Exploring Binge-Watching, Agenda Setting and the Transformation of Video Consumption: A Comprehensive Literature Review
Submission received:
19 December 2023
/
Accepted:
26 December 2023
/ Published:
27 December 2023
Abstract
This paper presents a comprehensive analysis of the evolving landscape of digital media consumption, with a specific focus on the impact of streaming services like Netflix. The study explores three critical dimensions: the rise of binge-watching, the application of agenda-setting theory to streaming platforms, and the transformation from traditional television broadcasting to on-demand streaming. Central to this examination is the cultural phenomenon of binge-watching, where we investigate its motivations, its psychological and social consequences, and its role as a reflection of wider shifts in media consumption patterns. The paper also applies the agenda-setting theory, traditionally linked to news media, to the context of digital streaming.
This involves exploring how Netflix and similar platforms influence viewer choices and perceptions through their content selection and recommendation algorithms, potentially setting cultural and social agendas. The research also delves into the broader transformation in video consumption, examining the shift from scheduled programming to personalized, algorithm-based content delivery, and its effects on viewer habits, expectations, and the global media landscape. This study aims to provide a nuanced understanding of these changes, highlighting their implications for viewers, content creators, and policymakers. It contributes to academic discourse by offering insights into the dynamic and complex nature of modern media consumption, underlining the significance of streaming services in shaping the digital entertainment landscape and its broader societal and cultural impacts.
Article
INTRODUCTION
Over the past two decades, the media consumption landscape has been radically transformed by the rise of streaming services like Netflix and others. This shift from traditional TV’s scheduled programming to on-demand streaming has significantly changed how content is consumed, produced, and distributed. Originating as a DVD rental service in the late 1990s, Netflix’s transition to streaming in 2007 tapped into the growing trend of internet-based content consumption, marking an important moment in the entertainment industry (McDonald & Smith-Rowsey, 2016). This move heralded a cultural shift towards convenient, on-demand access to a vast array of movies and TV shows. Such accessibility gave rise to the phenomenon of binge-watching, where viewers indulge in extended viewing sessions, a stark contrast to the episodic nature of traditional television (Pittman & Sheehan, 2015). As streaming platforms like Hulu, Amazon Prime Video, and Disney+ also gained traction, binge-watching became integral to modern media engagement (Uricchio, 2017). Furthermore, the globalization of content through these services has had profound implications, transforming how we perceive different cultures and societies (Jenner, 2018).
The changes brought about by streaming services like Netflix represent more than just technological advancements. They reflect a cultural and societal shift in the way media is consumed, produced, and perceived, challenging traditional models, and offering a unique window into the evolving dynamics of the global media industry (Lobato, 2019). Understanding these implications is crucial for both media professionals and scholars in the field.
This paper aims to critically explore the changing landscape of digital media consumption, with a particular focus on how streaming services like Netflix are influencing viewing habits and cultural trends. Central to this analysis are three aspects: the rise of binge-watching, the application of agenda-setting theory in the digital streaming context, and the transformation from traditional broadcast to on-demand streaming. Binge-watching, a behavior emblematic of the streaming age, is examined for its motivations, psychological and social impacts, and how it signifies broader shifts in media consumption. The study also applies agenda-setting theory, typically linked to news media, to understand how streaming platforms like Netflix, through content curation and algorithms, might affect viewer preferences and shape cultural and social narratives. The paper also investigates the transition in video consumption patterns, assessing how the move to algorithm-driven, personalized content has altered viewer habits and expectations, as well as the wider global media landscape. This research is essential for a deep understanding of modern media consumption, offering valuable insights for academics, media professionals, and consumers about the evolving digital entertainment environment and its wider societal implications.
METHODOLOGY
The methodology of this paper is designed to provide a rigorous, comprehensive analysis of the existing literature on the impact of streaming services like Netflix on binge-watching, the application of agenda-setting theory in this new media landscape, and the transformation of traditional video consumption patterns. This approach ensures a thorough understanding of the current state of research in these areas and identifies gaps for future exploration. The methodology encompasses several key steps:
Literature Search and Selection: A systematic search of academic databases, journals, and digital libraries was conducted to gather relevant literature. Key sources include peer-reviewed articles, books, conference papers, and reputable industry reports. Search terms included combinations of “Netflix”, “streaming services”, “binge-watching”, “agenda-setting theory”, and “transformation of media consumption”. The selection criteria focused on the relevance to the research topics, the credibility of the sources, and the recency of the publications to ensure the most current understanding of the topics.
Thematic Analysis: The collected literature was subjected to a thematic analysis to identify and categorize the main themes and patterns within the research. This involved a careful examination of the findings, methodologies, and theoretical frameworks employed in each study, allowing for a comprehensive synthesis of the existing body of knowledge.
Comparative Approach: Where relevant, a comparative analysis was employed to juxtapose findings from different studies, especially in areas where research opinions diverge. This approach was particularly useful in understanding the varying impacts of binge-watching and the role of agenda-setting in different cultural and demographic contexts.
Critical Evaluation: Each source was critically evaluated for its contribution to the field, including an assessment of the strengths and limitations of the research. This critical lens ensured a balanced and nuanced understanding of the topics, recognizing the complexity and multi-dimensionality of media consumption in the digital age.
Synthesis of Findings: The final step involved synthesizing the findings from the literature to draw comprehensive insights. This synthesis aimed to provide a cohesive narrative that addresses the research objectives, highlighting significant trends, consensus areas, and notable discrepancies or gaps in the existing research.
THE PHENOMENON OF BINGE-WATCHING
Binge-watching, as a term and as a practice, has become increasingly prevalent with the use of streaming services. It refers to the act of watching multiple episodes of a television series or a substantial portion of a series in one sitting. This practice contrasts sharply with traditional television viewing, which was dictated by network schedules and episodic releases. Historically, the concept of binge-watching has roots that predate the streaming revolution. It can be traced back to the availability of television series on DVD box sets, where viewers had the option to watch several episodes or an entire season in one go (Jenner, 2018). However, it was the rise of on-demand streaming platforms, notably Netflix, that truly popularized and normalized this behavior. The ability to access entire seasons of a show instantly removed the enforced wait times between episodes that were typical of traditional broadcast
television (Pittman & Sheehan, 2015).
The evolution of binge-watching is closely tied to technological advancements and changing consumer preferences. The early 2000s saw a significant shift with the proliferation of high-speed internet and the advent of digital streaming technology. This period marked a transition in viewing habits, as audiences began to value the control and flexibility that on-demand streaming afforded (Lotz, 2007). Netflix, recognizing and capitalizing on this shift, began to produce and release its original content in full-season batches, further encouraging the trend of binge-watching. This approach was a departure from the conventional episodic release model and was seen as a response to the evolving consumption patterns of the audience
(McDonald & Smith-Rowsey, 2016). The introduction of original series like “House of Cards” and “Orange Is the New Black” in complete season formats made it clear that binge-watching was becoming a standard practice for consuming television content (Jenner, 2018). This evolution of binge-watching has had a significant influence on the television industry, prompting a reevaluation of how content is produced, released, and marketed. As binge-watching has become more commonplace, it has also sparked academic and industry discussions about its implications for viewer engagement and the future of television consumption (Matrix, 2014). The term itself has entered the lexicon as both a common practice and a new lens through which to understand modern media consumption. Understanding why viewers engage in binge-watching involves exploring a range of psychological, emotional, and social factors. These motivations are complex and vary widely among individuals, reflecting diverse preferences and lifestyles (Rubenking & Bracken, 2018).
Binge-watching, a prevalent behavior among streaming service viewers, is driven by a complex mix of psychological and social factors. Psychological gratification plays a crucial role, as viewers seek continuous emotional engagement and narrative immersion, leading to a deep connection with the story and characters (Perks, 2015). This is often explained by the concept of flow state, where viewers become fully immersed in the viewing experience (Csikszentmihalyi, 1990). Additionally, escapism is a significant motivator; binge-watching provides a temporary retreat from the stresses and routines of everyday life, offering a form of relaxation and distraction (Sung, Kang, & Lee, 2018)
Control and autonomy are also crucial appeals of binge-watching. Streaming services allow viewers to watch content at their own pace, giving them the power to pause, rewind, and consume content as they prefer, free from the constraints of traditional programming schedules (Walton-Pattison, et al., 2018). This sense of control enhances the viewing experience. Social connectivity, contrary to the solitary nature of binge-watching, emerges as another important factor. Staying current with popular shows becomes a part of social interaction, allowing viewers to participate in broader conversations and feel a sense of community (Rubenking & Bracken, 2018). The narrative structure of TV series, with their cliffhangers and complex plots, fuels a sense of curiosity and a desire for narrative completion (Green, et al., 2004). The availability of entire series or seasons caters to this need, encouraging viewers to
watch episodes consecutively to reach the resolution of storylines. Habit formation is an aspect of binge-watching that cannot be overlooked. Over time, what starts as a choice can turn into a regular part of a viewer’s media routine, potentially leading to a blurring of lines between a conscious decision and a habitual action (Flayelle, et al., 2017). This transformation highlights the ingrained nature of binge-watching in the context of modern media consumption.
These motivational factors highlight the multilayered appeal of binge-watching. They illustrate not only how individual preferences and needs drive this behavior but also how technological advancements and content strategies of streaming platforms have responded to and reinforced these tendencies. Understanding these motivations is crucial in comprehending the broader implications of binge-watching on viewer behavior and media consumption patterns. The phenomenon of binge-watching carries a spectrum of effects that touch upon psychological, social, and physical aspects of viewers’ lives, offering both gratification and potential risks.
Psychologically, binge-watching can be a double-edged sword; it offers relaxation and a sense of reward, especially after completing a series (Starosta & Izydorczyk, 2020). However, it may also lead to negative emotions such as guilt, a decrease in self-regulation, loneliness, and a sense of loss or emptiness after a series concludes (Sung et al., 2019). Physically, one of the immediate effects of binge-watching is the disruption of sleep patterns. Engrossed in content, viewers may find themselves watching late into the night, affecting both the duration and quality of their sleep (Exelmans & Van den Bulck, 2017). Additionally, prolonged inactivity during binge-watching sessions can lead to health issues like weight gain and a sedentary lifestyle, often exacerbated by unhealthy snacking habits (Walton-Pattison et al., 2018).
Socially, binge-watching often replaces time that could be spent in interpersonal interactions, potentially impacting relationships and social skills (Pittman & Sheehan, 2015). Although it can be a communal activity, it is predominantly solitary, which can lead to a reduction in social engagements and a weakening of social connections. Cognitively, while binge-watching can enhance understanding and retention of the content, it may also result in decreased attention spans and difficulties concentrating on other tasks (Vorderer, et al., 2004). This is attributed to the constant stimulation and the instant gratification binge-watching provides. Viewers often form strong emotional bonds with characters and storylines, leading
to intense emotional reactions during and after the viewing experience.
The conclusion of a series or the anticipation of new episodes can induce feelings of withdrawal, akin to the experience of finishing an engaging book (Deloitte, 2020). Binge-watching, a popular aspect of modern media consumption, presents a complex array of impacts that necessitate a balanced approach to media engagement.
AGENDA-SETTING THEORY AND STREAMING SERVICES
Agenda-setting theory, a concept central to mass communication and public opinion research, articulates that media primarily shapes what people think about, rather than what to think. Introduced in the 1970s by Maxwell McCombs and Donald Shaw, the theory asserts that the prominence media gives to certain issues influences the public’s perception of their importance (McCombs & Shaw, 1972). It’s rooted in the “transfer of salience”, where the media’s focus on specific topics is reflected in the audience’s perception of these topics’ significance. Originally applied to news media like newspapers and television news, agenda-setting was understood as the media’s role in shaping public priorities and opinions through the frequency and framing of news stories (Dearing & Rogers, 1996). The theory identifies two levels: the first concerns the amount of coverage topics receives, positing that more
coverage increases perceived importance. The second level, known as attribute agenda-setting or framing, delves into how media portrayal and evaluation of topics shape audience attitudes and feelings about these issues (Ghanem, 1997). As media evolved, the scope of agenda-setting theory extended beyond traditional news to include entertainment and social media, adapting to encompass how various forms of media content influence audience attitudes and perceptions. This expansion has been examined in studies that explore the intersection of traditional news media agenda-setting with the dynamic and interactive nature of online and social media platforms (McCombs, et al., 1997; Vargo, et al., 2018). Understanding the evolution and contemporary relevance of agenda-setting theory is essential in analyzing how media content, whether news, entertainment, or social media, continues to shape public opinion in today’s digitally interconnected world.
Streaming services, with their content curation and algorithms for recommendation, bring a new dimension to agenda-setting theory. Unlike traditional media, which relied on editorial decisions, these platforms shape viewer preferences, and cultural trends through both algorithmic and strategic content selection. This is crucial for understanding media’s influence on public perception and societal trends in the era of technological advancements (Napoli, 2011). The influence of platforms like Netflix is multilayered. They curate extensive libraries of original and licensed content, directing viewer interests towards specific genres or themes, and influencing trends (McDonald & Smith-Rowsey, 2016). Recommendation algorithms
analyze viewer habits to personalize suggestions, potentially creating an ‘echo chamber’ effect and reinforcing preferences (Pariser, 2011). Release strategies like dropping entire series at once promote binge-watching and deeper engagement with certain topics (Jenner, 2017). Streaming services also impact cultural and social perceptions through user interface design, promotional features, and global content distribution. This broadens viewers’ exposure to international content, diversifying viewing experiences and introducing new genres (Lobato, 2019). Interactive features like ratings and reviews create a dynamic interplay between audience feedback and content curation (Strangelove, 2015). The role of streaming services
in media consumption is profound, shaping not only what people watch but also their broader cultural and social outlooks. This reflects the evolving dynamics in the digital media landscape, highlighting the importance of understanding these changes in the context of agenda-setting theory (Lotz, 2017).
SHIFT FROM TRADITIONAL TV
The streaming services have ushered in a major shift in video consumption, moving away from the traditional television model and bringing about several fundamental changes in content delivery, access, and viewer experience. Unlike traditional TV, defined by scheduled programming, streaming services offer on-demand access, allowing viewers to watch shows and movies at their convenience and breaking free from the constraints of broadcast schedules (McDonald, 2019). This shift not only provides unprecedented flexibility and control but also represents a fundamental change in how video content is consumed. Streaming platforms have also eliminated geographic and time constraints that traditionally limited television programming, making content available globally and simultaneously (Cunningham & Silver, 2013). This has significantly transformed viewers’ expectations regarding content accessibility. In terms of distribution, streaming services have bypassed traditional channels like cable and satellite TV, establishing a direct connection between content creators and viewers (Lotz, 2019). This evolution has diminished the dominance of traditional distribution methods, paving the way for a more direct-to-consumer approach. Content production and release patterns
have also undergone changes. Streaming services often release entire seasons of a series at once, catering to the binge-watching trend and allowing for more extensive narrative development, free from the episodic constraints of traditional TV (Tryon, 2013). Moreover, streaming platforms’ advanced data analytics provide a nuanced understanding of viewer preferences, leading to more tailored content strategies that influence not only the types of shows and movies produced but also their themes, styles, and storytelling techniques (Johnson, et. al., 2018). Another significant change brought about by streaming services, particularly subscription-based models like Netflix, is the reduced reliance on advertising revenue. This shift to ad-free viewing experiences has implications for both the content narrative, which is no longer interrupted by commercials, and the business models of the television industry (Tryon, 2013).
The transition from traditional TV to streaming services marks a comprehensive transformation in the video consumption landscape, encompassing changes in access, distribution, content production, viewer engagement, and business models. This evolution reflects a significant shift in how television content is consumed and valued by audiences, highlighting the dynamic nature of the media industry in response to technological advancements and changing viewer preferences (Johnson, 2013).
CHANGES IN VIEWER HABITS
Streaming services like Netflix have significantly altered viewer habits, indicating a substantial shift in the way audiences interact with video content. This change is largely driven by the convenience, flexibility, and personalization that streaming platforms offer (Jenner, 2020).
A key aspect of this transformation is the increased control and personalization in viewing choices (Lotz, 2023). Unlike traditional TV’s rigid schedule, streaming services allow viewers to choose from a vast array of content at their convenience, offering a personalized viewing experience that contrasts sharply with conventional broadcasting practices (Lotz, 2017). The popularity of binge-watching, where multiple episodes or entire seasons are watched in one sitting, marks a significant departure from the episodic, weekly format of traditional TV (Pittman & Sheehan, 2016). This trend has reshaped not just viewing habits but also the way audiences engage with and perceive narrative structures and character development.
Viewing patterns have also become more diverse with streaming platforms, as audiences are no longer limited to what’s airing currently or popular in their region. The availability of a wide range of genres, languages, and formats has led to more varied and eclectic viewing choices (Tryon, 2013). The concept of peak viewing times has evolved with streaming services. The flexibility of on-demand viewing has led to more individualized peak times, aligning with personal schedules rather than fixed broadcast timings (Webster, 2017). The use of second screens, such as smartphones or tablets, to discuss and engage with content in real-time has become more prevalent with streaming, creating new forms of audience interaction
and enhancing the communal aspect of viewing (Perks, 2014). The prevalence of streaming services has led to a decline in channel surfing, as the curated nature of content recommendations fosters more focused and intentional content selection. This shift, coupled with the move towards ad-free viewing experiences on many streaming platforms, has also changed viewer attitudes towards advertisements, impacting the advertising industry and platforms that rely on ad-based revenue (Johnson, 2019). The shift in viewer habits due to the rise of streaming services reflects a broader evolution in media consumption, characterized by a desire for more personalized, flexible, and immersive viewing experiences. This multi-dimensional transformation underscores the significant impact of streaming platforms on modern media consumption patterns.
GLOBALIZATION AND CULTURAL IMPACT
Netflix and other streaming services have significantly altered global media consumption and cultural exchange, bringing about a multifaceted transformation. These services have facilitated cross-cultural content availability, making shows and movies from various countries accessible worldwide, often with multilingual subtitles or dubbing (Lobato, 2019). This has broadened the exposure to diverse cultures and narratives, fostering a more inclusive global media landscape.
Streaming platforms’ global reach has spurred the production of content catering to an international audience, increasing investment in non-English language films and series (Moran & Keane, 2004). This surge in culturally diverse programming has enriched the global entertainment industry, enhancing the visibility of international content creators. However, this rise also brings concerns of cultural homogenization, as the dominance of popular American content could overshadow local productions and cultural norms (Kraidy, 2004). Balancing global hits with local content preservation is a critical issue in this era. Streaming services have redefined cultural trends, turning popular shows into global phenomena that influence fashion, language, and social discourse (Jenner, 2018). This power to set global cultural agendas marks a significant departure from traditional media’s influence. The popularity of streaming services has also impacted traditional cultural industries like cinema and television, leading to changes in production values, narrative styles, and storytelling approaches (Curtin, 2019). In some regions, it has revitalized local film and TV production, while posing challenges to established industries in others (Elasmar, 2019). Streaming services have become platforms for cultural exchange, introducing audiences to various customs, traditions, and societal issues, fostering understanding and empathy across different cultures. This exposure helps break
down cultural barriers and stereotypes. The rise of streaming has shifted global power dynamics in the media industry. With substantial budgets and a vast global subscriber base, platforms like Netflix have become major determinants of what content is produced and distributed globally (Lotz, 2023). The globalization and cultural impact of streaming services are both profound and complex. They have expanded the accessibility of diverse content, reshaped cultural production, consumption, and exchange, and presented both opportunities and challenges for cultural diversity and representation (Bielby & Harrington, 2018). This transformation underscores the significant role of streaming services in influencing global cultural
dynamics.
STREAMING VS. TRADITIONAL MEDIA
The rise of streaming services like Netflix has introduced a new paradigm in media consumption, which significantly differs from traditional media models. This comparative analysis highlights the key differences and similarities between streaming and traditional media consumption.
DIFFERENCES
Content Accessibility and Convenience: One of the most striking differences is in content accessibility. Streaming services offer on-demand access to a vast library of content, allowing viewers to watch their preferred shows and movies at any time (Jenner, 2018). Traditional media, particularly broadcast television, operates on a fixed schedule, limiting viewer choice to what is being aired at a given time.
Binge-Watching vs. Scheduled Viewing: Streaming platforms have popularized binge-watching, enabling viewers to consume entire seasons of a show in one sitting (Pittman & Sheehan, 2015). In contrast, traditional TV follows a scheduled, episodic release, which dictates a more paced consumption pattern.
Personalization and Algorithms: Streaming services use algorithms to personalize content recommendations based on individual viewing habits, creating a tailored viewing experience (Pariser, 2011). Traditional media lacks this level of personalization, relying instead on broad-based programming designed to appeal to mass audiences.
Ad-Free Experience: Many streaming services offer ad-free viewing or minimal advertising, a major draw for viewers. Traditional broadcast and cable TV, however, heavily rely on advertising, with commercial breaks interrupting programming (Lotz, 2017).
Global Reach: Streaming platforms make it easy to distribute content globally, breaking down geographical barriers inherent in traditional media. This global reach has led to an increased exposure to diverse content, unlike traditional media, which is often limited by regional broadcasting rights (Lobato, 2019).
SIMILARITIES
Content Variety: Both streaming and traditional media offer a wide variety of content, including movies, TV shows, documentaries, and more. Viewers in both mediums can enjoy a diverse range of genres and styles (Jenner, 2020).
Narrative and Storytelling: At their core, both streaming and traditional media focus on storytelling and narrative engagement. Despite differences in release patterns and viewing habits, the fundamental goal of entertaining and informing audiences remains consistent across both platforms (Lotz, 2017).
Subscription and Payment Models: Traditional cable and satellite TV services have long operated on subscription-based models, similar to many streaming services. Viewers pay a regular fee for access to content, although streaming services often offer more flexibility and customization in their subscription plans (Cunningham & Silver, 2013).
Production Values and Quality: High production values and quality content are hallmarks of both streaming and traditional media. There has been a continuous effort to enhance production quality, with streaming services investing heavily in original content that rivals traditional TV and cinema productions (McDonald & Smith-Rowsey, 2016).
While streaming and traditional media differ significantly in terms of accessibility, viewing habits, and personalization, they share commonalities in content diversity, narrative importance, and a focus on high-quality production (Ercegovac, 2022). The coexistence of these two models reflects the evolving landscape of media consumption, offering viewers a broader spectrum of content and viewing experiences.
CULTURAL AND SOCIETAL EFFECTS
Streaming services and traditional media have both uniquely contributed to cultural and societal landscapes. This part of the comparative analysis synthesizes the broader impacts of these changes.
IMPACT OF STREAMING SERVICES
Enhanced Cultural Diversity: Streaming platforms have broadened the cultural horizons of their audiences by providing access to a diverse range of international content. This exposure to different cultures and narratives promotes cross-cultural understanding and appreciation (Lobato, 2019).
Individualized Media Experience: The personalized nature of streaming services has led to a more individualized media experience. This can foster a sense of autonomy and choice in media consumption but may also contribute to the creation of echo chambers where viewers are exposed to a limited perspective (Pariser, 2011).
Changes in Social Viewing Habits: While streaming services offer the convenience of solitary viewing, they have also changed traditional social viewing practices. The communal experience of watching a show or movie simultaneously with others has shifted, potentially impacting shared cultural experiences and discussions (Jenner, 2020).
Influence on Content Creation: Streaming services have driven changes in content creation, leading to more niche and experimental works. This has expanded the types of stories told and the ways in which they are presented, influencing societal narratives and discussions (Lotz, 2017).
IMPACT OF TRADITIONAL MEDIA
Collective Cultural Experiences: Traditional media, especially broadcast television, has historically played a role in creating shared cultural moments. Scheduled programming and live broadcasts have fostered a sense of community and simultaneous experience among viewers (Spigel, 1992).
Standardization of Cultural Norms: Traditional media has been influential in standardizing certain cultural norms and values, given its broad reach and general appeal. It has played a significant role in shaping societal attitudes and behaviors (Postman, 2005).
Advertising and Commercial Influence: The reliance of traditional media on advertising revenue has intertwined commercial interests with content creation. This has had a substantial impact on consumer culture and societal values, often promoting materialism and consumerism (Jhally, 2014).
SYNTHESIS OF BROADER IMPACT
The transition from traditional to streaming media represents a shift from a collective, standardized cultural experience to a more fragmented, individualized one. Streaming services have democratized content access, allowing for a wider range of voices and stories, thereby enriching the cultural landscape (Jenner, 2018). However, this has also led to a more personalized and less communal media experience, potentially impacting the shared societal fabric. Traditional media’s impact on creating a unified cultural and societal experience, although limited
in diversity and scope, has been significant in shaping collective consciousness (Newman, 2014). The shift towards streaming services challenges these established norms, prompting a reevaluation of how media influences societal values and cultural experiences (Lotz, 2017). The impact of these changes is complex, reflecting both the opportunities and challenges posed by the evolving media landscape. While streaming services offer unprecedented access to diverse content, the loss of shared viewing experiences and the potential for echo chambers present challenges (Pariser, 2011). Balancing these factors is crucial for maintaining a media ecosystem that supports both cultural diversity and societal cohesion (Sunstein, 2018).
DISCUSSION
The research into the transformation of video consumption in the age of streaming services, particularly focusing on Netflix, has yielded several key insights. This discussion synthesizes the findings from the exploration of binge-watching, the application of agenda-setting theory in streaming, and the broader changes in video consumption.
The phenomenon of binge-watching, a direct result of the on-demand nature of streaming services, represents a significant departure from traditional TV viewing habits (Pittman & Sheehan, 2015). It is driven by various factors, including psychological gratification, a desire for escapism, and the autonomy provided by streaming platforms (Perks, 2015). While it offers viewers an immersive and uninterrupted viewing experience, it also raises concerns about potential negative impacts on psychological well-being, sleep patterns, and lifestyle (Exelmans & Van den Bulck, 2017). The application of agenda-setting theory to streaming services like Netflix reveals how these platforms influence viewer perceptions and priorities (McCombs & Shaw, 1972). Through content curation, personalized recommendations, and release strategies, streaming services have a unique ability to shape the viewing agenda.
This influence extends beyond mere content consumption to viewer preferences and cultural trends, signifying a shift from traditional media’s approach to agenda-setting. The transformation from traditional TV to streaming services has been marked by increased control and flexibility for viewers, a decline in channel surfing, and a shift towards ad-free models (Tryon, 2013). This transition has also facilitated global access to diverse content, fostering cross-cultural exchange but also raising concerns about cultural homogenization (Lobato, 2019). Comparing streaming services with traditional media highlights fundamental differences in content accessibility, viewer habits, and the role of advertising. While both mediums share a commitment to content diversity and quality storytelling, streaming services offer a more personalized and on-demand viewing experience (Jenner, 2018). Traditional
media, on the other hand, has been pivotal in creating shared cultural experiences and standardizing cultural norms (Lotz, 2017). The rise of streaming services has enhanced cultural diversity and individualized media experiences, leading to more eclectic and personalized content consumption patterns. However, this has come at the cost of the communal viewing experiences fostered by traditional media. The global reach of streaming platforms has also influenced content production, promoting a mix of global and local narratives but with a potential risk of cultural homogenization (Curtin, 2019). The findings from this research highlight a complex and multifaceted transformation in video consumption. The shift to streaming
services like Netflix has brought about significant changes in viewer behavior, content distribution, and cultural impact. This transformation reflects a broader evolution in the media landscape, characterized by increased viewer autonomy, content diversity, and global connectivity, but also presenting new challenges in terms of cultural preservation and the communal aspects of media consumption (Moran & Keane, 2016). Balancing these elements will be crucial as the landscape continues to evolve.
The insights gleaned from the research into the transformation of video consumption, particularly with the rise of streaming services like Netflix, have several implications for viewers, content creators, and policymakers. This section discusses these implications in light of the findings.
Viewers need to be aware of how their viewing habits, such as binge-watching and algorithmic recommendations, can shape their perceptions and preferences. This awareness is crucial for maintaining a balanced and diverse media diet (Sunstein, 2018). The potential negative impacts of binge-watching on physical and mental health underscore the importance of moderation (Exelmans & Van den Bulck, 2017). Viewers should be conscious of their consumption patterns and ensure they engage in a healthy, balanced lifestyle. The global reach of streaming platforms offers viewers an opportunity to expand their cultural horizons. Embracing diverse content can lead to a broader understanding and appreciation of different cultures and narratives (Jenner, 2018). The demand for diverse and culturally rich content highlights the importance of inclusive and representative storytelling. Content creators have the opportunity to explore a wider range of themes, perspectives, and narratives (Bielby & Harrington, 2018). With streaming platforms breaking geographical barriers, content creators can
aim to connect with a global audience. This requires sensitivity to cultural nuances and an understanding of universal themes that resonate across different cultures (Moran &
Keane, 2016). The popularity of binge-watching and on-demand viewing necessitates a rethinking of content production and release strategies. Creators must adapt to these changing patterns to effectively engage their audience (Lotz, 2017). Policymakers need to consider regulations that address the growing influence of streaming platforms, especially regarding content recommendations and data privacy. Ensuring transparency in how algorithms curate and recommend content is crucial (Pariser, 2011). Policies that encourage the production and distribution of diverse cultural content can help counteract the risks of cultural homogenization (Lobato, 2019). Supporting local content production while embracing global content can maintain a healthy balance. Policymakers might also focus on the broader social and health implications of changing media consumption patterns. Initiatives that promote digital wellness and encourage responsible media consumption can be beneficial (Strangelove, 2015).
The implications of the shift towards streaming services are broad and multifaceted, impacting various stakeholders in the media ecosystem. Viewers need to cultivate a more conscious and diversified approach to media consumption. Content creators are encouraged to embrace the opportunities and challenges presented by global platforms and evolving viewer preferences. Policymakers, meanwhile, are tasked with navigating the complex regulatory and cultural landscape shaped by the rise of streaming services. Together, these groups play an important role in shaping the future of media consumption in a way that is healthy, inclusive, and representative of diverse voices and stories.
FUTURE RESEARCH AND CONCLUSION
The landscape of media consumption, particularly with the rise of streaming services like Netflix, presents fertile ground for future research. More studies are needed to understand the long-term implications of binge-watching on mental health and social behavior. Research could explore how different demographics are affected and potential strategies for healthier viewing habits. Investigating the algorithms behind content recommendation systems in streaming services and their impact on viewer choices and cultural trends is crucial. This includes examining issues of bias, diversity, and echo chambers in content recommendation. Further research should assess the ongoing impact of streaming services on traditional media
industries, including television, film, and advertising. This includes understanding how these industries are adapting to the changing landscape. Studies focusing on the nature and extent of cultural exchange and representation in streaming content would be valuable. This includes exploring the balance between global and local content and its impact on cultural diversity. As streaming services continue to grow, research into appropriate regulatory frameworks and policies is essential. This could involve studying the effectiveness of existing regulations and exploring new policy approaches to manage the evolving media ecosystem.
Netflix and other similar platforms have ushered in a significant transformation in video consumption, reshaping viewer habits, content creation, and cultural dynamics. This paper has highlighted the shift from traditional TV to streaming, emphasizing the rise of binge-watching (Pittman & Sheehan, 2015), the application of agenda-setting theory in a new context (McCombs & Shaw, 1972), and the global and cultural implications of this transformation (Jenner, 2018). While streaming services offer greater flexibility, personalized content, and access to a diverse range of narratives, they also present challenges such as potential impacts on viewer health and well-being (Exelmans & Van den Bulck, 2017), risks of cultural homogenization (Kraidy, 2017), and the need for regulatory oversight (Pariser, 2011). The comparative analysis with traditional media underscores a fundamental shift from communal to individualized viewing experiences, alongside the continued importance of diverse and high-quality storytelling (Lotz, 2017). The evolution of media consumption in the streaming era is complex and multifaceted, presenting both opportunities and challenges. As this landscape continues to evolve, it is imperative for viewers, content creators, and policymakers to adapt and engage with these changes thoughtfully and proactively. Future research in this area will be crucial in understanding and navigating the ongoing transformation of the media world,
ensuring that it benefits and enriches society as a whole.
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5. Dearing, J. W., & Rogers, E. M. (1996). Agenda-Setting. Sage Publications.
6. Deloitte. (2020). Digital media trends survey, 14th edition: Media & entertainment is center stage in the wake of COVID-19. Deloitte Insights.
7. Elasmar, M. G. (2019). The Impact of International Television: A Paradigm Shift. Routledge.
8. Ercegovac, I. (2022). Television formats as user generated content: YouTube as mass media channel(s) of influencers. Društveni horizonti, 2(3), 59-73. https://doi.org/10.5937/
drushor2203059e
9. Exelmans, L., & Van den Bulck, J. (2017). Binge Viewing, Sleep, and the Role of Pre-Sleep Arousal. Journal of Clinical Sleep Medicine, 13(8), 1001-1008.
10. Flayelle, M., Maurage, P., & Billieux, J. (2017). Toward a qualitative understanding of bingewatching behaviors: A focus group approach. Journal of Behavioral Addictions, 6(4), 457-471.
11. Ghanem, S. I. (1997). Filling in the Tapestry: The Second Level of Agenda-Setting. In M. McCombs, D. L. Shaw, & D. H. Weaver (Eds.), Communication and Democracy: Exploring the
Intellectual Frontiers in Agenda-Setting Theory, 3-14. Lawrence Erlbaum.
12. Green, M. C., Brock, T. C., & Kaufman, G. F. (2004). Understanding media enjoyment: The role of transportation into narrative worlds. Communication Theory, 14(4), 311-327.
13. Jenner, M. (2018). Binge-watching: Video-on-demand, quality TV and mainstreaming fandom. International Journal of Cultural Studies, 21(3), 304-320.
14. Jenner, M. (2018). Netflix and the Re-invention of Television. Palgrave Macmillan.
15. Jenner, M. (2020). Researching binge-watching. Critical Studies in Television, 15(3), 267-279.
16. Jhally, S. (2014). The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society. Routledge.
17. Johnson, D. (2013). Media Franchising: Creative License and Collaboration in the Culture Industries. NYU Press.
18. Johnson, D., Kompare, D., & Santo, A. (Eds.). (2014). Making media work: cultures of management in the entertainment industries (Vol. 17). NYU Press.
19. Kraidy, M. M. (2004). Hybridity, or the Cultural Logic of Globalization. Temple University Press.
20. Lobato, R. (2019). Netflix Nations: The Geography of Digital Distribution. New York University Press.
21. Lotz, A. (2023). Introduction: Streaming Stories. In A. Lotz & R. Lobato (Ed.), Streaming Video: Storytelling Across Borders, 1-17. New York, USA: New York University Press. https://doi.org/10.18574/nyu/9781479816866.003.0003
22. Lotz, A. D. (2017). Portals: A Treatise on Internet-Distributed Television. Michigan Publishing.
23. Lotz, A. D. (2017). The Television Will Be Revolutionized. NYU Press.
24. Lotz, A. D. (2019). We Now Disrupt This Broadcast: How Cable Transformed Television and the Internet Revolutionized it All. MIT Press.
25. Matrix, S. (2014). The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends. Jeunesse: Young People, Texts, Cultures, 6(1), 119-138.
26. McCombs, M., & Shaw, D. L. (1972). The Agenda-Setting Function of Mass Media. Public Opinion Quarterly, 36(2), 176-187.
27. McCombs, M., Llamas, J. P., Lopez-Escobar, E., & Rey, F. (1997). Candidate Images in Spanish Elections: Second-Level Agenda-Setting Effects. Journalism & Mass Communication
Quarterly, 74(4), 703-717.
28. McDonald, K., & Smith-Rowsey, D. (Eds.). (2016). The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Publishing.
29. McDonald, P. (2019). Video and DVD Industries. BFI Publishing.
30. Moran, A., & Keane, M. (2004). Television Across Asia: Television Industries, Programme Formats and Globalisation. Routledge.
31. Napoli, P. M. (2011). Audience Evolution: New Technologies and the Transformation of Media Audiences. Columbia University Press.
32. Newman, M. Z. (2014). Video Revolutions: On the History of a Medium. Columbia University Press.
33. Pariser, E. (2011). The Filter Bubble: What the Internet is Hiding from You. Penguin Books.
34. Perks, L. G. (2015). Media Marathoning: Immersions in Morality. Lexington Books.
35. Pittman, M., & Sheehan, K. (2015). Sprinting a media marathon: Uses and gratifications of binge-watching television through Netflix. First Monday, 20(10).
36. Postman, N. (2005). Amusing Ourselves to Death: Public Discourse in the Age of Showbusiness. Viking.
37. Rubenking, B., & Bracken, C. C. (2018). Binge-watching: A suspenseful, emotional, habit. Communication Research Reports, 35(5), 381-391.
38. Spigel, L. (1992). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
39. Starosta, J., & Izydorczyk, B. (2020). Understanding the Phenomenon of Binge-Watching – A Systematic Review. International Journal of Environmental Research and Public Health, 17(12), 4469.
40. Strangelove, M. (2015). Watching YouTube: Extraordinary Videos by Ordinary People. University of Toronto Press.
41. Sung, Y. H., Kang, E. Y., & Lee, W. (2018). Why do we indulge? Exploring motivations for binge watching. Journal of Broadcasting & Electronic Media, 62(3), 408-426.
42. Sunstein, C. R. (2018). #Republic: Divided Democracy in the Age of Social Media. Princeton University Press.
43. Tryon, C. (2013). On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press.
44. Uricchio, W. (2017). The future of a medium once known as television. The YouTube Reader, 24-39.
45. Vargo, C. J., Guo, L., & Amazeen, M. A. (2018). The agenda-setting power of fake news: A big data analysis of the online media landscape from 2014 to 2016. New Media & Society, 20(5), 2028-2049.
46. Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004). Enjoyment: At the heart of media entertainment. Communication Theory, 14(4), 388-408.
47. Walton-Pattison, E., Dombrowski, S. U., & Presseau, J. (2018). ‘Just one more episode’: Frequency and theoretical correlates of television binge watching. Journal of Health
Psychology, 23(1), 17-24.
48. Webster, J. G. (2017). The Marketplace of Attention: How Audiences Take Shape in a Digital Age. MIT Press.
2. Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Experience. Harper & Row.
3. Cunningham, S., & Silver, J. (2013). Screen Distribution and the New King Kongs of the Online World. Palgrave Macmillan.
4. Curtin, M. (2019). Media Capital: The Rise of Global Media Industries. University of Illinois Press.
5. Dearing, J. W., & Rogers, E. M. (1996). Agenda-Setting. Sage Publications.
6. Deloitte. (2020). Digital media trends survey, 14th edition: Media & entertainment is center stage in the wake of COVID-19. Deloitte Insights.
7. Elasmar, M. G. (2019). The Impact of International Television: A Paradigm Shift. Routledge.
8. Ercegovac, I. (2022). Television formats as user generated content: YouTube as mass media channel(s) of influencers. Društveni horizonti, 2(3), 59-73. https://doi.org/10.5937/
drushor2203059e
9. Exelmans, L., & Van den Bulck, J. (2017). Binge Viewing, Sleep, and the Role of Pre-Sleep Arousal. Journal of Clinical Sleep Medicine, 13(8), 1001-1008.
10. Flayelle, M., Maurage, P., & Billieux, J. (2017). Toward a qualitative understanding of bingewatching behaviors: A focus group approach. Journal of Behavioral Addictions, 6(4), 457-471.
11. Ghanem, S. I. (1997). Filling in the Tapestry: The Second Level of Agenda-Setting. In M. McCombs, D. L. Shaw, & D. H. Weaver (Eds.), Communication and Democracy: Exploring the
Intellectual Frontiers in Agenda-Setting Theory, 3-14. Lawrence Erlbaum.
12. Green, M. C., Brock, T. C., & Kaufman, G. F. (2004). Understanding media enjoyment: The role of transportation into narrative worlds. Communication Theory, 14(4), 311-327.
13. Jenner, M. (2018). Binge-watching: Video-on-demand, quality TV and mainstreaming fandom. International Journal of Cultural Studies, 21(3), 304-320.
14. Jenner, M. (2018). Netflix and the Re-invention of Television. Palgrave Macmillan.
15. Jenner, M. (2020). Researching binge-watching. Critical Studies in Television, 15(3), 267-279.
16. Jhally, S. (2014). The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society. Routledge.
17. Johnson, D. (2013). Media Franchising: Creative License and Collaboration in the Culture Industries. NYU Press.
18. Johnson, D., Kompare, D., & Santo, A. (Eds.). (2014). Making media work: cultures of management in the entertainment industries (Vol. 17). NYU Press.
19. Kraidy, M. M. (2004). Hybridity, or the Cultural Logic of Globalization. Temple University Press.
20. Lobato, R. (2019). Netflix Nations: The Geography of Digital Distribution. New York University Press.
21. Lotz, A. (2023). Introduction: Streaming Stories. In A. Lotz & R. Lobato (Ed.), Streaming Video: Storytelling Across Borders, 1-17. New York, USA: New York University Press. https://doi.org/10.18574/nyu/9781479816866.003.0003
22. Lotz, A. D. (2017). Portals: A Treatise on Internet-Distributed Television. Michigan Publishing.
23. Lotz, A. D. (2017). The Television Will Be Revolutionized. NYU Press.
24. Lotz, A. D. (2019). We Now Disrupt This Broadcast: How Cable Transformed Television and the Internet Revolutionized it All. MIT Press.
25. Matrix, S. (2014). The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends. Jeunesse: Young People, Texts, Cultures, 6(1), 119-138.
26. McCombs, M., & Shaw, D. L. (1972). The Agenda-Setting Function of Mass Media. Public Opinion Quarterly, 36(2), 176-187.
27. McCombs, M., Llamas, J. P., Lopez-Escobar, E., & Rey, F. (1997). Candidate Images in Spanish Elections: Second-Level Agenda-Setting Effects. Journalism & Mass Communication
Quarterly, 74(4), 703-717.
28. McDonald, K., & Smith-Rowsey, D. (Eds.). (2016). The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Publishing.
29. McDonald, P. (2019). Video and DVD Industries. BFI Publishing.
30. Moran, A., & Keane, M. (2004). Television Across Asia: Television Industries, Programme Formats and Globalisation. Routledge.
31. Napoli, P. M. (2011). Audience Evolution: New Technologies and the Transformation of Media Audiences. Columbia University Press.
32. Newman, M. Z. (2014). Video Revolutions: On the History of a Medium. Columbia University Press.
33. Pariser, E. (2011). The Filter Bubble: What the Internet is Hiding from You. Penguin Books.
34. Perks, L. G. (2015). Media Marathoning: Immersions in Morality. Lexington Books.
35. Pittman, M., & Sheehan, K. (2015). Sprinting a media marathon: Uses and gratifications of binge-watching television through Netflix. First Monday, 20(10).
36. Postman, N. (2005). Amusing Ourselves to Death: Public Discourse in the Age of Showbusiness. Viking.
37. Rubenking, B., & Bracken, C. C. (2018). Binge-watching: A suspenseful, emotional, habit. Communication Research Reports, 35(5), 381-391.
38. Spigel, L. (1992). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
39. Starosta, J., & Izydorczyk, B. (2020). Understanding the Phenomenon of Binge-Watching – A Systematic Review. International Journal of Environmental Research and Public Health, 17(12), 4469.
40. Strangelove, M. (2015). Watching YouTube: Extraordinary Videos by Ordinary People. University of Toronto Press.
41. Sung, Y. H., Kang, E. Y., & Lee, W. (2018). Why do we indulge? Exploring motivations for binge watching. Journal of Broadcasting & Electronic Media, 62(3), 408-426.
42. Sunstein, C. R. (2018). #Republic: Divided Democracy in the Age of Social Media. Princeton University Press.
43. Tryon, C. (2013). On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press.
44. Uricchio, W. (2017). The future of a medium once known as television. The YouTube Reader, 24-39.
45. Vargo, C. J., Guo, L., & Amazeen, M. A. (2018). The agenda-setting power of fake news: A big data analysis of the online media landscape from 2014 to 2016. New Media & Society, 20(5), 2028-2049.
46. Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004). Enjoyment: At the heart of media entertainment. Communication Theory, 14(4), 388-408.
47. Walton-Pattison, E., Dombrowski, S. U., & Presseau, J. (2018). ‘Just one more episode’: Frequency and theoretical correlates of television binge watching. Journal of Health
Psychology, 23(1), 17-24.
48. Webster, J. G. (2017). The Marketplace of Attention: How Audiences Take Shape in a Digital Age. MIT Press.
Published in
Volume 3, Issue 6, 2023
Keywords
NETFLIX
BINGE–WATCHING
AGENDA–SETTING THEORY
VIDEO CONSUPTION PATTERNS
DIGITAL MEDIA CONSUPTION
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