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Table of Contents
1.Executive Summary
1.1.A stabilising market
1.2.Different dematerialisation cycles
1.3.Dematerialisation drives down prices and household expenditure
1.4.From an ownership model to an access model
1.5.A new distribution of value in favour of producers and rights holders
1.6.New growth opportunities
2.Scope and methodology
2.1.Scope of the study
2.1.1.Definition of the subjects studied
2.1.2.Geographical coverage
2.2.General methodology of IDATE's reports
2.3.Methodology specific to this report
2.4.Definitions
3.Sectoral analyses
3.1.The publishing market
3.1.1.Changing trends in book consumption
3.1.2.Publishing market revenues
3.1.3.Industry structure
3.1.4.Innovation and disruption
3.1.5.Piracy
3.2.The recorded music market
3.2.1.Changing trends in recorded music consumption
3.2.2.Recorded music market revenues
3.2.3.Industry structure
3.2.4.Innovations & trends
3.2.5.Piracy
3.3.The video game market
3.3.1.Changing trends in video game consumption
3.3.2.Video game market revenues
3.3.3.Industry structure
3.3.4.Innovations & trends
3.3.5.Piracy
3.4.The video market
3.4.1.Changing trends in video consumption
3.4.2.Video market revenues
3.4.3.Industry structure
3.4.4.Innovations & trends
3.4.5.Piracy
4.Cross-analysis
4.1.The dematerialisation of cultural industries and its impact
4.1.1.Different degrees of dematerialisation
4.1.2.The impact of dematerialisation on prices and household expenditure
4.1.3.A new distribution of value in favour of producers and rights holders
4.2.General trends
4.2.1.New consumption patterns
4.2.2.From an ownership model to an access model
4.2.3.A shift towards yield management of cultural goods?
4.3.Content industries' response to piracy
4.3.1.Current state of DRM techniques
4.3.2.Still high levels of piracy...
4.3.3.... but is declining in developed markets
5.Markets and forecasts
5.1.Growth conditions
5.1.1.Growth factors
5.1.2.IDATE's opinion
5.2.Market forecasts
5.2.1.Forecasts for 2014-2018
5.3.Data book
List of Tables
Table 1:Summary table of the scope of content studied
Table 2:Details of the countries covered by region
Table 3:Lists of indicators in the database and sources used
Table 4:Characteristics of ubiquitous games
Table 5:Main techniques for limiting usage and access to downloaded or streamed content
Table 6:Forecasts for content industry revenues, worldwide, 2014-2018
Table 7:Forecasts for publishing sector revenues, worldwide, 2014-2018
Table 8:Forecasts for recorded music sector revenues, worldwide, 2014-2018
Table 9:Forecasts for video game sector revenues, worldwide, 2014-2018
Table 10:Forecasts for video sector revenues, worldwide, 2014-2018
List of Figures
Figure 1:Global content industry revenues by market segment and dematerialisation rate in value, 2010-2014
Figure 2:Percentage of physical and dematerialised revenues by content industry market segment, 2010 and 2013
Figure 3:Comparison between the average sales price of content on physical media and in dematerialised form, Europe, 2013
Figure 4:Household expenditure by content industry segment, worldwide, 2010 and 2013
Figure 5:Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 6:Global content industry revenues by market segment and dematerialisation rate in value, 2014-2018
Figure 7:Change in a movie's unit value over time
Figure 8:Diagram showing the four distribution channels within content industries
Figure 9:Illustration of the process for obtaining forecasts
Figure 10: Global content industry revenues by market segment and dematerialisation rate in value, 2010-2014
Figure 11:Volume of books sold on physical media and in dematerialised form, United States, 2010-2014
Figure 12:Volume of books sold on physical media and in dematerialised form, Europe, 2010-2014
Figure 13:Subscription digital library subscribers, United States, Europe and worldwide, 2010-2014
Figure 14:Global publishing market revenues and industry dematerialisation rate in value, 2010-2014
Figure 15:Distribution of global publishing market revenues by geographical region, 2013
Figure 16:Growth in revenues generated by subscription digital library services, worldwide, 2010-2014
Figure 17:Comparison of physical and dematerialised distribution chains in the publishing sector
Figure 18:Percentage of a digital book sales price captured by various stakeholders according to distribution model adopted, in France, 2010
Figure 19:Tablets sold in the United States, Europe and worldwide, 2010-2014
Figure 20:Lost revenues attributable to illegal consumption of digital books, United States, 2010-2018
Figure 21:Sales volume of albums and single tracks on physical media and in dematerialised form, worldwide, 2010-2014
Figure 22:Sales volume of albums and single tracks on physical media and in dematerialised form, Europe, 2010-2014
Figure 23:Sales volume of albums and single tracks on physical media and in dematerialised form, United States, 2010-2014
Figure 24:Sales volume of dematerialised albums and single tracks, Europe, 2010-2014
Figure 25:Sales volume of dematerialised albums and single tracks, United States, 2010-2014
Figure 26:Streaming audio subscribers in the United States, Europe and worldwide, 2010-2014
Figure 27:Comparison between the number of active users and subscribers to Spotify worldwide, November 2008 to May 2014
Figure 28:Global recorded music market revenues and industry dematerialisation rate in value, 2010-2014
Figure 29:Breakdown of the recorded music market by region, 2013
Figure 30:Global recorded music market revenues by segment, 2010-2014
Figure 31:Comparison of physical and dematerialised distribution chains in the recorded music sector
Figure 32:Distribution of value in the physical and dematerialised distribution chains in the single track sales segment, Europe, 2013
Figure 33:Market share in the recorded music end market
Figure 34:Market share of iTunes in the album and single track sales market in terms of value, United States, 2013
Figure 35:Market share of Spotify, Deezer and Pandora in total subscriptions to audio streaming services, worldwide, December 2013
Figure 36:Relative share of the different crowdfunding models in total funds raised, worldwide, 2012
Figure 37:Estimate of lost revenues due to electronic piracy in the recorded music sector, worldwide, 2010-2018
Figure 38:Volume of video games sold worldwide, 2010-2014
Figure 39:Volume of video game subscriptions worldwide, 2010-2014
Figure 40:Distribution of video game subscription volume by region, 2013
Figure 41:Global video game market revenues and industry dematerialisation rate in value, 2010-2014
Figure 42:Breakdown of global video game market revenues by geographical region, 2013
Figure 43:Breakdown of global video game market revenues by segment, 2010-2013
Figure 44:Comparison of physical and dematerialised distribution chains in the video game sector
Figure 45:Relative share of each link in the video game value chain in terms of turnover and value added, France, 2011
Figure 46:Volume of video titles sold on physical media and in dematerialised form, United States, 2010-2014
Figure 47:Volume of video titles rented on physical media and in dematerialised form, United States, 2010-2014
Figure 48:Volume of video titles sold on physical media and in dematerialised form, Europe, 2010-2014
Figure 49:Volume of video titles rented on physical media and in dematerialised form, Europe, 2010-2014
Figure 50:SVOD subscribers in the United States, Europe and worldwide, 2010-2014
Figure 51:Global video market revenues and industry dematerialisation rate in value, 2010-2014
Figure 52:Breakdown of global video market revenues by geographical region, 2013
Figure 53:Global video market revenues by segment, 2010-2014
Figure 54:Comparison of physical and dematerialised distribution chains in the video sector
Figure 55:Comparison of cost structures for DVD and Blu-ray in-store rentals and an online rental VOD service in the United States, 2012
Figure 56:Comparison of physical and dematerialised value chains in the video sector, Europe, 2013
Figure 57:Market share of the major EST players in the United States by type of content, 2012
Figure 58:Market share of the major rental VOD players in the movie segment, United States, 2012
Figure 59:Foothold of the major US video-on-demand services in Europe, late 2013
Figure 60:Market share of Netflix in terms of total subscriptions to SVOD offerings, worldwide, 2013
Figure 61:Number of titles available on DVD, Blu-ray and UltraViolet by major studio, United States, July 2013
Figure 62:Lost revenues due to pirated professional video content, 2010-2018
Figure 63:Dematerialisation rates in volume and value compared, and total revenues by sector, Europe, 2013
Figure 64:Simplified timeline of major technological innovations by industry sector
Figure 65:Physical and dematerialised revenue share by content industry market segment, 2010 and 2013
Figure 66:Comparison between the average sales price of content on physical media and dematerialised content, Europe, 2013
Figure 67:Annual household expenditure on cultural goods, worldwide, 2010-2013
Figure 68:Household expenditure by content industry segment, worldwide, 2010 and 2013
Figure 69:Distribution of value by sector in the physical and dematerialised value chains, Europe, 2013
Figure 70:Smartphone penetration in households, United States and Europe, 2010-2014
Figure 71:Penetration of connectable TVs, games consoles and tablets, United States, 2013 and 2018
Figure 72:Penetration of connectable TVs, games consoles and tablets, Europe, 2013 and 2018
Figure 73:Proportion of exclusive users per device, United Kingdom, March 2014
Figure 74:Most-used applications on mobile devices in a selection of 6 countries, 2013
Figure 75:Percentage of Netflix and Hulu Plus subscribers using a particular device to access the service, United States, July 2013
Figure 76:Sales of albums and single tracks by volume, United States and Europe, 2013
Figure 77:Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 78:Breakdown of content industries global revenues by sector, 2010 and 2013
Figure 79:Estimates of lost revenues due to electronic piracy expressed as a percentage of the content industry's total revenues, by segment, worldwide, 2013
Figure 80:Fixed access traffic distribution during peak hours, upstream/downstream/aggregate, United States, H1 2012 to H2 2013
Figure 81:Fixed access traffic distribution during peak hours, upstream/downstream/aggregate, Europe, H1 2012 to H2 2013
Figure 82:Household expenditure on cultural goods and services, worldwide, by content type, 2014-2018
Figure 83:Global content industry revenues by market segment and dematerialisation rate in value, 2014-2018
Figure 84:Distribution of content industry revenues by geographical region, 2018
Figure 85:Global publishing market revenues by segment and dematerialisation rate in value, 2014-2018
Figure 86:Global recorded music market revenues by segment and dematerialisation rate in value, 2014-2018
Figure 87:Global video game market revenues by segment and dematerialisation rate in value, 2014-2018
Figure 88:Global video market revenues by segment and dematerialisation rate in value, 2014-2018
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