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Abstract

Online streaming services such as Netflix are challenging the traditional distribution-exhibition practices that have been implemented in Hollywood for over a century. By omitting from the standard theatrical release, conventional ancillary windows are now being replaced with straight-to-demand releases with budgets on par with the largest studio blockbusters. This dissertation examines the historical significance of cinema exhibition to confront the debates against Netflix as an industry disruptor to methods of distribution. As streaming services compete for Hollywood’s most prestigious awards, the role of cinema exhibition to provide filmmaking legitimacy remains prominent to the traditionalists who trust the experience of the theatrical release. However, the rise of competing streaming services from the major studios has created an increased demand to provide exclusive content to stand out from rival subscriptions. With the recent impact of the coronavirus pandemic accelerating scheduled blockbuster movies for on-demand releases, this dissertation concludes with the future of cinema exhibition reliant on the largest spectacle films and Oscar-contenders, with all other productions reserved for studio-owned streaming services controlled by vertically integrated systems.

Course: Media Studies and Drama - BA (Hons) - C1790

Date Deposited: 2020-10-28

URI/permalink: https://library.port.ac.uk/dissert/dis13604.html