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This paper aims to focus on how innovative strategies take users into account. On the one hand, it will look at how the different stakeholders in the TV value network implement user behaviour. On the other hand, it will focus on how users perceive traditional advertising and new advertising formats (e.g. personalised advertising, interactive advertising).

The applied research method is a combination of expert interviews with different actors in the TV sector and qualitative user research on viewers’ expectations towards advertising and new advertising formats in a digital era.

This paper looks at customer ownership, (inter-media) audience fragmentation and audience autonomy as important concepts in understanding innovation and strategies within the Flemish commercial TV sector and how user behaviour is implemented.

More specifically, ad skipping (zipping) and second-screen applications are studied. To conclude, the findings of the research are linked to relevant policy questions and challenges for audience members and actors within the television industry.

In addition to providing a review of the literature recently published in the librarianship of non‐book materials this survey aims to draw attention to the characteristics, problems and achievements particular to the documentation and handling of non‐book materials (NBM) in many types of libraries. The materials are briefly described and considerations of selection, acquisition, organization, storage and in particular bibliographic control are dealt with in some detail. Other areas of concern to the librarian dealing with media resources, including the organization and training of staff, planning, equipment, exploitation and copyright, are also discussed. The past decade has seen the widespread introduction of NBM into libraries as additional or alternative sources of information. Librarians have been given an opportunity to rethink many basic principles and adapt existing practice to encompass the new materials. The survey reflects the achievements and some of the failures or problems remaining to be solved in this rapidly expanding area of library work.

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.

Considers the development of the content industry in Europe by 2005, with the anticipation of new applications such as tele‐education, tele‐medicine, tele‐detection and tele‐surveillance. Examines the interplay of the various political and industrial interests involved, using the technique of “scenario‐mapping” in particular.

Using the example of audiovisual materials, this paper aims to illustrate how records-related and archival legislation lags behind advances in technology. As more audiovisual materials are created on the cloud, questions arise about the applicability of national laws over the control, ownership, and custody of data and records.

This paper analyses court cases relating to audiovisual materials in the cloud and archival legislation from three Commonwealth countries: Canada, Australia, and Singapore – representing North America, the Pacific, and Asia respectively.

Current records-related and archival legislation does not effectively address the creation, processing, and preservation of records and data in a cloud environment. The paper identifies several records-related risks linked to the cloud – risks related to the ownership and custody of data, legal risks due to transborder data flow, and risks due to differing interpretations on the act of copying and ownership of audiovisual materials.

The paper identifies the need for records professionals to pay greater attention to the implications of the emerging cloud environment. There is a need for further research on how the concept of extraterritoriality and transborder laws can be applied to develop model laws for the management and preservation of records in the cloud.

The paper identifies record-related risks linked to the cloud by analyzing court cases and archival legislation. The paper examines maritime law to find useful principles that the archival field could draw on to mitigate some of these risks.

The aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.

The qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.

A proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.

This study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.

The originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.

This paper aims to shed some light on the history of the Chinese videogames industry, to document the growth of the leading companies and reveal how they have been morphing into platforms delivering constellations of apps and digital content (audiovisual, films, music, literature, video streaming […]). The paper tracks the development of digital services through the prism of videogames thereby showing how this industry emerged out of the deployment of the internet.

The paper provides an overview and a synthesis of what is known about the Chinese game industry, particularly based on consultancy documents and publications from firms. The paper is based on desk research, a review of literature and trade press and the analysis of the annual reports of the leading players (NetEase, Tencent […]).

The rise of videogames and the creation of specific company’s “ecosystems” illustrate the capacity of the industry to innovate and its significance for the Chinese economy. It reveals that gaming has been a cornerstone of many Chinese technology companies. The (young) companies came up with the innovative business models (FTP, virtual items) that were required to further expand the market. They found new ways to interact with their customers through communities and various tools.

The paper relies on consultancy documents and publications from firms on heterogeneous data from industry and consultants. This approach comes with some limitations from a methodological viewpoint. It allows documenting the historical trends and describing the industrial landscape but not to qualify the relationships among players. Besides, the use of these sources leads to a greater focus on business models and a more limited one on the policy dimension. The latter is often perceived only through the glasses of the companies.

The data provided are meant to be useful to become familiar with the Chinese games industry.

The paper indicates that the online game industry is a complex web of activities with tensions and contradictions between stakeholders (industry, government and consumers). In the case of China, there is a conflict between the willingness to liberalize the economy and the will to maintain an ideological monopoly through cultural industries.

Little research has been devoted to the role of videogames in emerging economies, to its specific features and to the relationships with the media industry and the information and communications technology sector. The contribution of this “digital native” to the production and distribution of digital content remains less studied. The paper provides an up-to-date overview of the Chinese case.

The purpose of this paper is to investigate the merger arranged in the audiovisual sector between Antena 3 and La Sexta, and specifically the pre- and post-merger factors. This study adopts a comprehensive approach for the analysis of the reasons behind this strategic decision and the role that structural and human integration and the decision on the right momentum and integration speed played in the merger success.

A single case study research method is used. This qualitative methodology provides richer data to understand complex transactions such as mergers and acquisitions (M&As). According to the data triangulation technique, two research methods were used, in-depth interviews and archival secondary data, including confidential reports and archival trade press.

The merger involving Antena 3’s takeover of La Sexta in October 2012 has been seen as one of the most successful operations ever undertaken in Spain’s audiovisual industry. The main motivation was to increase the organisation’s size to make it more competitive in the market, thus reducing costs, generating synergies and improving performance. Structural and human integration has provided the backbone for this success, all at a time marked by the global financial crisis and its knock-on effect on the downturn in the advertising market. Another of the key factors of success was that the changes in the organisational systems and processes were designed and partially implemented before the incorporation of La Sexta.

This work has highlighted the need for proper planning and a suitable choice of timing in M&A operations. Management should pay special attention to the integration of human and productive resources to generate synergies on the road to success.

This paper’s main contribution is to highlight an example of a successful M&A in the audiovisual sector in Spain by adopting a holistic perspective. While there are scarce studies in this industry, previous research on this topic is mostly quantitative and, moreover, the rate of success in M&A is quite low.

This paper aims to attempt to provide an overview of the copyright legal framework for audiovisual resources in Europe and Greece, how Audiovisual (AV) content is currently licensed by Greek providers and how licenses or copyright exceptions enable its reuse. The motivation for this work was the development of an aggregation service for audiovisual resources in Greece, the Open AudioVisual Archives (OAVA) platform.

Copyright licenses and exceptions in the European Union and in Greek Legislation have been thoroughly reviewed along with the reuse of content, based on the terms of Fair Use, Rights Statements and Creative Commons. Licensing issues for the most well-known aggregation services, such as Europeana, Digital Public Library of America, Trove, Digital New Zealand and the National Digital Library of India, have also been studied and considered. Audiovisual content providers in Greece have been recorded, and their licensing preferences have been analyzed. Pearson’s chi-square test was applied to test the relationship between the provider’s type, resources’ genre and licenses used.

Despite the abundance of copyright legislation in the European Union and in Greece, audiovisual content providers in Greece seem to ignore it or find it difficult to choose the right license. More than half of them choose to publish their resources on popular audiovisual platforms using the default licensing option provided. Creative Commons licenses are preferred for audiovisual content that falls into the following categories: open courses (almost exclusively) and interviews and digital collection/research projects (about half of the content).

This paper examines audiovisual content aggregation, in the EU and Greece, from a legal point of view. To the best of the authors’ knowledge, it is the first attempt to record and analyze the licensing preferences of Greek AV content providers.

Looks at recent research into children’s media consumption, highlights the importance of media literacy, and reports on an industry‐related media education programme; the research is tending to show that children are deciding what and when they watch television and other media. Develops, on the basis of these findings, a model of self‐supervised media engagement which is characterised by a lack of adult mediation. Argues that media literacy is important because it helps children become critical viewers of advertising and programming on their own; media literacy involves information processing skills and as such may be the most important life skill in the age of the internet. Introduces the UK Media Smart programme, which is industry funded and since 2002 has provided educational materials to help children think critically about advertising and other media issues.