Not streaming near you: FilmStruck’s failure and the demise of the cinema-specific model

IF 1.5 Q2 COMMUNICATION
A. Major
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引用次数: 5

Abstract

ABSTRACT This article charts the rise and fall of FilmStruck – Turner Classic Movies (TCM) and Criterion Collection’s cinema-specific streaming service. Despite its premier specialty film catalog (e.g., art-house, international, independent, and classic cinema) and loyal fans, WarnerMedia shuttered the service in 2018 – after two years in business. This article argues that FilmStruck’s demise revealed the limitations of cinema-specific models and the precarious status of specialty cinema in the streaming sector. Specifically, this article analyzes FilmStruck’s curation in relation to TCM and Criterion Collection’s respective cable programming and physical media practices. Doing so reveals that FilmStruck’s founders and professionals endeavored to reconfigure specialty cinema’s meanings and reaffirm the values of film-oriented practices in the streaming context. Ultimately, by historically situating FilmStruck’s trajectory and strategies within larger institutional contexts, this article illuminates modest, yet nonetheless important struggles over business models, cultural value, media specificity, and professional identities in the tumultuous 2010s-era streaming landscape.
不在你身边播放:FilmStruck的失败和影院特定模式的消亡
本文描述了FilmStruck - Turner经典电影(TCM)和Criterion Collection电影专用流媒体服务的兴衰。尽管拥有一流的专业电影目录(如艺术电影、国际电影、独立电影和经典电影)和忠实的粉丝,但华纳媒体在运营两年后,于2018年关闭了这项服务。本文认为,FilmStruck的消亡揭示了影院特定模式的局限性,以及专业影院在流媒体领域的不稳定地位。具体来说,本文分析了FilmStruck的策展与TCM和Criterion Collection各自的有线电视节目和实体媒体实践的关系。这表明FilmStruck的创始人和专业人士努力重新配置专业电影的意义,并在流媒体背景下重申电影导向实践的价值。最后,通过将FilmStruck的发展轨迹和策略置于更大的制度背景下,本文阐明了在动荡的2010年代流媒体环境中,有关商业模式、文化价值、媒体特殊性和职业身份的适度但重要的斗争。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Popular Communication
Popular Communication COMMUNICATION-
CiteScore
3.90
自引率
0.00%
发文量
15
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