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 List of 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 List of 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 Teleféønica/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
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