Global Media Industry Research Articles

Personalized movie recommendation in IoT-enhanced systems using graph convolutional network and multi-layer perceptron

Exploring the optimization of communication strategies for animation films in the context of cross-cultural communication, this research integrates the Internet of Things (IoT) and convolutional networks. The research constructs a collaborative filtering (CF) movie recommendation model based on a graph convolutional neural network (GCN) and investigates its application in cross-cultural communication. The fusion of IoT and convolutional networks in movie communication is also analyzed, and the effectiveness of the proposed GCN-CF model is validated through comparative experiments. The results indicate that, compared to other models, the GCN-CF model achieves the lowest Root Mean Square Error (RMSE) on the MovieLens 100 K and MovieLens 1 M datasets, with values of 0.8762 and 0.8275, respectively. Compared to traditional models, the GCN-CF model exhibits significantly superior performance in terms of RMSE, with reductions ranging from 0.6 to 5.2%, highlighting its heightened detection accuracy and overall performance. Moreover, the performance of the GCN-CF model is enhanced after introducing attention mechanisms and auxiliary information on both datasets, showing an improvement of 0.4% compared to the scenario without these additions. This data demonstrates the effectiveness of attention mechanisms and auxiliary information. Finally, the research presents an animation film communication strategy based on IoT and convolutional networks, offering novel insights for film production and communication, along with positive implications for cultural exchange and the advancement of the global media industry.

Content creation and gig-work in the platform economy: What contemporary sex work can teach us about the futures of digital labor

To come to a closer understanding of platforms’ control and normative influences over the gig-economy, in this study I focus on gig-workers laboring under extreme societal, economic, and algorithmic marginalization in a multi-billion-dollar global media industry: adult entertainers working on direct-to-consumer content creation platforms. Digital sex work problematizes accepted definitions of gig-work, because adult entertainers’ professional identities are not limited to singular platforms, because building community is fundamental, and because all dispersed professional performances cumulatively constitute content creators’ personas. Laborers across creative industries would do well to take note of how adult entertainers survive, work, and thrive in such a hostile environment.

Effects of Social Media on Branding ——The Rise of Creative Advertising Marketing

In the Web2.0 era, social media has developed into the most compelling area in the global media industry and brought online users a fresher experience and more creative network communication application models. Both its social impact and economic development have become the new engine and growth point of the media industry. More and more brands and companies put their advertising budgets on social media advertising, because social media advertising is not only affordable but also able to accurately target the consumer group. The Internet word of mouth formed by social media is reshaping the relationship between brands and consumers. At the same time, the way audiences receive and disseminate information has undergone tremendous changes, and advertising creative communication is also facing huge challenges. This article will analyze the development process and trends of social media from the perspective of its core technology and communication characteristics, and then explore the social-psychological impact and cultural value of social media brought to brand communication.

A Mountain Standing: Paramount

With the rapid growth and evolution of the global media industry, Paramount Pictures, Inc. is facing unprecedented opportunities and challenges. As a long-established film production and distribution giant, Paramount is breaking new ground to maintain its leadership position in the global entertainment industry. This paper will explain why Paramount can be expected to become a dominant entertainment business after over a decade in terms of its corporate background, current strategy, reasons why it can continue to thrive, future challenges, and development proposals.

Innovations in the Global and Russian Media Industry and Media Education

Innovations in the Global and Russian Media Industry and Media Education

Issue Introduction | Decoding the Echo Chamber: The Proliferation and Impact of Fake News in Arab Media Post-Arab Spring

In our information-driven society, individuals increasingly consume news instantly via online platforms, including news websites, social media, blogs, and forums. In particular, social media platforms have become fertile ground for the proliferation of fake news, where false information is produced and widely disseminated, often from untraceable IP addresses (Shae and Tsai 2019). These platforms serve as near-perfect conduits for spreading news to a vast audience, given their ability to attract followers. Consequently, the emergence of viral content or 'hotspots' has facilitated the rampant spread of fake news in cyberspace (Dice 2017; Shae and Tsai 2019). This trend has significant implications for global media industries. News editors who receive information via social media often have limited capacity to verify its authenticity, as they might with traditional sources. The task of distinguishing real news from fake becomes increasingly intricate and demanding in the highly competitive media landscape. Various media platforms have started to select and publish posts, comments, and articles from an array of sources without sufficient verification (Wilding and Fray 2018). As a result, assessing the credibility of information has become immensely challenging due to the sheer volume of news, the fragmentation of sources, and the prevalence of biased social cues.

Monetising User Participation, Content and Expertise: Sources of Income for Indonesia’s Digital News Media

The global news media industry is still looking for a sustainable business model. The digitalisation of the media has forced the global press industry to seek compensation for lost revenue traditionally derived from advertising. A similar phenomenon is also occurring in a Global South country, Indonesia. With many social media users and thousands of startups, the opportunity to benefit comes from two channels: monetising user participation and content. What is the current position of conglomerate and digitally native news media on the two options? How are websites and social media used by both media to support these two sources of income? The research applied two methods, website content analysis and social media analysis, to see revenue channels, web functions, user participation on the web, and social media functions. In addition, we interviewed eight informants from eight media. This research finds that digital news media conglomerates and Indonesian startups earn profits through similar channels, such as monetising user participation and content and their expertise. However, slightly different from established digital media, digital native media companies expand their revenue stream by monetising their expertise, for example, by offering market research and data analysis. Digital news media with a niche market of readers will most likely offer their expertise. Keywords: Media business model, digital news media, paywall, user participation, user-generated content.

ТЕНДЕНЦІЇ РОЗВИТКУ ВІТЧИЗНЯНОЇ МЕДІАІНДУСТРІЇ

The media industry is an important element of the information society and an integral part of the national economic system, which provides the public need for communication services and, in particular, such a resource as current information. As a component of the business environment, it ensures the production and distribution of media products and advertising. The media industry is characterized by the rapid pace of transformation of its structural components and the uneven dynamics of this process. The article considers the factors that will influence the development of both the global and domestic media industry. The main ones are: changes in the structure of consumption towards an increase in the share of digital media products, the appearance on the global market of new producers of media products, the development of media corporations, an increase in the advertising budgets of the share of Internet sources and online commerce, Internet security and legal regulation of relations with digital platforms, changing the speed of content creation due to the rapid development of technologies and artificial intelligence programs. The article notes that the adoption of the Law of Ukraine "On Media", in which the regulation of this sphere is coordinated with the relevant EU directives, should streamline organizational and legal relations in the media sphere and will contribute to updating its structure. The changes that took place in certain segments of the media market are highlighted. The television market of Ukraine was characterized by the concentration of TV channels in media holdings, and its structural and technical changes are related to the transition of television to digital broadcasting, the coding of satellite signals of TV channels, and the banning of a number of TV channels. The radio market saw a decline in the popularity of over-the-air radio and an increase in online consumption, with three quarters of the market divided between four radio groups. The publishing market is characterized by a reduction in the range of printed publications and their circulations, and the segment of periodicals is characterized by an accelerated transition to their electronic versions. The study of the changes that have taken place in the media sphere since the full-scale military invasion revealed their main factors, including: changes in infrastructure and reduction in coverage of the territory of Ukraine, reduction of the audience, changes in consumer preferences of target audiences, deterioration of the financial situation, etc. The further transformation of the media industry will be its reaction to the appearance of new challenges in the external environment.

Research on the Current Situation and Marketing Strategies of Netflix Platform Marketing

Streaming media, as a brand new carrier of cultural products, plays a very important role in business and culture under the rapid development of the Internet. In the wake of the pandemic, many media industries and companies have been affected. First and foremost is Netflix. With the development of the epidemic, Netflix’s market share continues to eat up the market share of film and television. This paper will first study some problems encountered by Netflix after the epidemic and what caused its market value to decline. In addition, this paper will predict and research its future strategies and analyze Netflix by connecting with the global streaming media industry. This article aims to help some small streaming media companies to solve the problems they encounter after the epidemic. And These companies can learn from Netflix’s solutions to some extent and also drive the development of the streaming media industry from the side.

Value Sovereignty in the Era of Global Convergent Media

Sovereignty in the digital space is a relatively new phenomenon, which is discussed in this paper. It is complex in nature and depends both on the technological base which is used (primarily network equipment, including 5G, etc.), software products and platforms, and on the promoted content. The countries are faced with the difficult task of regulating the activities of global media holdings in order to maintain value-based sovereignty. The author gives a political and economic analysis of value sovereignty, showing the importance of the state as a regulator that allows to eliminate negative informational externalities. Particular attention is paid to the analysis of the international media landscape and the formation of multipolarity in the network space, including the growing phenomenon of technological convergence in the media industry, as well as the positions of individual countries and regions in the global media industry. The corporate structures of the world’s largest media holdings are studied and the increasing degree of diversification of their assets is revealed. The generational differentiation of socialization mechanisms in the post-pandemic era, including the proportion of time devoted to social platforms, traditional media (the case of television), as well as the main ways of accessing the Internet and the penetration of new technologies. The most promising for socialization and fast-growing segments are shown, including Internet TV, virtual reality technologies, video games and cyber-sports. In the final part of the paper the author discusses the main problems and challenges of regulating the national media space in order to ensure value sovereignty in the era of global convergent media.

Under COVID-19 the Transformation of Enterprise Strategy — A Case Study of Disney

The emerge of new technology and media platforms has deeply changed the landscape of strategic business management and the global media industry. The company business strategy optimization is becoming increasingly significant in the era of the digital economy, especially amid the COVID-19 pandemic. This article will utilize SWOT analysis and financial models to develop data-driven insights and in-depth recommendations on enterprise strategy transformation based on the case study of Walt Disney. The research results show that Disney should shift from offline business lines such as parks and stores to online streaming and interactive media, which will help Disney fully take advantage of their competitive strengths of the intellectual property portfolio and distribution channels to further develop the streaming media business segment aligned with the studio department. By transforming weaknesses and threats into new growth opportunities, Walt Disney will be able to achieve further global market outreach and maximize the profitability of innovation on creative content.

Development of Paper Media in the Age of Media Convergence: Taking China's Newspaper Industry as an Example

The all-round integration of the media and the vigorous development of new media have made the traditional media industry represented by paper media face unprecedented challenges. This article combines the development trend of the global media industry and the China's media environment to analyze the survival status of China's newspaper industry and make recommendations for its development.

Dewesternizing Precarity in Turkish TV Drama Production through the Body and the Law

Beneath Turkish TV dramas’ global glamor lie workplace accidents, systemic injuries on workers’ bodies, and deaths. In response, workers seek to impose restraints on what can be done to their bodies by resorting to law and evoking ideals of equality as they struggle for workplace safety, healthcare, and dignity. Drawing on ethnographic research across production sets, industry summits, union meetings and more than fifty interviews since 2015, this article documents drama workers’ bodily vulnerabilities, arguing that precarity in this global media industry is a bodily phenomenon legally sanctioned by the state. I dewesternize the notion of precarity in creative industries by foregrounding the materiality of the body and the regulative power of law as centers of exploitation and resistance. Critical scholars of media production could learn from non-Western contexts in identifying how creative workers do not only demand stable incomes but also legal recognition and protection of their bodies.

Anthropology’s Prophecy for #MeToo: From Hollywood to Hong Kong

AbstractMore than fifty years before the #MeToo movement, anthropologist Hortense Powdermaker provided ethnographic insights into patterns of masculine aggression and gender disparities in positions of power in Hollywood. Contextualizing contemporary #MeToo news reports with Powdermaker’s study and my own ethnographic research in the Hollywood and Hong Kong film industries, I examine what I call the globalization of Hollywood patriarchy through the East Asian business operations of US film producer–distributor Harvey Weinstein. Connecting anthropologist Sherry Ortner’s conceptualization of US neoliberal patriarchy with Powdermaker’s insights offers a unique perspective on contemporary and racialized expressions of power in global mass media industries.

Berlin as location and production site for transnational TV drama

Berlin has had a long, often complex history as a location site and centre for production dating to the end of the 19th century. By the 2010s however, the German city had once more become a central location and production site for international and national television, in part because of changing media policy and shifts in the global media industry, as well as related to the mediated imagination of the city. The article charts those changes in local production cultures related to technology, politics and economics but also to the aesthetic and narrative representation of the city which affected audiences and producers. The central argument is that local production cultures are not homogeneous, but ambivalent and sometimes contradictory.

Cultural dimensions of online vs. offline media competition: an application of niche theory

ABSTRACT Using 50 countries’ media-market panel data from 2012 to 2016, this study examines changes in the global media industry caused by the development of the Internet and assesses the influence of cultural factors on these changes. In the light of niche theory, an analytical method of measuring the competition among media, this study analyzes gradual changes in the online and offline media markets. By using Hofstede’s cultural dimensions as a lens for analyzing cultural factors affecting Internet displacement effects, this study finds that culture is one of the critical factors affecting online vs. offline competition.

The Long History of the 2017 Spotify “Fake Music” Scandal

Research Article| July 01 2020 The Long History of the 2017 Spotify “Fake Music” Scandal K. E. Goldschmitt K. E. Goldschmitt K. E. Goldschmitt is assistant professor of music at Wellesley College. Prior to Wellesley, Goldschmitt held research and teaching positions at the University of Cambridge, New College of Florida, and Colby College. They have published on Brazilian music, film music, the global media industries, circulation, and music technology. Their book, Bossa Mundo: Brazilian Music in Transnational Media Industries, was published by Oxford University Press in 2020. Search for other works by this author on: This Site Google American Music (2020) 38 (2): 131–152. https://doi.org/10.5406/americanmusic.38.2.0131 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation K. E. Goldschmitt; The Long History of the 2017 Spotify “Fake Music” Scandal. American Music 1 January 2020; 38 (2): 131–152. doi: https://doi.org/10.5406/americanmusic.38.2.0131 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressAmerican Music Search Advanced Search The text of this article is only available as a PDF. Copyright 2020 by the Board of Trustees of the University of Illinois2020 Article PDF first page preview Close Modal You do not currently have access to this content.

“Are Fans in the Stands an Afterthought?”: Sports Events, Decision-Aid Technologies, and the Television Match Official in Rugby Union

The intense commodification, commercialisation, mediatisation, globalisation, and digitalisation of sport in the past three decades have resulted in sporting organisations and governing bodies becoming inextricably tied to the global media industry and corporate economy. A result of this mediatisation, coupled with technological advancement, has been the introduction of decision-aid technologies in sport. Existing literature on decision-aid technologies has generally focused on the technologies themselves. Here, we focus on decision-aid technology use and its impact on event experience. This article examines fan attitudes towards the use of the Television Match Official (TMO) in rugby union in relation to the event experience. We present data from a global online questionnaire ( n = 194) and 11 semi-structured interviews with fans, representatives from rugby’s governing bodies, two TMOs, and a television producer. Data show an inconsistency in how TMO decisions are relayed to match crowds, which had an impact on events experience. The data also reveal how heavily reliant the TMO system is on broadcasters. Fans were generally in favour of TMO use, but they did want to be better informed when it came to TMO referrals and decisions. Indeed, fans said improvements to TMO decision delivery in stadia, specifically having audio of referee/TMO discussions/decisions relayed over the stadium PA system and/or captions providing explanations and decisions on TMO referrals, would mostly improve their event experience.

POLITICS, ACTIVISM AND TROLLING ON THE RUSSIAN INTERNET

In the years that have passed since the social media powered protest movement of 2011-2012, the Russian government has dramatically expanded its restrictions on the Internet, while simultaneously consolidating its grip on traditional media. The Internet, which long provided a space for alternative media and free speech to blossom, is becoming increasingly restricted by a growing corpus of legislation and expanding state surveillance. With legally ill-defined prohibitions on, e.g., offending the feelings of religious believers, propagating 'non-traditional family values' and disseminating 'extremism' in place, online freedom of speech in Russia is at threat. Meanwhile, the Russian state continues to refine its skills in covertly manipulating online discourses, as it has quite successfully practiced it since the 2000s. Yet, because of its transnational configuration, the Internet continues to evade comprehensive state control and offers ever new opportunities for disseminating and consuming dissenting opinions. Developments over the past year, including the series of anti-corruption mass protests organised by opposition leader Aleksei Navalny's Anti-Corruption Foundation, have demonstrated how online challenges to the status-quo are still able to gather momentum and create 'real world' political turbulence. The panel presents a multifaceted investigation of how the Russian-language segment of the Internet, often dubbed Runet, is shaped by and gives shape to online politics and activism. How should we understand the particular complexities of these contestations between an increasingly authoritarian state and its citizens? How are these processes facilitated or hampered by the infrastructural conditions created by national and global media industries and internet companies?

Development Distribution? EU Aid for Formal Audiovisual Distribution and the Case of Africa’s First Video-on-Demand Platform

This article examines the European Union’s support for formal distribution initiatives abroad, focusing on ACPCultures+, an economic development program that aims to grow the audiovisual industries of developing countries through the expansion and adaptation of the logics and mechanisms of intra-European media policies. While these distribution initiatives aim to challenge Hollywood’s reach in developing countries, their activities nevertheless foster the integration of audiovisual industries in developing countries into global media industries. At the same time, the program’s pairing of formal distribution and development aid is at times at odds with audience and industry expectations. Using data from policy documents, fieldwork in Brussels, and interviews with recipients of ACPCultures+ distribution project awards—including a detailed case study of Africa’s first VOD platform—I explore how these initiatives attempt to shape formal distribution in countries on the peripheries of large audiovisual industries.