[1] Source: European commission, Market Definitions in the Media Sector. Comparative Legal Analysis, Saarbrücken, 2003; ALEXIADIS P., The concept of technology neutralità and the new ECNS regulatory framework, Bruxelles, 2010; ASSINFORM, ASSINFORM official report on computer and information sciences, telecommunications and multimedia content, Milano, 2009; EUROPEAN COMMISSION, New business sectors in information and communication technologies. The content sector as a case study, Brussels, ISTAG, 2007; EUROPEAN COMMISSION, An European Digital Agenda, COM (2010) 245 Bruxelles ultimate, 2010/05/19; CONFINDUSTRIA’S INNOVATION AND TECHOLOGIC SERVICES, Italian Digital Observatory 2.0, Innovation services for the Country, Roma, 2009; CONFINDUSTRIA SERVIZI INNOVATIVI E TECNOLOGICI, E-content 2010, 4th relation on the digital contents marketin Italy, Rome, 2010; DEPARTMENT FOR CULTURE, MEDIA AND SPORT, DEPARTMENT FOR BUSINESS,INNOVATION AND SKILLS, Digital Britain Report, London, June 2009; DI CHIO F. (a cura di), Mediamorfosi. Le trasformazioni della tv digitale raccontate dai protagonisti, Milano, 2006; FONDAZIONE ROSSELLI, L’industria della Comunicazione in Italia, Dodicesimo Rapporto IEM, Torino, 2009; JENKINS H., Convergence Culture, New York, 2006, trad. it. Cultura Convergente, Milano, 2007; LIVINGSTONE S., e-Youth: (future) policy implications: reflections on online risk, harm and vulnerabilità, London School of Economics and Political Science, London, 2010; MENDUNI E., Digital Media. Technologies, Languages Social Use, Roma- Bari, 2007; ROBERTI G. M., ZENOZENCOVICH V., Le linee Guida del d.lgs. 15 marzo 2010, n. 44 (“Decreto Romani”), in Diritto dell'informazione e dell'informatica, Volume n. 1 del 2010; EUROPEAN UNION – MINISTERS’ COMMITEE TO THE MEMBERS COUTRIES, Recommendation CM/Rec (2007)3 on the media of public service in information’s society mandate, January 2007; ZACCONE TEODOSI A., GANGEMI G., ZAMBARDINO B., L’occhio del pubblico. Dieci anni di Osservatorio Rai-IsI Cult sulla televisione europea, Roma, 2008; Libro Bianco Sui contenuti
[2] … whether an on-line or off-line origin.
[3] Recent studies highlighted that one of the reasons to look for in the general failure and unrewarding businesses of the “dotcoms” was due to reference context which was configuring businesses based and managed uniquely from experts in technologies, that is personnel with enough experience relationed to commercial applications of technologies and NOT to their proper application. New emerging theories related to managing an high-tech enterprise assume that intellectual capitals of start-ups, in fact, was simply unbalances. Indeed it wasn’t based on a multidisciplinary matrix and, being made of expertise originated from hyper-skilled in one only market branch, it couldn’t answer positively to a balanced management of the business, between different niches (complementary between each others) in operation of a proactive cross-functional strategy both market and costumer oriented. “Strategic problems, Executional problems and Customer relationship problems”, “ … more stories about computing as it really is, about projects that failed not trough technical incompetence but trough managerial ineptitude, misplaced confidence, uncontrolled enthusiasm and over- weening pride … D.W. Barron, Emeritus Professor of Computer Science, Visiting Professor in the LAM Researche Group, University of Southampton, Professor of Computer Science (1967-2000). The high-tech arena also places unique demands on management practices like motivating technical professionals, creating innovative climates, and managing technical teams (Katz 1997). Recent research (Atuahene-Gima et al., 2005; Narver, Slater & MacLachlan, 2004) has shown that a proactive market-oriented culture is more strongly associated with innovativeness and new product success than is a customer-led culture. A proactive market orientation involves a set of behaviors through which a business attempts to discover, to understand, and to satisfy the latent needs of customers. In order to successfully develop and commercialize disruptive innovations, not only does the firm need to conceptualize and develop the innovation in the first place; it must also be successful in reaching more than just a niche market of innovators early adopters. In other words, it must overcome the innovator’s dilemma as well as cross the chasm. These two problems faced by all firms - but especially those operating in high-technology markets or driven by technological innovations are related in that they both derive from the underlying skill set the firm brings to its marketing strategy.
[4] A product that not dealing with more culture; a very important element, based on the fact that a specific tv-show, movie, or video rooted to a specific culture, therefore more attractive for a national market in which audience share a common knowledge of a specific way-of-life, will have a reduced appeal in another country, because the audience will not find themselves placed in the lifestyle, values, beliefs, history, myths, institutions, physical environment and the behaving models which are obviously different from their own.
For these reasons, the foreign show will have fewer audience if relationed with a similar type of show which is inbound produced. The “lack of foreign interest” can be calculated in the following terms: [VN (VALUE OF THE NATIONAL PRODUCT) – VPI(VALUE OF THE IMPORTED PRODUCT)]/VNE (VALUE OF THE NATIONAL EQUIVALENT PRODUCT).
The “lack of foreign interest”, when significant, reduces the potential income in the foreign markets and consequently acts against trading, even though this occurrence varies with the “genre” of the product, and this is why the whole field orbits around few categories: action, drama, comedy.
[5] i.e. cable/satellite, DB at the end of global digital switching
[6] i .e. live B. sport event, feature film, TV series, factual entertainment, …
[7] i.e. specialized genre documentaries, …