The empowerment of the film spectators: Theatrical on demand in Spain
DOI:
https://doi.org/10.3145/epi.2017.ene.07Keywords:
Empowerment, Theatrical on demand, Independent cinema, Movie theater, On demand, Long tail, Market niches, Screenly, Youfeelm, Empoderamiento, Estrenos bajo demanda, Cine independiente, Sala de exhibición, Distribución cinematográfica, Nichos de mercadoAbstract
Gracias a las posibilidades que genera la tecnología digital se abre un nuevo escenario donde las multitudes son capaces de innovar y transformar de forma eficaz las prácticas tradicionales de empresas y organizaciones. En este artículo presentamos los resultados de una investigación sobre el fenómeno de la distribución y exhibición cinematográfica bajo demanda en España, también conocido en el sector profesional con el término "estrenos bajo demanda" o "theatrical on demand". Además del análisis descriptivo, se aportan datos cuantitativos y cualitativos que permiten evaluar la dimensión económica, cultural y social de esta nueva forma de relación entre el espectador y la película. La innovación empresarial de carácter comercial y la innovación social no son conceptos independientes, una sociedad activa puede contribuir a nuevas formas de comercialización que le permitan acceder a producciones independientes de difícil difusión por los canales convencionales de distribución y vivir nuevas experiencias culturales.
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Abstract
Thanks to the possibilities generated by digital technology a new scenario has emerged in which large groups of people are able to efficiently innovate and transform the traditional practices of companies and organizations. This article presents the results of research into the distribution and screening of films in Spain through a phenomenon known as theatrical on demand. In addition to a descriptive analysis, quantitative and qualitative data is presented to provide an evaluation of the economic, cultural, and social dimensions of this new relationship between audiences and movies. Commercial business innovation and social innovation are not separate concepts. An active society can serve as a vehicle new cultural experiences and new forms of marketing that provide access to independent productions that would otherwise be difficult to get to market through conventional distribution channels.
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