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This study examined the association between media consumers' attitudes toward COVID-19-related content on mainstream, on-demand and social media and trust in the government's ability to handle the pandemic crisis.

The study is based on an online survey of a representative sample of 1,005 Israelis aged 18 and over and focused on consumers' perceptions of media contents as a source of information, social solidarity, criticism and anxiety.

Findings indicate that mainstream media were the primary source of pandemic information. A positive association was found between perceptions of mainstream media as a source of criticism and trust in government's actions. This association was negative regarding social and on-demand media. The more mainstream media contents were perceived as anxiety evoking, the lower participants' trust in government's actions. A positive association was found between perceptions that social media encouraged social solidarity and trust in governmental action.

Policymakers should take into consideration that various media operate synergistically to continually construct reality.

This study focuses on consumers' perceptions of COVID-related media contents, which are especially important in the current era of media outlet proliferation, distribution and impact on the government. The unique contribution is in the integrated application of media malaise theory, virtuous circle theory and echo chamber theory to explain the correlation between media consumption and public trust during a global crisis in the era of diverse media outlets.

The peer review history for this article is available at: https://publons.com/publon/10.1108/OIR-06-2021-0299.

An explosion of new media delivery technologies allows consumers to tap into information and entertainment, served up on demand. However, most media and entertainment (M&E) businesses are finding that an “on demand” business strategy has to mean far more than simply making content quickly and easily accessible to consumers. Today’s turbulent buyer’s market has made it critical for an M&E company to acquire a new set of business capabilities to survive in the on demand era. M&E businesses need a model for successfully meeting the challenges of this on demand era. Starting with a look at how the industry got to this point, the author describes what an on demand M&E business might look like, and provides a roadmap for M&E executives that can help them compete successfully in the on demand world.

In this paper we present a CDN‐based system, namely the COMODIN system, which is a media on‐demand platform for synchronous cooperative work which supports an explicitly‐formed cooperative group of distributed users with the following integrated functionalities: request of an archived multimedia session, sharing of its playback, and collaboration through questioning. The server‐side architecture of the COMODIN system is organized into two integrated planes: the Base plane, which consists of a streaming CDN providing media streaming, and the Collaborative plane, which provides the collaborative playback service. At the client‐side, the system centers on a Java‐based application which interfaces the cooperative group of users.

To date e‐Learning material has usually been accessed and delivered through a central web server. As the number of users, the amount of information, the frequency of accesses and the volume of data increase, together with the introduction of multimedia streaming applications, a decentralized content distribution architecture is necessary. In this paper we propose the adaptation of the well‐known scalable Content Distribution Networks (CDN) schema for media streaming supported e‐Learning using a novel architecture named COMODIN SCDN (COoperative Media On‐Demand on the InterNet ‐ Streaming Content Distribution Network). COMODIN SCDN utilises surrogates as edge content delivery nodes, incorporates a redirection mechanism able to route requesting clients to the closest copy of the content, encompasses distributed content delivery and management mechanisms to improve the speed, reliability, and scalability of user access to prevent flash‐crowds. Preliminary results in testbeds have shown that COMODIN SCDN increases the efficacy of information distribution through intra and inter‐campus area netwoks. This overlay network will provide learners and educators a scalable, balanced and expeditious access to e‐Learning contents.

The convergence of multimedia, virtual reality and the Internet is promoting low‐cost multimedia virtual environments which are easily accessible to large network communities. These environments, which facilitate usability and enhance user experience, are very suitable for supporting user‐oriented application domains such as e‐learning and entertainment. This paper presents a multimedia virtual environment, namely the Virtual Video Gallery, an advanced, distributed media on‐demand system which is browsable through a virtual world. By taking a virtual walk inside the gallery, the user can interactively select, preview, watch and control multimedia sessions. While the user‐centred design of the system relies on UML‐based modelling techniques, system implementation is obtained by the integration of Java, VRML and Web‐based technologies. In order to evaluate the user‐oriented effectiveness of the Virtual Video Gallery and compare it to currently available Internet‐based MoD systems, the usability testing of the system was established for deriving both summative and formative usability data.

The behaviour of audience, consuming video entertainment, has changed intensely over the years. Lately, the consumers have increasingly preferred to watch video programs, through video-on-demand services through over-the-top medium. The service is novel and the consumer’s perception of the service quality is not well explored. As extant literature considers service quality as the construct to determine the sustained growth of a service, the present study has attempted to explore the dimensions to measure service quality of video-on-demand services.

The authors conducted qualitative, semi-structured interviews and focus group discussions amongst the user of the video-on-demand service. The qualitative data was content analysed to furnish thematic dimensions.

The study reveals thematic attributes perceived as dimensions to measure service quality of video-on-demand services.

Considering the exploratory nature of the study, the themes proposed might seem nascent. Hence, it was the authors’ discretion to stop expanding the respondent sample to avoid data saturation. A quantitative establishment of the service quality dimensions was beyond the scope of the current research and would follow in a different study.

The objective of the study is to qualitatively explore service quality dimensions of video-on-demand services. In pursuit of that, the current study explored the consumers’ excerpts, content analysed the data and furnished several themes perceived as service quality dimensions in this context. Such a detailed approach is uncommon in this context.

Audiovisual works – especially cinematographic works – are at the heart of the changes resulting from the development of the information society. Media convergence radically changed the way traditional audiovisual content is produced, distributed, consumed and eventually archived. Film producers slowly started to experiment with new ways of digital production such as the shortening of release windows to favor new on demand services. How does this translate to European film policy? Due to the unique double nature of cinematographic works which are both economic and cultural goods at the same time, the European film policy is at the crossing point of media, culture, competition and heritage. This paper seeks to address these issues.

In this research paper the authors assessed to what extent the adoption of digital technologies is stimulated throughout the value chain of film making and more precisely to what degree the distribution of a European culturally diverse catalogue of films is encouraged.

For the first time in history, European producers have the tools at their disposal to collaborate, promote and distribute internationally, at lower transaction costs and at a higher speed, and to look beyond their national market. The fast‐evolving technological developments provided the European legislator with the opportunity to strengthen and support the promotion of the European cultural identity in all its diversity. But is this also reflected in the current legislative framework? It is clear that different hurdles still need to be tackled.

In this research paper an overview is given of the regulatory steps that have been taken so far in the field of European film policy to stimulate the digital production and distribution of European film productions. In the context of new unfolding alliances between stakeholders and experiments with premium video‐on‐demand or shorter cinema release windows, the relevance of digital production and distribution schemes can no longer be neglected. The emergence of web‐based services including cloud computing is likely to accelerate this trend.

The meta‐trends that are revolutionizing the media and entertainment industry are also rocking other industries. Many industries can learn from this IBM Consulting article’s presentation of trends, its recommended new business model and a scenario of what the industry will be like in the year 2010. The dilemma: digital technology that enables customers to easily copy and distribute new offerings threatens the economics of the industry but also opens new business frontiers. The need: to create an open media company. The closed and proprietary media and entertainment business models of years past will give way to open media business strategies that will enable forward‐looking companies to exploit significant opportunities for profitability within these trends. The economics: while, at present, digital technologies, such as those that permit easy copying, undermine the traditional economics of the media business they also can create new business models and opportunities. New digital technologies will support improved business intelligence, thus enabling the open media firm to identify higher‐value business components and assets. In the uncertain markets described in the scenario, companies will employ advanced data analytics to adapt and respond to changing conditions. Digital management capabilities will likely become a core competency and differentiator. The guidelines: ten strategic guidelines for players evolving toward becoming the open media company of the future are offered.

This paper examines the design and evaluation of a TV on Demand (TVoD) system, consisting of a globally accessible storage architecture where all TV content broadcast over a period of time is made available for streaming. The proposed architecture consists of idle Internet Service Provider (ISP) servers that can be rented and released dynamically as the client load dictates. This paper examines issues of resource management and content placement within this Video Content Distribution Network (VCDN). The existing placement algorithm is computationally expensive and in some cases, infeasible to execute within any reasonable length of time. This work proposes a number of new placement heuristics each of which attempts intelligently to reduce the search space so that only the best proxies are considered for replica placement. An extensive evaluation of these placement algorithms is carried out to identify a good placement algorithm without being computationally expensive.