This collection examines the impact of streaming platforms on European cinema. It is structured from three distinct points-of-view: the policy issues related to streaming platforms, equally at the European level and in individual countries; the impact of platforms on the circulation of European films, including some of the global players, multi-national and single-nation platforms operating in Europe; and the production activities of the platforms in the form of specific 'original' films. By bringing together scholars working on various national cinemas, including those of France, Spain,…mehr
This collection examines the impact of streaming platforms on European cinema. It is structured from three distinct points-of-view: the policy issues related to streaming platforms, equally at the European level and in individual countries; the impact of platforms on the circulation of European films, including some of the global players, multi-national and single-nation platforms operating in Europe; and the production activities of the platforms in the form of specific 'original' films. By bringing together scholars working on various national cinemas, including those of France, Spain, Britain and other countries, this collection illuminates the many ways in which the European film industry is responding to the digital revolution. Chapter 5 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Christopher Meir is Assistant Professor of Communication at the Universidad Carlos III de Madrid. Roderik Smits is Research Fellow in Film and Media Studies at the Universidad Carlos III de Madrid.
Inhaltsangabe
Section I: European Policy and Streaming Cinema.- 1.Is the European Film Co-production as We know It in Peril?: The Cases for and against Article 13 of the Revised EU's Audiovisual Media Service Directive (AVMSD) Petar Mitric, University of Copenhagen.- 2. Integrating Global SVOD Platforms into the French Regulation System Ana Vinuela, Associate professor, Université Sorbonne Nouvelle.- 3.New AVMSD, Old Purpose: EU Film Policy and the Portuguese Case Mariana Liz, University of Lisbon.- 4.The Process of Becoming Non-European: The Online Distribution of UK Film in the EU Post-Brexit Virginia Crisp, King's College, London Section II: SVOD platforms and the Circulation of European Films.- 5. Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 6. Algorithm vs. Curation: The Logics of Recommendation and the Realities of Discoverability and Availability in the European VOD Experience Mattias Frey, University of Kent.- 7.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 8.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- Section III: SVOD-Financed European Production.- 9. Producing Spanish Cinema (and Television) in the Streaming Era: Morena Films and the Global SVOD Platforms Christopher Meir, Universidad Carlos III de Madrid.- 10.Transnational SVOD Production in the European Periphery Petr Szczepanik, Charles University in Prague.- 11. Accidental Films Inside a Bigger Strategy: Investigating the Film CoProduction Agreement between Mediaset and Netflix Luca Barra (Università di Bologna) and Paolo Noto (Università di Bologna).- 12.Particularising the Universal in Aléxandre Aja's Oxygène Reece Goodall (University of Warwick) and Mary Harrod (University of Warwick).- 13.Undercovering. An Analysis of the Production and Textual Strategies of Local(ized) Transmedia Storytelling: The Case of Netflix's Series Undercover and its Film Spin-Off Ferry Eduard Cuelenaere (University of Ghent) and Stijn Joye (University of Ghent).
Section I: European Policy and Streaming Cinema.- 1.Is the European Film Co-production as We know It in Peril?: The Cases for and against Article 13 of the Revised EU’s Audiovisual Media Service Directive (AVMSD) Petar Mitric, University of Copenhagen.- 2. Integrating Global SVOD Platforms into the French Regulation System Ana Vinuela, Associate professor, Université Sorbonne Nouvelle.- 3.New AVMSD, Old Purpose: EU Film Policy and the Portuguese Case Mariana Liz, University of Lisbon.- 4.The Process of Becoming Non-European: The Online Distribution of UK Film in the EU Post-Brexit Virginia Crisp, King’s College, London Section II: SVOD platforms and the Circulation of European Films.- 5. Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 6. Algorithm vs. Curation: The Logics of Recommendation and the Realities of Discoverability and Availability in the European VOD Experience Mattias Frey, University of Kent.- 7.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 8.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- Section III: SVOD-Financed European Production.- 9. Producing Spanish Cinema (and Television) in the Streaming Era: Morena Films and the Global SVOD Platforms Christopher Meir, Universidad Carlos III de Madrid.- 10.Transnational SVOD Production in the European Periphery Petr Szczepanik, Charles University in Prague.- 11. Accidental Films Inside a Bigger Strategy: Investigating the Film CoProduction Agreement between Mediaset and Netflix Luca Barra (Università di Bologna) and Paolo Noto (Università di Bologna).- 12.Particularising the Universal in Aléxandre Aja’s Oxygène Reece Goodall (University of Warwick) and Mary Harrod (University of Warwick).- 13.Undercovering. An Analysis of the Production and Textual Strategies of Local(ized) Transmedia Storytelling: The Case of Netflix’s Series Undercover and its Film Spin-Off Ferry Eduard Cuelenaere (University of Ghent) and Stijn Joye (University of Ghent).
Section I: European Policy and Streaming Cinema.- 1.Is the European Film Co-production as We know It in Peril?: The Cases for and against Article 13 of the Revised EU's Audiovisual Media Service Directive (AVMSD) Petar Mitric, University of Copenhagen.- 2. Integrating Global SVOD Platforms into the French Regulation System Ana Vinuela, Associate professor, Université Sorbonne Nouvelle.- 3.New AVMSD, Old Purpose: EU Film Policy and the Portuguese Case Mariana Liz, University of Lisbon.- 4.The Process of Becoming Non-European: The Online Distribution of UK Film in the EU Post-Brexit Virginia Crisp, King's College, London Section II: SVOD platforms and the Circulation of European Films.- 5. Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 6. Algorithm vs. Curation: The Logics of Recommendation and the Realities of Discoverability and Availability in the European VOD Experience Mattias Frey, University of Kent.- 7.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 8.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- Section III: SVOD-Financed European Production.- 9. Producing Spanish Cinema (and Television) in the Streaming Era: Morena Films and the Global SVOD Platforms Christopher Meir, Universidad Carlos III de Madrid.- 10.Transnational SVOD Production in the European Periphery Petr Szczepanik, Charles University in Prague.- 11. Accidental Films Inside a Bigger Strategy: Investigating the Film CoProduction Agreement between Mediaset and Netflix Luca Barra (Università di Bologna) and Paolo Noto (Università di Bologna).- 12.Particularising the Universal in Aléxandre Aja's Oxygène Reece Goodall (University of Warwick) and Mary Harrod (University of Warwick).- 13.Undercovering. An Analysis of the Production and Textual Strategies of Local(ized) Transmedia Storytelling: The Case of Netflix's Series Undercover and its Film Spin-Off Ferry Eduard Cuelenaere (University of Ghent) and Stijn Joye (University of Ghent).
Section I: European Policy and Streaming Cinema.- 1.Is the European Film Co-production as We know It in Peril?: The Cases for and against Article 13 of the Revised EU’s Audiovisual Media Service Directive (AVMSD) Petar Mitric, University of Copenhagen.- 2. Integrating Global SVOD Platforms into the French Regulation System Ana Vinuela, Associate professor, Université Sorbonne Nouvelle.- 3.New AVMSD, Old Purpose: EU Film Policy and the Portuguese Case Mariana Liz, University of Lisbon.- 4.The Process of Becoming Non-European: The Online Distribution of UK Film in the EU Post-Brexit Virginia Crisp, King’s College, London Section II: SVOD platforms and the Circulation of European Films.- 5. Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 6. Algorithm vs. Curation: The Logics of Recommendation and the Realities of Discoverability and Availability in the European VOD Experience Mattias Frey, University of Kent.- 7.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- 8.Researching Online Film Circulation: Netflix and Other SVOD platforms Roderik Smits, Universidad Carlos III de Madrid.- Section III: SVOD-Financed European Production.- 9. Producing Spanish Cinema (and Television) in the Streaming Era: Morena Films and the Global SVOD Platforms Christopher Meir, Universidad Carlos III de Madrid.- 10.Transnational SVOD Production in the European Periphery Petr Szczepanik, Charles University in Prague.- 11. Accidental Films Inside a Bigger Strategy: Investigating the Film CoProduction Agreement between Mediaset and Netflix Luca Barra (Università di Bologna) and Paolo Noto (Università di Bologna).- 12.Particularising the Universal in Aléxandre Aja’s Oxygène Reece Goodall (University of Warwick) and Mary Harrod (University of Warwick).- 13.Undercovering. An Analysis of the Production and Textual Strategies of Local(ized) Transmedia Storytelling: The Case of Netflix’s Series Undercover and its Film Spin-Off Ferry Eduard Cuelenaere (University of Ghent) and Stijn Joye (University of Ghent).
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