Abstract
This dissertation examines audience consumption patterns of South African feature films on two subscription streaming video-on-demand platforms, Netflix and Showmax, and the impact of these consumption patterns on terrestrial television channels, which are the SABC and e.TV from 2020 to 2023. The study focuses on two South African provinces, Gauteng and Mpumalanga, as its primary case studies to examine how factors such as the COVID-19 pandemic, technological advancements, geographic location, data costs, device preferences, loadshedding, and audience content preferences influence audience consumption choices. This influence was assessed across two active generations within digital and mass media: Millennials and Generation Z. This study explores these consumption patterns using two theories and one key framework: the Technology Acceptance Model (TAM), Uses and Gratification Theory (UGT), and technological determinism.
This study employs a sequential and explanatory mixed-method design encompassing two research approaches: qualitative and quantitative. Furthermore, the audience has shifted from consuming terrestrial television to being more drawn to streaming video-on-demand services, such as Netflix and Showmax. Moreover, the research findings indicate that factors such as data costs, loadshedding, COVID-19, and digital migration in parts of the country have exacerbated the growth of these streaming services and shifted audience consumption patterns, behaviour, and choices. The study also noted that people living in urban areas and Gen Z are primarily attracted to these SVODs, compared to older individuals and those residing in rural and low-income areas, where there are limited resources and who are inclined to use TTCs.
The dissertation concludes by noting that these streaming services have changed audience consumption behaviours and opened a market for capitalising on South African film industry productions. However, with the growth of SVODs, TTCs are poised to become key players, particularly in regions where data costs and accessibility are problematic. Thus, this dissertation argues that their survival depends on their prioritisation of infrastructure, licencing, and commissioning original local feature films.