• International journal of advanced smart convergence
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• v.10 no.1
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• pp.62-74
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• 2021

We compare Over-the-Tops (OTTs), Netflix and Amazon Prime Video (APV) with five success factors of innovation. Firstly, Netflix offers better personalized service than APV, because APV has collaborative filtering algorithms to recommend safe bets, not the customers really want. Secondly, APV' user interface is undercooked to lock the members in, even if it has more content and better price offer than Netflix retaining its loyal customers despite the price increase. Thirdly, Netflix has simple subscription model with three tiering, but APV has complicated pricing model having annual and monthly, APV and Prime Video (AV) app, Amazon subscription and extra payment of Amazon Prime Channels (APCs). Fourthly, Amazon has fewer partnership than Netflix especially when it comes to local TV series. Instead, Amazon has live TV channel collaboration including sports content. Lastly, both have strategic and operational agility in their organization well.

• Journal of Digital Convergence
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• v.18 no.11
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• pp.99-109
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• 2020

Paid membership is a useful marketing method that can acquire long-term customers. This study benchmarked representative overseas memberships, Amazon Prime, Alibaba 88 Membership, and Rakuten Super Point, so that domestic shopping platform companies can refer to launch the paid membership. The membership services have in common: economic benefits, convenient experiences, and discriminatory treatment. Domestic companies should set the core customer value they want to deliver to consumers and organize the benefits so that paid membership can be operated from a long-term perspective. This study has a high practical contribution and it is necessary to conduct an empirical analysis of experts and a customer user survey in the future.

• Journal of Information Processing Systems
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• v.18 no.6
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• pp.729-740
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• 2022

Netflix, Amazon Prime, and YouTube are the most popular and fastest-growing streaming services globally. It is a matter of great interest for the streaming service providers to preview their service infrastructure and streaming strategy in order to provide new streaming services. Hence, the first part of the paper presents a detailed survey of the Content Distribution Network (CDN) and cloud infrastructure of these service providers. To understand the streaming strategy of these service providers, the second part of the paper deduces a common quality-of-service (QoS) model based on rebuffering time, bitrate, progressive download ratio, and standard deviation of the On-Off cycle. This model is then used to analyze and compare the streaming behaviors of these services. This study concluded that the streaming behaviors of all these services are similar as they all use Dynamic Adaptive Streaming over HTTP (DASH) on top of TCP. However, the amount of data that they download in the buffering state and steady-state vary, resulting in different progressive download ratios, rebuffering levels, and bitrates. The characteristics of their On-Off cycle are also different resulting in different QoS. Hence a thorough adaptive bit rate (ABR) analysis is presented in this paper. The streaming behaviors of these services are tested on different access network bandwidths, ranging from 75 kbps to 30 Mbps. The survey results indicate that Netflix QoS and streaming behavior are significantly consistent followed by Amazon Prime and YouTube. Our approach can be used to compare and contrast the streaming services' strategies and finetune their ABR and flow control mechanisms.

• Journal of Venture Innovation
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• v.7 no.1
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• pp.1-15
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• 2024

This study aims to elucidate the characteristics of big tech platform companies' sports content business in an environment of rapid digital transformation. Specifically, this study examines the market structure of big tech platform companies with a focus on Amazon, revealing the role of sports content within this structure through an analysis of Amazon's sports marketing business and provides an outlook on the sports content business of big tech platform companies. Based on two-sided market platform business models, big tech platform companies incorporate sports content as a strategy to enhance the value of their platforms. Therefore, sports content is used as a tool to enhance the value of their platforms and to consolidate their monopoly position by maximizing profits by increasing the synergy of platform ecosystems such as infrastructure. Amazon acquires popular live sports broadcasting rights on a continental or national basis and supplies them to its platforms, which not only increases the number of new customers and purchasing effects, but also provides IT solution services to sports organizations and teams while planning and supplying various promotional contents, thus creates synergy across Amazon's platforms including its advertising business. Amazon also expands its business opportunities and increases its overall value by supplying live sports contents to Amazon Prime Video and Amazon Prime, providing technical services to various stakeholders through Amazon Web Services, and offering Amazon Marketing Cloud services for analyzing and predicting advertisers' advertising and marketing performance. This gives rise to a new paradigm in the sports marketing business in the digital era, stemming from the difference in market structure between big tech companies based on two-sided market platforms and legacy global companies based on one-sided markets. The core of this new model is a business through the development of various contents based on live sports streaming rights, and sports content marketing will become a major field of sports marketing along with traditional broadcasting rights and sponsorship. Big tech platform global companies such as Amazon, Apple, and Google have the potential to become new global sports marketing companies, and the current sports marketing and advertising companies, as well as teams and leagues, are facing both crises and opportunities.

• International Journal of Contents
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• v.17 no.2
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• pp.1-8
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• 2021

Online streaming wars are intensifying. Netflix is known as the market leader in the streaming business. However, since 2019, Netflix has been losing subscribers in the United States and is at a turning point where it needs to reassess its current position in the market. While Netflix is losing dominance, rivals Amazon Prime and Hulu continue to gain market shares. Studies from Deloitte and PricewaterhouseCoopers indicated a new shift in the streaming landscape caused by the abundance of streaming options and rising subscription costs. Recent surveys showed that consumers are excited about new streaming services, such as Disney +. Nearly two-thirds of consumers intend to terminate or downgrade one or more of their current subscriptions to make room for a new service. Moreover, it seems that consumers want ad-supported options. In Deloitte's latest Digital Media Trends survey, 65% responded that they would watch ads to eliminate or reduce subscription costs. Seventy percent of Hulu's subscribers choose its lower-priced ad-supported plan. NBC recently launched its own streaming service, Peacock, with a free ad-supported option. This opposes Netflix's brand identity of "no ads" and premium differentiation. With increasing pressure from competition and the growing risk of subscriber loss, Netflix needs to diversify its price plans. The company could try implementing the lower-priced mobile-only plan they are currently testing or plan to test in other regions. Netflix should also consider features or benefits for loyal subscribers to maintain a stronger consumer base.

• Proceedings of the Korean Society of Computer Information Conference
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• 2024.01a
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• pp.175-177
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• 2024

OTT(Over-The-Top) 플랫폼의 부상은 미디어 콘텐츠 소비 방식을 혁명적으로 변화시키고 있다. 본 논문은 Netflix, Amazon Prime Video, Disney+, Hulu 등 주요 OTT 플랫폼에 등록된 영화들을 IMDb 평점과 러닝타임, Rotten Tomatoes 지수를 중심으로 분석한다. 이를 통해 현재의 영화 시장 트렌드와 소비자 선택, 시장 전략에 중요한 정보를 제공하려 한다. 분석 결과, 플랫폼별로 제공하는 영화의 품질과 러닝타임이 다양하며, 소비자들이 선호하는 영화 테마를 시각적으로 파악할 수 있는 워드 클라우드를 포함한다. 이러한 결과는 OTT 플랫폼의 전략적 콘텐츠 제공과 소비자 행동 이해에 기여할 수 있는 중요한 통찰력을 제공한다.

• Journal of Distribution Science
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• v.14 no.5
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• pp.51-57
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• 2016

Purpose - In the year of 2015 and 2016, one of the items that got attention in CES was a drone. It has been 100 years since a drone emerged, but most were used for military purposes. As its use became diverse as of 2010, it got attention of the general public. In Korea, it was in 2011 that a drone was known to the public through an aerial video shooting for television program. This study tried to come up with suggestions by comparing domestic with overseas cases, and tried to consider the related technologies and systems with applying the role of drones in logistics service. Research design, data, and methodology - The overseas cases were regarded as drone's logistical purpose. The Prime Air service by US Amazon is still not commercialized and under pre-testing due to Federal Aviation Regulations, although it started in 2013. In Germany, DHL succeeded in delivering service testing which is called Parcelcopter, but it is not commercialized yet. Other than these, there are more attempts to prepare logistics service in China with Taobao, in France with Geopost's test, and in Africa. In Korea, CJ Korea Express tested delivery with a self-developed drone Results - In order to study for utilizing drones for logistics as the prerequisites, some overseas and domestic cases, which are currently considered, were reviewed. Also, the technologies and institutional requirements to commercialize drones for logistical purpose were reviewed. The reasons for using drones in logistics is to ensure the price competitiveness by reducing cost. The empirical test also will be needed because drone pilot areas are designated by ministry of land, infrastructure and transport. Conclusions - In order to utilize drones in logistics and foster the industry, this study would like to suggest the followings. First of all, size of drones for logistics needs to be fixed and their operating system should be standardized. Centralized investment resources are needed through standardization to ensure the market occupancy. Secondly, it is necessary to get the converged businesses that do research, develop and commercialize drones with the investment of private sector. Example can be found in Korea aerospace Industries. We can respond to the rapid growth of the market with intensive investing by integrating the private sector investment. Thirdly, institutional arrangements are needed to be established quickly. In the case of high-technologies like drones, institutional support often does not follow the rapid development of the technology. The problems can be found in securing drones-only airspace, creating drone-specialized pilot's license, matters related to remote controller and complementary regulations for drones in Aviation Act. If these regulations are not prepared or complemented at the right timing, technologies cannot be commercialized even though the development is completed. Fourthly, there is a need to secure the transparency regarding possible privacy and personal information protection problem while operating drones. Finally, in order to foster this new industry, government should focus on supporting R&D more in the long term than short term outcomes.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.41-76
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• 2020

Recently, the cinema industry faced a crisis on the rise of various media platforms such as Netflix, Amazon Prime, IPTV, and Kakao Page. The rate of film release in the theater has become ever shorter, and the secondary consumption of film through IPTV, tablet, PC, or mobile has seen a drastic increase. In the midst of this new media-geography, the most significant change in recent years would be the rise of the 'fantasy film' genre. This paper explores the conditions and characteristics of fantasy films in the way in which the genre has been constituted, and delves into particular aspects that its contents contain. This is an attempt to understand the sociology of the birth of a new genre. In this process, this paper will ask two frequently raised questions in regard to this genre. The first is to ask whether we can discern fantasy from reality, and the second is to examine whether the fantasy genre implicates certain social subversion. These two questions aim to discover how fantasy forms a relationship with reality and what this means. To do so, this paper will trace the genealogy of the fantasy film genre in Korea and analyze recent big hits such as the series as the model case of digital fantasy film. Through this exploration, this paper will be able to provide a new sociology of the fantasy film production and consumption in the 21^st century Korea.