Literature Review
This page touches upon prior research about television with an emphasis on how streaming has had such a profound effect on the industry in a relatively short amount of time. Specifically, this page addresses shifting business practices to accommodate the introduction of streaming, how television is re-conceptualized by audiences with respect to binge-viewing, and how other practices emerge from this method of television consumption.Click to access full literature review.
Binge-Watching is a significant way people consume television content.
Binge-watching is the practice of consuming multiple installments or hours of content in a consistent manner in one sitting. Studies have found that with the new television technologies and means of consumption, people have seamlessly reassessed how they watch television (Burroughs, 2018; Frolova, 2017; Jenner, 2014; Jenner, 2015; Nee & Barker, 2019; Steiner & Xu, 2018). Binge-watching has become a cultural norm, where the word “binge” was once associated with negative connotations, it is now the way massive amounts of audience members choose to watch television. (Jenner, 2015).
The practice of cord-cutting is becoming a far more frequent practice in the entertainment world as it gives people the freedom to choose what content they want to receive, without paying for loads of extra cable they do not need. Cord-nevers is a particularly fascinating aspect of modern television discourse that Burroughs (2018) explained because it is a relatively new concept born from the overwhelming number of streaming services that will only continue to come into play. Cord-nevers are people that do not know about cable television services because they never subscribed to them in the first place. These people are restricted to what appears on streaming services that they are exposed to and it is important to consider what other concepts will arise as the industry transitions further to streaming dominance.
Cord-Cutting has become a key practice as an alternative means to acquiring television content.
Television business practices are shifting in response to the rising popularity of internet streaming.
Businesses have undergone a massive recalculation of how television practices have changed in the new media environment and are continuing to theorize new best practices. The business to consumer relationship in the television has never been stronger in the television industry with this new emphasis on streaming platforms. The idea of the algorithmic audience comes into this part of the conversation because audiences and streaming platforms have a symbiotic relationship when it comes to shaping the television landscape (Burroughs, 2018). Michael Wayne’s (2017) research on streaming service identity told how the juggernaut streaming services have formed unique identities for themselves that also convey what kinds of content they highlight and offer to subscribers. These juggernauts have been Netflix, Hulu, and Amazon and they will continue to see change in the industry as more streaming platforms are on the rise.
Changing television technology contributes to the re-invention of the entertainment industry.
The devices of how people watch television are literally transitioning from set-top-boxes to multi-platform entertainment systems like video game consoles, such as Xbox and PlayStation, and content hub sticks, such as Roku and Apple TV (Hesmondhalgh & Lobato, 2019). The traditional television flow that accompanied traditional television devices is either being repurposed for streaming or abandoned altogether (Oswald & Bailey, 2016). It is important to consider the technology and device transition that the television industry is accepting to understand the supposed reconfiguration as a whole. These enhanced television technologies have allowed for the mainstreaming of binge-viewing habits and alternate viewing patterns.
Binge-viewing has become a culturally accepted phenomenon and it affects how people view broadcast television.
Marieke Jenner (2015) wrote that it is now more socially acceptable for people to binge-watch hours of content on streaming, as opposed to watching several hours of scheduled television on cable. This is conformation that people have completely rethought how television viewing is practice, but what is more significant is how seamless the transition into this mainstreamed pattern of viewing is. Research has shown that television flow has changed dramatically in the last decade as content is becoming more accessible, easier to watch, and higher quality (Frolova, 2017) (Burroughs, 2018). Moving forward it would seem that the industry is going to likely see more bingeable texts as week-to-week episodes are either phased out or repurposed for streaming platforms.
Audience viewing practices are changing based on technological and societal factors in order to fulfill individual needs.
People now more than ever are seeing television as a social experience just as much as it is a personal one. Steiner & Xu’s (2018) interview research made use of the uses and gratifications theory to understand why people choose to binge-watch and how audience viewing practices have changed over the last decade. Their interview study found that people binge-watch for a number of reasons surrounding cultural inclusion and audience participation. Streaming and technological factors make it easier for people to fulfill their television consumption needs.
The changing television environment paves the way for increased fannish behavior and fandom development from audiences.
With the increased ease of access to libraries of television content, combined with the digital social connectivity the internet offers, people are now changing their levels of fan behavior and embracing entertainment in new ways. The concept of reruns is redefined for streaming, which gives a renewed sense of cultural relevance to programs. Research has shown that the increased inter-connectivity on the internet inspires an increase in fanish behavior, as people can interact with others on social platforms. Second screening and co-viewing practices through technology portals are considered to be fan engagement and these social functions are being enabled by quality television and access to libraries of binge-able texts. Hills (2018) theoretical analysis showed how binge-watching on streaming platforms blurs the lines between fan community and fandom, which suggests that people are becoming more passionate about content and willing to participate in the culture surrounding it.
So why is this significant?
The television industry is moving toward a crowded streaming market that has been dominated by Netflix, Hulu, and Amazon Prime Video. As the standard of quality television content has changed as a result of original and exclusive content on streaming services, broadcast television models are being phased out by audiences who seek a higher quality program. The streaming services that are in their early years of release such as Disney +, Apple TV +, HBO MAX, and more are able to push through traditional broadcast television regulations and norms to have freedom to create a higher level of television content. This concept combined with the fact that some of these services hold intellectual property rights to beloved pre-existing brands that audiences are familiar with would increase the level of competition between streaming services and further change how television is conceptualized.
Audiences have been a part of the dramatic shift that the television industry has underwent in the past decade and gathering their perspectives on this change would address this gap in research and provide an understanding of how people are constantly re-conceptualizing television. People have nuanced experiences with television and therefore might not be aware as to the size and scale that television encompasses. Given that the industry has transitioned to a point where new streaming services are entering the market and subscription-based television has established itself as the modern era of television, this research seeks to answer the following research questions:
RQ1: How do people describe the concept of television with an increasing domination of subscription-based television?
RQ2: When describing the current television landscape, what characteristics do consumers emphasize?