Digitization and Changing Windowing Strategies in the Television Industry

Abstract

Telephone: 0141 330 3806; Fax: 0141 330 4142. I expect to be available via email during office hours at all times over coming weeks. Author's biography:Gillian Doyle is Professor of Media Economics and Director of the Centre for Cultural Policy Research (CCPR) at the University of Glasgow where she directs Glasgow's MSc in Media Management. 2 Abstract:Windowing -the process of managing the release sequence for content so as to maximise the returns from intellectual property rights (IPRs) -is changing because of transformations in the way that television is distributed and consumed. Drawing on original research into the experience of leading international television producers and distributors, this article breaks new ground by examining how rights owners are adjusting strategies for exploitation of the economic value in their content. Findings show how the rise of digital platforms and outlets whose footprints are diffuse and boundaries are porous is disrupting traditional windowing models. This has necessitated new thinking about how best to organize the sequential roll out of content so as to build audience demand, avoid overlaps and maximise returns. This article argues that changes in the dynamics of television distribution have altered not just processes for exploiting the value in IPRs but also content and content production, with implications for audiences as well as industry.

Television production: configuring for sustainability in the digital era

“…Earlier empirical research has underlined how judicious use of windowing strategies to maximise returns from content assets has been crucial to the success of UK-based leading international production companies (Doyle, 2016).…”

“…Recent data shows that the proportion of income which the UK independent television production sector earned from international sales and commissions grew from 19% in 2006 to 30% in 2014 (Mediatique, 2015: 16). Albeit that the production sector has tended to draw on international markets and coproduction deals to finance production of content for a long time (Chalaby, 2012), the current situation of heightened competition between broadcasters and digital service providers such as Netflix has fuelled demand for 'big statement' and often expensive programmes and, in turn, increased reliance on international sources of finance (Ofcom, 2015;Doyle, 2016). For Wayne Garvie, the most significant advantage for a production company of being 'allied and part of a larger company [is that] you can play immediately on an international field' (Garvie cited in Sweney, 2014).…”

Negotiating State and Copyright Territorialities in Overseas Expansion: The Case of China’s Online Video Streaming Platforms

“…37 Digitization of content and platforms, however, are disrupting traditional windowing models, raising questions in relation to exclusivity and timing. 38 The threat of digital piracy, for example, has shortened release window periods. Both film and TV industries have experimented with the day-and-date approach, where content is released simultaneously across different geographic markets and various outlets and platforms.…”

“…Both film and TV industries have experimented with the day-and-date approach, where content is released simultaneously across different geographic markets and various outlets and platforms. 39 Different business models are also key considerations in maximizing the distribution value of content. 40 An evident trend is that subscription video on-demand players typically require exclusive ownership of content for an extended period as they deploy their multinational presence.…”

“…40 An evident trend is that subscription video on-demand players typically require exclusive ownership of content for an extended period as they deploy their multinational presence. 41 Apart from building up a library of local content by working closely with local partners, iQiyi exports drama series and variety shows made in the mainland, offers licensed movies from Hollywood majors, and rides on the pan-Asian phenomenon of Korean wave. The breakthrough of the site in Taiwan is credited to its exclusive license to distribute the Korean drama Descendants of the Sun (Taiyang de houyi, 태양의 후예 ).…”