This research seeks to understand how and why Iranian audiences watch domestic platforms such as Filmo and Namava. Sampling was done in a purposeful way and research data was obtained from in-depth interviews with 17 people from the audience of home viewing platforms. Finally, the data has been displayed in the form of a theme map using the theme analysis method of categorizing and main categories which is the answer to the research question. Audiences expressed the reasons for watching in these platforms, such as creating motivation despite proper categorization, cost-effectiveness, dubbing and censorship, etc.
Also, factors such as not respecting copyright, censorship and inappropriate dubbing, etc. have been considered as a reason for not watching these VODs. The important thing is that the audience believes that they should protect others and they do not need to protect themselves against immoral and inappropriate content. They prefer to use VOD released movies along with others because they are censored and have ethical content. In this way, others are exposed to the right content; But in their solitude, they are interested in watching the full version of non-Persian movies without censorship through other means of access.
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Mahmahmoudi,B. and malekpaeen,F. (2024). Studying how and why Iranian users use internal VOD. Society Culture Media, 13(51), 69-98. doi: 10.22034/scm.2024.434448.1712
MLA
Mahmahmoudi,B. , and malekpaeen,F. . "Studying how and why Iranian users use internal VOD", Society Culture Media, 13, 51, 2024, 69-98. doi: 10.22034/scm.2024.434448.1712
HARVARD
Mahmahmoudi B., malekpaeen F. (2024). 'Studying how and why Iranian users use internal VOD', Society Culture Media, 13(51), pp. 69-98. doi: 10.22034/scm.2024.434448.1712
CHICAGO
B. Mahmahmoudi and F. malekpaeen, "Studying how and why Iranian users use internal VOD," Society Culture Media, 13 51 (2024): 69-98, doi: 10.22034/scm.2024.434448.1712
VANCOUVER
Mahmahmoudi B., malekpaeen F. Studying how and why Iranian users use internal VOD. Society Culture Media, 2024; 13(51): 69-98. doi: 10.22034/scm.2024.434448.1712