Abstract
This paper focuses on the modalities of displayed participation, namely the ways in which platform users are or are not integrated into curation, selection and catalog structuring activities on commercial video-on-demand platforms. This study shows how the cultural recommendation models of four VOD services are essentially based on the classic curatorial logic of cinema “venues” (movie theatres, festivals, specialised press...) and that, as such, they do not allow for public participation in the functioning of the platforms, the audience being relegated to the minimal functionalities of rating or sharing on digital social networks. The issue here is not only related to the capacity of this industry to build a relationship with its audiences, it also has a political stake in considering ways to mobilize digital participation in a thoughtful and alternative way.
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