Bücher: „Services de streaming vidéo“

1

dalla distribuzione alla circolazione? (Conference) (2016 Università Ca' Foscari) Streaming media e cultura on demand. Streaming media: Distribuzione, circolazione, accesso. Milano: Mimesis, 2017.

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2

Nakaya, Andrea C. Reed Hastings and Nexflix. San Diego, CA: ReferencePoint Press, Inc., 2016.

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3

Mao, Shiwen. Video over cognitive radio networks: When quality of service meets spectrum. New York: Springer, 2014.

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4

Pathan, Mukaddim, Ramesh K. Sitaraman und Dom Robinson, Hrsg. Advanced Content Delivery, Streaming, and Cloud Services. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118909690.

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5

The technology of video and audio streaming. 2. Aufl. Burlington, MA: Focal Press, 2004.

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6

Sarmiento, Alvaro Suarez. Multimedia services and streaming for mobile devices: Challenges and innovation. Hershey, PA: Information Science Reference, 2012.

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7

Canada. Programme des cultures et langues ancestrales., Hrsg. Le film, la vidéo et la photographie au Canada. Ottawa, Ont: Patrimoine canadien, 1993.

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8

Amazon Echo: The ultimate guide to learn Amazon Echo in no time (Amazon Prime, Alexa Skills Kit, smart devices, digital services, digital media). United States]: [CreateSpace Independent Publishing Platform], 2016.

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9

Simpson, Wes. Video over IP: IPTV, Internet video, H.264, P2P, web RV, and streaming : a complete guide to understanding the technology. 2. Aufl. Amsterdam: Elsevier/Focal Press, 2008.

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10

Netp'ŭlliksonomiksŭ: Netp'ŭlliksŭ wa Han'guk pangsong midiŏ = Netflixonomics. Kyŏnggi-do P'aju-si: Hanul Ak'ademi, 2019.

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11

Vidéo d'entreprise et communication: Promouvoir son image, vendre ses produits, recruter et former : Internet, streaming, Rich Media, TV d'entreprise et web TV, DVD ... : définir une stratégie, suivre un projet, piloter un prestataire, optimiser son investissement. Paris: Vuibert, 2008.

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12

Midiŏ kudok model. Sŏul-si: K'ŏmyunik'eisyŏn Puksŭ, 2021.

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13

Beil, Benjamin, Gundolf S. Freyermuth und Hanns Christian Schmidt, Hrsg. Paratextualizing Games. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839454213.

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Gaming no longer only takes place as a ›closed interactive experience‹ in front of TV screens, but also as broadcast on streaming platforms or as cultural events in exhibition centers and e-sport arenas. The popularization of new technologies, forms of expression, and online services has had a considerable influence on the academic and journalistic discourse about games. This anthology examines which paratexts gaming cultures have produced - i.e., in which forms and formats and through which channels we talk (and write) about games - as well as the way in which paratexts influence the development of games. How is knowledge about games generated and shaped today and how do boundaries between (popular) criticism, journalism, and scholarship have started to blur? In short: How does the paratext change the text?

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14

Mellouk, Abdelhamid, und Muhammad Sajid Mushtaq. Quality of Experience Paradigm in Multimedia Services: Application to OTT Video Streaming and VoIP Services. Elsevier, 2017.

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15

Mellouk, Abdelhamid, und Muhammad Sajid Mushtaq. Quality of Experience Paradigm in Multimedia Services: Application to OTT Video Streaming and VoIP Services. Elsevier, 2017.

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16

US GOVERNMENT. How Internet Protocol-Enabled Services Are Changing the Face of Communications: A Look at Video and Data Services: Hearing Before the Subcommittee on. Government Printing Office, 2005.

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17

Future of Audio and Video Markets As Presented to Congress. Nova Science Pub Inc, 2012.

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18

Streaming Devices + Streaming Services: Reviews, comparisons, and step-by-step instructions. CreateSpace Independent Publishing Platform, 2015.

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19

Mao, Shiwen. Video over Cognitive Radio Networks: When Quality of Service Meets Spectrum. Springer London, Limited, 2014.

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20

Mao, Shiwen. Video over Cognitive Radio Networks: When Quality of Service Meets Spectrum. Springer New York, 2016.

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21

Mao, Shiwen. Video over Cognitive Radio Networks: When Quality of Service Meets Spectrum. Springer, 2014.

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22

Pathan, Mukaddim, Dom Robinson und Ramesh K. Sitaraman. Advanced Content Delivery, Streaming, and Cloud Services. Wiley & Sons, Limited, John, 2014.

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23

Pathan, Mukaddim, Dom Robinson und Ramesh K. Sitaraman. Advanced Content Delivery, Streaming, and Cloud Services. Wiley & Sons, Incorporated, John, 2014.

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24

Pathan, Mukaddim, Dom Robinson und Ramesh K. Sitaraman. Advanced Content Delivery, Streaming, and Cloud Services. Wiley & Sons, Incorporated, John, 2014.

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25

Pathan, Mukaddim, Dom Robinson und Ramesh K. Sitaraman. Advanced Content Delivery, Streaming, and Cloud Services. Wiley & Sons, Incorporated, John, 2014.

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26

Mehta, Smith, Alisa Perren, Michael Curtin, Marwan M. Kraidy, Michael Keane, Darrell Davis, Anne Jäckel et al. The New Screen Ecology in India. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781839025693.

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This book provides an in depth look into the digital transformation of the Indian media industries, arguing that it has primarily been facilitated by the advent of social media platforms and a resulting shift in the creator dynamics of contemporary film and television production. Drawing on first-hand research within three categories of agents: creators, platform and portal executives, and intermediaries (talent agents, and multi-channel networks), Smith Mehta develops the concept of the ‘new screen ecology’ to show how the Indian screen industries are affected by social relations between these actors and how industrial practices blur the amateur-professional divide through creator and content interdependencies. Mehta interrogates the production practices of 13 different platforms and portals, including Hotstar, Netflix, YouTube, and TVFPlay, analyzing the extent to which they benefit from the lack of censorship and restrictive industrial practices characteristic of traditional media structures. In doing so, he examines the dynamics of digital transformation in the screen industries in a region-specific context and contributes to a body of literature on Indian digital production cultures. This book investigates the political, social and economic transactions that led to the digital transformation of the Indian audio-visual industries. It traces the interdependences between two social (YouTube, Facebook) and eleven digital (Hotstar, Spuul, Hoichoi, Addatimes, TVFPlay, Reliance Jio, Zee5, Voot, Netflix, Amazon Prime Video, AltBalaji) video streaming services, in platforming content drawn from both professional and professionalizing-amateur sources. Drawing on approaches from critical media industries studies, political economy and cultural studies, it interrogates the shifting creator dynamics in contemporary Indian film and television production with the advent of internet-based local and global video distribution services. In doing so, it brings to light the contribution of Indian intermediaries such as talent agents and third-party service providers that manage YouTube channels, also referred to as multichannel networks, in facilitating the localisation strategies of global portals such as Netflix and Amazon Prime, enabling the movement of creators from platforms to portals and expanding their value propositions through investments in content and talent-led ventures.

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27

Austerberry, David. Technology of Video and Audio Streaming. Taylor & Francis Group, 2015.

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28

Technology of Video and Audio Streaming. Taylor & Francis Group, 2002.

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29

Austerberry, David. Technology of Video and Audio Streaming. Taylor & Francis Group, 2013.

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30

Austerberry, David. Technology of Video and Audio Streaming. Taylor & Francis Group, 2013.

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31

Austerberry, David. Technology of Video and Audio Streaming. Taylor & Francis Group, 2013.

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32

Cohen, Jonathan D. For a Dollar and a Dream. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197604885.001.0001.

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Abstract Every week, one in eight Americans places a bet on the dream of a life-changing lottery jackpot. Americans spend more on lottery tickets annually than on video streaming services, concert tickets, books, and movie tickets combined. The typical story is that lotteries are a tax on poor people who do not understand basic probability. The reality is more complicated. For a Dollar and a Dream shows how the economic conditions of the late twentieth century led millions of Americans to judge the long odds of a jackpot to be their best chance at a new life. As the rich got richer and as rates of social mobility stagnated, many turned to the lottery as their only chance at the American Dream. Gamblers are not the only ones who bet on betting. Drawing on archives from 17 states, this book illustrates that states legalized gambling hoping to hit a jackpot of their own. As mid-twentieth-century prosperity unraveled, taxpayers and policymakers wanted government to provide public services but did not want to pay for them. Enter lotteries. Even as evidence emerged that lotteries provided only a small percentage of state revenue, and even as data mounted about their appeal to the poor, states kept enacting them, kept advertising, and kept adding new games, desperate for their long-shot gamble to pay off. For a Dollar and a Dream charts the untold history of the nation’s lottery system, revealing how players and policymakers alike got hooked on hopes for a windfall.

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33

Dulay, Hubert. Streaming Data Mesh: A Model for Optimizing Real-Time Data Services. O'Reilly Media, Incorporated, 2023.

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34

Brown, Audrey. Missing Faces: Live Streaming Worship Services to the Medically and Physically Challenges. Independently Published, 2019.

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35

Plothe, Theo, und Amber M. Buck. Netflix at the Nexus: Content, Practice, and Production in the Age of Streaming Television. Lang AG International Academic Publishers, Peter, 2020.

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36

Plothe, Theo, und Amber M. Buck. Netflix at the Nexus: Content, Practice, and Production in the Age of Streaming Television. Lang AG International Academic Publishers, Peter, 2020.

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37

Netflix at the Nexus: Content, Practice, and Production in the Age of Streaming Television. Lang AG International Academic Publishers, Peter, 2019.

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38

Advanced Content Delivery Streaming and Cloud Services Wiley Series on Parallel and Distributed Computing. John Wiley & Sons Inc, 2014.

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39

Netflix Nations. NYU Press, 2019.

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40

Waters, Rosa. Pinterest(tm): How Ben Silbermann & Evan Sharp changed the way we share what we love. 2015.

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41

Werner, Ann. Digitally Mediated Identity in the Cases of Two Sámi Artists. Herausgegeben von Fabian Holt und Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.21.

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This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.

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42

Les 90 questions que tous les parents se posent. TELEMAQUE EDIT, 2008.

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43

Landau, Neil. TV Outside the Box: Trailblazing in the Digital Television Revolution. Taylor & Francis Group, 2015.

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44

Landau, Neil. TV Outside the Box: Trailblazing in the Digital Television Revolution. Taylor & Francis Group, 2015.

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45

Landau, Neil. TV Outside the Box: Trailblazing in the Digital Television Revolution. Taylor & Francis Group, 2015.

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46

TV outside the box: Trailblazing in the digital television revolution. 2016.

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47

Landau, Neil. TV Outside the Box: Trailblazing in the Digital Television Revolution. Taylor & Francis Group, 2015.

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48

Lasar, Matthew. Radio 2.0. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798216004486.

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“Welcome to the uncertain world of ““Radio 2.0””—where podcasts, mobile streaming, and huge music databases are the new reality, as are tweeting deejays and Apple’s Siri serving as music announcer—and understand the exciting status this medium has, and will continue to have, in our digitally inclined society. How did popular radio in past decades—from President Franklin D. Roosevelt’s ““Fireside Chats”” in the 1930s through Top 40 music and Rush Limbaugh’s talk radio empire—shape American society? How did devices and systems like the iPhone, Pandora, and YouTube turn the radio industry upside-down? Does radio still have a future, and if so, what will we want it to look like? Radio 2.0: Uploading the First Broadcast Medium covers the history and evolution of Internet radio, explaining what came before, where Internet radio came from, and where it is likely headed. It also gives readers a frame of reference by describing radio from its introduction to American audiences in the 1920s—a medium that brought people together through a common experience of the same broadcast—and shows how technologies like digital music and streaming music services put into question the very definition of ““radio.”” By examining new radio and media technologies, the book explores an important societal trend: the shift of media toward individualized or personalized forms of consumption.”

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49

Schiller, Dan. Taking Care of Business. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038761.003.0012.

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This chapter examines the Commerce Department's free-flow policy as part of its power over internet policy. It first provides an overview of U.S.–centric internet and Commerce's Internet Policy Task Force, established to launch an inquiry into “the global free flow of information on the Internet.” The inquiry's purpose was “to identify and examine the impact that restrictions on the flow of information over the Internet have on American businesses and global commerce.” The chapter also considers Commerce's commodification strategies based in part on data centers and the place of cloud computing services in the department's free-flow inquiry. It shows that the Commerce Department's free-flow policy was a major component of the federal government's overall efforts to keep corporate data flows streaming without restriction as new profit sites emerged around an extraterritorial internet managed by the United States.

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50

Holmlund, Chris, Lisa Purse und Yvonne Tasker, Hrsg. Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839022814.

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Action Cinema Since 2000 addresses an increasingly lively and evolving field of scholarship, probing the definition and testing the potential of action cinema to reframe the mode for the 21st century. Contributors examine a broad range of content, from blockbusters to smaller independent films, originating from China, Korea, India, France, the USA, and Mexico. Ranging from 2001: A Space Odyssey (1968) to Polite Society (2023), they consider the changing modes of action cinema, with streaming assuming global importance and an ever-increasing number of generic blends. They consider under-explored areas of action film, particularly how race, ethnicity, gender, and age figure in narratives and through image and soundtracks. Overall, the book demonstrates how 21st century action cinema engages with and reflects geopolitical, creative, and industrial developments. Arguing that it continues to offer fantasies of empowerment and mobility that say much about how power is understood in diverse contexts today. This collection explores action cinema since 2000, taking account of current and previous scholarship on action and developments in action films and filmmaking. Despite well-documented socio-political shifts, economic changes, and contested public discourse around media representations in this period, there have been comparatively few comprehensive academic appraisals of recent action films, particularly of those made after 2010. Our anthology focuses, in consequence, on films released 2010–2019, with some chapters looking forward beyond that, and others looking backwards to action history. We view action as a mode rather than a genre because so much action now includes horror, espionage, comic, and thriller conventions, cuts across both big budget blockbusters and smaller independent films and is produced and released around the globe. Essays explore co-productions and work originating from China, Korea, and India as well as in France, the US, and Mexico. Some concentrate on what digital cinema brings to movement, rhythm, sound, and speed. Others consider the ways race, ethnicity, gender, and age figure in narratives and through image and soundtracks. A handful evaluate stardom and study performance. A few signal the oh-so-important contributions of stunt performers, effects artists, and sound designers. Collectively we demonstrate how 21st century action cinema engages with and reflects geopolitical, creative, and industrial developments. Streaming services have assumed global as well as regional or national importance. New generic blends have become prominent. New action bodies have come to the fore. Action cinema continues to offer fantasies of empowerment and mobility that say much about how power is understood in diverse contexts today.

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