[雙語翻譯]在線視頻外文翻譯---韓國視頻平臺(tái)市場(chǎng)競(jìng)爭(zhēng)動(dòng)態(tài)傳統(tǒng)的付費(fèi)電視平臺(tái)和ott平臺(tái)（英文）

1、Competitive dynamics in the Korean video platform market: Traditional pay TV platforms vs. OTT platformsJunghwan Kim a, Seongcheol Kim b,?, Changi Nam ca Internet Research Team, NAVER, Republic of Korea b School of Media

2、 and Communication, Korea University, Republic of Korea c Department of Business and Technology Management, KAIST, Republic of Koreaa r t i c l e i n f oArticle history:Received 15 January 2015Received in revised form 28

3、 April 2015Accepted 25 June 2015Available online 26 June 2015Keywords:Over-the-top (OTT)Theory of nicheVideo platform marketCompetitionTraditional pay TVa b s t r a c tNetflix is commonly referred as an over-the-top (OTT

4、) media, and it takes a role of a videoplatform changing the market. The purpose of this research is to explain the competition inKorean video platform market, in particular competition between traditional pay TV andOTT.

5、 In this study, the theory of the niche is adopted to explain the competitive dynamicsin video platform market in Korea. This theory is a unique framework to conceptualize andempirically measure the impact of new media o

6、n the old one. It explains and predicts theexistence, displacement, and extirpation of players in the ecosystem. To make up for theprevious researches, multiple resources such as gratification and time spent using mediaa

7、re measured in this study. The result indicates that the case of the Korean market wassignificantly different from the case of America, in that competition between traditionalpay TV and OTT was not severe.? 2015 Elsevier

8、 Ltd. All rights reserved.1. IntroductionNetflix, the internationally acclaimed online video platform, was nominated in six categories at the 71st Golden Globe Awards in 2013, and won the Best Performance by an Actress i

9、n a Television Drama award for House of Cards. Famous for providing video-on-demand (VOD) streaming services globally, Netflix had recently commenced producing House of Cards as its first original content title, garnerin

10、g enough attention to receive the award. Netflix uses the Internet to broadcast video content and is commonly referred to as over-the-top (OTT) media; meanwhile, HBO, a representative premium cable and satellite TV provi

11、der in the U.S., launched its own OTT service ‘‘HBO Go’’ in 2010. While both providers had forecast the changes in media usage patterns and recognized the value of Internet based services, Netflix managed to sell the sam

12、e number of paid subscriptions as HBO by October 2013. Moreover, consumers who were subscribers of pay TV platforms including cable and satellite began switching to OTT, choosing it as their main video platform; meanwhil

13、e, some subscribers downgraded their pay TV service from a premium to regular package (Banerjee et al., 2014). The former change is referred to as ‘‘cord-cutting,’’ while the latter is ‘‘cord-shaving.’’ Such changes also

14、 occurred in the Korean video platform market, whereby the growth of global and local OTT services such as ‘‘YouTube,’’ ‘‘GomTV,’’ and ‘‘PandoraTV’’ stimulated traditional TV platform providers to launch Netflix-like OTT

15、 services such as ‘‘tving’’ and ‘‘pooq.’’According to the U.S. Federal Communications Commission (FCC), an OTT is defined as an online video distributor that delivers video programming content to consumers over the Inter

16、net (FCC, 2013). In the U.S., the total number of OTThttp://dx.doi.org/10.1016/j.tele.2015.06.0140736-5853/? 2015 Elsevier Ltd. All rights reserved.? Corresponding author.E-mail address: hiddentrees@korea.ac.kr (S. Kim).

17、Telematics and Informatics 33 (2016) 711–721Contents lists available at ScienceDirectTelematics and Informaticsjournal homepage: www.elsevier.com/locate/teletelevision programming decreased as people began using digital

18、multimedia broadcasting (DMB) and smartphone applications to watch real time broadcasting, as well as user created content (UCC) and VOD content; and Kim et al. (2013) examined smartphone usage to see whether the use of

19、radio and newspaper apps resulted in a decreased usage that of traditional forms, and whether accessing the Internet and game contents on a smartphone resulted in a decreased use of PCs for the same purposes.Similar to t

20、he displacement effect, but presenting a slightly different perspective, is ‘‘functional alternative.’’ The researchers who argue in favor of functional alternative explain that the level of gratification, which depends

21、on the type of services that the medium provides, results in different media usage patterns (Cha, 2013; Dutta-Bergman, 2004; Lin, 1999, 2001; Nam and Barnett, 2010; Okazaki and Hirose, 2009). Accordingly, two media with

22、similar content usually satisfy a consumer’s motivation in the same way, resulting in a displacement effect. Cha (2013) examined the predictors of TV and online video platform use. She found that the more that consumers

23、perceive online video platforms as different from TV in terms of the way that they satisfy their needs, the more likely they will be to use online video platforms. Recently, some researchers also have been interested in

24、OTT market. Banerjee et al. (2013) utilized longitudinal survey panel data to reveal the transition among the OTT segments such as ‘‘cord loyalists’’, ‘‘non-pay TV’’, and ‘‘cord couplers’’ especially, they found age, ann

25、ual income, and race/ethnicity determine how households choose OTT segmentations. Gimpel (2015) interviewed 22 executives at key positions in the video value chain to prove big questions. The questions related to the com

26、petition between pay TV and OTT are not only belonging to America but also Europe (Baccarne et al., 2013), Latin America (Ganuza and Viecens, 2014). Lin (2001) also addressed the displacement effect between the Internet

27、and traditional media.Fidler (1997), however, argued against the existence of a perfect substitution between new and old media. Instead, he proposed that the media coevolve and coexist through transformation and the prin

28、ciple of ‘‘delayed adoption.’’ Fidler also believed that the substitution concept that was utilized in previous studies is vague, whereby the separation of functional displacement and users’ choices is unclear (Yim, 2010

29、). If Fidler is accurate, how can multi-platform usage be explained? We cannot merely conclude that new media substitutes old media, as people do not consume just one medium. Although people consume many different types

30、of media, the previous studies only focused on individual media types; therefore, an approach from an ecological perspective is needed. Furthermore, with respect to the inconsistent results from previous studies on the d

31、isplacement effect, the niche theory that is explained in the next sub-section is more useful than the prin- ciple of relative constancy for explaining the competitive dynamics of media industries.2.2. The theory of the

32、niche2.2.1. The concept of niche theoryThe theory of the niche originates from ecology and explains how an organism competes and coexists in a dynamic environment, whereby the competitive dynamics between or among other

33、populations in an ecological environment are examined (Yi and Sung, 2007). The organizations in the ecology must compete with others to survive because resources are limited. From an organizational-ecology point of view,

34、 the influence of the environment is more essential than that of internal organizational operations (Yi and Sung, 2007); consequently, it is necessary to understand how populations adapt to their environments (Hannan and

35、 Freeman, 1989).The original meaning of the term ‘‘niche’’ is ‘‘a(chǎn) suitable environment for organisms to live in,’’ but the term can also be defined as the resource usage patterns of populations (Yi and Sung, 2007). From

36、this understanding, niche theory has been adapted to explore the competition between new and older media for limited resources such as consumer satisfaction, time, space, and advertising dollars (Dimmick et al., 2004; Di

37、mmick and Rothenbuhler, 1984). In the original study that applied the theory of the niche, the authors argued that a medium depends on resources and must compete to obtain a niche, just like organisms in nature (Dimmick

38、et al., 2010). When competition occurs, the older media face the danger of exclusion, replacement, or displacement (Dimmick et al., 2004); therefore, the media must differentiate themselves across the resource categories

39、 that facilitate their survival to compete and coexist within the resource space (Dimmick et al., 2011).Researchers have adopted the theory of the niche to compare not only new media and older media (e.g. online/mobile n

40、ews vs. traditional news), but also interpersonal media and services (e.g. cell phone vs. landline vs. instant messaging vs. email vs. text messaging), as well as the competition patterns between two media. Niche theory

41、can be analyzed by applying the following three types of measures: niche breadth, niche overlap, and competitive superiority (Dimmick, 2003). Niche breadth involves measuring the area of a niche. If a medium provides a b

42、road niche range in a specific dimen- sion, then the medium is a generalist regarding resource utilization; otherwise, it is a specialist (Li, 2001). Specialists gratify a relatively limited set of motivations, whereas g

43、eneralists satisfy a broader range. For example, radio has a specific and nar- row niche breadth in local advertising, whereas national broadcast TV has a general and broad value in advertising (Dimmick and Rothenbuhler,

44、 1984). Niche overlap occurs when there is a similarity between two media in terms of their resource uti- lization patterns (Dimmick, 2003). While a high niche overlap means that the media serve the same (or similar) nee

45、ds using similar resources, a lower niche overlap indicates that different needs are being served with the use of different resources. The overlap value is an index of the substitutability or complementarity of two media

46、; therefore, a high value indicates strong competition, whereas a low value represents the opposite. Competitive superiority measures consumers’ perceptions of satisfaction toward one medium over another. A significantly