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Norway After Netflix. Local Distributor Strategies in a Global Movie Market
Full text linkNorsk sammendrag
Da Netflix kom til Norge i 2012 begynte en ny æra i digital filmdistribusjon. Nærmest over natta tapte den norske filmbransjen titalls millioner i inntekter fra hjemmemarkedet, og for de lokale distributørene viste framveksten av en global og digital amerikansk filmbransje seg som en eksistensiell trussel. Ved hjelp av kvantitative og kvalitative metoder undersøker denne avhandlingen hvordan norske filmdistributører tilpasset sine strategier og sin funksjon da spredningen av film ble digital og global.
Denne avhandlingen presenterer et nytt teoretisk rammeverk, «cultural industries functions» (kulturindustrienes funksjoner), og benytter dette for å vise hvordan den lille norske filmbransjen ble påvirket av de globale endringene i hvordan film ble spredt. Avhandlingen finner at digitaliseringen av filmbransjen ikke bare førte til et tap av inntekt for norske filmdistributører. Digitaliseringen brakte også med seg endringer i den amerikanske filmbransjens behov og prioriteringer, som kom til å true de norske film distributørenes grunnleggende funksjon.
Ved hjelp av kvantitative og kvalitative metoder avdekker avhandlingen sentrale handlingsmønster og posisjoner blant norske distributører, og analyserer den senere tidens endringer. Avhandlingen finner at som svar på dette tapet av både inntekt og potensiell funksjon ble norske filmdistributører mer avhengige av norske filmer. Selv om utenlandske filmer stadig er en tryggere og mer forutsigbar inntektskilde, har disse blitt stadig vanskeligere å få rettigheter til samtidig som de har mistet verdi i hjemmemarkedet. SF Studios og Nordisk Film Distribusjon, de største distributørene innen norsk film, økte også graden av vertikal integrasjon gjennom oppkjøp av produksjonsselskap. Dette bidrar imidlertid til større forskjeller mellom de norske distributørene der de mindre mister tilgangen til både film og markeder.English abstract
When Netflix came to Norway in 2012, the service ushered in a new era of digital film distribution. The Norwegian film industry lost millions of home entertainment revenue almost overnight and for local distributors the emergence of a global and digital American film industry posed an existential threat. Using quantitative and qualitative methods this thesis examines how Norwegian film distributors adapted their strategies and their function when film dissemination became digital and global.
The thesis Norway After Netflix presents a new theoretical framework, the cultural industries functions, and employs this framework to show how the small Norwegian film industry was affected by global changes in the way movies are being distributed. The thesis finds that the digitalisation of the film industry not only led to reduced revenue for Norwegian distributors. The digitalisation also brought a shift in needs and priorities for the American film industry that threatened the very function of the traditional Norwegian film distributor.
Using quantitative and qualitative methods the thesis examines the strategies of Norwegian film distributors after 2008 and identifies key patterns and positions among Norwegian distributors as well as analysing recent shifts. The thesis finds that in response to this loss of not only revenue, but also a potential loss of function, Norwegian distributors began relying more on local titles. While foreign titles remained a far more predictable source of income, they became increasingly difficult to acquire cinematic rights to and they were less valuable in home entertainment markets. SF Studios and Nordisk Film, the "local majors" also increased their level of vertical integration by acquiring production companies. However, this also contributes to a widening gap of "circulation power" between the "high-resource" and "low-resource" distribution companies in Norway, as the smaller companies lose access to both movies and markets
Gunhild Agger: «Det grænseløse tv-drama. Danskhed og transnationalitet» Samfundslitteratur, 2020
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Mangfold i hjemmemarkedet for film : Hva strømmetjenester og Oslo-kinoene byr sine brukere
Full text linkNorsk:
Digital filmdistribusjon over internett har gitt konsumentene tilgang til en stor mengde filmer. Dette er filmer innenfor alle sjangre, fra hele verden og fra alle filmhistoriske perioder. I dette prosjektet har vi undersøkt strømmetjenestene utstillingsvinduer – hvilke filmer de viser fram på sine hjemmesider for film. Strømmetjenestene stiller ut en rekke filmer gjennom filmplakater, som brukeren kan klikke på for å få tilgang til. Vi har undersøkt øyeblikksbilder av sju strømmetjenester slik de var i uke 43 og 47. Vi vet lite om strømmetjenestenes totale tilbud – de er antakelig mye større enn det som vises fram. Den skjulte delen av tilbudet –det vil si det som ikke stilles ut på hjemmesiden – kan vi ikke si noe om. Ikke desto mindre er selve utstillingsvinduet interessant å undersøke fordi den gjør noen filmer godt synlig. Dermed blir de lettere valgt.
Tar vi strømmetjenestene under ett så viser det seg at brorparten av det som ligger i utstillingsvinduet er amerikanske filmer. Halvparten av filmene som strømmetjenestene viste fram på sine nettsider har USA som hovedprodusentland. Noen av disse filmene er coproduksjoner med kapital og kompetanser fra andre land. Og en del filmer fra andre land har USA som co-produsent. Europeisk film har samlet sett litt over 30 % av de filmene som er vist fram – om man inkluderer norsk film er det samlete tilbudet 41 %. Men vi fant også forskjeller i filmtilbudet mellom de ulike strømmetjenestene.
Også når det gjelder andre parametere er det forskjeller mellom de ulike strømmetjenestene. Generelt er tendensen at utstillingsvinduet domineres av nyere amerikansk film. Særlig film fra det globale sør og eldre film har dårlige vilkår på disse strømmetjenestene.
Norsk film har en forholdsvis beskjeden plass i utstillingsvinduet. I snitt ligger andelen norske filmer på under 10 %. Også her varierer de ulike strømmetjenestene en del. Vi har skilt ut seks framhevelsesteknikker som de ulike strømmetjenestene i varierende grad har tatt i bruk. Sett i lys at norsk film, i likhet med amerikansk film, er forholdsvis populær på kino skulle man tro at norske filmer ville fremheves ekstra godt i utstillingsvinduet. I vår analyse av hvordan framhevelsesteknikkene ble brukt på norsk film, finner vi at de ikke er brukt i særlig omfang.
Vi har i tillegg sett på filmtilbudet på kinoene i Oslo i samme perioden. Tallene for kinovisning i Oslo viser en relativ klar polarisering i dette norske kinomarkedet. Filmer fra Norge og USA utgjør cirka 54 % av de aktuelle filmtitlene, og hele 87 % av alle visninger. Norske filmer sto for 45 % av alle visninger i Oslo de undersøkte dagene. Norske filmer var tilgjengelig på samtlige kinoer i Oslo, gjennom hele dagen. Det er verd å merke seg at det ikke ser ut til at de norske filmene erstatter hverandre i utpreget grad, men heller eksisterer side om side så lenge det lar seg gjøre. Filmer fra andre steder i verden har vanskelige kår på kinoene. De fleste filmene utenfor Norge og USA har to eller færre visninger.
I prosjektperioden fremstår posisjonen til norske filmer i Oslos kinomarked, i motsetning til det vi fant hos strømmetilbydere, som solid. Det understrekes at denne konklusjonen er basert på tilbudsside (antall titler og visninger), og ikke på brukertall eller markedsandeler (seertall eller solgte billetter). Her kan forholdene være nokså forskjellige. Det må understrekes at perioden ikke er representativ for hele året og vår undersøkelse gir bare et øyeblikksbilde. For kinoens del er dette er en periode med spesiell høy aktivitet for norske filmer med mange premierer.English
Digital film distribution over the internet has given consumers access to a large number of films. These are films across all genres, from all over the world, and from all historical periods. In this project, we have examined which films streaming services display on their homepages. The streaming services display films through movie posters that users can click on to access. We have examined snapshots of seven streaming services as they were in weeks 43 and 47. We know little about the streaming services' total offerings – they are probably much larger than what is shown. The hidden part of the offerings – that is, what is not displayed on the homepage – we cannot comment on. Nonetheless, the displayed films are interesting to examine because it makes some films highly visible. Thus, they are more easily chosen.
When we look at the streaming services together, it turns out that the lion’s share of what is displayed are American films. Half of the films that the streaming services displayed on their websites have the USA as the main producing country. Some of these films are co-productions with capital and expertise from other countries. Some films from other countries have the USA as a co-producer. European films account for just over 30 % of the films shown – including Norwegian films, the total offering is 41 %. But we also found differences in the film offerings among the different streaming services.
There are also differences among the various streaming services when it comes to other parameters. Generally, mostly newer American films are displayed. Especially films from the global south and older films have poor conditions on these streaming services.
Norwegian films have a relatively modest place. On average, the share of Norwegian films is below 10 %. Here too, the different streaming services vary somewhat. We have identified six highlighting techniques that the various streaming services have adopted to varying degrees. Given that Norwegian films, like American films, are relatively popular in cinemas, one would think that Norwegian films would be particularly well-highlighted. In our analysis of how the highlighting techniques were used on Norwegian films, we find that they are not used to a significant extent.
We have also looked at the film offer at the cinemas in Oslo during the same period. The figures for cinema screenings in Oslo show a relatively clear polarization in this Norwegian cinema market. Films from Norway and the USA make up about 54 % of the current film titles and as much as 87 % of all screenings. Norwegian films accounted for 45 % of all screenings in Oslo on the days examined. Norwegian films were available in all cinemas in Oslo throughout the day. It is worth noting that it does not appear that Norwegian films replace each other to a great extent but rather exist side by side as long as possible. Films from other parts of the world face difficult conditions in cinemas. Most films outside Norway and the USA have two or fewer screenings.
During the project period, the position of Norwegian films in Oslo's cinema market appears, in contrast to what we found with streaming providers, to be solid. It is emphasized that this conclusion is based on the offer side (number of titles and screenings), and not on user numbers or market shares (number of viewers or tickets sold). Here, the conditions may be quite different. It should be emphasized that the period is not representative of the entire year, and our investigation provides only a snapshot. For cinemas, this is a period of particularly high activity for Norwegian films with many premieres.Medietilsyne
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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