Digitization has greatly impacted the world of television in both positive and negative ways. With the introduction of streaming services and catch-up, it is important to discuss the relevance of television in recent times and its ability to bring people together. It is evident that habits surrounding how we consume the small screen has drastically changed and evokes the question of understanding exactly what modern day television is and if it still even matters.
The days of sitting down to watch live television are slowly transitioning. Due to the uprising of services such as Netflix and Amazon Prime, it is easier than ever access content and watch as much as you like. Netflix, in particular has developed a different relationship with consumers, challenging the way we watch television especially with the younger generations (McDonald, 2016). ‘Binge Watching’ has become more popular than ever with a recent study showing that 61% of users finish 2 to 6 episodes in one sitting (Netflix, 2017). It proves that a vast majority of the general public in developed countries have shifted their views on the world of television being digitized. However, it could be argued that this shift is not suited towards every demographic such as the elderly with no technological expertise and people who struggle financially (Petruska, 2014). Television as a medium is greatly affected by similar developments such as smartphones and wireless technologies, evoking the on-demand culture (McDonald, 2016). There is an expectancy that television will co-operate with the digital refinement of technology thus challenging live broadcasts and the decades of culture it has created.
Having defined Netflix’s digital emergence , it is equally important to discuss the benefits and loses of streaming services. Although quick access and no adverts are significant, streaming itself produces a sense of distortion from reality (Coleman, 2018). The idea of living in the moment and appreciation for new content is simply discontinued. The new digital competitor, Disney+ has been enjoying the success of streaming yet has been criticised for its lack of “newness” and quality storytelling (Kandell, 2020). The regurgitation of content has claimed a vicious cycle where consumers want something new yet watch entire seasons in days (Coleman, 2018). This has put pressure on companies to produce more in-house programmes retelling narratives with similar characters and plotlines.
It is clear that television is no longer the national medium that it used to be. The younger generations may not get to experience the culture of live television with the bringing together of families to watch their favourite shows. Digitization has encouraged an emphasis on constant consumption rather than the creativity of television (Pearson, 2019). The tension of making it back to the sofa before the adverts ended and waiting a week before a new episode are figments of the past. The audience is now increasingly curatorial which makes it difficult for programmes that are still broadcasted live or on cable, as shows have become reliant of fanbases to keep them alive (Robinson, 2017). However, there is still hope with Christmas specials and tradition yet it is evident digitization has transformed the culture and attitudes surrounding television as a whole.
The arguments provided show that questions surrounding modern day television are indeed ambiguous and challenging. Global media has made a significant impact in regard to what television is. It can be accessed on multiple platforms and devices and streaming services such as Netflix, continue to dominate the industry. The digital revolution has made developments that will only continue to grow which has aided companies financially but promotes a loss of reality and connectivity. It demonstrates the influence media has on our lives and its ability to captivate the consumer into committing to the digital world.
Robinson, M. (2017). The Curatorial Future. In Television on Demand: Curatorial Culture and the Transformation of TV (pp. 169–186). London: Bloomsbury Academic. Retrieved November 26, 2020, from http://dx.doi.org.bathspa.idm.oclc.org/10.5040/9781501300288.ch
Coleman, R. (2018) ‘Theorizing the present: digital media, pre-emergence and infra-structures of feeling’, Cultural Studies, 32(4), pp. 600–622. doi: 10.1080/09502386.2017.1413121.
About Netflix. (2017). About Netflix - Netflix & Binge: New Binge Scale Reveals TV Series We Devour And Those We Savor. [online] Available at: <https://about.netflix.com/en/news/netflix-binge-new-binge-scale-reveals-tv-series-we-devour-and-those-we-savor-1> [Accessed 26 November 2020].
Kandell, Z., (2020.) Disney+ Is Repeating Netflix Original Mistakes (But Worse). [online] ScreenRant. Available at: <https://screenrant.com/disney-plus-mistakes-netflix-problem-stargirl-movie/> [Accessed 26 November 2020].
Page, D., (2017). What Happens In Your Brain When You Binge-Watch A TV Show. [online] NBC News. Available at: <https://www.nbcnews.com/better/health/what-happens-your-brain-when-you-binge-watch-tv-series-ncna816991> [Accessed 19 November 2020].
McDonald, K., (2016) ‘The Netflix Effect: Technology and entertainment in the 21stcentury’ Bloomsbury Academic.
Petruska, K. (2014) ‘The digital television transition, consumer power and the limits of cultural citizenship’, Creative Industries Journal, 7(1), p. 19. Available at: https://search-ebscohost-com.bathspa.idm.oclc.org/login.aspx?direct=true&db=edb&AN=98935935&site=eds-live&scope=site (Accessed: 26 November 2020).
Pearson, C., 2019. Netflix Trialling Variable Playback Speed Highlights The Depressing Drive Behind The Streaming Service. [online] Radio Times. Available at: <https://www.radiotimes.com/news/on-demand/2019-10-30/netflix-variable-playback-speed-depressing/> [Accessed 26 November 2020].
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