研究生: |
朱怡靜 Chu, Yi-Ching |
---|---|
論文名稱: |
迷航於OTT平台?介面陷阱與選擇幻覺 Lost in the OTT Platform? Interface Traps and Illusions of Choice |
指導教授: |
蔡如音
Tsai, Eva |
口試委員: |
胡綺珍
Hu, Kelly 蔡蕙如 Tsai, Hui-Ju 蔡如音 Tsai, Eva |
口試日期: | 2023/06/08 |
學位類別: |
碩士 Master |
系所名稱: |
大眾傳播研究所 Graduate Institute of Mass Communication |
論文出版年: | 2023 |
畢業學年度: | 111 |
語文別: | 中文 |
論文頁數: | 150 |
中文關鍵詞: | 符擔性 、演算法 、閱聽人研究 、OTT平台 、使用者介面 |
英文關鍵詞: | Affordance theory, Algorithm, Audience research, OTT platform, User Interface |
研究方法: | 深度訪談法 、 焦點團體法 、 介面分析 |
DOI URL: | http://doi.org/10.6345/NTNU202301150 |
論文種類: | 學術論文 |
相關次數: | 點閱:163 下載:54 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
臺灣的影視產業環境,逐漸從傳統媒體走向OTT平台,OTT平台已然成為當代閱聽人觀看實踐中的重要媒介。
本研究以符擔性的觀點切入,關注影視產業與閱聽人觀看模式都在過度的此時,OTT平台的介面與演算法在閱聽人觀看過程中的位置。首先以「公視+、MyVideo、KKTV、LINE TV」為研究對像,探討OTT平台的介面如何成為內容流通的場域,平台的符擔性引導閱聽人觀看特定內容的同時,提供其行動的可能。以及,採用深度訪談和焦點團體法,藉由與閱聽人的對話並觀察受訪者的行為,認識閱聽人觀看實踐的轉變,勾勒其與OTT平台的互動關係。
研究發現,本土OTT平台藉由符擔性的交互作用,讓平台實現一個介面化的空間。介面中的符擔性掌握影視內容的流通,企圖突出平台投資或原創的內容,而閱聽人依循對平台符擔性的理解,展開與影視內容相遇並觀看的行動。然而,本土OTT平台無法為閱聽人帶來更豐富多樣的內容選擇,同時,本土平台利用演算法形成的推播策略,也無法實現閱聽人心目中「個人化服務」的介面。當閱聽人期待的演算法與平台業者的策略形成矛盾時,閱聽人描繪出對OTT平台中演算法運用的理想樣態,期待本土OTT平台不只是數位宣傳的管道,而是構建一個與閱聽人積極互動的場域。
As Taiwan’s film and television industry gradually shifted from a traditional media industry to a technology-driven and platform-based industry, the OTT (over-the-top) streaming service has become a pivotal medium for local audiences. Amidst this transition, this study examines how local audiences engage with the interface design and algorithmic principle of the local subscription-based VOD services. My research focuses on the following four domestic SVOD services: PTS-Plus, MyVideo, KKTV, and LINE TV.
This study adopts affordance theory to investigate how the screen interface designs of each of the four SVOD services guide the viewers toward discovering specific content. In order to explore the changes in audience viewing practices and their interactions with OTT platforms, the researcher conducted in-depth interviews and focus groups with audiences with the intention to understand the subscriber’s SVOD choices and their interactions with the OTT platforms.
The findings reveal that local OTT platforms control the discoverability of audiovisual content through affordance interactions within the interfaces, attempting to highlight invested or original content with the platform. However, the local audience seems dissatisfied with the content offered by the domestic OTT platforms, which pale in quantity and diversity compared to the dominant transnational SVOD, Netflix.
Additionally, the algorithm-driven recommendation strategies fail to deliver the “personalized services” anticipated by the audience. In situations where the audience expectations and platform strategies diverge, viewers envision an ideal scenario where algorithms on OTT platforms foster active engagement rather than merely serving as channels for digital promotion.
DeepTech深科技(2019年6月15日)。好萊塢正在用AI揣摩人心 幫助預測電影票房。鏡週刊。https://www.mirrormedia.mg/story/20190605mit006/
Huang(2021年11月22日)。《華燈初上》眾星雲集,精湛呈現台北獨具一格的次文化。Netflix。https://about.netflix.com/zh_tw/news/in-star-studded-light-the-night-a-unique-taipei-subculture-comes-alive
INSIDE(2020年11月20日)。台劇發展由「大數據」助攻,文策院集結數據分析專家看台流吹起。關鍵評論網。 https://www.inside.com.tw/article/21633-2020-tccf-data-driven
Jensen, K. B.(2005)媒介與傳播研究法指南:質性與量化方法論(陳玉箴譯)。韋伯文化國際。(原著出版於2002)
Norman, D. A.(2014)。設計的心理學:人性化的產品設計如何改變世界(3版)(陳宜秀譯)。遠流。(原著出版於2013)
Ritchie, J., & Lewis, J.(2008)。質性研究方法(藍毓仁譯)。巨流。(原著出版於2003)
Williams, R.(1996)。電視:科技與文化形式(馮建三譯)。遠流。(原著出版於1974)
文化內容策進院(2022a)。2021年臺灣文化內容消費趨勢調查報告。https://reurl.cc/kqV2YL
文化內容策進院(2022b)。2021 年臺灣文化內容產業調查報告II:電視、電影、動畫產業。https://reurl.cc/KXr3M9
文化部(2020)。國內外文化產業訊息及趨勢分析雙月報109年第3期。https://reurl.cc/DAvlz6
文化部(2022)。國內外文化產業訊息及趨勢分析雙月報111年第2期。https://reurl.cc/eD9yeQ
王心妤(2021年3月13日)。數據想買早知道 人性才是最重要。中央社文化+雙週報。https://www.cna.com.tw/culture/article/20210313w003
王怡文(2022年9 月15日)。狗血日劇《麻煩一族》台語配音版 本土OTT創舉觀眾狂讚「也太搭」。鏡週刊。https://www.mirrormedia.mg/story/20220915insight002/
田育志(2022年1月20日)。《臺灣影視的下一步》專訪公視總經理徐秋華、瀚草影視湯昇榮。風傳媒。https://www.storm.mg/localarticle/4159723
江明晏(2021年6月10日)。有線電視擁抱OTT 台數科與LINE TV合製內容。中央社。https://www.cna.com.tw/news/afe/202106100204.aspx
江明晏(2022 年 8 月 11 日)。疫情催出OTT收視 MyVideo上半年觀看數破億。中央社。https://www.cna.com.tw/news/afe/202208110075.aspx
吳俊葵(2019)。在串流時代聆聽:日常生活中的流行音樂消費實作(未出版之碩士論文)。國立政治大學傳播學院傳播碩士學位學程。
宋承達(2017,6月)。電腦中介傳播理論:能供性(affordance)在當代數位環境中的運用與挑戰於商業運作模式之初探。中華傳播學會。http://ccstaiwan.org/word/HISTORY_PAPER_FILES/622812017.pdf
巫知諭(2023年5月2日)。未來性的台劇、影視產業的未來性〔專題座談〕。台北市,臺灣。
林玉鵬、蔡蕙如(2022)。數位時代下的新公共廣電服務:以臺灣《公視+》串流平台為例〉。載於王俐容(主編),多元的吐納:穿梭於臺灣文化公共領域(一版,頁231-255)。巨流圖書公司
哀曉培(2021)。耳朵裡的新戰場!Podcast內容產製策略分析(未出版之碩士論文)。國立政治大學傳播學院碩士在職專班。
柯舜智(2012)電視不逝,只是轉形:從科技觀點再論電視與社會的互動。中華傳播學刊,(22),19-44。
胡綺珍(2009)。中國字幕組與新自由主義的工作倫理。新聞學研究,(101),177-214。https://doi.org/10.30386/MCR.200910_(101).0005
孫佑豪(2021)。OTT影音串流平台介面設計比較研究-以「Netflix」、「LINE TV」、與「愛奇藝」平台為例(未出版之碩士論文)。世新大學資訊傳播學研究所。
馬瑞璿(2023年6月13日)。迪士尼11頻道將退出台灣 NCC證實接獲「終止經營」公文。聯合新聞網。https://udn.com/news/story/7240/7232584
高筱淇(2022年8月12日)。串流影音戰,本土KKTV靠三招突圍Netflix、Disney+。遠見。https://www.gvm.com.tw/article/93000
國家通訊傳播委員會(2011年12月20日)。「數位無線 精彩無限」-- 101年7月我國邁入數位無線電視嶄新時代-歷史資料。國家通訊傳播委員會。https://www.ncc.gov.tw/Chinese/news_detail.aspx?site_content_sn=8&is_history=1&pages=8&sn_f=22852
國家通訊傳播委員會(2019)。數位經濟下我國影音OTT收視聽衡量機制。https://www.ncc.gov.tw/chinese/files/19042/4007_41355_190423_1.pdf
曹家榮(2008)。MSN Messenger的媒介訊息:從符擔性看 MSN 人際關係展演。資訊社會研究,(14),133-166。https://www.nhu.edu.tw/~society/jccic/14/fu/14-04.pdf
梁敏萱(2023年4月10日)。【藝文圖表】《模仿犯》創華語影集紀錄,登三大洲22國Netflix排行榜。關鍵評論網。https://www.thenewslens.com/article/183723
連以婷(2019年6月24日)。《我們與惡》為何有酸民、媒體角色?幕後資策會大數據團隊的工作揭密!。TechNews 科技新報。https://technews.tw/2019/06/24/the-world-between-us/
陳炳宏、鄭麗琪(2003)。臺灣電視產業市場結構與經營績效關係之研究。新聞學研究,(75),37-71。http://www.pxc24.url.tw/pdf/75_02.pdf
陳郁文(2022年10月21日)。台劇能量爆發!《火神》導演點出「致勝關鍵」曝未來走向。TVBS新聞網。https://news.tvbs.com.tw/entertainment/1939782
凱度洞察臺灣(2020年4月8日)。臺灣OTT市場隨選影視戰況分析。動腦雜誌。https://www.brain.com.tw/news/articlecontent?ID=48759
彭芸(2015)。後電視時代:串流、競合、政策。風雲論壇有限公司。
游依庭(2018)。新聞社群編輯的守門與策展實踐(未出版之碩士論文)。國立交通大學傳播研究所。
游曉貞、陳國祥、邱上嘉(2006)。直接知覺論在產品設計應用之審視。設計學報,11(3),13-27。https://doi.org/10.6381/JD.200609.0013
黃昭謀(2021)。人工智慧開採行為剩餘:串流遊戲平台的演算法監控與遊戲工人勞動。資訊社會研究,(41),65-92。
楊文君(2021年2月15日)。《大債時代》被評寫實到揪心 大數據加持的劇本為何能如此貼切?。中央廣播電台。https://www.rti.org.tw/news/view/id/2091158
楊安琪(2020年12月2日)。後疫情時代娛樂商機!KKBOX:Podcast、OTT 影劇、線上演出逆勢崛起。TechNews 科技新報。https://technews.tw/2020/12/02/kkbox-kktv-kktix-2020-summary/
葉冠吟(2021年3月13日)。大數據助攻 台劇創作掀開新頁。中央社文化+雙週報。中央社。https://www.cna.com.tw/culture/article/20210313w001
葉冠吟(2022年10月21日)。金鐘反映台劇能量爆發 金牌製作人讚台製CP值高。中央社。https://www.cna.com.tw/news/amov/202210210081.aspx
劉昌德(2020)。新聞機器人為誰「勞動」?自動化新聞學引入新聞產製的影響及論述。中華傳播學刊,(37),147-186。http://cjctaiwan.org/word/494612020.pdf
劉慧茹(2019年3月23日)。【全文】《我們與惡的距離》大數據首例 呂蒔媛、林昱伶巨量田調動心弦。鏡週刊。https://www.mirrormedia.mg/story/20190318insight002/
劉慧茹(2021年1月17日)。【全文】《大債時代》直視扛債青年 大數據分析打通劇本關節。鏡週刊。https://www.mirrormedia.mg/story/20210111insight001/
數位時代(2021年8月27日)。臺灣迪士尼頻道掰了!突宣布2022年1月停止營運,內容由Disney+登台後接手。數位時代。https://www.bnext.com.tw/article/64761/disney-channel-taiwan-close
蔡銀娟(2021年10月16日)。女身幻形:掀起OTT新浪潮〔專題論壇〕。2021臺灣國際女性影展,台北市,臺灣。
蔡蕙如(2020)。串流媒體時代下的閱聽人商品觀點再檢視:以傳播政治經濟學觀點分析Netflix追劇勞動。中華傳播學刊,(37),83-112。http://cjctaiwan.org/word/399612020.pdf
蔣孟庭(2021)。使用者經驗對串流平台Netflix的品牌形象、品牌情感、品牌信任及品牌忠誠度之影響(未出版之碩士論文)。淡江大學大眾傳播學系碩士班。
鄭偉柏(2022年3月25日)。媒體人鄭偉柏:三把關鍵之火,投資人重新正視「戲劇是一門好生意」。500輯。https://500times.udn.com/wtimes/story/120840/6192230
蕭維傑(2017)。能見度的支配與拼搏:Facebook動態消息演算法權力下的臺灣新聞媒體(未出版之碩士論文)。國立臺灣師範大學大眾傳播研究所。
龍貓大王通信(2020年1月10日)。都是電腦選的啦!華納影業將使用 AI 技術判斷哪部電影才能發大財。電影神搜。https://reurl.cc/EX2yEA
顏理謙(2016 年10月14日)。內容決勝負!臺灣 OTT 百家爭鳴。數位時代。https://www.bnext.com.tw/article/41346/taiwan-OTT
羅璿(2022 年8月12日)。醞釀15年、砸2.4兆元 迪士尼超越Netflix直登串流霸主。天下雜誌。https://www.cw.com.tw/article/5122375
蘇思云(2023年5月4日)。臺灣OTT面臨規模經濟挑戰 業者籲借鏡韓國經驗。中央社。https://www.cna.com.tw/news/afe/202305040288.aspx
蘇蘅(2018)。傳播研究方法新論。雙葉書廊。
Arnold, S. (2016). Netflix and the myth of choice/participation/autonomy. The Netflix effect: Technology and entertainment in the 21st century, 49-62.
Bærentsen, K. B., & Trettvik, J. (2002). An activity theory approach to affordance. Proceedings of the second Nordic conference on Human-computer interaction,
Bang, Y., Lee, D., & Han, K. (2014). Access affordance of mobile technology in e-commerce: Change of purchase time dispersion.
Bayer, S., Gimpel, H., & Rau, D. (2021). IoT-commerce-opportunities for customers through an affordance lens. Electronic Markets, 31(1), 27-50.
Beer, D. (2013). Popular culture and new media: The politics of circulation. Springer.
Bozdag, E. (2013). Bias in algorithmic filtering and personalization. Ethics and information technology, 15(3), 209-227.
Brennen, B. S. (2021). Qualitative research methods for media studies. Routledge.
Bucher, T. (2017). The algorithmic imaginary: exploring the ordinary affects of Facebook algorithms. Information, communication & society, 20(1), 30-44.
Cardenal, A. S., Aguilar-Paredes, C., Galais, C., & Pérez-Montoro, M. (2019). Digital technologies and selective exposure: How choice and filter bubbles shape news media exposure. The international journal of press/politics, 24(4), 465-486.
Castro, D., Rigby, J. M., Cabral, D., & Nisi, V. (2021). The binge-watcher’s journey: Investigating motivations, contexts, and affective states surrounding Netflix viewing. Convergence, 27(1), 3-20.
Chamberlain, D. (2010). Television interfaces. Journal of popular film & television, 38(2), 84-88.
Chamberlain, D. (2011). Scripted spaces: Television interfaces and the nonplaces of asynchronous entertainment in J. Bennett & N. Strange (Eds.),(pp. 230-254) Television as Digital Media. Durham: Duke University Press. Doi, 10, 9780822393658-9780822393010.
Chemero, A. (2018). An outline of a theory of affordances. In How Shall Affordances be Refined? Four Perspectives (pp. 181-195). Routledge.
Chow, P.-S. (2020). Ghost in the (Hollywood) machine: Emergent applications of artificial intelligence in the film industry. NECSUS_European Journal of Media Studies, 9(1), 193-214.
Cunningham, S., & Silver, J. (2013). Screen distribution and the new King Kongs of the online world. Springer.
De Prato, G., & Simon, J. P. (2014). Digital media worlds: The new economy of media. Springer.
Eklund, O. (2022). Custom thumbnails: The changing face of ersonalization strategies on Netflix. Convergence, 13548565211064520.
Eliseo, M. A., Casac, B. S., & Gentil, G. R. (2017). A comparative study of video content user interfaces based on heuristic evaluation. 2017 12th Iberian Conference on Information Systems and Technologies (CISTI),
Elrod, J. M. (2019). Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV.
Farman, J. (2020). Mobile interface theory: Embodied space and locative media. Routledge.
García Leiva, M. T. (2021). VoD platforms and prominence: a European regulatory approach. Media International Australia, 180(1), 101-115.
Gaver, W. W. (1991). Technology affordances. Proceedings of the SIGCHI conference on Human factors in computing systems,
Gaw, F. (2022). Algorithmic logics and the construction of cultural taste of the Netflix Recommender System. Media, Culture & Society, 44(4), 706-725.
Gibson, J. J. (1986). The ecological approach to visual perception. Lawrence Erlbaum Associates.
Gillespie, T. (2014). The relevance of algorithms. Media technologies: Essays on communication, materiality, and society, 167(2014), 167.
Guèvremont, V. (2013). Preliminary reflection on the implementation of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions in the digital age. Available at SSRN 2490278.
Hartson, R. (2003). Cognitive, physical, sensory, and functional affordances in interaction design. Behaviour & information technology, 22(5), 315-338.
Helberger, N., Kleinen-von Königslöw, K., & Van Der Noll, R. (2015). Regulating the new information intermediaries as gatekeepers of information diversity. Info.
Hesmondhalgh, D., & Lotz, A. (2020). Video screen interfaces as new sites of media circulation power. INTERNATIONAL JOURNAL OF COMMUNICATION, 14, 386-409.
Hildén, J. (2021). The Public Service Approach to Recommender Systems: Filtering to Cultivate. Television & New Media, 15274764211020106.
Hulst, B. (2018). Is Netflix a Form of Television?: An Affordance Analysis on the Connection Between Television’s Post-Network Era and Netflix
Hutchby, I. (2001). Technologies, texts and affordances. Sociology, 35(2), 441-456.
Hutchby, I. (2003). Affordances and the analysis of technologically mediated interaction: A response to Brian Rappert. Sociology, 37(3), 581-589.
Irion, K., & Helberger, N. (2017). Smart TV and the online media sector: User privacy in view of changing market realities. Telecommunications Policy, 41(3), 170-184.
Johnson, C. (2019). Online TV. Routledge.
Johnson, S. (1997). Interface culture: How new technology transforms the way we create and communicate. Harper San Francisco.
Kelly, J. (2022). “This Title Is No Longer Available”: Preserving Television in the Streaming Age. Television & New Media, 23(1), 3-21.
Khoo, O. (2022). Picturing Diversity: Netflix’s Inclusion Strategy and the Netflix Recommender Algorithm (NRA). Television & New Media, 15274764221102864.
Kim, Y. (2022). Historical Drama in the Time of Global Streaming Platforms: Envisioning Transition in Mr. Sunshine. Television & New Media, 23(6), 610-628.
Kincaid, J. (2010, April 23). EdgeRank: The Secret Sauce That Makes Facebook’s News Feed Tick. TechCrunch. https://techcrunch.com/2010/04/22/facebook-edgerank/
Kumar, Ritwik, Misra, Vinith, Walraven, Jen, Sharan, Lavanya, Azarnoush, Bahareh, Chen, Boris, Govind, Nirmal. (2018, March 27). Data Science and the Art of Producing Entertainment at Netflix. The Netflix Tech Blog. ˇ https://medium.com/netflix-techblog/studio-production-data-science-646ee2cc21a1.
Lomborg, S., & Kapsch, P. H. (2020). Decoding algorithms. Media, Culture & Society, 42(5), 745-761.
Lotz, A. D. (2017). Portals: A treatise on internet-distributed television. Michigan Publishing, University of Michigan Library.
Lüders, M., & Sundet, V. S. (2022). Conceptualizing the Experiential Affordances of Watching Online TV. Television & New Media, 23(4), 335–351. https://doi.org/10.1177/15274764211010943
Madrigal, A.C. (2014, January 2). How Netflix Reverse-Engineered Hollywood. The Atlantic. https://www.theatlantic.com/technology/archive/2014/01/how-netflix-reverse-engineered-hollywood/282679/
Marenghi, P. M. H. P., & Badillo, Á. (2016). Diversity of the Audio-visual Industry in the Digital Age: The Challenges Entailed in its Measurement. Diversity of Cultural Expressions in the Digital Era, 183-207.
Markham, A., Stavrova, S., & Schlüter, M. (2019). Netflix, imagined affordances, and the illusion of control. Netflix at the Nexus, 29-46.
McGrenere, J., & Ho, W. (2000). Affordances: Clarifying and evolving a concept. Graphics interface,
McKelvey, F., & Hunt, R. (2019). Discoverability: Toward a definition of content discovery through platforms. Social Media+ Society, 5(1), 2056305118819188.
Michalis, M. (2022). Public Service Broadcasting in the Online Television Environment: The Case for PSB VoD Players and the Role of Policy Focusing on the BBC iPlayer. INTERNATIONAL JOURNAL OF COMMUNICATION, 16, 525-544.
Morris, J. W. (2015). Curation by code: Infomediaries and the data mining of taste. European journal of cultural studies, 18(4-5), 446-463.
Nagy, P., & Neff, G. (2015). Imagined affordance: Reconstructing a keyword for communication theory. Social Media+ Society, 1(2), 2056305115603385.
Nanou, T., Lekakos, G., & Fouskas, K. (2010). The effects of recommendations’ presentation on persuasion and satisfaction in a movie recommender system. Multimedia systems, 16(4), 219-230.
Navar-Gill, A. (2020). The Golden Ratio of Algorithms to Artists? Streaming Services and the Platformization of Creativity in American Television Production. Social Media+ Society, 6(3). 2056305120940701.
Nekić, I. (2013). Audience Transformations: Shifting Audience Positions in Late Modernity. Medijske Studije= Media Studies, 4(8), 80-82.
Nocera, J. (2016, June 15). Can Netflix Survive in the New World It Created?. The New York Times. https://www.nytimes.com/2016/06/19/magazine/can-netflix-survive-in-the-new-world-it-created.html
Novak, A. N. (2017). Narrowcasting, Millennials, and the personalization of genre in digital media. The Age of Netflix: Critical Essays on Streaming Media, Digital Delivery and Instant Access. Jefferson, NC: McFarland, 162-181.
Page, D. (2017, Nov 5). What happens to your brain when you binge-watch a TV series. NBC News. https://www.nbcnews.com/better/health/what-happens-your-brain-when-you-binge-watch-tv-series-ncna816991
Pariser, E. (2011). The filter bubble: What the Internet is hiding from you. penguin UK.
Product Peas. (2018, Nov 5). Case Study 2— Zach Schendel, Director of UX Research at Netflix. The Scholarly Kitchen. https://productpeas.medium.com/case-study-2-zach-schendel-director-of-ux-research-at-netflix-e8986f840f75
Quico, C. (2019). Television reshaped by big data: Impacts and implications for Netflix-like platforms in the age of dataism.
Ramasoota, P., & Kitikamdhorn, A. (2021). “The Netflix effect” in Thailand: Industry and regulatory implications. Telecommunications Policy, 45(7), 102156.
Sanson, K., & Steirer, G. (2019). Hulu, streaming, and the contemporary television ecosystem. Media, Culture & Society, 41(8), 1210-1227.
Scacchi, W. (2004). Socio-technical design. The Encyclopedia of Human-Computer Interaction, 1, 656–659.
Stanfill, M. (2015). The interface as discourse: The production of norms through web design. New media & society, 17(7), 1059-1074.
Steiner, E., & Xu, K. (2020). Binge-watching motivates change: Uses and gratifications of streaming video viewers challenge traditional TV research. Convergence, 26(1), 82-101.
Thurman, N., Dörr, K., & Kunert, J. (2017). When reporters get hands-on with robo-writing: Professionals consider automated journalism’s capabilities and consequences. Digital journalism, 5(10), 1240-1259.
Treem, J. W., & Leonardi, P. M. (2013). Social media use in organizations: Exploring the affordances of visibility, editability, persistence, and association. Annals of the International Communication Association, 36(1), 143-189.
Van Esler, M. (2021). In plain sight: Online TV Interfaces as branding. Television & New Media, 22(7), 727-742.
Vieželytė, K. (2022). Media transformation in the age of Netflix: user interface and user experience trends of svod platforms Kauno technologijos universitetas.