Nalysis of the Success of House of Cards
2013 was a good year for Netflix. The first Netflix original programming, House of Cards entire first season, was launched on February 1, 2013. It allows subscribers to binge watching, frees them from anxiety of waiting, and of course, becomes popular. More than that, high quality of the show fetched positive criticsa reviews and nine Primetime Emmy Award nominations which is a first for online-only web television series. Its success led to the renewal of the third season. In the era of the convergence of traditional and new media caught everyoneas attention. Content providers acquire new distribution channel. Media owners combine their resources. It makes combining the function of two or more devices and new way to distribute content happen. Some of critics and/or researchers deem Netflix is the future of television.
However, the famous House of Cards is not the only Netflix Original. In fact, there are 23 other Netflix original shows in the year of 2013 only. And Netflix is not the only site with online-only series. It seems to be a coping mechanism to extend on-demand content selection, so that, Netflix wouldnat be just a platform for customers to access and manage their entertainment. By investigating into Netflix, we may understand what made House of Cards stand out and how it influenced the future of streaming media.
There is some materials I found useful. I hope that will help. However, there might be in need of suppliments.
Literature Review [draft]
Television industry face multiple challenges as it attempts to survive and thrive in the 21st century. The pressures of service to the values of entertainment and information coupled with market pressures to maximize profits sets up a situation whose outcome impacts society as a whole. Meanwhile, threatened by internet which provides user generated content. To act as a participant in the conversation of the community where it originates, the television organization must continue to be a vital source of information that the community wants and needs. To do that, individuals and the media organizations must understand the forces that shape the needs and desires of those individual members of the audience. To do that, the station management must learn and understand what it is the audience members perceive as important and worth watching as well as the information the audience members need to know to serve as participating members of the American democracy. (Lydia Reeves Timmins, August 2010)
While there are many studies that focus on the popularity of and sentiment of response to TV ads, some researcher believes theirs is the first to go deeper and analyze the textual a?contenta? to understand better the factors contributing to specific types of social media responses among a number of TV advertising dimensions. They show that the level of online consumer engagement can be linked to whether the brand that advertised had a new media strategy or not. In addition, they show that sentiment response, a measure often use to quantify the effectiveness of TV ads, varies by demographic category. (Shawndra Hill, Aman Nalavade, Adrian Benton, 2012)
Some studies found that like the TV viewers of the 1980s, television viewers today are still motivated by relaxation, escape, and the desire to pass the time and to socially interact with companions -no matter which medium. The ability to control the television experience, to choose when to watch programming, and the convenience that Internet television offers are reasons why people are using alternatives to the traditional broadcast receiver. (Steinkamp, Christen M., 2010)
At the core of network corporate distribution efforts to reach nationwide coverage lies a process of making the network attractive and valuable to future TV station affiliates, advertising agencies, and corporate clients. The way executives add economic value by deploying distribution by means of the hybrid media and the network traditional business method allows for the interrogation of longstanding assumptions held by media professionals about the market. (Anonymous writer, 2011 in Marketing Weekly News)
The purpose of this research is to examine the internet webisode phenomenon Quarterlife and determine what structural elements made it suitable for internet viewing but not television. As media begin to transform themselves from traditional to new, it is imperative for content to adapt itself structurally as well.This textual analysis of Quarterlife is based on the theoretical background of Bolter and Grusins remediation theory. Through this research, a better understanding is gained regarding how structural elements need to be altered across media. The content of Quarterlife catered to a very small niche audience, but these elements do not translate well to a wider television audience. It is apparent that Quarterlife incorporated elements of both hyper-mediacy and transparent immediacy. (L.M. Peirce and colleagues, a study from Ravenswood, Ohio University, 2011)
During the tumultuous 1990s, iTV promised the ability to browse the web, read email, and transact in real-time, all with a click of the remote. Ten years later, the iTV industry has undergone a metamorphosis, wherein iTV is being delivered to millions of TV households through video-on-demand servers (VOD), digital video recorders (DVR), set top boxes (STB), SMS capable cellular phones, personal computers, and (non)synchronous, one-screen and two-screen program applications. Interactive television is not so much about getting viewers more involved with the TV experience as it is about making the experience more relevant and satisfying for the viewer through viewer-controlled interactivity. ITV is being developed and deployed by leading video distributors, producers, programmers, and brand category leaders. That some of these initiatives pale in comparison to more mature platforms and business models in no way diminishes the impact they will have on the future of television. What remains to be seen is how quickly the industry will embrace and deploy interactive applications that will, ultimately, make watching television a more relevant and satisfying experience for the viewer. (Lydia Loizides, 2005)
Media scholars have chosen to focus on the specific ways viewers access content on multiple platforms, to the exclusion of the study of the logistics by which that content is produced and delivered to those devices. In this essay, I read the deployment of Cloud-digital video recorder (DVR) systems and the distribution program TV Everywhere. By focusing on the spatial politics involved in programming distribution, I argue that media studies missed a critical series of technological, legal, and economic developments. The study of the ways in which institutions have understood distribution returns cable to center stage offering insights into the production and distribution of television that are lost in new media. (Daniel Faltesek, Communication, Culture & Critique, 2010)