IMPACT OF INTERNATIONAL WEB SERIES –MONEY HEIST ON THE YOUTH OF GUJARAT REGION
DOI:
https://doi.org/10.29121/shodhkosh.v3.i1.2022.102Keywords:
Audience Behaviour Pattern, Gujarat Youth, Money Heist, Netflix, Web SeriesAbstract [English]
In the era of digital cinema, web series is the revolutionary audio-visual format. They introduced us to Over-The-Top, Video-On-Demand binge-watching. Moreover, international OTT platforms like Netflix, Amazon prime video, HBO max, and Disney+ have started to produce their premium and original content with the aim to grow their reach in every possible country; it created lots of opportunities for new filmmakers and production houses. Money Heist is the best suitable example of a journey from flop to success. After the relaunch and distribution in the essential international without advertising catalogue by Netflix, it became a huge success. It got the third rank among the most-watched popular web series globally. This study focuses on the Money Heist’s audience behaviour pattern, the impact of the series, its characters, and retention power towards the young cohort of the Gujarat region. This research was conducted with the empirical quantitative method; the researcher used the convenience sampling technique for sample collection. The results solved all the research questions with an adequate positive approach. Distinctive characteristics of the Money heist web series made it a top-rated, addictive, and popular show that became local to global to again local.
Downloads
References
Adhikari, K. (2020). The dynamics of OTT platforms. https://yourstory.com/2020/09/entertainment-industry-dynamics-ott-platforms
Alfaro, L. (2020). Money Heist. Netflix. https://www.netflix.com/title/81098822
Deloitte. (2015). Digital Democracy Survey. Deloitte Insights, 1-22. https://www2.deloitte.com/content/dam/Deloitte/za/Documents/technology-media-
Hansen, K. T., Steven, P., & Turnbull, S. (2018). European Television Crime Drama and Beyond. In European Television Crime Drama and Beyond. https://doi.org/10.1007/978-3-319-96887-2 https://doi.org/10.1007/978-3-319-96887-2 DOI: https://doi.org/10.1007/978-3-319-96887-2
IWMBuzz. (2019). The Rise of Web Series in India. https://www.iwmbuzz.com/digital/snippets-digital/rise-web-series-
Mehta, S., & Kaye, D. B. V. (2021). Pushing the Next Level: Investigating Digital Content Creation in India. Television and New Media, 22(4), 360-378. https://doi.org/10.1177/1527476419861698 https://doi.org/10.1177/1527476419861698 DOI: https://doi.org/10.1177/1527476419861698
Mónica, B.-B. (2020). Netflix in Spain, Spain in Netflix. In Handbook of Research on Transmedia Storytelling, Audience Engagement, and Business Strategies.
QUITTNER, J. (2001). RADIO FREE CYBERSPACE - TIME. https://web.archive.org/web/20160118173045/http://content.time.com/time/magazine/article/0,9171,134084,00.html
Raha, S. (2017). We Indians love binge-watching! - Rediff.com movies. Rediff.Com. https://www.rediff.com/movies/column/we-
Rodríguez, C. C., Nogués, P.M., &Cristòfol, F. J. (2020). Release of the Fourth Season of Money Heist: Analysis of Its Social Audience on Twitter during Lockdown in Spain. Information, 11(12), 579. https://doi.org/10.3390/info11120579 https://doi.org/10.3390/info11120579 DOI: https://doi.org/10.3390/info11120579
Rosenstein, A. W., & Grant, A. E. (1997). Reconceptualising the role of habit: A new model of television audience activity. Journal of Broadcasting & Electronic Media, 41(3), 324-344. https://doi.org/10.1080/08838159709364411 https://doi.org/10.1080/08838159709364411 DOI: https://doi.org/10.1080/08838159709364411
Točená, Z. (2020). MONEY HEIST OR HOW NETFLIX FOUND A LOST GEM IN THE LINEAR TELEVISION'S 'JUNKYARD.' Marketing Identity, 8(1), 601-611. https://pesquisa.bvsalud.org/global-literature-on-novel-coronavirus-2019-ncov/resource/pt/covidwho-1283158
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Dhrumil M. Chauhan, Dr. Sandesh Mahajan
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.