超越偷窃:捷克观众为视听内容付费的决定因素/动机

IF 0.9 2区 艺术学 0 FILM, RADIO, TELEVISION
Iveta Jansová, Alena Macková, C. Elavsky, J. Macek
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引用次数: 0

摘要

在不断变化的媒体传播和不同演员参与其中的行为的背景下,我们的论文试图映射当前的转变和适应捷克观众的变化,对他们的媒体惯例和选择媒体来源的策略特别感兴趣。由于目前仍不清楚后电视观众如何决定内容来源、平台或服务,我们的主要目的是发现观众决定使用或避免非法或未经授权的内容来源或合法或付费服务的基础。为此,我们研究了两个数据集,即对观众的半结构化访谈和对捷克成年人口的调查。由于捷克的行业媒体市场规模较小且较为保守,网络领域的显著变化主要发生在过去五年内,因此捷克受众是研究付费和非付费后电视受众差异的重要而独特的人群。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Beyond stealing: The determinants/motivations of Czech audiences to pay for audiovisual content
In the context of constantly changing media communication and the behavior of different actors engaging it, our paper seeks to map current transformations and adaptations to changes within Czech audiences with a special interest in their media routines and strategies for choosing media sources. As it still remains rather unclear how the post-televisual audience members decide regarding content sources, platforms or services, our main aim is to discover on what basis audiences decide to use or avoid either illegal or non-authorized content sources or legal or paid services. To do so, we examined two datasets, namely semi-structured interviews with audiences and survey on Czech adult population. As the Czech industry media market is rather small and conservative with notable changes in online sector largely occurring within the last five years, Czech audiences represent an important and unique population for the study of differences between paying and non-paying post-televisual audiences.
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来源期刊
Critical Studies in Television
Critical Studies in Television FILM, RADIO, TELEVISION-
CiteScore
2.10
自引率
30.00%
发文量
70
期刊介绍: Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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