In which categories are the “receiver’s” (consumers) of digital media the defining factor in cultural direction, and amid which areas of digital content do the “transmitter’s” (media companies) have the larger influence towards what is distributed, reproduced, appraised, and so forth?
Digital content has two governing target bodies–consumers and media companies. These parties are both intricate receivers and transmitters, connecting the web of digital culture. A prominent market is online video streaming, a category of digital media more influenced by viewers than by the streaming site.
While dominantly controlled by media companies, free versus paid content is unbalanced. There is unquestionably the impulse of viewers to find loopholes in receiving content, as with movies streamed through free platforms such as Megashare. The latter is a redistributor, while HBO Go is a producer and original distributor.
Recently, all resident Stony Brook University students received free access to HBO Go video streaming (DoIT). This digital service offers a diverse array of television shows and movies. As free content to the student body, this service has a competitive grab of consumer attention. Nonetheless, there is personal experience towards knowing the feeling of “interest gaps”. This signifies a potential viewer’s distaste in the content that is offered, whether it be their choice to not watch a stand-up comedy special or an action movie, because they’ve already seen it and/or have a lack of interest in watching the particular show. Following a session of category surfing to little satisfaction, a consumer will switch to an alternative stream service such as Netflix or Hulu, and vice versa.
In order to retain the loyalty of receivers, the streaming company must assert content analytics. This tactic helps “provide visibility into the amount of content that is being created, the nature of that content and how it is used” (Margaret Rouse). This implies being attentive to the entertainment interests of its users, and willingness to change up the shows and movies, to appeal to what viewers desire (within contract limitations–for example, HBO Go cannot stream video outside the HBO network).
Video streaming is not the only market in which media companies are head to head with digital consumers in maintaining harmonic satisfaction of digital culture. Notwithstanding, there is an open loop rapidly pouring out digital content, which is entirely is up for grabs between the two parties, for influential control, that ultimately factors into the enjoyment and production of digital media.
-Frank Barnes
Works Cited
Rouse, Margaret. “Content Analytics.” Search Content Management. TechTarget. 11 Mar. Web.8 Feb. 2015.< http://searchcontentmanagement.techtarget.com/definition/content-analytics>
Mullan, Eileen. “What is Digital Content.” EContent. Information Today Inc. 19 Dec. 2011. Web. 8 Feb. 2015.
In which categories are the “receiver’s” (consumers) of digital media the defining factor in cultural direction, and amid which areas of digital content do the “transmitter’s” (media companies) have the larger influence towards what is distributed, reproduced, appraised, and so forth?
Digital content has two governing target bodies–consumers and media companies. These parties are both intricate receivers and transmitters, connecting the web of digital culture. A prominent market is online video streaming, a category of digital media more influenced by viewers than by the streaming site.
While dominantly controlled by media companies, free versus paid content is unbalanced. There is unquestionably the impulse of viewers to find loopholes in receiving content, as with movies streamed through free platforms such as Megashare. The latter is a redistributor, while HBO Go is a producer and original distributor.
Recently, all resident Stony Brook University students received free access to HBO Go video streaming (DoIT). This digital service offers a diverse array of television shows and movies. As free content to the student body, this service has a competitive grab of consumer attention. Nonetheless, there is personal experience towards knowing the feeling of “interest gaps”. This signifies a potential viewer’s distaste in the content that is offered, whether it be their choice to not watch a stand-up comedy special or an action movie, because they’ve already seen it and/or have a lack of interest in watching the particular show. Following a session of category surfing to little satisfaction, a consumer will switch to an alternative stream service such as Netflix or Hulu, and vice versa.
In order to retain the loyalty of receivers, the streaming company must assert content analytics. This tactic helps “provide visibility into the amount of content that is being created, the nature of that content and how it is used” (Margaret Rouse). This implies being attentive to the entertainment interests of its users, and willingness to change up the shows and movies, to appeal to what viewers desire (within contract limitations–for example, HBO Go cannot stream video outside the HBO network).
Video streaming is not the only market in which media companies are head to head with digital consumers in maintaining harmonic satisfaction of digital culture. Notwithstanding, there is an open loop rapidly pouring out digital content, which is entirely is up for grabs between the two parties, for influential control, that ultimately factors into the enjoyment and production of digital media.
-Frank Barnes
Works Cited
Rouse, Margaret. “Content Analytics.” Search Content Management. TechTarget. 11 Mar. Web.8 Feb. 2015.< http://searchcontentmanagement.techtarget.com/definition/content-analytics>
Mullan, Eileen. “What is Digital Content.” EContent. Information Today Inc. 19 Dec. 2011. Web. 8 Feb. 2015.
<http://www.econtentmag.com/Articles/Resources/Defining-EContent/What-is-Digital-Content-79501.htm>
West, Robert. “The Best Websites to Watch Free Movies Online”. AMOG. 2 Nov. 2011. Web. 8 Feb. 2015.
<http://www.amog.com/entertainment/best-websites-watch-free-movies-online/>.
DoIT. “HBO GO Available to All Resident Students”. Stony Brook University Division of Information Technology. 23 Sept. 2014. Web. 8 Feb. 2015.
<http://it.stonybrook.edu/news/articles/hbo-go-available-to-all-resident-students>.
Additional Links
http://www.clickz.com/clickz/column/1699463/a-new-definition-digital
http://www.nielsen.com/us/en/insights/news/2014/whats-empowering-the-new-digital-consumer.html