"La comparación con los años previos pone en evidencia el brutal desplome de la producción durante 2020 a raíz de los confinamientos y otras restricciones debidos a la pandemia de COVID-19. Tomada como un todo, la exhibición nacional de estreno cayó respecto de 2019 en un 41%, pero en algunos
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casos se llegó al 80% y 90% de caída. En términos absolutos, la mayor caída se reportó en Brasil, cuyo 68% de caída se tradujo en 891 horas menos de ficción. La única excepción fue Uruguay, que tuvo un aumento explosivo, pero desde una base de comparación muy baja. Lo anómalo del año 2020 no debe ocultar algo probablemente más estructural. Nuevamente, tomado el ámbito Obitel como un todo, la caída de un 41% este último año se agrega a la caída acumulada de un 22% que ya arrastraban los dos años anteriores a la pandemia. Este retroceso en la producción de ficción para televisión abierta no debe ser leído únicamente como una caída en la capacidad productiva. El volumen de material de estreno en VoD, mostrado más adelante, sugiere que al menos una parte del fenómeno es un desplazamiento desde una ventana de exhibición hacia otra." (Página 41)
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"This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streamin
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g TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries global regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience." (Publisher description)
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"Television was introduced in India in 1959 but for many years it was limited to state-owned broadcaster Doordarshan, which had one channel with twice-weekly, one-hour programs. However, there has been a marked shift in the television entertainment options available in India today, with 48 paid-for
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broadcasters, an estimated 60,000 cable operators, 6000 Multi System Operators (MSOs) and six pay direct-to-home (DTH) operators, all in addition to the public service broadcaster – Doordarshan. In total, there are over 850 TV channels registered with the Ministry of Information and Broadcasting. 2016 witnessed the arrival of a revolution in content consumption in India, with the entry of OTT (over-the-top) media services. OTT content is defined as the “productized practice of streaming content to customers directly over the web.” This has marked a big shift from the traditional tune-in, “consume-what-you-are-fed” model of conventional terrestrial, cable or satellite dish television, towards a new on-demand era of choice. Given the OTT boom, 82% of users in the Indian market are currently engaged on free-to-view, advertising-led videoon-demand platforms (like YouTube), compared to the 18% who pay for content on subscription-led video-on-demand services (such as Netflix and Amazon Prime). There are many factors that have been conducive to the on-demand model in India, the foremost being the growing penetration of internet and smart phones." (Introduction)
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