Recognizing “Industry”

Govil, Nitin

doi:10.1353/cj.2013.0019

Cited by 25 publications

(9 citation statements)

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“…Scholars have limited access to 'industry': when they encounter 'industries' or phenomena for study only as a result of their own personal encounters (watching the news, for example). While Herbert, Lotz and Punathambekar assert the importance of not imagining the 'industry as a clean, self-evident sphere or as a bounded site for research' 47 or a pre-given category, 48 in practice these authors do not manage to develop a framework, either definitional or methodological, through which cultural constructions of industry can be made.…”

Section: Discussionmentioning

confidence: 99%

The Screen Advertising Production Industry: SIC Codes and Screen Industries Mapping

Caston

2022

Media Industries

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The screen advertising production sector as a distinctive sector of film and television production supplying content to the advertising industry. Due to different employment practices, legal and production processes, it has a distinctively different set of issues to theatrical and high end drama. An analysis of a number of case studies of this sector using company accounts and SIC codes, however, shows that it has been rendered invisible in Government commissioned reports. That could be corrected through partnership work between the sector’s trade association the Advertising Producers’ Association. Recognition of the sector’s integration within the UK independent film and television production sector would increase knowledge and understanding of the sector as a whole. This article recommends a theoretical model of horizontal integration of vertical value chains to progress new research in the area and identifies some of the consequences for existing scholarship.

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Section: Discussionmentioning

confidence: 99%

The Screen Advertising Production Industry: SIC Codes and Screen Industries Mapping

Caston

2022

Media Industries

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“…To understand how producers integrate audience participation and why, this article applies a television production perspective to understand the production process from within as a cultural site in which media content is constructed (Caldwell, 2009; Govil, 2013; Havens and Lotz, 2012; Mayer, 2009; Van Es, 2016). This adds to the current scholarship about participation for three reasons.…”

Section: Methodsmentioning

confidence: 99%

Production perspectives on audience participation in television: On, beyond and behind the screen

Walvaart

Dhoest

Bulck

2018

Convergence: The International Journal of Research into New Med

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This article adds an empirical production perspective to the widely discussed concept of audience participation. It studies how audiences are integrated in the production of television and what motivations producers have to do so. Increased opportunities for audiences to produce or contribute to media content may change the way television is produced, as audience perspectives can be more easily integrated. Theoretically, the notions of corporate and political participation are discussed as a basis for a qualitative content analysis, focusing on a range of nonfictional television programs in Flanders, combined with in-depth interviews with editors-in-chief to study their motivations, looking at audience participation on screen, beyond the screen and behind the screen. Results show that producers mostly integrate the audience in the production process within a corporate understanding of participation, although some producers have integrated political forms of participation as well. However, rather than focusing on participation, a central motivation for producers is to engage the audience.

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“…The digital turn in media distribution more broadly and precisely film distribution has rekindled scholarly provocations on the need for contextualization of research aimed at advancing scholarship in media distribution. The need for contextual awareness in media industry studies has earlier been articulated by scholars (Govil, 2013;Lobato, 2010Lobato, , 2012. These scholars fault the overabundance of film distribution scholarship on the Euro-American film industries while marginal industries are under-represented.…”

Section: Internet-distributed Video Research and The Necessity Of Contextualizationmentioning

confidence: 99%

Adapting to context: Creative strategies of video streaming services in Nigeria

Simon

2021

Convergence: The International Journal of Research into New Med

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This article examines the contextual challenges that characterize the video on demand (VOD) market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor Internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where Internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past 5 years. This is attributed to the transnational reach of the streaming services as they are patronized by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This article specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about Internet-distributed video using the African context. This article is situated within the Media Industry Studies framework and draws from semi-structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This article underscores the necessity of contextualized research with the digital turn in video distribution. Through contextualized analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of Internet-distributed video to marginal contexts.

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Recognizing “Industry”

Cited by 25 publications

References 0 publications

The Screen Advertising Production Industry: SIC Codes and Screen Industries Mapping

The Screen Advertising Production Industry: SIC Codes and Screen Industries Mapping

Production perspectives on audience participation in television: On, beyond and behind the screen

Adapting to context: Creative strategies of video streaming services in Nigeria

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