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Choi, J. (2023). Historiography of Interpretations of Television Format Copyright: A Political Economic Perspective. SAGE Open, 13(1), 1–13. https://doi.org/10.

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Historiography of Interpretations of Television Format Copyright: A Political Economic Perspective

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Historiography of Interpretations of Television Format Copyright: A Political Economic Perspective

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Pitsker, K. (2019). Drowning in Streaming Fees. Kiplinger Personal Finance, 73(10), 62–66. https://search.ebscohost.com/login.aspx?direct=true&db=asn&AN=138166368&

site=ehost-live

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1. masked singer and the nightmare that it is

2. right to own a song and copyright nightmares of telivised company to make creative content

3. shows like this generate billions of dollars but cause hundred of court cases on copyrights

4. mid article(might not use)

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1. this is for real one of the greatest websites for the tmp and statistics because it tells you all the prices and what they are streamed on to everything.

2. gives strategies to save and looks more like a ad than a scholarly article

3. not much on money other than base cost

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Stutz, C., Newman, M., & Mitchell, G. (2019). See Spotify Run. How Far
Can It Go? Billboard, 131(6), 14. https://search.ebscohost.com/login.aspx?direct=true&db=asn&AN=135316803&

site=ehost-live

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TOPLINE

Recorded-music executives have good reason to feel bullish about their industry's comeback. Revenue in the United States is up by double digits for a third straight year, to $9.8 billion in 2018, according to the RIAA's year-end report, driven by a 30.1 percent rise in streaming revenue that more than made up for significant declines in CD and download sales. Annual sales are the highest they have been since 2007 -- impressive, considering that just four years ago they had fallen to $6.7 billion, the lowest point since 1989.

But hold the champagne: Accounting for inflation, revenue is still less than half of the industry's 1999 peak of $14.6 billion. In inflation-adjusted terms, the business is closer to its size in 1983, the first full year of the CD, when cassettes and vinyl each accounted for roughly half of $3.8 billion in revenue.

The several-billion-dollar question is how much subscription streaming -- and the overall industry--can grow. Much of the revenue increase of the last few years comes from subscriptions to full-catalog, on-demand streaming services like Spotify and Apple Music, which collectively count over 50 million subscribers in the United States. "There's a lot of room for optimism," says RIAA chairman/CEO Mitch Glazier.

But there are only so many more potential subscribers to go around. "Music is never going to get to the point where it was before," says analyst and MIDiA managing director Mark Mulligan, citing a far more competitive Market for entertainment than what existed 20 years ago. But, he notes, "the No. 1 trend is, this isn't recorded-music growth, it's streaming growth."

That shows no signs of slowing. "We believe the strong growth will continue for a number of years," says Kobalt founder/CEO Willard Ahdritz. He points out that the U.S. recovery is just part of the story: The company anticipates the global recorded-music market to reach $30 billion by 2025, passing the industry's 1999 peak of $25.2 billion ($38 billion today).

The United States isn't at "peak streaming" -- but it could be getting closer. For comparison, Netflix ended 2018 with roughly 60 million U.S. subscribers and has stated it aims to eventually reach 90 million -- albeit in a different, more crowded field. In January, Amazon announced that its Prime subscription service passed 100 million accounts, roughly matching cable TV's 2009 peak. SiriusXM has 34 million subscribers.

Mulligan predicts that the pace of streaming growth will gradually start to decrease for the first time by the second half of 2019. But attorney Bobby Rosenbloum, vice chairman of Greenberg Traurig's global entertainment and media practice, disagrees. He says streaming will keep growing, because as new fans sign up, current users won't cancel their accounts the way they stopped buying physical music once they owned their favorite albums. "Even if your music tastes stay the same, you don't own anything," says Rosenbloum. "As new consumers come online, you're going to have new people every day becoming new purchasers when they can afford to be, and you're not going to have people cycling out the way they used to."

Another important question is what services labels will develop to supplement a business dominated by streaming. Amazon debuted Alexa at the end of 2014, and an estimated 65 million people in the United States own a smart speaker, according to Edison Research. An Adobe Analytics poll showed 74 percent use it for music. The next frontier of streaming is cars.

There's also potential in licensing music as part of web experiences, a business that could take off as consumers spend more time online. In fitness, apps such as Peloton's video-workout classes have signed deals to freely curate their own playlists, paying royalties on streams rather than flat synch fees. "There are so many new opportunities to tap into subscription models where music is a key part of it," says Rosenbloum. "Now that we're realizing if you create a compelling subscription business people will pay for it, we're at the beginning, not the end."

In China, the music market has embraced shared social online experiences, a business dominated by Tencent. Subscriptions to the tech giant's WeSing, KuGou, KuWo and QQ Music apps offer a variety of ways to reward fans and artists, such as sending virtual gifts or tipping. "Fundamentally, it has framed these as social experiences that have music as a soundtrack rather than the other way, which is the way most Western music services are," says Mulligan, citing TikTok and Facebook's music offerings as exceptions.

There is another risk factor, too. Mulligan says music streaming as a format is now nearly 15 years old, but its cycle of replacing CDs has been historically slow. "We have a market dominated by an aging format," he says, "with no successor in sight."

This isn't lost on labels, which are staffing up with that challenge in mind. On March 6, for example, Warner Music Group named Scott Cohen to the newly created role of chief innovation officer, tasked with finding growth opportunities in music, tech and culture. "It's no longer enough for entertainment companies to merely embrace change," said Cohen in a statement about his new role. "They need to create the future themselves."

U.S. RECORDED-MUSIC REVENUE BY FORMAT (2008-2018)

~~~~~~~~

By COLIN STUTZ

Additional reporting by Melinda Newman and Gail Mitchell

Copyright of Billboard is the property of PME Holdings LLC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use.

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Lim, W. (2019). SKATING TOWARD AMERICANIZATION: The Evolution of

Katarina Witt throughout the 1980s. German Politics & Society, 37(2),

44–75. https://doi.org/10.3167/gps.2019.370203

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1. gives evidence all the way from 1980(lots of growth)

2. mainly about a skater in russia and how many shows have evoled and have needed to change with the times in order to keep up with the mass production of "un creative" american/western content

3. also just ok and will only use once but a good example of one spesific thing that westerb cable tv has done

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Ownership and control of Televised cable distribution in India

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Ownership and control of Televised cable distribution in India

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Parthasarathi, V., & Srinivas, A. (2022). Labyrinths behind the screen:

Ownership and control in TV cable distribution. South Asian Popular

Culture, 20(1), 133–147. https://doi.org/10.1080/14746689.2022.2047453

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1. in india more people are watching through cable telivision which has shows in some cases to cause an increase in eletrical bills

2. show how manopilized the clable tv platform is in india

3. like western societey wants more money rather than creativity

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Nugent, N. J. (2023). The Five Internet Rights. Washington Law Review,

98(2), 527–623.

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1. shows a rise in usage

2. gives reliable statistics that I could use

3. goes in depth about how the money has changed sense 1989 which gives me a lot of room to understand.

4. also could help with streaming services because it compares spotify to netflix and amazon prime video

5. however it doesnt seem to have a ton of information befind its claims

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Availability a case-based streaming services

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Availability a case-based streaming services

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Colbjørnsen, T., Tallerås, K., & Øfsti, M. (2021). Contingent availability: a case-based approach to understanding availability in streaming services and cultural policy implications. International Journal of Cultural Policy, 27(7), 936–951. https://doi.org/10.1080/10286632.2020.1860030

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The Commercialisation of theContemporary Music Industry - A Study based on the Markets’ Prospectsand Problems

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The Commercialisation of theContemporary Music Industry - A Study based on the Markets’ Prospectsand Problems

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george, A. S., & Sharma, R. (2022). The Commercialisation of the

Contemporary Music Industry - A Study based on the Markets’ Prospects

and Problems. Journal of Algebraic Statistics, 13(3), 4630–4673.

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The Commercialisation of the Contemporary Music Industry - A Study based on...: EBSCOhost

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1. talks about the distribution of produces and giving right away to big corporations to make money

2. (Music) Change to on copy physical to downloadable files and online

3. mass distribution of high content forms allowed for less commercialization and more money for the big corporation cause companies to post ads in other fashions

4. really good cite

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Standing up to Hollywood: the Netflix global strategy for popularizing non English-language series worldwide

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Standing up to Hollywood: the Netflix global strategy for popularizing non English-language series worldwide

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Neira, E., Clares-Gavilán, J., & Sánchez-Navarro, J. (2023). Standing

up to Hollywood: the Netflix glocal strategy for popularising

nonEnglish-language series worldwide. El Profesional de La Información,

32(4), 1–16. https://doi.org/10.3145/epi.2023.jul.09

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Standing up to Hollywood: the Netflix glocal strategy for popularising nonE...: EBSCOhost

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1. " It begins with an outline of the music

industry, contemporary music industry, its characteristics and making tradition contemporary.

It then provides a comprehensive overview of the colonial rule and commercialization with a

focus on the role of radio, media and technology in commercialization"

2. is a study based in India so it isn't usable in the TMP

3. talks about how business shell out millions to overexpose songs there for metaphorically killing them

4. artist are now more conserned over how much money they will make rather than producing high quality music

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Music Streaming, Festivals, and the Eventization ofMusic. Popular Music & Society

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Music Streaming, Festivals, and the Eventization ofMusic. Popular Music & Society

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Maasø, A. (2018). Music Streaming, Festivals, and the Eventization of

Music. Popular Music & Society, 41(2), 154–175.

https://doi.org/10.1080/03007766.2016.1231001

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# data[].attributes.headline
The Economics of Video Streaming Services

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The Economics of Video Streaming Services

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Josephson, A. (2023, September 1st). The Economics of Video Streaming Services. Retrieved january 23rd, 2024, from https://smartasset.com/personal-finance/the-economics-of-video-streaming-services

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Over 40% of U.S. households have access to a video streaming service, according to a 2015 Nielsen report. What's more, 13% of households have more than one streaming service membership. If you use Netflix, Hulu Plus or one of the other popular streaming services, you're not alone. Let's take a closer look at the rise of video streaming service and what their popularity means for the future.

Streaming Services on the Rise

Currently, around 2 in 5 households use a video streaming service. Video streaming services are on the rise. According to PricewaterhouseCoopers, "streaming is one of the fastest-growing consumer sub-segments and is projected to reach $10.1 billion in 2018, up from $3.3 billion in 2013, at a 24.8 percent CAGR [Compound Annual Growth Rate] in the U.S."

By 2017, the combined revenue of TV video on demand and subscription streaming services is expected to be greater than the revenue of the country's movie theater box offices.

Streaming services buy the licensing rights to content and/or produce their own content. They then provide that content to consumers, generally through a monthly subscription model. In other words, the economics of streaming services are not ad-supported.

The exception to this is Hulu Plus' lowest-price offering, which comes with a limited number of ads. In general, though, subscription is marketed as an alternative to both viewing ads and pirating content.

When you think "streaming service" you probably think Netflix. According to Nielsen, 36% of all U.S. households that have TVs use a Netflix account, compared to 13% that have streaming access through Amazon Prime and 6.5% with Hulu Plus.

Though it started in the U.S., Netflix is now a global powerhouse. By the end of 2016, the company expects to be available in 200 countries. In 2015, the streaming service expanded to Japan, Spain, Italy, Cuba, Australia and New Zealand, among others. The company's stock rose by 138%.

Netflix isn't the only game in town, however. Google recently got in on the subscription streaming action, with YouTube Red. For $9.99 per month, subscribers can view YouTube videos without ads. They'll also get access to original YouTube TV series, YouTube Music and YouTube Gaming.

Original content is key to the current streaming service landscape. Consider the example of Netflix. With shows like "Orange is the New Black" and "House of Cards" Netflix was able to make itself essential to more consumers, elevate its brand and become more than just a clearinghouse for other people's video content.

If you're a millennial, you may have an image of the streaming service user as a someone who owns a laptop (and maybe a projector) but no TV. This may be true for some Americans, but as a whole, "Streaming Video on Demand" (SVOD) households are overwhelmingly TV owners.

According to Nielsen, "Homes with subscription streaming services have both a penchant for TV-connected technology and, perhaps more importantly, display the greatest usage of these devices - nearly 50 minutes more than a typical TV home." In other words, streaming service subscribers watch more TV.

They tend to be more tech-heavy households, too. 95% of SVOD households boast an HD display for viewing, compared to 88% of TV-only households. 58% of SVOD households have a DVR, compared to 49% of TV-only households. 49% of streaming service households have multiple personal computers, compared to 34% of TV-only households.

The difference in tech saturation between streaming service households and TV-only households could point to a correlation between streaming service memberships and overall household wealth.

Streaming Services and the Personal Budget

According to Parks Associates research, "over one-third of video consumed per week is OTT, but it is only 9% of the household video budget." ("OTT" refers to over-the-top content, content delivered over the internet.) Streaming services are relatively affordable, particularly if you stick with just one (or if you use a shared password - we'll get to that later).

As of now, the price range for video streaming services is pretty narrow. The lowest-price option with Netflix is $7.99 per month, but most opt for the $9.99 option because it doesn't limit users to a single device. Hulu's lowest-price option is also $7.99, but includes limited commercials. A commercial-free option will cost you $11.99 per month. HBO Now, HBO's stand-alone streaming service, starts at $14.99 per month.

What about Amazon Prime's video service? Amazon's economic model works a little differently. $99 per year gets you an Amazon Prime membership, which comes with the free shipping that Amazon Prime is known for. Included in that package is unlimited access to Amazon's video streaming of movies and television, such as the critically acclaimed series "Transparent."

Want access to more live TV? You might be interested in Sling TV. A $20 monthly Sling TV membership gets you live access to channels including AMC, the Food Network, TNT, ESPN and more. If you're a loyal CBS viewer you can get access to current (and some past) CBS shows for $5.99 per month. Showtime offers something comparable for $10.99 per month. Acorn TV offers a lineup of new and old British television favorites for $4.99 per month.

Once you decide which streaming service is the best match in terms of content you'll need to find a good price match. If you frequently buy in bulk on Amazon and you'd get your money's worth of free shipping out of a $99 Amazon Prime membership, you could always start with that and see if there's enough video streaming to meet your needs.

Whether you choose one streaming service or combine two or three (or more!), you'll almost certainly spend less per hour of video content than you would if you had cable or went to the movie theater for every film you watched. According to The Hollywood Reporter, the average price of a movie ticket in the U.S. is at an all-time high of $8.61.

You could buy one average-priced movie ticket per month, or pay $7.99 for Netflix's cheapest option. Of course, the experience of going to the cinema is very different from the Netflix-on-the-couch experience, but the price argument makes itself, particularly if you're trying to save money.

Even millennials, notorious for wanting free content, are jumping on the streaming service bandwagon. Consulting juggernaut Deloitte predicts that the average millennial spending on SVOD grew by $40 in 2015. In the U.S. 43% of 18-34 year-olds are streaming service subscribers.

The Limits of the Streaming Model: Bandwidth

Netflix accounts for nearly 37% of U.S. internet bandwidth usage at peak hours. The combination of Netflix and YouTube eats up around half of internet bandwidth. The bandwidth-gobbling nature of streaming services is a limitation for the economic model of streaming services.

This is true at both the individual and the national level. At the individual/household level, consumers may not buy streaming service subscriptions because their home internet isn't fast enough, or because their mobile data plans are too restrictive to make video streaming affordable on mobile devices. Countries with slower average internet speeds may not be suitable markets for SVOD.

No wonder Netflix recently announced that it was working on ways to help subscribers use up to 20% less bandwidth without sacrificing video quality. Bandwidth is a major limitation for all video streaming, particularly mobile streaming because many consumers have limited data plans.

According to a recent Economist article, "Video gobbles up so much data that by 2018 it is likely to account for 80-90% of global consumer internet traffic." Expect more innovation in how we stream video as providers solve for the bandwidth problem.

According to Nielsen research, 35% of American TV-owning households have broadband access but don't use any subscription streaming services. What's more of a challenge to the streaming model is the fact that 24.5% don't have a broadband connection.

That's part of the reason that Netflix's DVD delivery service is still alive and well. Customers in rural areas without great internet are using the DVDs to access the movie and TV content they want. For those customers, streaming penetration will be an uphill battle.

The Limits of the Streaming Model: Password Sharing

Another limit to the video streaming model is password sharing. Password sharing for streaming services is common, especially because many services allow you to stream on a handful of devices at the same time. Maybe you share (or borrow) a streaming password yourself.

The heads of Netflix and HBO have brushed off concerns about password sharing threatening the economic model of streaming services. Still, a sizable sum is lost to password sharing. Research by Parks Associates found that streaming services lost around $500 million in revenue worldwide to "credential sharing" in 2015.

According to the research, "6% of U.S. broadband households use an OTT video service that is paid by a person living outside of the household." 11% of households use a shared account.

The practice of password sharing for video streaming services is more common among younger Americans. Parks Associates research found that "20% of OTT users aged 18-24 use an OTT video service paid by someone outside the home, the highest of any age group."

Further research into password sharing among Americans between the ages of 18 and 24 found that "few respondents expressed guilt or embarrassment over using someone else's video service credentials." That could mean that, while password sharing isn't a threat to streaming service revenue now, it may become more of a problem as young Americans age and pass on their norms around password sharing.

As today's older Americans (those most willing to pay and least likely to share passwords) age out of the market, will they be replaced by consumers who don't want to pay for their own subscription services? Time will tell. What seems certain is that streaming services will continue to look for less bandwidth-intensive ways to deliver content, and continue to produce their own original content.
Photo credit: ©iStock.com/Marco_Piunti, ©iStock.com/LPETTET, ©iStock.com/mphillips007

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The Economics of Video Streaming Services

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Over 40% of U.S. households have access to a video streaming service, according to a 2015 Nielsen report. What's more, 13% of households have more than one streaming service membership. If you use Netflix, Hulu Plus or one of the other popular streaming services, you're not alone.

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1. good overall base line information

2. has some statistics that are very easly usable in an introductian paragraph and in the streaming services one

3. gives prices ofstreaming services and how they have changed

4. Can use this site later for usage in video games and music departmnets

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this ones goes in to depth about how becaus eof streaming servics many concerts and bar mucitians are loseing money and jobs because of music services like WiMp and spotify because it forces people to think in a all you can eat way were they gain less apreciation for the music that they see in person and dont listen to it the same ways

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1. streaming services have killed lots of movie theaters in all of Western society

2. originally produced originally produced content allows for ease in adding new content

3. use of local content per country makes it easier to be liked and watch in local regions

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all on mainly on netflix so I might want to find more if needed

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all on mainly on netflix so I might want to find more if needed

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1. real nity and grid in the true right that is displayed for cable televisions and how they keep things in balance and are exploited

2. 98 pages of info

3. provider rights are being bullied to produces for spots of showing

4. how too much internet and laws cause wasted money