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Introduction

” ( Mueller-Langer & Scheufen, 2012 : 7). Thus, digitisation has paved the way for a strong concentration in the industry. Furthermore, the publishers charge customers, both when publishing and accessing research as readers. For more than a decade, this development has caused tensions, conflicts, and disputes between scholars and their research institutions which have provided content for free on the one hand and, on the other, a number of increasingly powerful privately owned publishers. One of the outcomes is that, in some cases, disputes relating to high fees, restricted

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The delay economy of “continuity” and the emerging impatience culture of the digital era

viewers. This development is, however, a double challenge to the dominating business model in the industry: the commercial break. As an integrated part of the on-air schedule of linear television and what the industry calls “continuity”, this business model is presently under threat owing to the tensions between a linear and a non-linear television paradigm. However, recent explanations of the way in which different television companies navigate the tensions between these two paradigms have pointed to the resilience of the traditional linear television paradigm in the

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Contributors

Communication , Media Culture & Society and MedieKultur . Contact: hbruun@cc.au.dk. ASTA BÄCK received a Master of Science degree in Media Technology from the Helsinki University of Technology in 1983. She currently works as Principal Scientist in the VTT Big Data Industrial Applications team. She has worked at VTT since 1983 in different positions, such as research scientist, team leader, and project manager. Her expertise and research interests include media innovation development, the utilization of social media to support innovation and marketing, and tools and

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Disrupting video game distribution
A diachronic affordance analysis of Steam’s platformization strategy

game industry, mobile games, which were also initially shunned by many developers and publishers due to their technical limitations but later embraced for their large user base and shorter development cycles, fit this description particularly well. Characteristically, Nintendo president Saturo Iwata declared in 2011 that Nintendo would never develop for other mobile devices than its own, but, only a few years later, his successor, Tatsumi Kimishima, oversaw the production of Super Mario Run for Android and iOS devices. Earlier research on disruptive technologies

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Nordic Journal of Media Studies
Journal from the Nordic Information Centre for Media and Communication Research (Nordicom)
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Disrupting journalism from scratch
Outlining the figure of the entrepreneur–journalist in four French pure players

to have control over the editorial and economic dimensions, these risk-taking journalists strategically adapt (Pailliart et al., 2007) by acquiring new competences, accommodating new forms of internal organization and adjusting their rhetoric. The pure player as a journalistic start-up In seeking to create online media that correspond to their own professional ideals and that are adapted to, yet critical of, the latest technological developments, these journalists’ pure players share several characteristics with high-tech start-ups. They continuously test their

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Digital payments for a digital generation
Disruptive technology in book and local newspaper industries

about themselves, their relationship with others and their social position ( Andersson et al., 2018 ). Following the development of services such as Storytel, one can see a rapid increase in audiobooks and subscriptions to that service. The results of this study indicate a rapid increase in audiobooks for Generation Z after the introduction of Storytel to the market, and there is no reason to believe that this will slow down, comparing it with findings by Statistics Norway ( Vaage, 2018 ). The general notion is that e-books are supposedly better due to the various

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How streaming services make cinema more important
Lessons from Norway

Introduction Within a decade or so, digitization has radically changed the way in which we consume films outside cinemas. Smartphones and tablets, together with an improved broadband internet infrastructure and other technological developments, allow us to watch films on the go, expanding our understanding of “home video” to cover film consumption basically anywhere except in cinemas. Consequently, for most of us, the arena for home video consumption has expanded in both time and space, and online streaming services have quickly grown into leading market

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Media disruption and the public interest
How private media managers talk about responsibility to society in an era of turmoil

; however, in a similar broad commission, the entire media system is seen to be under threat: Journalism and the independently edited news- and public affairs media in Norway are in the middle of a historically decisive phase. Momentous structural changes caused by the global competitive situation, technological development and media behaviour mean that there are currently no sustainable business models to finance significant parts of societally important Norwegian journalism. […] It is the very infrastructure of the democratic public sphere that is under such pressure

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Unboxing news automation
Exploring imagined affordances of automation in news journalism

Introduction News automation has emerged in recent years as a technology with the potential to provide a new means of production for the news media industry. Recent developments in natural language generation (NLG), increased access to structured data and disruptions affecting the revenue model of the media landscape have created an environment in which automation is being considered for predictable news stories. Several international and national news organizations have begun producing news articles programmatically based on standardized data ( LeCompte

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