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Web series and video on demand services destabilised and efficiently replaced popular entertainment in the past one year, due to the coronavirus disease (COVID-19) pandemic. The subsequent lockdown not only impacted the traditional creative industries, such as TV and films, but it has also catalysed the way narratives are produced and consumed over the internet. Narratives on the web have been posing challenges to traditional storytelling since the past decade, but the changes in the Indian market have been slow until this year. The industry has also been studied extensively from the perspective of various disciplines, film studies, marketing, psychology, and communication being a few of them. These studies have elaborated upon the evolution of the industry, its popularity, challenges and roadblocks specifically in relation to the Indian market. The study in concern tries to trace the evolution of the industry in comparison to the predictions. It tries to verify if the predictions and scope have been met by trajectory and what quantum of growth can be credited to the COVID pandemic lockdown period. This research starts with gathering studies conducted on the industry, specifically in the Indian market, since its existence. With the help of a qualitative meta-analysis, this paper tries to analyse the trends and trajectories predicted vis-a-vis the actual growth in numbers over the years, specifically in the post-COVID era. Researchers aim to suggest a model on the production–consumption patterns and the functioning of the industry.
Web series and video on demand services destabilised and efficiently replaced popular entertainment in the past one year, due to the coronavirus disease (COVID-19) pandemic. The subsequent lockdown not only impacted the traditional creative industries, such as TV and films, but it has also catalysed the way narratives are produced and consumed over the internet. Narratives on the web have been posing challenges to traditional storytelling since the past decade, but the changes in the Indian market have been slow until this year. The industry has also been studied extensively from the perspective of various disciplines, film studies, marketing, psychology, and communication being a few of them. These studies have elaborated upon the evolution of the industry, its popularity, challenges and roadblocks specifically in relation to the Indian market. The study in concern tries to trace the evolution of the industry in comparison to the predictions. It tries to verify if the predictions and scope have been met by trajectory and what quantum of growth can be credited to the COVID pandemic lockdown period. This research starts with gathering studies conducted on the industry, specifically in the Indian market, since its existence. With the help of a qualitative meta-analysis, this paper tries to analyse the trends and trajectories predicted vis-a-vis the actual growth in numbers over the years, specifically in the post-COVID era. Researchers aim to suggest a model on the production–consumption patterns and the functioning of the industry.
Digital technology and the Internet have revolutionized the entertainment media industry by harnessing network effects and transforming content creation and distribution. However, these advances have also brought challenges, especially regarding intellectual property, with significant long-term implications for entertainment media companies. While the existing literature on this topic is limited, this study aims to analyze the impact of these trends using the Metcalfe and McLuhan effects and provide insights to help traditional media companies thrive in this changing environment. The Metcalfe effect, exemplifying network effects, suggests that the increasing number of Internet users generates economies of scale, amplifies content value, and facilitates the emergence of distribution channels and revenue opportunities in the entertainment media industry. Additionally, the McLuhan effect emphasizes the transformative role of information media in reshaping content production and dissemination. However, the rapid development of the Internet has inadvertently facilitated the piracy of entertainment media content, necessitating the attention and implementation of effective countermeasures by industry stakeholders.
Exploring the prosperous union of New Malayalam Cinema and OTT platforms, this chapter scrutinises the circumstances under which the former thrived on OTTs during the COVID-19 pandemic. It delves into Malayalee market trends, the content diversification incited by OTTs, and the expansion of New Malayalam Cinema's market. As it explores changing audience consumption patterns and the prospects of India's OTT landscape, it particularly accentuates Malayalam regional cinema. By providing examples of films that debuted on OTT platforms, such as C U Soon and Joji, the chapter offers an in-depth analysis, highlighting the success of this symbiotic relationship.
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