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008 231201t20182015onc fo d z eng d
020 _a9781442646629
_qprint
020 _a9781442666184
_qPDF
024 7 _a10.3138/9781442666184
_2doi
035 _a(DE-B1597)9781442666184
035 _a(DE-B1597)498581
035 _a(OCoLC)1237190412
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aBUS090000
_2bisacsh
082 0 4 _a302.23/45
_223
084 _aonline - DeGruyter
100 1 _aStrangelove, Michael
_eautore
245 1 0 _aPost-TV :
_bPiracy, Cord-Cutting, and the Future of Television /
_cMichael Strangelove.
264 1 _aToronto :
_bUniversity of Toronto Press,
_c[2018]
264 4 _c©2015
300 _a1 online resource (360 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tPost-Tv Piracy, Cord-Cutting, And The Future Of Television --
_tIntroduction --
_t1. From The Remote Control To Out Of Control: Music Piracy And The Future Of Television --
_t2. Television And Movie Piracy: Simple, Fast, And Free --
_t3. Sports Television Piracy: They Stream. They Score! --
_t4. Television’S Scariest Generation: Cord Cutters And Cord Nevers --
_t5. Disruption: Viewing Habits Of The Post-Television Generation --
_t6. Innovation: New Sources Of Competition For Online Audiences --
_t7. Disintermediation: The Political Economy Of Television --
_t8. Post-Television Society: Diversity, Citizenship, News, And Global Conflict --
_tConclusion: Post-Television Culture --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences.In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment.A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023)
650 0 _aInternet
_xSocial aspects.
650 0 _aTelevision viewers
_xEffect of technological innovations on.
650 0 _aTelevision
_xSocial aspects.
650 4 _aDISCOUNT-C.
650 7 _aBUSINESS & ECONOMICS / E-Commerce / General (see also COMPUTERS / Electronic Commerce).
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.3138/9781442666184
856 4 0 _uhttps://www.degruyter.com/isbn/9781442666184
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781442666184/original
942 _cEB
999 _c211282
_d211282