# data[].attributes.body
This book highlights the effects of media and technology and is by Marshall McLuhan, a key theorist highlighted in my research review.

# data[].attributes.attachment_link.readable_text
- to understand the role audience plays in the media process of production, distribution and exhibition (AO1)

- to understand the relationship audience has with institutions (AO1)

- to explore audience theories (AO4)

- to expand and use terminology appropriately (AO1)

Many theories try to make sense of the question: What effects do media texts have on audiences?

When you are studying audiences you will find that there are a lot of different theories about why some television programmes have a large audience and others do not, and why people buy certain things and not others.

There are also theories about the effect that 'media' has on audiences. This question has interested people ever since the invention of the printing press, and it became possible to make hundreds of copies of a document, and a 'message' could reach a mass audience.

Hierarchy of Needs

An American psychologist, Abraham Maslow, suggested that we all have different layers of needs. We have to achieve certain needs before going on to the next layer.

His Hierarchy of Needs suggests that once people have their basic needs met like housing, food, safety, shopping, technology, and a job, they can then go on to satisfy successively 'higher needs' that occupy a set hierarchy or system of ranking.
Maslow studied well-respected people such as Albert Einstein, and American presidents, and he studied one percent of the healthiest college student population.

<<<He came up with this pyramid where basic needs are at the bottom and at the top something called 'self actualisation'. This describes a person who has gained the respect of a lot of other people - perhaps a prime minister - and has a high level of self-esteem and self-respect.

What has this go to do with media texts?

It is very relevant to advertisers, and institutions that carry advertising - newspapers, cinema, television and radio channels.

Maslow's upper levels at the top of the pyramid are about self-esteem and gaining the respect of others. This can be linked to the idea that consuming particular media texts fulfils self-esteem, as does buying certain products.

In a nutshell, Maslow is suggesting that if you buy a new pair of trainers of the right brand, as shown to you on in the media, then you will feel better about yourself, because you have the respect of other people.

Can you prove or disprove this theory from your experience? Do you have any examples to share?

Needs: Activity

Draw a blank triangle. Fill in each level of with examples of media texts which attempt to fulfil that particular level of needs in Maslow's pyramid.

For example, take the second from bottom layer - safety needs. An advertisement for car insurance or life insurance offers a general level of safety needs.

Some cars are sold on their safety features - what does this tell us about the audience (people) who buy a car for these reasons?

Now construct an audience for a particular product of your choice (e.g. perfume, soft drinks, smartphones, take away pizza, romantic comedy films, etc)using the hierarchy of needs, and the psychographic system.

It is important to be able to 'read' or understand a target audience, and to understand if a media product has succeeded or not in getting across to its target audience.

Passive Audiences

Researchers investigating the effect of media on audiences have considered the audience in two distinct ways.

The earliest idea was that a mass audience is passive and inactive. The members of the audience are seen as couch potatoes just sitting there consuming media texts - particularly commercial television programmes.

It was thought that this did not require the active use of the brain. The audience accepts and believes all messages in any media text that they receive. This is the passive audience model.

The Hypodermic Model

In this model, the media is seen as powerful and able to inject ideas into an audience who are seen as weak and passive.

The hypodermic needle was proposed by Harold Lasswell in the 1920s. Also known as the 'Magic bullet theory', it explains how the audience is directly affected by what they view and hear. It is said to affect the audience/viewer immediately or in the near future.

It suggests that a media text can 'inject' or 'fire' ideas, values and attitudes into a This theory suggests that the passive audience, who might then act upon them. This theory also suggests that a media text has only one message which the audience must pick up. audience is powerless towards resisting the impact of the message which, in some cases, could be dangerous.

This appeared to be the case in Nazi Germany in the 1930s, leading up to the second World War. Powerful German films, such as Triumph of the Will (Riefenstahl, Germany, 1935), seemed to use propaganda methods to 'inject' ideas pr omoting the Nazi cause into the German audience.

In 1957, an American theorist, Vane Packard, who was working in advertising, wrote an influential book called The Hidden Persuaders. This book suggested that advertisers were able to manipulate audiences and persuade them to buy things they may not want to buy. This suggested advertisers had power over audiences. In fact, this has since proved to be an unreliable model, as modern audiences are too sophisticated.

This theory stems from a fear of the mass-media, and gives the media much more power than it can ever have in a democracy. Also, it ignores the obvious fact that not everyone in an audience behaves in the same way.

How can an audience be passive?

Think of all the times you have disagreed with something on television, or just not laughed at a new comedy.

What do you think of this theory?

Cultivation Theory

This theory also treats the audience as passive. It suggests that repeated exposure to the same message - such as an advertisement - will have an effect on the audience's attitudes and values. A similar idea is known as desensitisation, which suggests that long-term exposure to violent media makes the audience less likely to be shocked by violence. Being less shocked by violence, the audience may then be more likely to behave violently.

The criticism of this theory is that screen violence is not the same as real violence. Many people have been exposed to screen murder and violence, but there is no evidence at all that this has led audiences to be less shocked by real killings and violence. Also, this theory treats the audience as passive, which is an outdated concept.

Two Step Flow Theory

Katz and Lazarsfeld assumes a slightly more active audience. It suggests messages from the media move in two distinct ways.

First, individuals who are opinion leaders, receive messages from the media and pass on their own interpretations, in addition to the actual media content. The information does not flow directly from the text into the minds of its audience, but is filtered through the opinion leaders, who then pass it on to a more passive audience.

The audience then mediate the information received directly from the media, with the ideas and thoughts expressed by the opinion leaders. They are not being influenced by a direct process, but by a two-step flow.

This theory appeared to reduce the power of the media, and some researchers concluded that social factors were also important in the way in which audiences interpret texts. This led to the idea of active audiences.

Active Audiences

This newer model sees the audience not as couch potatoes, but as individuals who are active and interact with the communication process and use media texts for their own purposes. They are prosumers (producers and consumers).

We behave differently because we are different people from different backgrounds with many different attitudes, values, experiences and ideas.

This is the active audience model, and is now generally considered to be a better and more realistic way to talk about audiences.

Uses and Gratifications Model

This model stems from the idea that audiences are a complex mixture of individuals who select media texts that best suits their needs - this goes back to Maslow's Hierarchy of Needs above.

The users and gratifications model suggests that media audiences are active and make active decisions about what they consume in relation to their social and cultural setting and their needs.

This was summed up by theorists . This means that audiences choose to watch programmes that make them feel good (gratifications), e.g. dramas and sitcoms, or that give them information that they can use (uses), e.g. news or information about new products or the world about them.

'Media usage can be explained in that it provides gratifications (meaning it satisfies needs) related to the satisfaction of social and psychological needs'. Blumler and Katz in 1974

Blumler and Katz (1975) identified four main uses:

Surveillance - our need to know what is going on in the world. This relates to Maslow's need for security. By keeping up to date with news about local and international events, we feel we have the knowledge to avoid or deal with dangers.

Personal relationships - our need for to interact with other people. This is provided by forming virtual relationships with characters in soaps, films and all kinds of drama, and other programmes and other media texts.

Personal identity - our need to define our identity and sense of self. Part of our sense of self is informed by making judgements about all sorts of people and things. This is also true of judgements we make about TV and film characters, and celebrities. Our choice of music, the shows we watch, the stars we like can be an expression of our identities. One aspect of this type of gratification is known as value reinforcement. This is where we choose television programmes or newspapers that have similar beliefs to those we hold.

Diversion - the need for escape, entertainment and relaxation. All types of television programmes can be 'used' to wind down and offer diversion, as well as satisfying some of the other needs at the same time.

Reception Analysis

Reception analysis is an active audience theory that looks at how audiences interact with a media text taking into account their 'situated culture' - this is their daily life.

This theory was put forward by Professor Stuart Hall in 'The Television Discourse - Encoding/Decoding' in 1974, with later research by David Morley and Charlotte Brunsden.

The theory suggests that social and daily experiences can affect the way an audience reads a media text and reacts to it.

Hall suggests that an audience has a significant role in the process of reading a text, and this can be discussed in three different ways:

The Dominant or Preferred Reading. The audience shares the code of the text and fully accepts its preferred meaning as intended by the producers .

The Negotiated Reading. The audience partly shares the code of the text and broadly accepts the preferred meaning but can change the meaning in some way according to their own experiences.

The Oppositional Reading. The audience understands the preferred meaning but does not share the text's code and rejects this intended meaning. This can be called a radical reading that may be, say Marxist or feminist or right wing

Interactive Audiences

The internet has opened up new ways to receive and interact with information. We can 'read' texts that are downloaded to our computers, or mobiles, or watch TV-on-demand and not just when the broadcasters want us to receive it. We can access music and film wherever we are with an Internet connection. We have access to media 24/7.

A prosumer is a person who consumes and produces media. It is derived from "prosumption", a dot-com era business term meaning "production by consumers". These terms were coined by American futurist Alvin Toffler, and were widely used by many technology writers of the time. It applies to the fact that we can CREATE our own media and contribute, generating our own audiences. T he real power of the audience seems to lie in being able to take part in a media text. Twenty-first-century audiences are creating their own distribution systems without mediation from institutions or companies. Websites such as YouTube, Instagram and blogs offer new possibilities for audiences.

It is what we do and what we spend our money on that gives an audience its value, and to some extent its power. Things that influence audiences include new technologies. New technologies, in turn, influence audiences and institutions.

# data[].attributes.attachment_link.description
to understand the role audience plays in the media process of production, distribution and exhibition (AO1) - to understand the relationship audience has with institutions (AO1) - to explore audience theories (AO4) - to expand and use terminology appropriately (AO1) Many theories try to make sense of the question: What effects do media texts have on audiences?

# data[].attributes.body
https://revisesociology.com/2019/09/09/two-step-flow-model/

# data[].attributes.attachment_link.readable_text
The two-step flow model of audience effects was derived by Katz and Lazarsfeld (1965) which views the audience as active and influenced by influential opinion leaders, rather than directly by media content.

Katz and Lazarfeld argued that social networks were dominated by opinion leaders, who were influential people within social networks with the power to influence how others around them saw the world.

Opinion Leaders are exposed to media content, and they then share their interpretation of that content with the wider audience. Thus media content goes through two stages, with the wider audience being primarily influenced by the views of the active opinion leaders rather than being influenced directly by media content.

Evaluations

+ The two step flow model recognises that most people watch media as part of a social network.

+ This model might be especially useful for understanding the role of parents as opinion leaders.

- Of course there is a sense in which the media has a 'direct effect' - on the opinion leaders, so there may still be some validity in the hypodermic syringe model.

- This model may not apply to people who are socially isolated - and these could be the people who are most likely to be influenced by media content.

# data[].attributes.attachment_link.title
The Two Step Flow Model of Audience Effects

# data[].attributes.attachment_link.description
The two-step flow model of audience effects was derived by Katz and Lazarsfeld (1965) which views the audience as active and influenced by influential opinion leaders, rather than directly by media content. Katz and Lazarfeld argued that social networks were dominated by opinion leaders, who were influential people within social networks with the power to...

# data[].attributes.body
https://lwlies.com/articles/tiktok-filmmakers-victoria-misu-madelaine-turner/

# data[].attributes.attachment_link.readable_text
With Hollywood at a standstill, young filmmakers turn to TikTok

About Little White Lies

Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we've been described as being "at the vanguard of the independent publishing movement." Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

Editorial

Design

# data[].attributes.attachment_link.title
With Hollywood at a standstill, young filmmakers turn to TikTok

# data[].attributes.attachment_link.description
With Hollywood at a standstill, young filmmakers turn to TikTok Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we've been described as being "at the vanguard of the independent publishing movement."

# data[].attributes.body
https://www.forbes.com/sites/forbesagencycouncil/2021/08/27/the-rise-of-short-form-video-tiktok-is-changing-the-game/?sh=7e74a21e5083

# data[].attributes.attachment_link.readable_text
Founder & President at Digital Marketing Experts - DMX Marketing, a Premier Google Partner Agency located in Toronto, Canada. The Answer Is One TikTok Video
Imagine gaining 15,000 billion media impressions in the space of a month, without doing anything. No advertising campaigns, no marketing. Just suddenly having a surge of online activity without even lifting a finger. Add to this a rise in sales and you have a fantastic deal. Seems almost too good to be true. But for Ocean Breeze, that's exactly what the company found late last year.

But how did this occur? What can create such an effect?

That's right, just one video. A perfect example of the power that the short-form video app has is documented in one person's commute to work while enjoying cranberry juice and a '70s tune. The user in question is Nathan Apodaca, who decided to film himself skateboarding to work while listening to "Dreams" by Fleetwood Mac and drinking a bottle of Ocean Breeze's cran-raspberry juice. The video exploded in popularity, spreading all around TikTok and across the internet. And with it, Ocean Breeze received a wave of positive light and a boost in sales. And it wasn't just the company that benefited. "Dreams" was reportedly streamed over 8 million times in the U.S. following the TikTok video, climbing as high as 36 on the Streaming Songs chart. Not bad for a song from 1977. In fact, it was so popular that Fleetwood Mac drummer, Mick Fleetwood, filmed his own version of Apodaca's video, merrily skating along with a bottle of juice.

These statistics pale in comparison to what the app has achieved since its global release in 2018. It has reached over 2 billion downloads and has more than 100 million monthly active users in the U.S. While it may have originally been released as an app to post lip-synching and dance videos, TikTok has expanded into something far larger, bringing a massive shake-up to the social media status quo. Users have flocked to the app's short, "snackable" content, with the 15- to 60-second format offering great appeal, especially among those younger than 40. Looking to keep up with the trend, YouTube and Instagram have released their own versions, namely Shorts and Reels, respectively.
What Does This Mean For Marketers?
So what makes TikTik so popular? How has it been able to shake the social media landscape? What does it have that the other platforms don't?

I believe the answer lies in its format, which, as mentioned earlier, has connected well with younger audiences. Picking up the formula that Vine found considerable success with during the early-2010s, before its closure (subscription required), the limited video format of 60 seconds or fewer presses the user to utilize creativity in how they get their message across. People can choose from a suite of filters and editing tools, "stitch" videos from other creators and incorporate a variety of sounds and music. Be it humorous, informative, entertaining or all of the above, the shorter video length has led to some fantastic, hilarious and utterly bizarre results, with some of the strangest videos going viral. A case in point is the aforementioned Ocean Breeze and skateboarding combo. How about a video of a cat in a nine-camera split filter played to the 1958 song "Mr. Sandman"? The mixture of the quick-witted, ingenious and occasionally absurd has been a hit with the app's users.

You may have read through this and wondered if your company or brand should create a TikTok account, too. The question is: Where do you start? There are a host of stores and companies present on the app, though many don't seem to get the connection they were hoping for. One of the major reasons for this, based on my experience, is that TikTok thrives on relatable and genuine content. Brands that show heart and passion in their videos tend to fare far better.

Achieving this can be done in a variety of ways. One of our clients working in the healthcare industry has turned to humor, such as filming treatments on herself and patients' pre-treatment questions. After only having a TikTok account for three months, some of the company's videos have close to half a million views.

Humor is not the only path to take to show a real side of your brand in short-form videos, however. Behind-the-scenes glimpses, showing the reality behind the curtain, resonate well with audiences. For example, in the restaurant industry, we have clients filming mouth-watering baked goods coming right out of the oven and taking trips to the market to pick out fresh herbs and produce. Some even share the key ingredients in popular dishes. Providing a look that their audience wouldn't normally see, the exclusivity of the content creates appeal, sparking curiosity in the viewer. Day-to-day antics in the kitchen, service staff taste-testing the food, new beverages being brought into the kitchen or the process that goes into selecting what goes on the menu are all good ideas.

Engaging with your audience on TikTok is the next step after creating and posting the content. Aside from responding to the comments on your own videos, engaging with your audience through duets can work especially well, such as for giveaways or cross-promotion efforts with other brands. Embracing the trends and viral challenges can also help connect you with your audience. Many brands have found considerable success by starting their own challenges, such as Chipotle's #GuacDance, which saw 250,000 video submissions and 430 million videos watched in just six days.

TikTok has powered into the public image. If you had asked anyone about the app just a few years ago, no one would have known what it would become. Now it is one of the major players, with many of the juggernauts of the industry trying to play catch up. And if they are turning to pay attention, then so should everyone else.

Forbes Agency Council is an invitation-only community for executives in successful public relations, media strategy, creative and advertising agencies. Do I qualify?

# data[].attributes.attachment_link.title
Council Post: The Rise Of Short-Form Video: TikTok Is Changing The Game

# data[].attributes.attachment_link.description
Founder & President at Digital Marketing Experts - DMX Marketing, a Premier Google Partner Agency located in Toronto, Canada. The Answer Is One TikTok Video Imagine gaining 15,000 billion media impressions in the space of a month, without doing anything. No advertising campaigns, no marketing.

# data[].attributes.attachment_link.readable_text
Not even 10 years ago, Netflix prided itself on disrupting the long-standing power structure and distribution model of Hollywood. As an original content provider, it challenged the traditional norms of the entertainment industry with its online delivery, binge release model, aggressive spending and ambitious expansion plans. None of it strategies or practices followed the standards that traditional legacy film and television studios adhered to.

Today, the market-leading streaming service with more than 200 million global subscribers is a deeply intrenched incumbent power. No longer the callow upstart looking to make a name for itself, Netflix is the go-to example amid a crowded streaming industry. It is the crafty veteran in a battlefield of powerful embryonic streaming warriors. It is firmly perched within the Hollywood hierarchy it once meant to upend.

That leaves room for new challengers to arise, disrupt, innovate, and relaunch the cycle of entertainment development once more. The emerging trend most primed to take on that mantle sees consumer behavior driven by short-form content and leading to longer-term engagement. More generally, it's the ability of creators to build value outside of traditional entertainment development platforms.

"While it's true that we are seeing a rise in how short-form content is causing longer-term engagement, it would be missing the point to focus on the length of the content as the change," Frank Patterson, CEO of production studio Trilith Studios, which has worked closely with Marvel Studios since 2014, told Observer. "The actual change is that creators are beginning to build their own 'brands'-instead of simply producing user-generated content or shows-by using short-form content on free, low-barrier technologies like YouTube and TikTok to directly access and build audiences."

What we're seeing is new talent emerge on free platforms that exist outside of the traditional Hollywood habitat (i.e. mainstream film and television). Once successful, these talents then leverage their audience to extend their brand through an entire ecosystem of longer-form content, Patterson explains. This includes licensed merchandise, consumer products, publishing, games, and more. It creates a multi-pronged revenue-generating brand which was traditionally reserved for marquee on-screen IP like a Marvel or Star Wars.

These are the types of behaviors that will directly impact the entertainment industry's growth, particularly for Gen Z and younger demographics, and the way content makers will create value for audiences and shareholders alike over the next decade.

One current example of this new trend that Patterson points to is CoComelon, owned by Moonbug Entertainment. It's a children's brand built on 3D animation shorts and a YouTube channel. According to data firm Parrot Analytics, CoComelon- which is also now available via Netflix and a premium Hulu subscription-is 18.91 times more in-demand than the average show worldwide over the last 60 days. This is after becoming the second most-subscribed YouTube channel in the world (108 million) and the most-subscribed YouTube channel in the U.S.

The fact that Netflix licensed CoComelon following a lengthy run when it was available worldwide for free is indicative of its brand power. As Netflix's scripted licensed library shrinks thanks to major studios reclaiming series such as Friends and The Office, the streamer is motivated to identify proven IP that retains audience engagement. Moonbug has since introduced a toy line based on CoComelon characters and a feature-length film. Patterson expects educational games, publishing, and live shows to follow.

"These content creators are building an impressive brand with multiple revenue streams outside of the traditional system," he said. "They've built measurable brand affinity among their audiences and consumers and are now extending their brand in a variety of CoComelon IP. And it all began with free, short content on YouTube."

Dude Perfect is another example Patterson points to that falls into this new method of development and success. The difference from CoComelon is that it's user-generated content aimed at an older audience. Five college roommates making comedic sports-themed short-form content on YouTube that quickly connected with young adult males. Today, they have a huge audience (55.7 million subscribers) and a brand that generates multiple revenue streams from the licensing of merchandise and consumer products, a television series, a gaming app, a documentary, and book publishing. Prior to COVID, there were even plans for a live traveling show. As of September 2020, the channel was the second most-subscribed sports channel on YouTube, and the fifteenth most-subscribed channel overall. Dude Perfect has collected more than 12.7 billion views on YouTube over its lifetime.

Social media has also proven to be fertile ground for talents and content creators to cross over into mainstream Hollywood ecosystems if they so choose. Filmmaker and comedian Bo Burnham was a YouTube sensation in the mid-aughts before striking out to more traditional stardom over the last decade. Awkwafina began her creative journey as an online parody rapper and is now an actress, writer, and producer. In 2019, ViacomCBS' Nickelodeon struck a consumer products deal with digital-first kids content studio pocket.watch for then 7-year-old YouTube sensation Ryan of Ryan ToysReview. This came after Nickelodeon renewed his Ryan's Mystery Playdate series for a second season. Sarah Cooper went viral during the pandemic for her Donald Trump impersonations on TikTok and now has a Netflix comedy special and a CBS show under her belt.

"This kind of control by content makers is new, and the potential growth for savvy media entrepreneurs is enormous," Patterson said.

The broadcast system that dominated television for decades provided little opportunity for content makers. They needed to fit within the narrow parameters of broadcast standards and the only way to monetize their content was through deals with the respective networks. Sponsor and advertiser dollars served as funding sources, creating a limited window of "acceptable" programming and creative vision. And while content creators occasionally scored royalties on top of salary, they rarely were compensated for the direct sale of consumer products, games, or publishing connected to their content. Such a system did not allow something like CoComelon to reach the mainstream nor regular high-end compensation for its creators. Now producers have the ability to control every aspect of their content from development, execution, and delivery while reaping 100% of the benefits in many instances.

Digital platforms were once viewed solely as marketing platforms for traditional entertainment with online trailer releases, fan communities, and viral promotional campaigns. But in the present day, outlets such as YouTube and TikTok offer one-click "freemium" access to content when and how consumers choose to view it. It's then leading to a longer-tail of engagement, particularly among younger audiences who prefer short-form content to traditional TV shows and films. YouTube ( 150 million) and TikTok ( 450 million) are among the most-engaged platforms in terms of daily active users.

"Only now, with the new digital first model, audience-building doesn't have to come from licensed deals inside closed systems-it's the other way around. Licenses come from audiences built in open systems," Patterson said. "The model is simple: use digital to build an audience, then leverage your audience to build a multi-vertical media brand through licensed deals, etc. which enable you to extend your brand globally."

Disney has Marvel and Star Wars, WarnerMedia has Game of Thrones, Harry Potter and DC, Universal has Jurassic World and the Fast & Furious. But eventually, the major IP of today will fade in value. If that day ever comes, homegrown digital brands will be eager to fill the void.

# data[].attributes.attachment_link.title
The TikTok and YouTube Stars Are Coming for Hollywood

# data[].attributes.attachment_link.description
Not even 10 years ago, Netflix prided itself on disrupting the long-standing power structure and distribution model of Hollywood. As an original content provider, it challenged the traditional norms of the entertainment industry with its online delivery, binge release model, aggressive spending and ambitious expansion plans.

# data[].attributes.body
At first I struggled to find researchers nd thinkers that were relevant to my question, however after breaking my question down into smaller ideas and topics I was able to find some thinkers that I could use to support my ideas

Bordieu and social capital
Goffman - self presentation

# data[].attributes.body
through my own personal use of Tik Tok I have come across many "Quick film" Tik Tok pages. These pages take interesting films and put them into short Tik Tok videos with voiceovers explaining what happens. Many of these pages have hundreds of thousands of followers and millions of views.

At first I intended to refer to this a secondary research tool however, I realised that such people are very easy to get in contact with and as a Tik Tok creator I may have greater chance of getting in contact with them and interviewing them.

I feel as though this tool would be useful as it addresses both sides of my question and would allow me to understand the motivations between theses creators bringing film into Tik Tok and turning it into shorter form media.

# data[].attributes.body
- Upon arriving at my current lead question I quickly made the decision to do a practice based dissertation as I am an editor and Tik Tok creator I believed it would be a great way to support my ideas and also give a good opportunity to include primary research through using it as the basis for a focus group

-At first I wanted to do a YouTube style video like a clothing haul or a vlog as these are common Tik Tok videos which tend to be popular
-However I came to the realisation that the may to address the issue at hand as I am comparing Film and Tik Tok and although Youtube does have films and tv shows it would be the best and most accurate way of trying to trying to prove the ideas I am putting forward.

For this reason I then decide that a short film or documentary would be better of maybe even two videos which fall within the same genre but are maybe not the exact same content as I initially intended to do.

# data[].attributes.body
The first element of primary research I wanted to do was a focus group where I would show the videos from the practical side of my dissertation and determine whether audiences prefer Tik Tok or film.

-However after some thought I felt as though this method may not be the most effective as there is a chance that the group may not address the topic in a way relevant to topic and as it is  a matter of personal preference, there ultimately may not be a need for a group of people to discuss which one is better.

- I then thought of doing it in a interview form, asking individual participants non-leading questions in regards to which videos they preferred and why and what their media entertainment preferences are
- there is also risk that this may be too leading and participants will follow the direction of the question rather than giving their honest opinions so I intend to revise the method of carrying out this research

# data[].attributes.body
1. The history of Tik Tok and film
2. The differences between the two and hat their aims are as forms of entertainment
3.Bingeing culture and Tik Tok
4. The appeal of Tik and Film
5. Who are popular Tik Tok creators and why are they popular
6.Tik Tok short film pages, why are they so popular
7. what are audience requirements now and which platforms meet them best.

# data[].attributes.body
At first my lead question was the following:
How do Authoritative groups in Asia influence the output of media?

I was interested in this as I wanted to find out about censorship and Netflix in Asia, but whilst reading an article about this I found a paragraph in the article highlighting that Tik Tok may be replacing streaming services in Asia. As a Tie Tok creator I found this interesting but also relatable as the takeover of of film and Tv by Tim Tok was something I had noticed in myself.

# data[].attributes.attachment_link.readable_text
It's no secret that China is a powerhouse when it comes to online video. From ubiquitous online Chinese streaming platforms to the growth of short-form videos, there are plenty of opportunities for brands to reach consumers in China with video content. In this post, we'll take a look at China's video streaming market and some of the opportunities it presents for brands.

Video streaming market share in China: No Netflix in China

China offers a diversified ecosystem for online video content, with no single service yet coming close to attaining a market share comparable to Netflix's 87%2 in the U.S. Netflix doesn't operate in China. Instead, the bulk of the domestic market is split between iQiyi, Youku, and Tencent Video, which are respectively controlled by the country's "big three" internet companies: Baidu, Alibaba, and Tencent.

As growth in paid membership has slowed, however, self-made dramas and variety shows have become more popular, and competition has intensified between online video platforms. Over the past two years, with the rise of the state-backed Mango TV, Bilibili has gradually expanded from animated content to a full product line of film and TV services.

The Chinese market for online videos is growing at a rapid pace. This growth will likely continue into the future, with industry experts projecting that there could be double-digit increases each year between 2017 and 2022 when it reaches 147 billion dollars in size- about half coming from paid content alone!

Short Videos Apps Dominate the Chinese Streaming Platforms Sector

Meanwhile, short videos, led by Douyin and Kuaishou, have taken over the industry, impacting the top Chinese streaming services.

The video streaming market in China is to grow at a CAGR of close to 30% by 2020. One of the key reasons for the video streaming market growth in China is the rising demand for continuous streaming of data as per the user's convenience and time, without downloading. Owing to the increased access to multimedia devices and the internet, consumers are increasingly viewing digital videos on demand, leading to a sharp increase in online video traffic.

For companies interested in tapping the soaring demand for streaming video in China, content tailored to local audiences now provides opportunities for brand integrations that speak directly to consumers.

The boom of chinese streaming platforms and views during the 1st covid lockdown

During the COVID-19, Chinese citizens found themselves housebound for weeks. Spending the majority of their time indoors, audiences, cut off from cinemas and other social activities, turned in droves to streaming video to pass the time.

With movie theaters shuttered, streaming platforms debuted 26 films online during the Lunar New Year holiday week, with average daily views of these movies twice that of the average in 2019.

Although the coronavirus outbreak is easing in China as of May 2020, things are far from back to normal, and streaming platforms are expected to see continued growth this year in terms of viewer acquisition, brand investment, and overall revenue.

Why are Chinese streaming services important for brands in China?

Now inevitable in editorial plans and among marketing trends, the videos have shown in recent years to be able to guarantee a strong engagement.

With increased exposure, you can generate more leads for your business or get more followers for your personal brand. Within social media, it's also easier to get people to find and share live videos. Since it requires immediate action, they'll need to share your content right away so their friends can also see it.

Another reason why video streaming is great to grow your audience is its cost-effectiveness. In the marketing world, there are many effective ways to reach people, but most require large investments. In comparison, video streaming can be created on a shoestring budget and still bring great results.

Video streaming is an effective tool in your digital marketing arsenal that can help you reach your audience, expand your brand, and ultimately drive more sales.

Chinese streaming Platforms: Who are the Major Players?

The Chinese media landscape and streaming video ecosystem are in a constant state of flux, with new players both large and small constantly entering the market. However, in recent years five key platforms have engaged in a fierce battle for market share.

Top Chinese Streaming Services: Iqiyi

Founded in 2010 by internet search giant Baidu, iQiyi is most often referred to as the "Netflix of China." This is not an entirely accurate comparison, since iQiyi is controlled by a larger tech firm, offers a free, ad-supported viewing option, and is worth far less than Netflix.

The platform leads the Chinese market for online dramas and original films. While Netflix only focuses on TV series and movies, IQIYI provides over 30 different types of content that include not just film and T.V series, but also cartoons, sport, news, gaming, etc. in an ecosystem of its own, that is busy creating new channels of content creation.

Currently, it has 538 million monthly active users and 107 million subscribers.

Youku

"Chinese Youtube" Youku, launched in 2006 as a hub for user-generated content. At its peak, Youku was the top online video platform in China, a position it boosted through a merger with rival Tudou in 2012. Alibaba acquired the company in 2015 and took it private.

The average daily subscribers increased by 59% year-on-year in the last three months of 2019. Through Youku, foreign companies can promote their brand from a mass-market perspective.

Tencent video (QQ)

Launched in 2011, Tencent Video has shifted its strategy from spending on overseas content to developing original content that links to Tencent's stakes in games, literature, music, and sports.

International content was once Tencent Video's strong point: foreign language films and dramas, exclusive shows, or broadcasts for live NBA games in China. However, priorities have changed considerably in recent years and original content now prevails, especially in the areas of reality shows and IP-based programming from Tencent's literature and from ACG's activities (anime, comics, and games).

Currently, it has 540 million monthly active users and 106 million paid subscribers.

Mango tv

Established in 2008 as the online presence for the provincial Hunan Broadcasting System, which is China's second-largest TV network after the centrally operated CCTV. Mango TV has recently come into its own and is now often discussed alongside its larger rivals in reports about China's streaming video market.

Although originally set up as a platform to host HBS programs, Mango is building an independent reputation for creating a live stream of its dramas and reality shows.

Currently, it has 130 million monthly active users and 18 million paid subscribers.

Bilibili

Bilibili is the central hub for China's ACG (anime, comics, and games) subculture, and became somewhat notorious for requiring users to pass a 100-question "geek test" in order to become "official members" with additional privileges on the platform. Bilibili is also a creative hotbed for China's active meme culture.

The network has more recently gained acclaim for original documentary content that appeals to an emerging class of foodies and travelers. It is also investing in content creators with a particular emphasis on the current vogue for vlogs in the Chinese market.

Currently, it has 130.3 million monthly active users and 8.8 million paid subscribers. Brands seeking to reach their young, hip audiences have to be savvier in their efforts to gain and maintain their attention, either by launching their own channels with entertaining content or through collaborations with established creators.

How to market your brand through Chinese streaming video platforms?

The rise of content tailored to mainland China provides greater opportunities for brand integrations that speak directly to consumers in that vast market. In doing this, it is important for brand owners to understand the key rules of these platforms.

The following key features are the golden rules for brands considering working with China's streaming video platforms.

Use Branding to promote your Brands on Chinese Streaming Services

Brand integrations, including product placements on scripted series, operate on an ad-buying model controlled by the platforms. This is very different from industry practices in the U.S., where brands more often work directly with producers to place products into shows, and often no money changes hands. Brands in China pay for varying levels of exposure, and their broadcast presence is counted in seconds.

Regardless of the content strategy used by a brand to reach the audience in China via domestic streaming video platforms, the most important thing is to ensure engagement in a way that is as fluid and discreet as possible.

Sharing the practical value of a product or brand allows audiences to "see for themselves" rather than hearing from a paid spokesperson or online influencer.

In China Content is king

Chinese internet users love watching videos online and have shown little resistance to viewing advertisements as long as they are creative and/or strike some kind of emotional chord.

It is for this reason that many if not most major international brands have been quick to turn to stream video platforms in China as a pillar of their advertising and marketing strategy.

The main tip for making ads and managing dedicated channels for brands is simple: content is king. Taking a "content commerce" approach, in which brand messaging or advertising is camouflaged in interesting scripted or unscripted.

Content that incorporates trends that matter to your target customer is a best practice. Numerous brands both inside and outside of China use this tactic to increase their impact in China.

Special announcements and product introduction

Hundreds of consumer goods, luxury, and fashion brands have turned to product placement on streaming television shows and movies to get in front of Chinese audiences over the past two decades. Although an effective way to increase awareness, product placement can be a minefield for brands whose integrations come across as awkward or irrelevant to the broader storyline.

Viewers tend to be highly critical of obvious brand intrusions into dramatic plots. Chinese dramas already have a reputation for "watering down" content with unnecessary ads.

Blogger/KOL hosted

To achieve greater engagement, the use of the so-called KOLs (Key Opinion Leaders) is certainly recommended. Not only the participation of famous people increases visibility, but also a "take over" (transfer of the company profile to a public figure) of the company account helps to increase engagement with potential consumers. Receiving live answers to your questions from a celebrity is definitely an opportunity not to be missed.

Do you want to know more about How to market your brand through video streaming in China? Contact GMA a digital marketing agency, specialized in the Chinese digital market.

# data[].attributes.attachment_link.title
Chinese streaming platforms: a diversified market & opportunities for brands - Marketing China

# data[].attributes.attachment_link.description
It's no secret that China is a powerhouse when it comes to online video. From ubiquitous online Chinese streaming platforms to the growth of short-form videos, there are plenty of opportunities for brands to reach consumers in China with video content. In this post, we'll take a look at China's video streaming market and some...