A Systematic Study of New Age Consumer Engagement and Exploration for Digital Entertainment for Over-the-Top Platforms in Various Digital Media

Introduction

Static Websites contains constant fixed content where every page is coded in HTML and shows data to visitor. They are basic fundamental web sites where no web programming is there. It works by HTML pages and web server. Smaller websites with little or constant content can run smooth with fixed code. It will not be suitable for dynamic content and larger websites. So, it makes the job of developer easier to refresh and format.

Dynamic websites are costly at initiation but mostly preferred due to the scope of getting high opportunities in future. Fundamentally it allows the developer to refresh and add content at own convenience like events associated with the organization can be shown as a direct program interface. Often creativity blocks the dynamism of content. Few significant uses are content management, E-commerce business, information sharing, organizations’ intranet and extranet, online record keeping and transfer from one portal to another, dynamic customization as per higher authority to the existing content. It operates with the data that frequently changes its nature depending on the viewer’s time zone, time of browsing, language and what type of information sought after. It may go with client or server-side scripts and sometimes with both also depending on HTML programming for the basic structure. Scripts determine the strength and how the traffic can come more to the website. Over the past few decades, Entertainment has undergone a definite transition which is digitally driven. Collinger, Malthouse and Maslowska (2011) had developed a Consumer Engagement Engine at the Spiegel research center which indicates a synergistic collaborative and innovative interaction of consumers in the digital ecosystem influencing customer value. The media and entertainment sector has not only undergone a major transformation in terms of entertainment but is also consistently at the cutting-edge of technological innovation and growth (Nadanyiova and Das, 2020). Digital platforms have emerged as one of the biggest, the most rewarding and profitable, markets for entertainment in the world. (Kawamura, 2020; Singh et al., 2020). According to a PWC –Outlook report, (2018) Spending on entertainment and media in countries like India has increased manifold fuelled by a growing middle class and a young urban population. However despite this growth, the entertainment and media market in India has been lagging being Asia Pacific markets like China (Singh, Mondal and Das, 2020). Over the past five years India has shown a huge overall spending on entertainment and media growing at of 11.6% (CAGR) which is almost double the 5.0% CAGR as estimated for global entertainment and media (Sharma and Das, 2020).

With data becoming cheaper and the proliferation of various devices more and more content is being produced globally. The launching of Apple news + App in 2019 provided consumers an easy access with a certain fixed subscription fee to over 300 newspapers, magazines and digital publications. While digital streaming services like Spotify, Netflix, Hotstar are also available across different devices, A PWC- Outlook report (2019) claims that in South East Asia in particular, Telecom companies are providing bundled data in an affordable package with Internet OTT services and other forms of entertainment packed together (Das, 2020).