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【注释】
[1]王一楠,北京大学艺术学院在读博士生。主要研究方向为电子游戏、数字媒体艺术、文化市场营销。
[2]https://www.natoonline.org/wp-content/uploads/2019/09/Major-Studio-Release-Window-Averages-8_28_19pdf.
[3]https://www.forbes.com/sites/jamos/2019/11/19/hollywood-cliffhanger-what-the-termination-of-theparamount-consent-decrees-means-for-movie-theater-owners/?sh=34c217270699.
[4]https:/rm.coe.int/the-theatrical-tvod-window-a-sample-analysis/1680951884.
[5]https://www.legifrance.gouv.fr/codes/section_lc/LEGITEXT000020908868/LEGISCTA000020908001/#LEGISCTA000020908523.
[6]https://www.ft.com/content/b60f4182-bbea-11e2-a4b4-00144feab7de.
[7]https://www.cnc.fr/web/en/statistics/theater-admissions-in-france-2092-million-admissionsin-2017_112071.
[8]https://www.indiewire.com/2018/12/ted-sarandos-netflix-theatrical-windows-disconnecting-peoplefrom-movies-1202025231/.
[9]https://www.unic-cinemas.org/fileadmin/user_upload/wordpress-uploads/2017/06/UNIC_AR2018_online.pdf.
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[12]《点播影院、点播院线管理规定》,国家新闻出版广电总局第14号令,国家新闻出版广播电影电视总局发布,2018年3月30日起实施。
[13]《关于加快电影院建设促进电影市场繁荣发展的意见》,国家电影局 2019年12月11日印发。
[14]《2019年全国票房642.66亿元 国产片份额达64.07%》,《人民日报》2020年1月2日12版,http://m2.people.cn/r/MV8xXzMxNTMxNDI5XzQxMzg4M18xNTc3OTIzNzIy.
[15]Netflix,Theatrical Exclusivity,Box Office Profits,and the Cultural Conversation,John Fithian,https://www.natoonline.org/blog/reel-blog/netflix-theatrical-exclusivity-box-office-profits-and-thecultural-conversation/.