测试这个问题:观众观看的内容,因为他们手头有时间或内容很好,观众正在观看它?
In the book Folktales From India\u2014a precious contribution to Indian culture\u2014poet, and an authority on Indian aesthetics A K Ramanujan narrates a South Indian folktale. The folktale is called Losing a Self. It is a story of a Guru and his twelve idiot disciples. They want to cross a river. But the river is treacherous. They wait for some time. After making a firm resolve, they cross the river. As they reach the other end, a disciple starts counting to ascertain whether all were able to cross the river. He counts everyone except himself. All believe that one person died while crossing the river. But they are unable to figure out who died. A magician passing by listens to their problem patiently. He reassures them that he will solve this conundrum. He asks a disciple to bring cow dung and make a long line of cow dung. After asking all to stand in a row in front of the cow dung line, he asks all to bend down and press their noses in the dung. He asks them to count the number of dents in the cow dung. They unanimously agree that the number is thirteen and realise no one has died while crossing the river. In an allegorical sense, this folktale\u2014like many folktales which have a certain amount of truth in them\u2014reflect an inveterate tendency in entertainment industry<\/a> to spell doom for cinema and theatre every time a \u2018new avenue\u2019 of entertainment gains high acceptance among viewers.
<\/div><\/div>In almost every evolutionary phase, it is assumed that a new avenue of entertainment will make the old or already existing avenues of entertainment irrelevant or unprofitable. It started with the advent of television. This was followed by huge acceptance of cable television and watching films at home by renting movies from video library, proliferation of private television channels, and Direct-To-Home (DTH) services. Throughout these phases, a constant concern is piracy, which still persists. And now, the latest threat or a concern is increasing acceptance of streaming platforms as a serious contender which can jeopardise the existence of theatre and the way we watch cinema or consume content. These observations have found more relevance in the context of lockdown<\/a> which has made a large section of viewers realise the power of streaming platforms in providing engaging and entertaining content.
Sector experts believe that because of potential threat of contracting with the Coronavirus, people may avoid group engagement activities such as watching films in theatre for a long time. Considering this fact, producers are releasing films slated to be released in theatres on streaming platforms. Given these new realities, a few key questions which have popped up in minds of experts and viewers are: Will streaming platforms define the way we watch films as more and more films are being released on these platforms? Will theatre lose its relevance as the costs attached to watching a film in theatre are not economical in comparison with watching a film on a streaming platform in a well-equipped surround sound home-theatre environment? What exactly has happened with the advent of streaming platforms to other avenues of entertainment in India? And most importantly, like the South Indian folktale, will streaming platforms co-exist with the old or already existing avenues of entertainment such as television and theatre? Let us understand these aspects in detail:
Sector experts believe that because of potential threat of contracting with the Coronavirus, people may avoid group engagement activities such as watching films in theatre for a long time. Considering this fact, producers are releasing films slated to be released in theatres on streaming platforms. Given these new realities, a few key questions which have popped up in minds of experts and viewers are: Will streaming platforms define the way we watch films as more and more films are being released on these platforms? Will theatre lose its relevance as the costs attached to watching a film in theatre are not economical in comparison with watching a film on a streaming platform in a well-equipped surround sound home-theatre environment? What exactly has happened with the advent of streaming platforms to other avenues of entertainment in India? And most importantly, like the South Indian folktale, will streaming platforms co-exist with the old or already existing avenues of entertainment such as television and theatre? Let us understand these aspects in detail:
<\/div><\/div>The rising wave<\/strong>
For a long time before private channels proliferated, viewers shared a common experience of watching serials on the government-sponsored channel Doordarshan<\/a>. These serials had substance, entertainment value and a certain touching simplicity of presentation which had elements to make them stuff of nostalgia. Even today these serials are re-watched with the same fervour and warmth as they were watched when they were shown on Doordarshan. From mid-1980s, serials such as Hum Log, Buniyaad, Nukkad, Ramayan, Mahabharat, Byomkesh Bakshi, Vikram Vetal, Trishna, Oshin and Kirdaar showed that in a limited episode format one could entertain and appeal to a wide and vast audience. These serials were based on literature, true events, original ideas and mythology. In a clear sense, these very ingredients make streaming platforms a unique offering today. The experience of watching serials in the mid-1980s on Doordarshan has been almost similar to what today\u2019s audience experience watching web series on streaming platforms. The only difference is web series on streaming platforms have better production value than the serials on Doordarshan. This aspect may give a sense of novelty to what streaming platforms have to offer.
In the mid-1990s, things changed drastically. A large number of private channels were launched as the power of television as a medium of reaching out to a wide audience was acknowledged and recognised by producers and advertisers. Television provided a viable economic model of making money for creators and investors. This resulted in what usually happens when too many players enter an industry. When a structure and the costs associated with that structure are not so high, creative freedom is also high. Such structures are congenial for creating artistic content. But when structures grow and evolve as more players enter and compete, creative freedom gets sacrificed and more importance is given to the viability of the content. In such a structure, \u2018science\u2019 prevails. The focus shifts to creating serials which can be elongated and are not tight enough from providing wholesome and meaningful entertainment in limited episode format. This is because such a structure is remunerative for producers in terms of television rating points and hence, advertisements. Consequently, serials became imitative and monotonous. This brought division in categories of audiences.
The audience which craved for wholesome, meaningful and thought-provoking entertainment was utterly ignored. Infrequently, this audience satisfied this taste from films or some serials which showed the promise of good entertainment in the early phase but subsequently conformed to the format dictated by market forces. This created division among audiences and it became clear to advertisers that the target audience for general entertainment content on television will be non-working women and men will be interested in sports and non-entertainment channels.
Over the years, a few categories of audiences, which already existed, exhibited their distinction in the way they watched content. These categories showed a clear trend how content will be consumed in theatre as content on television became extremely formulaic, imitative and sterile. Broadly speaking, six categories of audience emerged in the two decades. Firstly, there is an audience of evolved taste. They are nothing but discerning audience. They have access to information and they understand what they like and what they don\u2019t like. This category basically is a torrent audience who download films from the internet. Then, there is an audience which, largely, catches up with others around them. This audience gets disappointed far often than the evolved audience because it goes to theatre more often than the audience of evolved taste. Then, there is urban audience which just seeks pure entertainment. This audience does not have keen interest in cinema. They don\u2019t have any viable and equally interesting means or avenues of entertainment on weekends. For them, going to theatre for a film is a family outing. This ritual borders on discharging family duty of taking care and being considerate towards wife and kids.
This category is followed by lower middle class, which is the staple audience for Hindi movies. This audience has sustained the formula on which the juggernaut called Hindi cinema has been established. A film which merges known tropes without making it esoteric and presenting it in a fresh way is an event for this audience. Watching films in theatre is a strict ritual for this audience because it is like a spiritual ceremony in dark which gives them intense happiness. This is the most stable theatre goer. The fifth category is the audience which is in tier-II and tier-III cities. This audience in tier-II and tier-III cities is driving revenues at the box office because of two reasons. One, multiplexes have expanded in these locations rapidly in the past five years as space constraints and rising costs in cities make expansion outside metros more feasible and viable. Two, audiences in tier-II and tier-III believe the ritual of going to multiplexes as one of the ways they catch up with city-dwellers. And lastly, there is rural audience which is undemanding and is content with what comes its way.
Increasing predictability of content on television, rising ticket prices, economical internet packages (the launch of Jio services has played a critical role in this), exposure and understanding of well-written and superbly executed English and non-English content from the west, easy access to films through piracy and most importantly, the freedom to watch content at one\u2019s subjective pace and convenient time without the patience-testing advertisements sowed the seeds for a much-needed space for an offering for the audience with evolved taste. Streaming or Over The Top (OTT) platforms filled up this space in the past five years.
Today, in India, there are close to thirty-six streaming platforms which are owned by Indian companies. Apart from these, there are global streaming platforms such as Netflix, Amazon Prime<\/a> Video, and Disney+Hotstar.
Since the lockdown it is clearly evident that the awareness and importance of streaming or OTT platforms has increased. According to various estimates and reports, there has been jump of 8-100% in subscribers\u2019 addition of major OTT platforms. According to industry experts, the lockdown has helped OTT platforms secure new subscribers. Even the average age of the subscribers\u2019 universe has increased. Film-maker Shivdarshan Sable says, \u201cI think this is clearly evident that the lockdown has been a blessing in disguise for streaming platforms. Earlier, the average age of the subscribers\u2019 universe might be less than 30. Due to lockdown, I think the average age of the subscribers\u2019 universe has gone up. I am certain that today a fair share of the new subscribers added will be in the age group of 35-55.\u201d This means that there are an increasing number of people who are acknowledging the engaging and superior production value of the content offered up by streaming platforms.
The recent flurry of release of Hindi films on streaming platforms also add to their increasing importance as it shows that producers have acknowledged the potency of these platforms in distributing content and reaching out to a large universe of viewers. Amazon Prime Video has acquired seven Bollywood and regional films. A noteworthy aspect about this flurry of release is they also include films boasting big stars and well-known directors and producers. A case in the point is the film Gulaabo Sitabo. Well-established and critically-acclaimed director Shoojit Sircar directed the film which has successful pairing of the man with a Midas touch Ayushmann Khurrana and Amitabh Bachchan.
Is there an impact?<\/strong>
Now, in this context of the increasing importance of streaming platforms among viewers and producers for content consumption and distribution, one needs to understand whether business in television or theatre affected.
Gauging the pattern of how television and streaming platforms are providing content, it is evident that television and streaming platforms feed into each other. It has been observed that the content generated by television finds its place in the catalogue or offerings of streaming platforms also. The famous TV series Kyunki Saas Bhi Kabhi Bahu is available on streaming platform Disney+Hotstar. It is also observed that broadcast-backed streaming platforms show the content of their streaming platforms on their respective channels. For instance, the content of Zee5, a streaming platform of Zee Entertainment Enterprises, is being shown on its channels also and vice versa. This aspect of feeding into each other is likely to prolong the relevance of television and quell any kind of panic-driven knee-jerk assumption that streaming platforms will kill television.
Besides this, television will serve its purpose in different ways. The emergence of Smart Television with surround sound home theatre facility gives a new purpose of watching content of streaming platforms on television. Also sporting events which require bigger screen than mobile devices will also justify the existence of television. Most importantly, India\u2019s infrastructure will provide longer life for television to exist because broadband and telecommunications connectivity are yet to penetrate deeper in locations beyond tier-II and tier-III cities. This is evident from the fact that one of the most highly watched series during lockdown period was the re-run of the serial Ramayan on DD National. This indicates that there is no threat for TV from streaming platforms.
Even as regards theatre, streaming platforms have not been a threat to their business model. It has been more than five years global streaming platforms have entered into India. And encouraged by them, television channels launched their own streaming services. In the past five years, there has been no impact on footfalls in theatres. Footfalls in two major multiplexes such as PVR and Inox Leisure have grown in this period. Footfalls in PVR and Inox Leisure grew to 99.4 million and 62.5 million respectively in FY19 from 59.9 million and 38.6 million respectively in FY14. Also an analysis of financial performance of these multiplexes before the advent and after the advent of streaming platforms (FY14) shows that there has been reasonably good growth in revenue per screen before and after FY14.
Revenue per screen for Inox increased to Rs2.9 crore in FY19 from Rs2.6 crore in FY14. Similarly, for PVR, revenue per screen increased to Rs4 crore in FY19 from Rs3.1 crore in FY14. Also the number of films which recorded more than Rs100 crore at the box office jumped close to two times to 13 in FY19 from seven in FY14, points out a KPMG report. Even the box office collections have grown to Rs3759 crore in FY19 from Rs2493 crore in FY15. This is despite the fact that the average ticket price of multiplexes has been rising in the range of 5-8% in the past five years. This shows that streaming platforms have not created any material impact on theatre business as it is content which attracts viewers to theatres not just the \u2018avenue\u2019 of entertainment.
The moot question<\/strong>
Though till last year, streaming platforms have not hurt the theatre or movie business, due to the recent announcement of films to be released on streaming platforms in the coming months, there is an increasing concern over the future of movie and theatre business. This is because digital release does not fetch returns as high as theatrical release. According to an analysis of auditing firm KPMG, around 75% of overall revenue on a film comes from big screen cinema release while digital makes up 13% and the rest from television and satellite broadcasting. Given the small share of revenues streaming platforms generate, it is unlikely it will jeopardise the business model of movie and theatre business.
Besides this, it is the very structure of content offering of streaming platforms works in the favour of movies and theatre business. This is because the structure does not appeal to all kinds of audience. In recent years, there have been a few observations of well-known film-makers which amply explain the fact that cinema or movie business is likely to remain and will charm the audience for years to come. There are three key observations of famed and critically acclaimed film-makers why cinema or theatre as an avenue will survive and not lose its relevance. These comments centre on the very structure of streaming platforms. Director Oliver stone, in an Oxford Union dialogue, said that the content on streaming platforms is journalism and cinema has a quality of literature. He said, \u201cIt (content on streaming platforms) makes the first draft longer...a first draft of history. In other words, it is like a journalistic account. You have to go deeper and that is what makes movies interesting. Once you get to a movie usually years later you really can go in there and try to see the patterns at work.\u201d Also director Alfonso Cuaron, in the YouTube<\/a> channel BAFTA Guru said, \u201cWhat we are experiencing on platforms is not necessarily cinema. It is more connected with television. I am lost in a series not because of its cinematic value of the series. I am getting lost in a story. In many ways, it is becoming a media for lazy readers. What I am more intrigued about is cinema.\u201d An interesting remark of director Joel Coen of director duo Coens Brothers also shows how the structure of content of streaming platforms does not pose a threat to movie and theatre business. He said the content on streaming platforms has start, middle but no end and goes on and on. Cinema, on the other hand, has an end which gives it a sense of finality in presentation in limited time.
Also the structure of content offering on streaming platforms entails long hours of watching comes with its own health problems. Dr. Priyanka Shah Dattani, Counselling Psychologist at NH SRCC Hospital, Haji Ali, Mumbai said, \u201cI think these platforms are largely about the concept of indulgence. Earlier you would wait for things which would delay gratification. But this concept of \u2018binge watching\u2019 for instant gratification is a serious matter which needs pondering. One of the serious repercussions is this whole exercise numbs you out. You become emotionally numb. In psychology, it is said you can heal what you feel. But when you are emotionally numb it becomes difficult to assess exactly what is the problem. It results various kind of mental and physical ailments such as depression and Spondylitis due to continuous watching of content.\u201d She added, \u201cBesides, one does not build any social skills as interaction with the outside world is bare minimum. The whole process disconnects you from the outside world and provides you an alternative reality within the confines of a virtual world. This is suspension from reality and it disconnects a person from her inner world. One hardly acquires any skills.\u201d She pointed, \u201cAs regards adults, stress levels have gone up. The idea of recreation has changed to watching content on these platforms rather than talking to child or spouse. Children are lot more affected than adults. Since they have more time and chemically wired to emulate adults, their sleep pattern is massively affected. A lot of children are sleeping as late as 2 am. Across the board one can see how the content has created distraction affecting relationship, work and productivity. \u201d
In a sense, streaming platforms are like television channels only. They show programmes on digital platform. The only difference is OTT platforms provide content to the viewer in the following manner: When they want, where they want and how they want. This means there is convenience and freedom to viewers to watch content anytime and at any point in the narrative of a series. Though these platforms have created a perception that they cater to a certain category of viewers, in truth, they are merely creating \u201clibrary\u201d of content. It is clear that they want to cater to all and sundry. This is evident from how content is delivered on these platforms. These platforms provide subtitles. One can listen to the narrative of a series in more than language (includes regional languages) apart from English. According to Ernst & Young, Indian consumers prefer to watch videos in vernacular and regional languages. In India, close to 93% of the time spent on videos is in Hindi and other regional languages. As a result, streaming platforms have content which go beyond Hindi and English and reach out to these consumers.
Another aspect of business model of streaming platforms is what looks like the strength of these platforms can also be its limitation. These platforms sustain on creativity, which unlike plain advertisement model, does not make up for fickle pattern of subscription. According to several research studies, viewers have shown clear preference for original and fresh content. This shows that subscribers are more interested in fresh and original content, which is a tall order to a certain extent. Given these realities, viewers will not be glued to their OTT screens and will step out of their comfort zones and watch films in theatres.
In the coming years, one is likely to see three trends in the context of increasing acceptance of streaming platforms. One, mid-budget and low-budget films may straight away release on streaming platforms. This trend is already evolving. But it will become more prominent. This is because of two reasons. One, high cost involved in promoting or publicity of a mid-budget or low-budget film. A mid-budget film costs Rs25-40 crore and a low-budget film is made in less than Rs25 crore. But publicity is a huge expense. A case in the point is director Apoorva Lakhia\u2019s film Haseena Parkar released in 2017. The director in an interview mentioned that the film was made for Rs 11 crore and the publicity budget of the film was Rs 8 crore. Two, low-and-mid-budget films have to compete with big-budget films, which occupy disproportionately higher screens in theatres.
The second trend is the change in economic model of film-making. Film-makers point out that in the near future certain Hindi films will be made under a budget that even if they get released straight on streaming platforms the producers will not lose much money. Lastly, streaming platforms industry will consolidate. Presently, there are thirty six OTT or streaming platforms. This means there is intense competition among streaming platforms to attract viewers in times when viewers are spoilt for choice regarding content. Streaming platforms do not follow the traditional advertisement-based revenue model which means that they have to rely on huge cash which may result in high debt for companies. Also subscribers are largely fickle and they switch their accounts to different platforms as and when they find a series exciting.
Only those platforms which have backing of strong balance sheet and moneyed or strategic investors will survive and acquire weaker players who may die a natural death due to lack of funds. According to industry veterans, the budget of a web series is almost similar to a film\u2019s budget. A web series is shot as a film and cut and edited in episodic format. This requires more money than television series where money is provided on each episode basis and locations are mostly interior. This will put pricing pressure on streaming platforms. It is quite likely that broadcast-backed and international streaming platforms will survive. They have long experience and brand power, which will help secure funds.
In the overall scheme of things, most avenues of entertainment will co-exist because they will not only feed into each other but also independently and distinctly serve their purpose. It has been observed that even feature length film directors produce work exclusively for OTT platforms. In addition to this, they make films which are released only in theatre first and then on OTT platforms. Theatres will release films which will be experiential in nature and can only be enjoyed better in theatres than any platform. Television will also survive as it serves a break from theatre and OTT platforms. But OTT platforms face two major threats. These are piracy and censorship. If the government changes censorship rules and brings out fresh rules for streaming platforms industry, then it may affect the quality of content on streaming platforms. This is because censorship will curb creative freedom, which is the fundamental reason for the huge acceptance and success of content of streaming platforms. Also piracy, which affects cinema, affects OTT platforms.
In the context of these realities, it will be the viewers who will benefit amply. They will continue to have access to humongous content. The various avenues of entertainment\u2014television, OTT, cinema and other social media platforms\u2014have created a food thali which satisfies hunger of almost all kinds of viewers. But the appetite of viewers is also humongous. The content creators know whom they are serving. To borrow a phrase of poet Dom Moraes\u2019 writings, the content creators know that they are serving \u2018a ferocious master\u2019 in viewers. In the coming years, the success and longevity of these avenues of entertainment will be tested in this question: Are viewers watching content because they have time at hand or the content is so good that viewers are making time to watch it?
<\/div><\/div>
For a long time before private channels proliferated, viewers shared a common experience of watching serials on the government-sponsored channel Doordarshan<\/a>. These serials had substance, entertainment value and a certain touching simplicity of presentation which had elements to make them stuff of nostalgia. Even today these serials are re-watched with the same fervour and warmth as they were watched when they were shown on Doordarshan. From mid-1980s, serials such as Hum Log, Buniyaad, Nukkad, Ramayan, Mahabharat, Byomkesh Bakshi, Vikram Vetal, Trishna, Oshin and Kirdaar showed that in a limited episode format one could entertain and appeal to a wide and vast audience. These serials were based on literature, true events, original ideas and mythology. In a clear sense, these very ingredients make streaming platforms a unique offering today. The experience of watching serials in the mid-1980s on Doordarshan has been almost similar to what today\u2019s audience experience watching web series on streaming platforms. The only difference is web series on streaming platforms have better production value than the serials on Doordarshan. This aspect may give a sense of novelty to what streaming platforms have to offer.
In the mid-1990s, things changed drastically. A large number of private channels were launched as the power of television as a medium of reaching out to a wide audience was acknowledged and recognised by producers and advertisers. Television provided a viable economic model of making money for creators and investors. This resulted in what usually happens when too many players enter an industry. When a structure and the costs associated with that structure are not so high, creative freedom is also high. Such structures are congenial for creating artistic content. But when structures grow and evolve as more players enter and compete, creative freedom gets sacrificed and more importance is given to the viability of the content. In such a structure, \u2018science\u2019 prevails. The focus shifts to creating serials which can be elongated and are not tight enough from providing wholesome and meaningful entertainment in limited episode format. This is because such a structure is remunerative for producers in terms of television rating points and hence, advertisements. Consequently, serials became imitative and monotonous. This brought division in categories of audiences.
The audience which craved for wholesome, meaningful and thought-provoking entertainment was utterly ignored. Infrequently, this audience satisfied this taste from films or some serials which showed the promise of good entertainment in the early phase but subsequently conformed to the format dictated by market forces. This created division among audiences and it became clear to advertisers that the target audience for general entertainment content on television will be non-working women and men will be interested in sports and non-entertainment channels.
Over the years, a few categories of audiences, which already existed, exhibited their distinction in the way they watched content. These categories showed a clear trend how content will be consumed in theatre as content on television became extremely formulaic, imitative and sterile. Broadly speaking, six categories of audience emerged in the two decades. Firstly, there is an audience of evolved taste. They are nothing but discerning audience. They have access to information and they understand what they like and what they don\u2019t like. This category basically is a torrent audience who download films from the internet. Then, there is an audience which, largely, catches up with others around them. This audience gets disappointed far often than the evolved audience because it goes to theatre more often than the audience of evolved taste. Then, there is urban audience which just seeks pure entertainment. This audience does not have keen interest in cinema. They don\u2019t have any viable and equally interesting means or avenues of entertainment on weekends. For them, going to theatre for a film is a family outing. This ritual borders on discharging family duty of taking care and being considerate towards wife and kids.
This category is followed by lower middle class, which is the staple audience for Hindi movies. This audience has sustained the formula on which the juggernaut called Hindi cinema has been established. A film which merges known tropes without making it esoteric and presenting it in a fresh way is an event for this audience. Watching films in theatre is a strict ritual for this audience because it is like a spiritual ceremony in dark which gives them intense happiness. This is the most stable theatre goer. The fifth category is the audience which is in tier-II and tier-III cities. This audience in tier-II and tier-III cities is driving revenues at the box office because of two reasons. One, multiplexes have expanded in these locations rapidly in the past five years as space constraints and rising costs in cities make expansion outside metros more feasible and viable. Two, audiences in tier-II and tier-III believe the ritual of going to multiplexes as one of the ways they catch up with city-dwellers. And lastly, there is rural audience which is undemanding and is content with what comes its way.
Increasing predictability of content on television, rising ticket prices, economical internet packages (the launch of Jio services has played a critical role in this), exposure and understanding of well-written and superbly executed English and non-English content from the west, easy access to films through piracy and most importantly, the freedom to watch content at one\u2019s subjective pace and convenient time without the patience-testing advertisements sowed the seeds for a much-needed space for an offering for the audience with evolved taste. Streaming or Over The Top (OTT) platforms filled up this space in the past five years.
Today, in India, there are close to thirty-six streaming platforms which are owned by Indian companies. Apart from these, there are global streaming platforms such as Netflix, Amazon Prime<\/a> Video, and Disney+Hotstar.
Since the lockdown it is clearly evident that the awareness and importance of streaming or OTT platforms has increased. According to various estimates and reports, there has been jump of 8-100% in subscribers\u2019 addition of major OTT platforms. According to industry experts, the lockdown has helped OTT platforms secure new subscribers. Even the average age of the subscribers\u2019 universe has increased. Film-maker Shivdarshan Sable says, \u201cI think this is clearly evident that the lockdown has been a blessing in disguise for streaming platforms. Earlier, the average age of the subscribers\u2019 universe might be less than 30. Due to lockdown, I think the average age of the subscribers\u2019 universe has gone up. I am certain that today a fair share of the new subscribers added will be in the age group of 35-55.\u201d This means that there are an increasing number of people who are acknowledging the engaging and superior production value of the content offered up by streaming platforms.
The recent flurry of release of Hindi films on streaming platforms also add to their increasing importance as it shows that producers have acknowledged the potency of these platforms in distributing content and reaching out to a large universe of viewers. Amazon Prime Video has acquired seven Bollywood and regional films. A noteworthy aspect about this flurry of release is they also include films boasting big stars and well-known directors and producers. A case in the point is the film Gulaabo Sitabo. Well-established and critically-acclaimed director Shoojit Sircar directed the film which has successful pairing of the man with a Midas touch Ayushmann Khurrana and Amitabh Bachchan.
Is there an impact?<\/strong>
Now, in this context of the increasing importance of streaming platforms among viewers and producers for content consumption and distribution, one needs to understand whether business in television or theatre affected.
Gauging the pattern of how television and streaming platforms are providing content, it is evident that television and streaming platforms feed into each other. It has been observed that the content generated by television finds its place in the catalogue or offerings of streaming platforms also. The famous TV series Kyunki Saas Bhi Kabhi Bahu is available on streaming platform Disney+Hotstar. It is also observed that broadcast-backed streaming platforms show the content of their streaming platforms on their respective channels. For instance, the content of Zee5, a streaming platform of Zee Entertainment Enterprises, is being shown on its channels also and vice versa. This aspect of feeding into each other is likely to prolong the relevance of television and quell any kind of panic-driven knee-jerk assumption that streaming platforms will kill television.
Besides this, television will serve its purpose in different ways. The emergence of Smart Television with surround sound home theatre facility gives a new purpose of watching content of streaming platforms on television. Also sporting events which require bigger screen than mobile devices will also justify the existence of television. Most importantly, India\u2019s infrastructure will provide longer life for television to exist because broadband and telecommunications connectivity are yet to penetrate deeper in locations beyond tier-II and tier-III cities. This is evident from the fact that one of the most highly watched series during lockdown period was the re-run of the serial Ramayan on DD National. This indicates that there is no threat for TV from streaming platforms.
Even as regards theatre, streaming platforms have not been a threat to their business model. It has been more than five years global streaming platforms have entered into India. And encouraged by them, television channels launched their own streaming services. In the past five years, there has been no impact on footfalls in theatres. Footfalls in two major multiplexes such as PVR and Inox Leisure have grown in this period. Footfalls in PVR and Inox Leisure grew to 99.4 million and 62.5 million respectively in FY19 from 59.9 million and 38.6 million respectively in FY14. Also an analysis of financial performance of these multiplexes before the advent and after the advent of streaming platforms (FY14) shows that there has been reasonably good growth in revenue per screen before and after FY14.
Revenue per screen for Inox increased to Rs2.9 crore in FY19 from Rs2.6 crore in FY14. Similarly, for PVR, revenue per screen increased to Rs4 crore in FY19 from Rs3.1 crore in FY14. Also the number of films which recorded more than Rs100 crore at the box office jumped close to two times to 13 in FY19 from seven in FY14, points out a KPMG report. Even the box office collections have grown to Rs3759 crore in FY19 from Rs2493 crore in FY15. This is despite the fact that the average ticket price of multiplexes has been rising in the range of 5-8% in the past five years. This shows that streaming platforms have not created any material impact on theatre business as it is content which attracts viewers to theatres not just the \u2018avenue\u2019 of entertainment.
The moot question<\/strong>
Though till last year, streaming platforms have not hurt the theatre or movie business, due to the recent announcement of films to be released on streaming platforms in the coming months, there is an increasing concern over the future of movie and theatre business. This is because digital release does not fetch returns as high as theatrical release. According to an analysis of auditing firm KPMG, around 75% of overall revenue on a film comes from big screen cinema release while digital makes up 13% and the rest from television and satellite broadcasting. Given the small share of revenues streaming platforms generate, it is unlikely it will jeopardise the business model of movie and theatre business.
Besides this, it is the very structure of content offering of streaming platforms works in the favour of movies and theatre business. This is because the structure does not appeal to all kinds of audience. In recent years, there have been a few observations of well-known film-makers which amply explain the fact that cinema or movie business is likely to remain and will charm the audience for years to come. There are three key observations of famed and critically acclaimed film-makers why cinema or theatre as an avenue will survive and not lose its relevance. These comments centre on the very structure of streaming platforms. Director Oliver stone, in an Oxford Union dialogue, said that the content on streaming platforms is journalism and cinema has a quality of literature. He said, \u201cIt (content on streaming platforms) makes the first draft longer...a first draft of history. In other words, it is like a journalistic account. You have to go deeper and that is what makes movies interesting. Once you get to a movie usually years later you really can go in there and try to see the patterns at work.\u201d Also director Alfonso Cuaron, in the YouTube<\/a> channel BAFTA Guru said, \u201cWhat we are experiencing on platforms is not necessarily cinema. It is more connected with television. I am lost in a series not because of its cinematic value of the series. I am getting lost in a story. In many ways, it is becoming a media for lazy readers. What I am more intrigued about is cinema.\u201d An interesting remark of director Joel Coen of director duo Coens Brothers also shows how the structure of content of streaming platforms does not pose a threat to movie and theatre business. He said the content on streaming platforms has start, middle but no end and goes on and on. Cinema, on the other hand, has an end which gives it a sense of finality in presentation in limited time.
Also the structure of content offering on streaming platforms entails long hours of watching comes with its own health problems. Dr. Priyanka Shah Dattani, Counselling Psychologist at NH SRCC Hospital, Haji Ali, Mumbai said, \u201cI think these platforms are largely about the concept of indulgence. Earlier you would wait for things which would delay gratification. But this concept of \u2018binge watching\u2019 for instant gratification is a serious matter which needs pondering. One of the serious repercussions is this whole exercise numbs you out. You become emotionally numb. In psychology, it is said you can heal what you feel. But when you are emotionally numb it becomes difficult to assess exactly what is the problem. It results various kind of mental and physical ailments such as depression and Spondylitis due to continuous watching of content.\u201d She added, \u201cBesides, one does not build any social skills as interaction with the outside world is bare minimum. The whole process disconnects you from the outside world and provides you an alternative reality within the confines of a virtual world. This is suspension from reality and it disconnects a person from her inner world. One hardly acquires any skills.\u201d She pointed, \u201cAs regards adults, stress levels have gone up. The idea of recreation has changed to watching content on these platforms rather than talking to child or spouse. Children are lot more affected than adults. Since they have more time and chemically wired to emulate adults, their sleep pattern is massively affected. A lot of children are sleeping as late as 2 am. Across the board one can see how the content has created distraction affecting relationship, work and productivity. \u201d
In a sense, streaming platforms are like television channels only. They show programmes on digital platform. The only difference is OTT platforms provide content to the viewer in the following manner: When they want, where they want and how they want. This means there is convenience and freedom to viewers to watch content anytime and at any point in the narrative of a series. Though these platforms have created a perception that they cater to a certain category of viewers, in truth, they are merely creating \u201clibrary\u201d of content. It is clear that they want to cater to all and sundry. This is evident from how content is delivered on these platforms. These platforms provide subtitles. One can listen to the narrative of a series in more than language (includes regional languages) apart from English. According to Ernst & Young, Indian consumers prefer to watch videos in vernacular and regional languages. In India, close to 93% of the time spent on videos is in Hindi and other regional languages. As a result, streaming platforms have content which go beyond Hindi and English and reach out to these consumers.
Another aspect of business model of streaming platforms is what looks like the strength of these platforms can also be its limitation. These platforms sustain on creativity, which unlike plain advertisement model, does not make up for fickle pattern of subscription. According to several research studies, viewers have shown clear preference for original and fresh content. This shows that subscribers are more interested in fresh and original content, which is a tall order to a certain extent. Given these realities, viewers will not be glued to their OTT screens and will step out of their comfort zones and watch films in theatres.
In the coming years, one is likely to see three trends in the context of increasing acceptance of streaming platforms. One, mid-budget and low-budget films may straight away release on streaming platforms. This trend is already evolving. But it will become more prominent. This is because of two reasons. One, high cost involved in promoting or publicity of a mid-budget or low-budget film. A mid-budget film costs Rs25-40 crore and a low-budget film is made in less than Rs25 crore. But publicity is a huge expense. A case in the point is director Apoorva Lakhia\u2019s film Haseena Parkar released in 2017. The director in an interview mentioned that the film was made for Rs 11 crore and the publicity budget of the film was Rs 8 crore. Two, low-and-mid-budget films have to compete with big-budget films, which occupy disproportionately higher screens in theatres.
The second trend is the change in economic model of film-making. Film-makers point out that in the near future certain Hindi films will be made under a budget that even if they get released straight on streaming platforms the producers will not lose much money. Lastly, streaming platforms industry will consolidate. Presently, there are thirty six OTT or streaming platforms. This means there is intense competition among streaming platforms to attract viewers in times when viewers are spoilt for choice regarding content. Streaming platforms do not follow the traditional advertisement-based revenue model which means that they have to rely on huge cash which may result in high debt for companies. Also subscribers are largely fickle and they switch their accounts to different platforms as and when they find a series exciting.
Only those platforms which have backing of strong balance sheet and moneyed or strategic investors will survive and acquire weaker players who may die a natural death due to lack of funds. According to industry veterans, the budget of a web series is almost similar to a film\u2019s budget. A web series is shot as a film and cut and edited in episodic format. This requires more money than television series where money is provided on each episode basis and locations are mostly interior. This will put pricing pressure on streaming platforms. It is quite likely that broadcast-backed and international streaming platforms will survive. They have long experience and brand power, which will help secure funds.
In the overall scheme of things, most avenues of entertainment will co-exist because they will not only feed into each other but also independently and distinctly serve their purpose. It has been observed that even feature length film directors produce work exclusively for OTT platforms. In addition to this, they make films which are released only in theatre first and then on OTT platforms. Theatres will release films which will be experiential in nature and can only be enjoyed better in theatres than any platform. Television will also survive as it serves a break from theatre and OTT platforms. But OTT platforms face two major threats. These are piracy and censorship. If the government changes censorship rules and brings out fresh rules for streaming platforms industry, then it may affect the quality of content on streaming platforms. This is because censorship will curb creative freedom, which is the fundamental reason for the huge acceptance and success of content of streaming platforms. Also piracy, which affects cinema, affects OTT platforms.
In the context of these realities, it will be the viewers who will benefit amply. They will continue to have access to humongous content. The various avenues of entertainment\u2014television, OTT, cinema and other social media platforms\u2014have created a food thali which satisfies hunger of almost all kinds of viewers. But the appetite of viewers is also humongous. The content creators know whom they are serving. To borrow a phrase of poet Dom Moraes\u2019 writings, the content creators know that they are serving \u2018a ferocious master\u2019 in viewers. In the coming years, the success and longevity of these avenues of entertainment will be tested in this question: Are viewers watching content because they have time at hand or the content is so good that viewers are making time to watch it?
<\/div><\/div>
Follow and connect with us on Twitter<\/a>, Facebook<\/a>, Linkedin<\/a>, Youtube<\/a><\/div>","NumberOfSentences":{"minfo":"226.0","minfoseo":"226-0"},"AutomatedReadabilityIndex":{"minfo":"14.0","minfoseo":"14-0"},"LastPublishMilliTime":{"minfo":"1590031413084","minfoseo":"1590031413084"},"ReadabilityGradeLevel":{"minfo":"College","minfoseo":"college"},"GadgetsMarkedReviewed":{"minfo":"0","minfoseo":"0"},"HashCode":{"minfo":"-407329064","minfoseo":"-407329064"},"latestnewsflag":{"minfo":"1.0","minfoseo":"1-0"},"canonicalURL":{"minfo":"https:\/\/economictimes.indiatimes.com\/industry\/media\/entertainment\/understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown\/articleshow\/75840538.cms","minfoseo":"https\/economictimes-indiatimes-com\/industry\/media\/entertainment\/understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown\/articleshow\/75840538-cms"},"NumberOfCharacters":{"minfo":"25005.0","minfoseo":"25005-0"},"NumberOfWords":{"minfo":"4036.0","minfoseo":"4036-0"},"key":{"0":{"keyid":"1797224","value":"streaming service","smid":"0","keynameseo":"streaming-service","keytype":"","keycount":"totalcount","weightage":"100"},"1":{"keyid":"10879","value":"YouTube","smid":"0","keynameseo":"YouTube","keytype":"","keycount":"totalcount","weightage":"20"},"2":{"keyid":"6796355","value":"online streaming","smid":"0","keynameseo":"online-streaming","keytype":"","keycount":"totalcount","weightage":"20"},"4":{"keyid":"91743","value":"lockdown","smid":"0","keynameseo":"lockdown","keytype":"","keycount":"totalcount","weightage":"20"},"5":{"keyid":"2739840","value":"Hotstar","smid":"0","keynameseo":"Hotstar","keytype":"","keycount":"totalcount","weightage":"20"},"6":{"keyid":"34938","value":"entertainment industry","smid":"0","keynameseo":"entertainment-industry","keytype":"","keycount":"totalcount","weightage":"20"},"7":{"keyid":"6408304","value":"doordarshan","smid":"0","keynameseo":"doordarshan","keytype":"","keycount":"totalcount","weightage":"20"},"8":{"keyid":"2740693","value":"amazon video","smid":"0","keynameseo":"amazon-video","keytype":"","keycount":"totalcount","weightage":"20"},"9":{"keyid":"758541","value":"Amazon Prime","smid":"0","keynameseo":"Amazon-Prime","keytype":"","keycount":"totalcount","weightage":"20"}},"authorsplit":{"author":[{"artau":"Rajesh Naidu","aunameseo":"rajesh-naidu","artauid":"479201237","artauemail":[],"auFullName":"Rajesh Naidu","pubname":"ET","designame":"Editor","audetailsxml":{"details":[]},"aulinksxml":{"links":{"link":[]}},"auagencyid":"88675387","auagencyname":"ET Bureau","autype":"GENERAL"},{"artau":"Gaurav Laghate","aunameseo":"gaurav-laghate","artauid":"479252640","artauemail":"gaurav.laghate1@timesgroup.com","auselfimageid":"479252640","auimageid":"00479252640","auimagelen":"26803","auFullName":"Gaurav Laghate","pubname":"ET","designame":"Assistant Editor","audetailsxml":{"authordetails":"I have been tracking the dynamic and ever changing landscape of Indian media, entertainment and sports business for over a decade. \\n\\nI try to see the bigger picture, connect the dots and weave them in a story. \\n\\nWhen not writing about business, I engross myself into the world of literature and music.\\n\\nYou can reach me via mail on gaurav.laghate@timesgroup.com and on Twitter @gauravl_ET","details":{"detail":[{"@attributes":{"type":"occupation"}},{"@attributes":{"type":"beat"}}]}},"aulinksxml":{"links":{"link":{"twitter":[],"facebook":[],"googlePlusUrl":[],"contributorUrl":[]}}},"autype":"GENERAL"}]},"similarlytagged":[{"msid":"93742323","stname":"Former Google executive Sajith Sivanandan appointed as EVP and Head of Disney+ Hotstar","artsyn":"Sivanandan will assume his new role in Disney+ Hotstar from October and will dual report to Rebecca Campbell, chairman of Disney\u2019s International content and operations group, as well as K Madhavan, president, Disney Star.","seolocation":"telecomnews\/former-google-executive-sajith-sivanandan-appointed-as-evp-and-head-of-disney-hotstar","seolocationalt":"Former Google executive Sajith Sivanandan appointed as EVP and Head of Disney+ Hotstar","url_seo":"former-google-executive-sajith-sivanandan-appointed-as-evp-and-head-of-disney-hotstar"},{"msid":"93598646","stname":"Russia fines streaming site Twitch over 31-second 'fake' video: Agencies","artsyn":"Russia has repeatedly threatened to fine sites - including Google, Twitter and Wikipedia - it accuses of hosting \"fake\" content related to its military campaign in Ukraine.","seolocation":"telecomnews\/russia-fines-streaming-site-twitch-over-31-second-fake-video-agencies","seolocationalt":"Russia fines streaming site Twitch over 31-second 'fake' video: Agencies","url_seo":"russia-fines-streaming-site-twitch-over-31-second-fake-video-agencies"},{"msid":"93489704","stname":"Disney+ subscribers surge as Netflix stumbles","artsyn":"The number of people subscribing to Disney+ topped 152 million, up some 31 percent from the same period a year earlier, the entertainment giant said in an earnings report.","seolocation":"telecomnews\/disney-subscribers-surge-as-netflix-stumbles","seolocationalt":"Disney+ subscribers surge as Netflix stumbles","url_seo":"disney-subscribers-surge-as-netflix-stumbles"},{"msid":"93218218","stname":"Spotify pays $119 mn for audiobook distributor Findaway's acquisition","artsyn":"\"We believe that audiobooks, in their many different forms, will be a massive opportunity,\" Spotify CEO Daniel Ek was quoted as saying to investors at a presentation last month.","seolocation":"telecomnews\/spotify-pays-119-mn-for-audiobook-distributor-findaways-acquisition","seolocationalt":"Spotify pays $119 mn for audiobook distributor Findaway's acquisition","url_seo":"spotify-pays-119-mn-for-audiobook-distributor-findaways-acquisition"},{"msid":"93190547","stname":"Comcast slides on flat Q2 subscriber growth in streaming, broadband","artsyn":"The company reported a total of 13 million paid subscribers for its Peacock streaming service, same as the preceding quarter. It had warned in April that subscriber gains would be \"more modest\" until the back half of this year, when more movies and live sports will become available on the service.","seolocation":"telecomnews\/comcast-slides-on-flat-q2-subscriber-growth-in-streaming-broadband","seolocationalt":"Comcast slides on flat Q2 subscriber growth in streaming, broadband","url_seo":"comcast-slides-on-flat-q2-subscriber-growth-in-streaming-broadband"},{"msid":"92517706","stname":"Disney cancels exclusive Disney+ streaming deal with Israel's YES","artsyn":"Disney Israel launched its Disney+ streaming service in Israel earlier this month and it had forged an exclusive deal with YES to offer the service rather than make deals as well with cable company HOT and internet-based TV operators.","seolocation":"telecomnews\/disney-cancels-exclusive-disney-streaming-deal-with-israels-yes","seolocationalt":"Disney cancels exclusive Disney+ streaming deal with Israel's YES","url_seo":"disney-cancels-exclusive-disney-streaming-deal-with-israels-yes"},{"msid":"91305216","stname":"Paramount+ announces 2023 India launch in partnership with Viacom18","artsyn":"The streamer will also be launched in South Korea in June and head to Italy, Germany, France, Switzerland and Austria in the second half of the year, a press release from Paramount stated.","seolocation":"telecomnews\/paramount-announces-2023-india-launch-in-partnership-with-viacom18","seolocationalt":"Paramount+ announces 2023 India launch in partnership with Viacom18","url_seo":"paramount-announces-2023-india-launch-in-partnership-with-viacom18"},{"msid":"91302613","stname":"Netflix's plan to introduce commercials spurs questions from ad agencies","artsyn":"\u201cI thought, there\u2019s no way it\u2019s going to happen,\u201d said Brian Wieser, global president of business intelligence at GroupM, a WPP Plc company. \u201cIt\u2019s such a 180 from what they stood for.\u201d","seolocation":"telecomnews\/netflixs-plan-to-introduce-commercials-spurs-questions-from-ad-agencies","seolocationalt":"Netflix's plan to introduce commercials spurs questions from ad agencies","url_seo":"netflixs-plan-to-introduce-commercials-spurs-questions-from-ad-agencies"},{"msid":"89681309","stname":"Spotify shares fall after Joe Rogan's podcast briefly not accessible","artsyn":"The company has been under fire after Rogan, who signed a $100-million deal with Spotify in 2020, aired controversial Covid-19 views on his show and drew protests from artists Neil Young, Joni Mitchell and India Arie.","seolocation":"telecomnews\/spotify-shares-fall-after-joe-rogans-podcast-briefly-not-accessible","seolocationalt":"Spotify shares fall after Joe Rogan's podcast briefly not accessible","url_seo":"spotify-shares-fall-after-joe-rogans-podcast-briefly-not-accessible"},{"msid":"88723568","stname":"HBO Max shows growth despite industry slowdown","artsyn":"HBO ended the year with 73.8 million subscribers to its streaming service and namesake cable network, up from 69.4 million in September. These gains, together with the addition of nearly 900,0000 paying monthly phone subscribers, sent shares up 3% to $26.46 in midday trading.","seolocation":"telecomnews\/hbo-max-shows-growth-despite-industry-slowdown","seolocationalt":"HBO Max shows growth despite industry slowdown","url_seo":"hbo-max-shows-growth-despite-industry-slowdown"},{"msid":"87709172","stname":"Apple TV+ hopes to build on rivals' success with first Korean series","artsyn":"Based on a Korean web comic of the same name, \"Dr. Brain\" is a six-episode sci-fi thriller about a cold-hearted neurologist Koh Sewon who tries to find clues to a mysterious family accident through brain experiments.","seolocation":"telecomnews\/apple-tv-hopes-to-build-on-rivals-success-with-first-korean-series","seolocationalt":"Apple TV+ hopes to build on rivals' success with first Korean series","url_seo":"apple-tv-hopes-to-build-on-rivals-success-with-first-korean-series"},{"msid":"87324390","stname":"Disney+Hotstar FY21 net loss widens to Rs 600.8 crore; income up 5%","artsyn":"Disney+Hotstar, which follows a hybrid model in India \u2013 with both advertising as well as subscription video-on-demand (VOD) service \u2013 saw subscription revenues overtaking advertising in the fiscal, as the latter saw a 14.8% drop. Subscription revenues, however, went up by 34.3%.","seolocation":"telecomnews\/disneyhotstar-fy21-net-loss-widens-to-rs-600-8-crore-income-up-5","seolocationalt":"Disney+Hotstar FY21 net loss widens to Rs 600.8 crore; income up 5%","url_seo":"disneyhotstar-fy21-net-loss-widens-to-rs-600-8-crore-income-up-5"},{"msid":"82790815","stname":"WarnerMedia to offer $10 ad-supported tier of HBO Max","artsyn":"That's $5 off the current price for the ad-free version, which launched in May 2020. And cheaper than Netflix, which charges $14 a month for its most popular plan.","seolocation":"telecomnews\/warnermedia-to-offer-10-ad-supported-tier-of-hbo-max","seolocationalt":"WarnerMedia to offer $10 ad-supported tier of HBO Max","url_seo":"warnermedia-to-offer-10-ad-supported-tier-of-hbo-max"},{"msid":"82623523","stname":"YouTube TV reaches 10 mn Play Store downloads","artsyn":"YouTube TV, a US-only streaming service that includes a number of the biggest channels and premium streaming services in one convenient package, has now hit 10 million Google Play Store downloads.","seolocation":"telecomnews\/youtube-tv-reaches-10-mn-play-store-downloads","seolocationalt":"YouTube TV reaches 10 mn Play Store downloads","url_seo":"youtube-tv-reaches-10-mn-play-store-downloads"},{"msid":"78949627","stname":"Netflix raises monthly charges for U.S. customers, shares jump","artsyn":"Netflix increased the cost of its standard subscription by $1 a month to $14, and the price for the premium tier rose by $2 per month to $18.","seolocation":"telecomnews\/netflix-raises-monthly-charges-for-u-s-customers-shares-jump","seolocationalt":"Netflix raises monthly charges for U.S. customers, shares jump","url_seo":"netflix-raises-monthly-charges-for-u-s-customers-shares-jump"},{"msid":"78565697","stname":"Apple to extend some free subscription to video-streaming service through Feb","artsyn":"Apple Inc said on Thursday that it would extend free Apple TV+ subscriptions, which were set to end within the next three months, through February.","seolocation":"telecomnews\/apple-to-extend-some-free-subscription-to-video-streaming-service-through-feb","seolocationalt":"Apple to extend some free subscription to video-streaming service through Feb","url_seo":"apple-to-extend-some-free-subscription-to-video-streaming-service-through-feb"},{"msid":"75859110","stname":"Understanding India\u2019s streaming platforms industry in the context of lockdown","artsyn":"Sector experts believe that because of potential threat of contracting with the Coronavirus, people may avoid group engagement activities such as watching films in theatre for a long time. Considering this fact, producers are releasing films slated to be released in theatres on streaming platforms.","seolocation":"telecomnews\/understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown","seolocationalt":"Understanding India\u2019s streaming platforms industry in the context of lockdown","url_seo":"understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown"},{"msid":"75502263","stname":"Video streaming service HOOQ shuts down","artsyn":"The online video streaming service HOOQ has shut down, the company announced. HOOQ, a joint venture among Singapore telecom group Singtel (majority owner), Sony Pictures, and Warner Bros Entertainment, also terminated its partnerships with Disney's Hotstar and Indonesia's VideoMax, Techcrunch reported.","seolocation":"telecomnews\/video-streaming-service-hooq-shuts-down","seolocationalt":"Video streaming service HOOQ shuts down","url_seo":"video-streaming-service-hooq-shuts-down"},{"msid":"75494764","stname":"HBO Max will be available on Android, Chromecast too","artsyn":"WarnerMedia has confirmed that HBO Max will also be available on Android phones, Chromecast as well as Android TV, after it struck a deal with Google.","seolocation":"telecomnews\/hbo-max-will-be-available-on-android-chromecast-too","seolocationalt":"HBO Max will be available on Android, Chromecast too","url_seo":"hbo-max-will-be-available-on-android-chromecast-too"},{"msid":"75414662","stname":"HBO Max streaming service will be available on Apple devices at May 27 launch","artsyn":"HBO Max, the forthcoming streaming service from AT&T Inc.-owned WarnerMedia, will be available on Apple Inc. devices when it launches on May 27, the company said on Monday.","seolocation":"telecomnews\/hbo-max-streaming-service-will-be-available-on-apple-devices-at-may-27-launch","seolocationalt":"HBO Max streaming service will be available on Apple devices at May 27 launch","url_seo":"hbo-max-streaming-service-will-be-available-on-apple-devices-at-may-27-launch"}],"primeid":0,"storytags":{"categoryTag":{"sectionid":"49830939","sectionname":"TelecomNews","seolocation":"telecomnews","seolocationalt":"telecomnews"},"otherTags":[{"keyid":"1797224","value":"streaming service","smid":"0","keynameseo":"streaming-service","keytype":"","keycount":"totalcount","weightage":"100"},{"keyid":"10879","value":"YouTube","smid":"0","keynameseo":"YouTube","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"6796355","value":"online streaming","smid":"0","keynameseo":"online-streaming","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"3140800","value":"MVAS\/Apps","smid":"0","keynameseo":"(MVAS\/Apps)","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"91743","value":"lockdown","smid":"0","keynameseo":"lockdown","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"2739840","value":"Hotstar","smid":"0","keynameseo":"Hotstar","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"34938","value":"entertainment industry","smid":"0","keynameseo":"entertainment-industry","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"6408304","value":"doordarshan","smid":"0","keynameseo":"doordarshan","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"2740693","value":"amazon video","smid":"0","keynameseo":"amazon-video","keytype":"","keycount":"totalcount","weightage":"20"},{"keyid":"758541","value":"Amazon Prime","smid":"0","keynameseo":"Amazon-Prime","keytype":"","keycount":"totalcount","weightage":"20"}],"filterTags":[]},"formattedTags":{"companyTags":[],"otherTags":[{"name":"entertainment industry"},{"name":"streaming service"},{"name":"online streaming"},{"name":"amazon video"},{"name":"Amazon Prime"},{"name":"doordarshan"},{"name":"MVAS\/Apps"},{"name":"lockdown"},{"name":"YouTube"},{"name":"Hotstar"}],"newsCategoryTags":[{"name":"TelecomNews","seolocation":"telecomnews"}],"breadcrumbTags":["streaming service","YouTube","online streaming","MVAS\/Apps","lockdown","Hotstar","entertainment industry","doordarshan","amazon video","Amazon Prime"],"filterTags":[]},"breadcrumbTags":["streaming service","YouTube","online streaming","MVAS\/Apps","lockdown","Hotstar","entertainment industry","doordarshan","amazon video","Amazon Prime"],"Alttitle":{"minfo":""},"Altdescription":{"minfo":""},"amp_url":"\/\/www.iser-br.com\/amp\/news\/understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown\/75859110"}" data-news-images="null" data-newsletter-by="0" data-newsletter-date="a" data-hasbottomcarousel="" data-alldetailsopen="0" data-multipleanalyticshit="" data-deeplink="https://ettelecom.app.link?$deeplink_path=" data-socialshareformat="default">
