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《纸牌屋》第二季的火爆早已不是新闻,谈论“大数据”已经是太奥特曼的行为。但我相信继续谈论这部剧同样还有意义,因为它不是一个偶然成功的剧集,也不是单一的“大数据”因素创造了它的成功。这部剧从内容到传播,以及它所处的整个美国电视剧产业,会启示出一些标注着未来创意产业走向的依稀符号。先让我们做一下闪回,看一下《纸牌屋》的诞生过程,从出品方Netflix开始说起吧。1997年,加州的两个年轻的创业人Marc Randolph和Reed Hastings决定创建一家新型的DVD租赁网站,其直接原因是Hastings有一次逾期归还一部DVD盘时被罚了41美元。这41美元的冤枉钱激励着两位创业者于1 999年推出一种全新的线上DVD租赁模式:抛弃传统的按每部电影收费(Payper-view)方式,全部采用“无上限租赁”的固定订阅月费模式,不设归还期,不收延期归还费用,不收运营和快递费用。到2002年Netflix已成功IPO,到2005年Netflix网站上的DVD资源已超过35,000部,每一天向顾客邮送100万部DVD。
The second quarter of “House of Cards” is no longer news, talk about “big data” is already too Ultraman’s behavior. But I believe it is just as meaningful to continue talking about the show because it is not an accidental success or a single “big data” factor that has created its success. From the content to the broadcast, and the entire American TV drama industry in which it is located, this drama will reveal some vague symbols that mark the future of creative industries. Let us do a flash back, take a look at the “House of Cards,” the birth of the process, starting from the producer Netflix start talking about it. In 1997, two young California business people, Marc Randolph and Reed Hastings, decided to create a new DVD rental website because Hastings was fined $ 41 each time a DVD was overdue. The $ 41 wasted money inspired two start-ups to launch a new online DVD rental model in 1999: abandoning the traditional pay-per-view method of using “unlimited rent” "Fixed subscription monthly fee model, no return period, no extension of the return of fees, do not charge operating and courier costs. Netflix has been an IPO since 2002, with over 35,000 DVD resources on Netflix’s Web site by 2005, delivering 1 million DVDs per day to customers.