Keyword: cultural diversity

European audiovisual media policy in the age of global video on demand services: A case study of Netflix in the Netherlands external link

Idiz, D. R, Irion, K., Ebbers, J. & Vliegenthart, R.
Journal of Digital Media & Policy, vol. 12, num: 3, pp: 425-449, 2022

Abstract

This article considers the provisions in the European Union’s revised Audiovisual Media Services Directive concerning video on demand (VOD) services and the effectiveness of supply-side cultural diversity regulations in achieving their purported policy goals of increased production and consumption of European works. Because the Netherlands is the ‘country of origin’ to several multinational VOD services, including Netflix, we conducted a case study of this specific national context. We examine the quota for and prominence of European works, as well as different forms of financial obligations. We find that the former two policy tools may require new strategies to effectively reach their objectives in a nonlinear context. Our evidence also indicates that the latter remains controversial in the domestic audiovisual industry, as stakeholder positions are dependent on the type(s) of production stimulated. Based on this, we argue that securing the independence of producers and ensuring VOD services are transparent with respect to performance data are essential to promoting source diversity and a sustainable value chain.

Audiovisual Media Services Directive, cultural diversity, frontpage, Media policy, Netflix, nonlinear television, prominence, quota, video on demand regulation

Bibtex

Article{Irion2021e, title = {European audiovisual media policy in the age of global video on demand services: A case study of Netflix in the Netherlands}, author = {Idiz, D. R and Irion, K. and Ebbers, J. and Vliegenthart, R.}, url = {https://doi.org/10.1386/jdmp_00070_1https://www.ivir.nl/idiz-irion-vliegenhard-ebbers-2021-jdmp-2/}, doi = {https://doi.org/10.1386/jdmp_00070_1}, year = {0125}, date = {2022-01-25}, journal = {Journal of Digital Media & Policy}, volume = {12}, number = {3}, pages = {425-449}, abstract = {This article considers the provisions in the European Union’s revised Audiovisual Media Services Directive concerning video on demand (VOD) services and the effectiveness of supply-side cultural diversity regulations in achieving their purported policy goals of increased production and consumption of European works. Because the Netherlands is the ‘country of origin’ to several multinational VOD services, including Netflix, we conducted a case study of this specific national context. We examine the quota for and prominence of European works, as well as different forms of financial obligations. We find that the former two policy tools may require new strategies to effectively reach their objectives in a nonlinear context. Our evidence also indicates that the latter remains controversial in the domestic audiovisual industry, as stakeholder positions are dependent on the type(s) of production stimulated. Based on this, we argue that securing the independence of producers and ensuring VOD services are transparent with respect to performance data are essential to promoting source diversity and a sustainable value chain.}, keywords = {Audiovisual Media Services Directive, cultural diversity, frontpage, Media policy, Netflix, nonlinear television, prominence, quota, video on demand regulation}, }

Ensuring the Visibility and Accessibility of European Creative Content on the World Market: The Need for Copyright Data Improvement in the Light of New Technologies external link

Senftleben, M., Margoni, T., Antal, D., Bodó, B., van Gompel, S., Handke, C.W., Kretschmer, M., Poort, J., Quintais, J. & Schwemer, S.
JIPITEC, vol. 13, iss. : 1, pp: 67-86, 2022

Abstract

In the European Strategy for Data, the European Commission highlighted the EU’s ambition to acquire a leading role in the data economy. At the same time, the Commission conceded that the EU would have to increase its pools of quality data available for use and re-use. In the creative industries, this need for enhanced data quality and interoperability is particularly strong. Without data improvement, unprecedented opportunities for monetising the wide variety of EU creative and making this content available for new technologies, such as artificial intelligence training systems, will most probably be lost. The problem has a worldwide dimension. While the US have already taken steps to provide an integrated data space for music as of 1 January 2021, the EU is facing major obstacles not only in the field of music but also in other creative industry sectors. Weighing costs and benefits, there can be little doubt that new data improvement initiatives and sufficient investment in a better copyright data infrastructure should play a central role in EU copyright policy. A trade-off between data harmonisation and interoperability on the one hand, and transparency and accountability of content recommender systems on the other, could pave the way for successful new initiatives.

Artificial intelligence, Collective licensing, Content moderation, Copyright, creative industry, cultural diversity, Digital services act, interoperability, market concentration, market failure, metadata, Music Modernization Act, recommender systems, SME, Transparency, trustworthy AI

Bibtex

Article{Senftleben2021, title = {Ensuring the Visibility and Accessibility of European Creative Content on the World Market: The Need for Copyright Data Improvement in the Light of New Technologies}, author = {Senftleben, M. and Margoni, T. and Antal, D. and Bodó, B. and van Gompel, S. and Handke, C.W. and Kretschmer, M. and Poort, J. and Quintais, J. and Schwemer, S.}, url = {https://www.jipitec.eu/issues/jipitec-13-1-2022/5515 https://www.ivir.nl/jipitec_2022/}, year = {0412}, date = {2022-04-12}, journal = {JIPITEC}, volume = {13}, issue = {1}, pages = {67-86}, abstract = {In the European Strategy for Data, the European Commission highlighted the EU’s ambition to acquire a leading role in the data economy. At the same time, the Commission conceded that the EU would have to increase its pools of quality data available for use and re-use. In the creative industries, this need for enhanced data quality and interoperability is particularly strong. Without data improvement, unprecedented opportunities for monetising the wide variety of EU creative and making this content available for new technologies, such as artificial intelligence training systems, will most probably be lost. The problem has a worldwide dimension. While the US have already taken steps to provide an integrated data space for music as of 1 January 2021, the EU is facing major obstacles not only in the field of music but also in other creative industry sectors. Weighing costs and benefits, there can be little doubt that new data improvement initiatives and sufficient investment in a better copyright data infrastructure should play a central role in EU copyright policy. A trade-off between data harmonisation and interoperability on the one hand, and transparency and accountability of content recommender systems on the other, could pave the way for successful new initiatives.}, keywords = {Artificial intelligence, Collective licensing, Content moderation, Copyright, creative industry, cultural diversity, Digital services act, interoperability, market concentration, market failure, metadata, Music Modernization Act, recommender systems, SME, Transparency, trustworthy AI}, }

Collective Management Organisations, Creativity and Cultural Diversity external link

Street, J., Laing, D. & Schroff, S.
CREATe Working Paper Series, vol. 2015/02, pp: 1-31, 2015

CMO, collective management, creativity, cultural diversity

Bibtex

Article{Street2015, title = {Collective Management Organisations, Creativity and Cultural Diversity}, author = {Street, J. and Laing, D. and Schroff, S.}, url = {http://www.create.ac.uk/publications/collective-management-organisations-creativity-and-cultural-diversity/}, year = {0202}, date = {2015-02-02}, journal = {CREATe Working Paper Series}, volume = {2015/02}, pages = {1-31}, keywords = {CMO, collective management, creativity, cultural diversity}, }

Regulating for Creativity and Cultural Diversity: the Case of Collective Management Organisations and the Music Industry external link

Street, J., Laing, D. & Schroff, S.
International Journal of Cultural Policy, pp: 1-16, 2017

Abstract

This paper explores the role of intermediary institutions in promoting creativity and cultural diversity in the music industry, and the impact of cultural policy on the performance of those intermediaries. It reviews some of the existing literature on the relationship between economic conditions and innovation in music, and argues that too little attention has been paid to intermediaries. Focusing on collective management organisations (CMOs) as one example of overlooked intermediaries, we illustrate, by way of comparison, the different priorities and incentives that drive CMO practice. These variations, we suggest, are important to appreciating how CMOs operate as intermediaries in different territories. We then turn our attention to recent attempts by the EU to reform CMO practice as part of its Digital Single Market project. The fact that the CMO has been an object of reform is indicative of its importance. However, there is more at stake here: the reforms themselves, in seeking to change the role and behaviour of CMOs will, we suggest, have profound consequences for the market in music in Europe, and for creativity and cultural diversity within that market.

collective management organisations, Copyright, creativity, cultural diversity, Digital Single Market, EU, frontpage, music industry

Bibtex

Article{Street2016, title = {Regulating for Creativity and Cultural Diversity: the Case of Collective Management Organisations and the Music Industry}, author = {Street, J. and Laing, D. and Schroff, S.}, url = {http://www.tandfonline.com/doi/full/10.1080/10286632.2016.1178733}, doi = {https://doi.org/http://dx.doi.org/10.1080/10286632.2016.1178733}, year = {0117}, date = {2017-01-17}, journal = {International Journal of Cultural Policy}, abstract = {This paper explores the role of intermediary institutions in promoting creativity and cultural diversity in the music industry, and the impact of cultural policy on the performance of those intermediaries. It reviews some of the existing literature on the relationship between economic conditions and innovation in music, and argues that too little attention has been paid to intermediaries. Focusing on collective management organisations (CMOs) as one example of overlooked intermediaries, we illustrate, by way of comparison, the different priorities and incentives that drive CMO practice. These variations, we suggest, are important to appreciating how CMOs operate as intermediaries in different territories. We then turn our attention to recent attempts by the EU to reform CMO practice as part of its Digital Single Market project. The fact that the CMO has been an object of reform is indicative of its importance. However, there is more at stake here: the reforms themselves, in seeking to change the role and behaviour of CMOs will, we suggest, have profound consequences for the market in music in Europe, and for creativity and cultural diversity within that market.}, keywords = {collective management organisations, Copyright, creativity, cultural diversity, Digital Single Market, EU, frontpage, music industry}, }

Cultural diversity in the digital age: EU competences, policies and regulations for diverse audiovisual and online content external link

Irion, K.
2014

Abstract

Cultural diversity is a multifaceted concept that differs from the notion of media pluralism. However, the two concepts share important concerns particularly as regards content production, content distribution and access to content. This chapter considers the EU’s role in contributing to diverse audiovisual and online content and assesses its limits.<br /> Although a signatory of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the ability of the EU to foster cultural diversity in the digital environment is confined on account of its constrained competences in the field of audiovisual media and online content. Notwithstanding, the EU develops a number of substantive policies that benefit the creation and circulation of cultural content either in an explicit or in an implicit manner. Following a value-chain approach, this chapter discusses the complementary role of various EU sectoral regulations towards this aim. The analysis focuses on the Audiovisual Media Services (AVMS) Directive (Directive 2007/65/EC – 2010/13/EU) and various aspects of the EU regulatory framework for electronic communications, particularly in relation to non-discriminatory access to bottlenecks in the distribution infrastructure and online platforms.<br /> The chapter advances the argument that existing EU policies have an important role to play for ensuring the free circulation of, and access to, cultural content. At the same time, aside from the cultural quotas in the above mentioned AVMS Directive, EU activity is less prominent in the field of content production. The analysis concludes by stressing the complexity of promoting cultural diversity in light of both cultural content supply and demand considerations. It also emphasises the importance of emerging policy issues, in particular net neutrality and findability.

audiovisual content, competences, cultural diversity, European Union, Mediarecht, online content

Bibtex

Other{nokey, title = {Cultural diversity in the digital age: EU competences, policies and regulations for diverse audiovisual and online content}, author = {Irion, K.}, url = {http://www.ivir.nl/publicaties/download/1441.pdf}, year = {1121}, date = {2014-11-21}, abstract = {Cultural diversity is a multifaceted concept that differs from the notion of media pluralism. However, the two concepts share important concerns particularly as regards content production, content distribution and access to content. This chapter considers the EU’s role in contributing to diverse audiovisual and online content and assesses its limits.<br /> Although a signatory of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the ability of the EU to foster cultural diversity in the digital environment is confined on account of its constrained competences in the field of audiovisual media and online content. Notwithstanding, the EU develops a number of substantive policies that benefit the creation and circulation of cultural content either in an explicit or in an implicit manner. Following a value-chain approach, this chapter discusses the complementary role of various EU sectoral regulations towards this aim. The analysis focuses on the Audiovisual Media Services (AVMS) Directive (Directive 2007/65/EC – 2010/13/EU) and various aspects of the EU regulatory framework for electronic communications, particularly in relation to non-discriminatory access to bottlenecks in the distribution infrastructure and online platforms.<br /> The chapter advances the argument that existing EU policies have an important role to play for ensuring the free circulation of, and access to, cultural content. At the same time, aside from the cultural quotas in the above mentioned AVMS Directive, EU activity is less prominent in the field of content production. The analysis concludes by stressing the complexity of promoting cultural diversity in light of both cultural content supply and demand considerations. It also emphasises the importance of emerging policy issues, in particular net neutrality and findability.}, keywords = {audiovisual content, competences, cultural diversity, European Union, Mediarecht, online content}, }