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Digital Platforms and Cultural Industries

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Edited By Philippe Bouquillion and François Moreau

The assessment of the challenges of digital platforms for cultural industries raises many different issues. How platforms choices in content pricing affect the overall value of cultural markets, especially in the case where content just aim at favoring devices’ sales? How are revenues shared between platforms and content right holders? Do creators and artists all benefit from the growth of digital platforms? How usual business models of cultural industries have to adapt to the digital paradigm? Should we observe rather a reinforcement of the star system or the emergence of a long tail? What is the impact on market concentration? Could we expect an increase or a decrease in cultural diversity? What is the role played by recommender systems, playlists and algorithms in influencing consumers’ choices? How to implement efficient public policies given the transnational dimension of digital platforms? The various papers gathered in this book contribute further to these different topics with a focus on empirical issues. The first part gathers the contributions dealing with the analysis of the impact that digital platforms have on the incumbent or legacy players of the original value chain of content industries: content providers, live entertainment producers, consumers, etc. The second part opens the black box of the ecosystem of digital platforms by studying competition among them and among the business models they adopt, as well as the conditions for the emergence of new players.

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Public Platforms for Information Brokerage in France: An Alternative to Private Models in the Access to Cultural and Educational Content? (Thuillas, Olivier)

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Public Platforms for Information Brokerage in France: An Alternative to Private Models in the Access to Cultural and Educational Content?

Olivier Thuillas

Introduction

The development of access platforms for cultural and educational content over the past fifteen years has mainly been led by private players. The modus operandi and economic models of these platforms have been the object of several studies (Bouquillion, Miège, & Moeglin, 2013). In addition, since the end of the 1970s, researchers in information and communication sciences (Huet, Ion, Lefebvre, Miège, & Peron, 1978) have gradually come to define five models designed to help describe and analyze relationships between the various participants involved in the cultural industries. In the early 1980s, they identified the two key models that would allow for better understanding of the circulation of cultural contents. On the one hand, these can be produced and distributed individually, and they can also be stored, as is the case with books, CDs or DVDs. This is the editorial model. On the other hand, content can be produced and distributed continuously, like a stream of programs broadcast on television or on the radio: this is the flow model. Two other models emerged in the 1990s: that of the club (in which access to content is reserved to members of the club only, for instance subscribers to a TV channel package), and that of the counter (consumers pay for a limited-time access to a large number of contents). The fifth...

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