Big Entertainment’s Film and Music Creation Design: Platform-Based Business Model Canvas and Enterprise Architecture

Abstract

BIG Entertainment is an application that offers unparalleled music and film entertainment. Previously, applications like Spotify were all about music, while Netflix, Joox, and Disney were all about movies. This entertainment combines movies and music into a single application. This research seeks to examine the Big Entertainment application's business model canvas. This study employs the literature review method, which gathers various scientific and relevant sources. The findings suggest that BIG Entertainment service providers work hard to expand their offerings in response to changing market trends and technology advancements. The business model offers both tangible and intangible assets for customers who require not only the final product (music service) but also a one-stop service. BIG Entertainment can generate profit while developing a distinctive and efficient business model if it successfully integrates tangible and intangible assets.

The COVID-19 Pandemic and the Adoption Factors of Film Distribution Business Models in the Context of Sustainability

“…Similarly, Changsong et al [19] described the post-COVID-19 distribution of films in Southeast Asia using video streaming platforms. Recent changes in business models for the creative sector have been described by Ruback and Ryan [30], Knobloch [31], and Ruddin et al [32]. The first two papers examined, respectively, what changes in film distribution models have been forced by the COVID-19 pandemic and how the Nordic film studios have responded to changes in certain areas of business models.…”

“…The first two papers examined, respectively, what changes in film distribution models have been forced by the COVID-19 pandemic and how the Nordic film studios have responded to changes in certain areas of business models. Ruddin et al [32], instead investigated what the business model patterns were for BIG Entertainment applications. At the same time, only Mulla [33] managed to identify the factors influencing online streaming platforms and, thus, the changes taking place in the area we are describing.…”

“…The Table 1 provides an overview of selected existing research on changes in the film industry in Poland and internationally. [31] case studies, semi-structured interviews distribution channels, revenue streams, margins, network of partners, customer needs and behaviour, products offered, market competition (Ruddin et al, 2021) [32] literature review utility, entertainment, social, design, and m-commerce applications; consumer behaviour (Schulz et al, 2021) [26] Delphi study forecast of technological changes in the film industry, implications for the value chain (Adamczak, 2020) [21] industry reports, statistical analysis, semi-structured interviews digitisation and its impact on distribution costs, the number of titles screened or the shortening of cinema distribution windows (Sta ńczyk, 2020) [22] literature review material, social, and mental (perceptual) ecology, carbon footprint of cinema, film productions and streaming, energy policy of VOD providers, locating environmentally responsible attitudes, green certificates (Victoria and Araujo, 2018) [27] literature review, interviews, case study the mutual relationship between media producer and consumer, the restructuring of the film value chain, including technological changes and the reduction of distribution costs (Grundström, 2018) [25] online questionnaire, semi-structured interviews social functions of going to the cinema, technological development and going to the cinema (Kucia, 2016) [20] literature review technological developments, ways of making films available, advertising strategies, "ultra-VOD" and "day-and-date" distribution…”