Subscribers to platforms and pay television exceed the number of Spanish households | TV | The USA Print

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Netflix platform content on a tablet.
Netflix platform content on a tablet.Future Publishing (Getty Images)

Digital platforms flood Spanish homes. The percentage of subscribers to content websites by streaming and pay television channels such as Netflix, HBO and Movistar+ have surpassed the number of Spanish households: it reaches 104%, according to the latest edition of the annual report on the state of culture by Fundación Alternativas, focused this time on the audio-visual industry. This is the first time in history that this has happened, which is explained as a consequence of the fact that “many homes already have more than one video on demand service”. This is one of the main data to highlight from the 2022 report, which qualifies the current state of culture with an average score of 5.02, which represents a slight decrease compared to the previous edition (5.20).

The great accessibility to audiovisual content, also a product of the platforms, is evident in the consumption figures. According to the document, in 2021 in Spain, each person “watched on average almost four hours of television per day (244 minutes according to the 1st Wave 2022 of the Barlovento Barometer14)”. Along the same lines, the multinational platforms physically installed in Spanish territory have become the major contractors for the contents of their catalogues. This means that they deal with the production, distribution, exhibition and supranational sales of their products.

Of course, another recent study serves to further contextualize the data collected by Fundación Alternativas. The 2021 yearbook of the General Society of Authors and Publishers (SGAE) showed a few months ago the great difference in the percentage of subscribers to the main platforms between the highest and the lowest socioeconomic indices. The 104% of subscribed households is mainly due to the richest, who on average are subscribers to more than one payment platform. The majority of the poorest households, on the other hand, do not have any.

The Fundación Alternativas report also dedicates a chapter to the international projection of cultural assets. The countries of the European Union appear as the main buyers of Spanish series and films, with 60% of the acquisitions. They are well above the United States and Latin America, which in 2020 barely added 2% and 1.6%, respectively, although the text indicates that in these territories audiovisual exports “have not stopped increasing.”

The Spanish presence is still modest in foreign award ceremonies in the field of cinema and television, with notable exceptions in recent years such as The Money Heistwhich won the International Emmy in the category of best dramatic series in 2018. The document does not draw conclusions about the war in Ukraine in terms of exports, considering that they are still “unclear”.

Another of the issues that the text of Fundación Alternativas touches on is that of gender issues. It points out that the National Commission for Markets and Competition (CNMC) “does not take into account gender equality as one of the guiding principles of its activity in audiovisual matters”. From the Foundation they point out that “a marked vertical and horizontal segregation based on sex in the Spanish feature film sector” continues to be appreciated. Despite this, they recognize that in 2020 women reached higher representation in 42% of the positions in the audiovisual sector, among which were some traditionally dominated by men, such as script production, sound and special effects. .

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