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Online Distribution and the Relocation of Specialised Film University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Elliott W. NiKdel (2017) "Online Distribution and the Relocation of Specialised Film", University of Southampton, Faculty of Humanities, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Online Distribution and the Relocation of Specialised Film by Elliott W. Nikdel Thesis for the degree of Doctor of Philosophy June 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy ONLINE DISTRIBUTION AND THE RELOCATION OF SPECIALISED FILM by Elliott W. Nikdel The recent advent of online film distribution has inspired a utopian vision of change and disruption. In particular, online distribution is believed to foster a new democratic dawn of content distribution, widening the range of choice and opening pathways to a plethora of cultural content. This is deemed to have a particularly enriching impact on the diversity of film culture by dragging specialised and niche films from the fringes of the marKet to the centre of cultural life. In light of these claims, this thesis considers whether online film distribution is the disruptive force that many promise. In particular, this thesis assesses whether online distribution widens public access to niche content and stimulates greater public engagement with a range of specialised film. As a means of exploring these issues, this thesis proposes an alternative approach to the study of online film distribution. Rather than subscribing to the notion of disruption, this thesis argues for a model of continuity. This is achieved by analysing the current changes in content delivery through a historical lens of study. Firstly, by surveying the important chapters in the history of film distribution and exhibition in Britain, this thesis identifies a number of patterns and practices which have served to limit public access to specialised film. Following this, we see how a number of these practices and trends resurface online – albeit in slightly new and interesting ways. This is evident across the broader digital landscape, addressing issues such as the renewed influence of marketing and content visibility; the continued importance of theatrical exhibition; the profound ways in which traditions of specialised distribution and exhibition shape the online platform MUBI; and the reinforcement of social distinction in the context of illegal online filesharing. By examining these and other issues, this thesis challenges the utopian discourse by painting a more complex portrait of the digital landscape, one in which the future is profoundly tethered to the past. i ii Contents List of Tables v Declaration of Authorship vii Acknowledgments ix 1 Introduction: Online Distribution and the Relocation of Specialised Film 1 2 The Marginalisation of Specialised Film 17 3 Disruption, Democracy and the Digital Frontier 43 4 Mapping the Infrastructure of Online Distribution 61 5 ‘Your Online Cinema, Anytime, Anywhere’: MUBI and the Online Culture of Specialised Film 85 6 Rethinking Informal Distribution and the Democratisation of Film Culture 113 7 Conclusion: The Future for Specialised Film 135 Appendix 1: Professional Profiles 147 Appendix 2: Interview Questions 151 Notes 159 Bibliography 179 iii iv List of Tables Table 3.1 Estimated Value of the VoD Film Market in the UK, 2006-2013 53 Table 3.2 Online VoD Film Revenue by Type of Service in 2013 54 Table 3.3 Peter Broderick’s Dichotomous Model Between the ‘Old World’ and ‘New World’ of Content Distribution 57 v Declaration of Authorship I, Elliott W. NiKdel, declare that this thesis and the worK presented in it are my own and has been generated by me as the result of my own original research. Online Distribution and the Relocation of Specialised Film I confirm that: 1. This worK was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published worK of others, this is always clearly attributed; 4. Where I have quoted from the worK of others, the source is always given. With the exception of such quotations, this thesis is entirely my own worK; 5. I have acKnowledged all main sources of help; 6. Where the thesis is based on worK done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Either none of this worK has been published before submission, or parts of this worK have been published as: [please list references below]: Signed: Date: 07/06/2017 vii viii Acknowledgments There are a number of people to thanK in helping me navigate the completion of this thesis. Firstly, my supervisors, Professor Lucy Mazdon and Dr Sally Keenan, who have been a constant source of support during my time at Southampton. I am particularly grateful for their honesty, commitment and guidance during the past three years as they have helped me to shape and develop this project. Also, my thanks to Professor Tim Bergfelder who provided me with words of wisdom and advice before the undertaking of this PhD. I would also liKe to extend my appreciation to those members of the Film faculty at the University of Southampton who have supported my learning over the past seven years and enriched my thirst for Knowledge. I am also sincerely grateful to the Arts and Humanities Research Council for funding this project and for believing in the value of research into film and media distribution. In addition, this thesis has greatly benefited from the input of industry professionals who shared their time and expertise. My thanks, therefore, must extend to Edward Humphrey, David Sin, Edward Fletcher, Amy Basil, Philip Hoile and Andrew Nerger who were receptive to my research and deeply generous with their time. In profound and subtle ways, the undertaking of this PhD has further reminded me of the value of family. My thanKs to my brother Sam, my late grandparents and my parents for their love and support over the years and for ingraining in me a worK ethic and commitment which has served me well throughout the last three years and more. UndertaKing this PhD has been a deeply challenging and rewarding experience, one which has occupied the days and nights of the past three years. In that respect, it is fitting that my final thanks goes to my love, Lucy, who has provided me with the warmth and constant support to complete this thesis. Words cannot fully express the profound impact you have on me. ix x Chapter One Introduction: Online Distribution and the Relocation of Specialised Film For over a decade, the advent of online film distribution has inspired a utopian vision of change and disruption. This is a vision rooted in the apparent principles of digital democracy – an inherent belief in the internet’s power to lower the crippling barriers of division and widen access to broader forms of cultural engagement. UnshacKled from the physical limitations of the past which have served to limit cultural choice, online distribution is seen to foster a new democratic dawn of content circulation. This rests on the notion that the delivery of films online impacts on everything from consumer behaviour and industry practice to the structures of power and control which have long defined the structural terrain of the distribution marKet. In particular, by transcending the physical limits of time and space, online distribution is embraced as an immediate form of consumer empowerment, widening the range of choice and opening pathways to a plethora of cultural content. This is deemed to have a particularly enriching impact on the diversity of film culture by dragging specialised and niche films from the fringes of the marKet to the centre of cultural life. In this respect, the utopian rhetoric of change and disruption argues that online distribution brings greater parity to a deeply imbalanced marKet, a marKet which has long been monopolised by an elite group of powerful gateKeepers – the conglomerate-owned American distributors – driven by the need to dictate and hinder the flow of content. This vision of disruption and cultural democratisation has assumed a prominent place at the heart of the debates surrounding the changes in media distribution and content circulation. This thesis seeKs to contribute to these current debates with a particular emphasis on the present and future prospects of niche and specialised film. This is a particularly pertinent area of focus given that niche and specialised films have long occupied a position on the margins of the British film marKet. This thesis, therefore, considers whether online distribution, as promised, both widens public access to niche content and stimulates greater public interest in a range of specialised film. In certain respects, this area of focus provides a springboard into the wider discourse of online content delivery, addressing issues of empowerment and democratisation. In contributing to these current debates, this thesis proposes an alternative approach to the study of online film distribution.
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