網際網路的發展加上行動裝置的普及，導致人們觀看影音媒體的方式逐漸數位化，資策會2015年報告指出，72%台灣民眾每週至少觀看一次線上影音平台。4G時代的來臨，使得網路直播成為一種新應用，世界各地也逐漸興起一股網路直播平台的風潮，多數的直播平台雖然擁有很高的用戶流量，卻沒辦法成功的把這些用戶流量轉化為金流，高額的頻寬成本造成直播平台連年虧損。然而，Twitch卻能脫穎而出，以專攻遊戲直播市場，2015年營收高達13.6億美元，更被亞馬遜以9.7億美元將其收購。究竟直播平台應該如何獲利？如何驅動營收的成長？為本研究欲探討之問題。 本研究挑選專攻遊戲直播市場的Twitch 為個案，運用多邊市場結構的概念分析Twitch的獲利模式；運用社群遞增動態循環四構面-內容、忠誠、輪廓和交易活動，分析Twitch如何驅動營收成長。 本研究發現，Twitch多元的獲利模式依賴其平台所連接之多邊市場，並且對不同的市場採取不同的獲利模式。Twitch多元的獲利模式歸納為：訂閱、廣告和交易模式。另外，直播平台想要驅動營收的成長，則需專注於核心領域、提升平台內容質量和平台成員之忠誠度，才能夠有效驅動平台多元的營收成長。 / The way of people watching media are changing to digitalization. According to Taiwan Institution for Information Industry’s report in 2015, 72 percent of population in Taiwan watch media through online video platform at least one time in a week. Also, the fourth generation of mobile telecommunications technology (4G) makes the application of online streaming popular, which leads more and more online streaming platforms came out all over the world. In fact, many online streaming platforms are losing money year after year, due to the huge cost of the Internet Bandwidth and without a successful profit model to transform the high volume of users into revenue. However, Twitch, which focus on game live streaming market, are very successful nowadays. Twitch claims 43% of market share in the gaming content industry and earned $3.8 billion in 2015. Also, Twitch was bought by Amazon for $970 million in 2014. Therefore, this research chooses Twitch as a research target, and focus on analysis of Twitch’s profit model and how Twitch increases its revenue through theoretical method This research finds that Twitch’s successful profit model is due to its multi-markets. Twitch uses different profit strategies on different markets. Twitch’s multiple profit models can be categorized into Subscription, Advertising, and Transaction Models. In addition, Twitch increases its revenue by focusing on core market, increasing the quality of platform contents and the loyalty of platform users.

This study examines the potential challenges and opportunities a digital media producer faces when designing a short video for social media with the purpose of eliciting a desire in the user to transfer over to the media platform of which the forementioned short video is marketing and take part of longer video content. Using a qualitative research method, six professional digital media individuals were interviewed, each with varying degrees of experience in social media conversion. The findings reveal several challenges that digital media producers may encounter in their pursuit of conversion, as well as insights on possible ways to overcome these challenges. Notable discoveries include that short videos may not always be the best option for conversion on social media, and the importance of the first seconds of a short video. Overall, this research contributes to a deeper understanding of the challenges and opportunities digital media producers face in the constantly evolving world of social media.

[pt] No final do século passado, a apropriação de duas novas tecnologias pelo grande público desestruturaram a indústria fonográfica. Mas o compartilhamento generalizado de mp3 pela internet não impactaria somente o negócio das grandes gravadoras, mas também a própria função da escuta musical. Mais móvel, extensa e flexível, a fonografia se torna virtualmente ubíqua, ganhando novas potencialidades, revelando outras aspirações por parte dos ouvintes. Por mais de uma década, a audição de música gravada fica à margem da monetização institucional e sua experiência uma atividade sem um projeto específico por parte da indústria. As plataformas de streaming de música, sob o pioneirismo do Spotify, surgem nesse contexto, convertendo em serviço o que era produto e concebendo um novo conceito para a experiência fonográfica. Nesse novo modelo de negócio, uma escuta musical de alto valor simbólico para fruição estética, objeto de interesse de um público aficionado, perde espaço para uma audição situada, funcional, em que a música associada à rotina e ao estado mental do usuário agrega valor aos seus dados coletados no mercado de publicidade programática. A perda de centralidade no público-alvo e a própria visão corporativa sobre a fonografia indica a alienação do fã de música pela própria indústria. Esta pesquisa exploratória se destina a investigar como este nicho se sente com relação ao atual contexto e de que forma ele contempla suas necessidades de fruição fonográfica através de uma escuta dedicada. Para tal, além de uma revisão bibliográfica destinada a examinar a lógica sobre a qual as plataformas de streaming operam, seu modelo de negócios e qual o papel do fã nesse cenário, entrevistamos 40 indivíduos de 18 a 70 anos que se identificam como fãs de música. Se nossa pesquisa de campo indicou que o referido nicho utiliza as plataformas para audição dedicada, é significativa a amostragem da utilização de outros recursos, como a prevalência da mídia física, especialmente o vinil, e a recorrência ao audiovisual para obter experiência estética. / [en] At the end of the last century, the appropriation of two new technologies by the general public disrupted the recording industry. But the widespread sharing of mp3s over the internet would not only impact the business of major record companies, but also the very function of music listening. More mobile, extensive and flexible, phonography becomes virtually ubiquitous, gaining new potential, revealing other aspirations by the listeners. For more than a decade, listening to recorded music has not been subject to institutional monetization and has been an activity without a specific project by the industry. Music streaming platforms,by Spotify s leadership, emerge in this context, converting what was a product into a service and conceiving a new concept for the phonographic experience. In this new business model, listening to music with high symbolic value for aesthetic enjoyment, an object of interest for a passionate public, loses space to situated, functional listening, in which music associated with the user s routine and mental state adds value to the data collected in the programmatic advertising market. The loss of centrality in the target audience and the corporate vision of phonography indicates the alienation of the music fan by the industry itself. This exploratory research is intended to investigate how this niche feels in relation to the current context and how it addresses its needs for phonographic enjoyment through dedicated listening. To this end, in addition to a bibliographical review aimed at examining the logic on which streaming platforms operate, their business model and the role of the fan in this scenario, we interviewed 40 individuals aged 18 to 70 who identify themselves as music fans. If our research indicated that this niche uses platforms for dedicated listening, the use of other resources is significant, such as the prevalence of physical media, especially vinyl, and the use of audiovisual media to obtain an aesthetic experience.