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市場調查報告書

全球化的視聽產業:對歐洲服務發行者來說的選擇是什麼?

Audiovisual Industry Going Global: What Options Exist for European Service Publishers?

出版商 IDATE DigiWorld 商品編碼 328004
出版日期 內容資訊 英文 49 Pages
商品交期: 最快1-2個工作天內
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全球化的視聽產業:對歐洲服務發行者來說的選擇是什麼? Audiovisual Industry Going Global: What Options Exist for European Service Publishers?
出版日期: 2015年04月07日 內容資訊: 英文 49 Pages
簡介

本報告提供全球視聽產業上全球化的現狀及產業重組相關資料、製造、出版,及配銷區隔的主要企業的策略分析調查、關注TV頻道、網路的視聽市場區隔的歐洲企業全球化的影響的評估、企業追求的各種應對策略概要等彙整資料,為您概述為以下內容。

第1章 摘要整理

第2章 調查手法、定義

第3章 支撐全球化的理由

  • 發現新的促進成長要素的必要性
    • 西方市場減速
    • 新興市場動態
  • 規模經濟的探索
    • 製造成本的通貨膨脹
    • 配銷商的利益幅度的侵蝕
    • CAPEX及R&D
  • 流通的全球化
    • 內容存取相關時間規模的重新定義
    • 對OTT企業來說容易的海外發展
  • 提供適合更標準化的計劃
    • 北美系的力量
    • 英國、荷蘭企業壟斷TV格式市場

第4章 全球化模式

  • 計劃的出口
    • 國際的銷售權
    • 國際共同製造的成長
    • 計劃格式的蔓延
  • 視聽內容服務的出口
    • 跨國公司的配銷
    • 當地版本的包裝
    • OTT服務
  • 國際流通管道包裝供應商
    • 國內成長策略
    • 國外成長策略

第5章 全球化的影響

  • 產業整合的新階段
    • 配銷商的製造方法功能的整合
    • TV頻道/網路及內容著作權所有者的配銷功能的整合
  • 製造、流通產業的水平的集中
    • 製造區隔的集中
    • 美國的配銷區隔的集中
    • 歐洲的配銷區隔的集中
  • 新服務的寡頭壟斷情形的出現
    • iTunes為全球的VOD交易的領導者
    • 北美的服務支配SVOD區分
  • 獲得說英語的程式
  • 歐洲企業的採用方法為何?
    • 編程、製造投資策略
    • 歐洲企業的OTT策略

圖表

目錄
Product Code: M15255IN2

The audiovisual market has always been a traditionally multinational industry. Within the industry, content production, publishing and distribution activities have highly varying levels of internationalisation. There has been a marked escalation of transnational mergers over the recent period, indicating a new phase in globalisation of the industry.

There is now pressure coming from two main angles: producers are faced with constantly increasing production costs, and distributors are faced with continually high CAPEX levels and new competition from OTT players. European service publishers have to reinvent their strategies in this new globalised context, which is dominated by North American players.

This report aims to:

  • establish the current state of globalisation and industry restructuring in the audiovisual sector by studying the corporate strategies of a selection of major players from the production, publishing and distribution segments
  • assess the impact of globalisation on European players in the audiovisual sector by focusing on TV channels and networks
  • describe the various coping strategies being pursued by these players.

Table of Contents

1. Executive Summary

2. Methodology & definitions

  • 2.1. General methodology of IDATE's reports
  • 2.2. Methodology specific to this report
    • 2.2.1. Key objectives
    • 2.2.2. Geographic scope and players studied
    • 2.2.3. Definitions

3. Reasons behind globalisation

  • 3.1. The need to find new growth drivers
    • 3.1.1. The slowdown in Western markets
    • 3.1.2. Emerging market dynamics
  • 3.2. The search for economies of scale
    • 3.2.1. Inflation of production costs
    • 3.2.2. Erosion of distributors' profit margins
    • 3.2.3. CAPEX and R&D
  • 3.3. The globalisation of distribution
    • 3.3.1. Time scales relating to access to content are being redefined
    • 3.3.2. Easier overseas expansion for OTT players
  • 3.4. Programme offering becoming more standardised?
    • 3.4.1. The power of North American series
    • 3.4.2. UK and Dutch companies dominate the TV format market

4. Globalisation models

  • 4.1. Exporting programmes
    • 4.1.1. Selling rights internationally
    • 4.1.2. Growth of international co-productions
    • 4.1.3. Programme formats proliferating
  • 4.2. Exporting audiovisual content services
    • 4.2.1. Transnational distribution
    • 4.2.2. Broadcasting local versions
    • 4.2.3. OTT services
  • 4.3. International channel package providers
    • 4.3.1. Internal growth strategies
    • 4.3.2. External growth strategies

5. The impact of globalisation

  • 5.1. A new phase of vertical integration
    • 5.1.1. Integration of production functions by distributors
    • 5.1.2. integration of distribution functions by TV channels/networks and content rights holders
    • 5.1.3. OTT services investing in original content
  • 5.2. Horizontal concentration of production and distribution industries
    • 5.2.1. Concentration in the production sector
    • 5.2.2. Concentration in the US distribution sector
    • 5.2.3. Concentration in the European distribution sector
  • 5.3. The emergence of oligopolistic situations in new services
    • 5.3.1. iTunes is the global transactional VOD leader
    • 5.3.2. North American services dominate the SVOD segment
  • 5.4. Gains for English-speaking programming
  • 5.5. How are European players adapting?
    • 5.5.1. Programming and production investment strategies
    • 5.5.2. European players' OTT strategies

Report's tables and figures

Tables

  • Table 1: Major cable package prices in the United States, January 2012 - January 2013
  • Table 2: TV advertising revenues in the United States, 2012-2013
  • Table 3: Examples of international co-productions in Europe over the 2011-2013 period
  • Table 4: The top 5 programme formats in Europe in terms of hours broadcast, 2012 and 2013
  • Table 5: The top 5 programme formats in Europe in terms of revenue generated, 2012 and 2013
  • Table 6: Original series available on video services from Amazon, Netflix and Hulu
  • Table 7: European production company acquisitions by North American players, 2011-2014
  • Table 8: The most downloaded TV series on BitTorrent in the world, 2012-2014

Figures

  • Figure 1: Threats and opportunities from globalisation for the main player categories in the value chain
  • Figure 1: Pay-TV penetration in the United States and Canada, 2011-2015
  • Figure 2: Pay-TV penetration in Europe, end of 2014
  • Figure 3: Net subscriber bases for the channel packages of Canal+ and TDT Premium between 2008 and 2013
  • Figure 4: ARPU trends and forecasts for cable in Europe, 2012-2016
  • Figure 5: TV advertising revenues in the five main European markets
  • Figure 6: Pay-TV market breakdown by operator in terms of subscribers, Germany, as of 1 January 2014
  • Figure 8: TV penetration in homes of the Asia/Pacific region, end of 2014
  • Figure 9: Pay-TV penetration in homes of the Asia/Pacific region, end of 2014
  • Figure 10: TV penetration in homes of the Latin American region, end of 2014
  • Figure 11: Pay-TV penetration in homes of the Latin American region, end of 2014
  • Figure 12: TV penetration in homes of the Africa/Middle East region, end of 2014
  • Figure 13: Pay-TV penetration in homes of the Africa/Middle East region, end of 2014
  • Figure 14: TV advertising revenue growth forecasts for Asia Pacific, Europe, Latin America, Africa/Middle East and North America, 2014-2019
  • Figure 15: Average cost of producing audiovisual fiction in France, 1994-2013
  • Figure 16: Revenues and costs related to the production of a North American 52-minute TV series episode during the first six seasons
  • Figure 17: Comparison of video ARPU, programming costs per subscriber and margin rate in the cable sector, United States, 1995-2014
  • Figure 18: CAPEX trends and forecasts for cable in Europe, 2004-2016
  • Figure 19: Restructuring of the video sector value chain
  • Figure 20: Standard distribution timeline for a North American series during its first six years of exploitation
  • Figure 21: Global footprint of the OTT video services of Apple (iTunes), Netflix and Amazon as of 1 January 2015
  • Figure 22: Origin of fiction programmes broadcast on a sample of TV channels in 17 European countries in 2013
  • Figure 23: Breakdown of the top 100 TV fiction audiences by origin in France on TF1 and France 2 in 2009, 2011 and 2013
  • Figure 24: Breakdown of hourly volume and revenues generated by the sale of the top 100 TV formats in Europe in 2013
  • Figure 25: Availability of a selection of TV series by distribution channel in France, January 2015
  • Figure 26: International presence of the formats The Voice, X-Factor and Dancing with the Stars as of 31 December 2014
  • Figure 27: Brands operated by HBO in the United States (excluding HD channels)
  • Figure 28: Brands operated by HBO in Europe (excluding HD channels)
  • Figure 31: International presence of the channel brands HBO, RTL and CBS as of 31 December 2014
  • Figure 29: OTT service positioning of the three major US leagues, the NFL, NBA and MLS, based on the popularity of the sport, the market and the distribution channel
  • Figure 30: Individual premium channel packages from Dish Network in the United States
  • Figure 32: Global coverage provided by a selection of telecommunications satellites broadcasting TV channels
  • Figure 33: International presence of distributors DirecTV, Groupe Canal+, Sky and Modern Time Group as of 31 December 2014
  • Figure 34: International presence of distributors Liberty Global, Altice/Numericable and TelefÃ3nica/Movistar as of 31 December 2014
  • Figure 35: The main vertical integration movements
  • Figure 36: Simplified chart of the major North American media groups in 2014
  • Figure 37: Spending on programming for select video services in 2014
  • Figure 38: Quarterly growth in subscribers to Comcast and TWC pay-TV offerings, and expected level following merger and divestiture of 3.9 million subscribers
  • Figure 39: Number of distributors by network type in 37 European countries, 2010-2014
  • Figure 40: Market share of the major EST players in the United States by type of content, 2013
  • Figure 41: Market share of the major players in rental video on demand in the United States, movies, 2013
  • Figure 42: Breakdown of SVOD market in subscription volume by type of provider, mid-2014
  • Figure 43: Popularity of audiovisual content by category and country of origin
  • Figure 44: Fiction production strategies of a selection of European broadcasters
  • Figure 45: OTT positionings for a selection of European players

List of players

  • Al Jazeera
  • All3Media
  • Altice
  • Amazon Prime Instant Video
  • AT&T
  • BBC Worldwide
  • BeIn Sport
  • Canal+
  • CanalPlay
  • CBS
  • Channel 5
  • Cinemax
  • Comcast
  • Digiturk
  • DirecTV
  • Dish Network
  • Endemol
  • Eyeworks
  • Fremantle
  • HBO
  • Hulu
  • iTunes
  • ITV
  • Kabel Deutschland
  • Liberty Global
  • Modern Time Group
  • Naspers
  • NBA
  • NBC Universal
  • Netflix
  • NFL
  • NLS
  • NLziet
  • Ono
  • Orange/OCS
  • OSN
  • ProSiebenSat.1.
  • Red Arrow
  • RTL Group
  • Shine Group
  • Showtime
  • Sky
  • StarTimes
  • Starz
  • Talpa Media
  • TDT Premium
  • Telefónica
  • Televisa
  • TF1
  • Time Warner Cable
  • Time Warner Inc.
  • Viacom
  • Virgin Media
  • Ziggo
  • Zodiak Entertainment
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