PELIKULAHATAN: A VIDEO STREAMING APPLICATION

FOR FILIPINO REGIONAL INDEPENDENT FILMS

This proposed study explored the development of PelikuLahatan that can serve as a

video streaming platform for regional independent films in the Philippines.

Specifically, this study sought to give solution to the following:

1. What are the problems encountered by filmmakers of regional independent

films in terms of:

1.1 Distribution; and

1.2 Marketing?

2. What are the problems encountered by curators of regional independent films

along:

2.1 Selection; and

2.2 Storage?

3. What are the problems encountered by audience of regional independent films

along:

3.1 Film Showing Schedules; and

3.2 Availability of Movie Houses/Theaters?

4. What system can be developed in order to solve the problems encountered by

filmmakers, curators, and audiences of regional independent films in the

Philippines?

5. What is the extent of compliance of the proposed “PelikuLahatan: A Video

Streaming Application for Filipino Regional Independent Films” with ISO

 25010:2015 Software Quality Standards as assessed by the filmmakers, curators

and audiences in terms of

5.1 Functional Suitability,

5.2 Performance Efficiency,

5.3 Compatibility,

5.4 Usability,

5.5 Reliability,

5.6 Security,

5.7 Maintainability, and

5.8 Portability?

Matrix of Reviewed Studies

Author/s Research Domains/ Methodology Salient Recommendations

and Date Locale Focus of the Used Findings /Limitations
Study
Nabajeet Kingston Gaming Video Developmenta For some Due to the inherent
Barman; University, Streaming l; Machine applications, nature of the
Emmanuel London, Platforms Language such as passive available datasets,
United gaming video
Jammeh; the proposed
streaming, FR
Seyed Ali Kingdom models are limited
and RR metrics
Ghorashi; are not suitable to only compression
Maria G. due to the and scaling
Martini unavailability of artefacts.
03 June source
2019 information. On Since the datasets
the other side, it consist of videos
has been shown compressed with
that No- the H.264 encoder,
Reference (NR) their performance
quality metrics on videos encoded
developed for with other newer
natural video encoders such as
content are not HEVC, VP9, or AV1
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
suitable for is an open question.
compressed
gaming video.

Adesegun A College Descriptive; The findings Some of the flaws

Oyedele, Midwestern students, 18- questionnaire suggest that include the study's
Penny M. U.S. 24 years old. s managers of convenience sample
university streaming apps of college students,
Simpson
during a should provide the use of study-
2018 regular fall consumers with specific scales and
semester. a clear message the identity salience
about how their scale with two of
streaming apps the four original
provide differing items deleted; thus,
consumption future studies
values to should examine
customers and other market
find ways to segments based on
ensure their age or
streaming apps psychographic
are salient to the characteristics and
self-identity of use previously
their customers.
validated scale
measures.

M. Torres Europe Popular Video Developmenta Predictive client- The lack of large-
Vega, C. (Spain, Streaming l; Machine based video scale datasets and
Perra, F. Belgium, Platforms Learning quality benchmarks
modeling, represents a major
De Turck Italy, UK)
mostly research and
and A. performed by development
Liotta means of SL hurdle, as it is often
20 April metrics, due to difficult to carry out
2018 the fact that it
comparative studies
heavily benefits
from offline and reach
training and generalized
benchmarking. conclusions.
In an extreme
case, when
either the
benchmark is
missing or the
solution is not
scalable, it is
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
possible to use
UDL

Kashif Doha, Qatar Carnegie Descriptive; Edge The research

Bilal and Mellon questionnaire technologies specifically focuses
Aiman University s offer viable on interactive multi-
solution to view video, free-
Erbad
multiple view video and
15 June challenges faced virtual view
2017 by interactive synthesis, online
media and video gaming, video
streaming today. transcoding, and
Edge video
technologies streaming.
offer a feasible
solution for
immersive and
multi-view
streaming and
gaming by
providing
swift real-time
response and
interactivity.
Zhengfang Ontario, Streaming Developmenta The SQoE-III Longer videos of up
Duanmu; Canada Videos l; Creation of database, so far, to 30 seconds may
Abdul Database the largest and be required to be
most realistic of able to test the
Rehman;
its kind, consists impact of switching
Zhou of a total of 450 patterns.
Wang streaming The biggest
Apr 2018 videos created challenge arises
from diverse from the limited
source content capacity of
and diverse subjective testing
distortion (which is caused by
patterns, with multiple factors
six adaptation including the cost,
algorithms of the time involved,
diverse and the potential
characteristics fatigue effect of the
under 13 subjects).
With such a strong
representative
limitation on
network capacity, it is
conditions. extremely difficult
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
to accommodate
exhaustive test
sequences.
Stine Oslo Mer Film AS, Descriptive; Success is To interview more
Agnete Filmbin Interviews related to Production houses
Sand 1) the situation in comparison.
in the film
2017
industry, which
in Norway is
recognized by
low earnings
and low
production
volume, 2) art as
capital, which
means that, for
these
companies, the
realization of
artistically
ambitious
projects is more
important than
profitability and
3)
access to public
funding, which
makes it
possible to
pursue these
projects.

Arman Chile Students and Descriptive; Movie piracy This study supports
Derakhti, Not Students Questionnaire and streaming the idea that the
Catalina in Chile, influence each main reasons for
Ramírez- average other digital piracy are
Rivas & sample age is interchangeably. based on social
Patricio E. 24 years old. behavior. This line
Ramírez- of work should be
Correa deepened, with an
02 Sept analysis of the social
2020 networks of both
the consumer and
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
the pirate user.

Chithra, R., India MongoDB, Developmenta Development of The researchers

Deepan, T., Express, l; Software online video have seen a couple
Kabilan, React.js and Development streaming of repercussions
appear to be with
M., & Node.js application
respect to Video
Yaswanth, using MERN Streaming. Film
A. stack experts fear groups
09 March could turn "stage
2022 cynic" consuming
substance despite
the size
of the screen or the
image quality.

Michael Philippines Producers, Descriptive; Considered as Future researchers

Kho Lim Directors, Interviews the business can cover how
2017 Distributors, center of regional or
Exhibitors, filmmaking, film indigenous cinema
and distribution is is defined and how
Institutional typically studied other film forms like
representative from an documentaries and
s of the economic short films are
Philippine perspective and distributed and
Film Industry traditionally exhibited. The
falls outside the section on non-
remit of film theatrical
studies. distribution can also
However, the be expanded to
role that focus on film
economics play festivals and film
in filmmaking markets as
cannot be distribution and
regarded as an exhibition
exclusive object platforms.
or subject in the
field of business
and economics
and not of the
arts, since film is
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
both a cultural
good and
economic
commodity.

Christian Wü rzburg, Video Developmenta The research For further

Moldovan Germany Streaming in l; Machine show that research, this work
Jan 2021 Mobile Language stalling, quality is an important
switches, and milestone for the
Networks
resource optimization of
consumption QoE, not only in
can be reduced video streaming but
while the video also in applications
quality can be that use video
increased streaming as their
significantly by foundation, such as
using different video conferencing,
adaptation virtual reality,
techniques. augmented reality,
and cloud gaming.

Xiangbo Li, United VOD (video on Descriptive The main 1. Interactive

Mahmoud States demand) and application of video
Darwich, Live Stream cloud services streaming
for video using clouds.
Mohsen videos
streaming can be 2. Harnessing
Amini summarized as: heterogeneit
Salehi, (A) Cloud y in cloud
Magdy computational services to
Bayoumi services via VM process
March (B) Cloud video
2021 network streams.
services via 3. Specialized
cloud-based clouds for
CDN to reduce video
video streaming streaming.
latency,
regardless of
viewers’
geographical
location;
and (C) Cloud
storage services
to store video
streaming
repositories and
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
enable
persisting
multiple
versions of each
video to support
a wide range of
display devices.
ES Indonesia Color Blind Descriptive; The The research
Soegoto, M People Interview development of recommends to
A web technology apply the findings in
today requires a
Fadhlurra game app
web video
hman, Y A designer to pay development to
Hermawan attention to a cater color
2019 web that is blindness.
designed to be
friendly to
everyone,
especially users
of color
blindness. Thus,
normal users
and color
blind users no
longer have
differences in
viewing a web-
based streaming
video.

Rahman, South Video Experimental CoAP defines a However, in the

W. ur, Korea Streaming congestion case of streaming
Choi, Y.-S., using CoAP control over CoAP, the
mechanism for researchers believe
& Chung,
reliable that the efficiency of
K. communications the quality
04 Mar over IoT devices. adaptation
2019 The default algorithms can be
retransmission further improved by
RTO value considering CoAP
results in a transmission
longer segment parameters along
download time, with the throughput
which increases and
the risk of
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
playback buffer occupancy in
interruption, order to adapt the
even under video quality.
stable network
conditions.
Sayali Maharashtr Native Apps, Descriptive According to the The best way is to
Tandel, a, India Progressive study, mobile minimize the
Abhishek Web Apps and web reach is latency caused by
way higher than style sheet loading
Jamadar Standard Web
native app reach. and rendering time
Sept 2018 App It was 11.4 is to cut down on
million unique the CSS footprint.
visitors per The potential
month savings of PWA
compared to 4 enabled webpage is
million visitors. smaller (187 KB)
Whereas the when compared to
stats of user webpage without
engagement PWA (283 KB).
with services
showed that
users tend to
spend more time
on native mobile
apps compared
to the standard
web app. It was
an average of
188.6 minutes
on app against
9.3 minutes on
the web.
Chavan, Mr Navi Progressive Descriptive If a consistent As of now, the PWA
& Bhatkar, Mumbai, Web App and mobile movement is
Mr & India Responsive experience is already widely
required, then encouraged by
Muley, Web App
progressive web almost all of the big
Kirti. apps are the companies,
July 2022 ideal choice, and including Microsoft
trying to with their push of
improve site PWA adoptions in
speed and Windows 10/11. It
accessibility for won’t be long now
most users, before we see a
responsive web future full of
apps may be a Progressive Web
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
better option. App.

Mole, Baguio City, Progressive Descriptive PWA is the It is suggested to

Patrick Philippines Web Apps emerging web conduct more study
Sept 2020 technology about how PWA
nowadays that technology may
insight to fulfill affect the overall
the lapses in performance, hype,
cross-platform and the behavior of
development. the developers
Despite that during the
PWA has been development
evaluated in the applications as
industry compared to
domain, study the existing
for PWA as a approach in cross-
new cross platform
platform development.
development
approach is
limited.
Andreas Norway Hybrid App, Descriptive, The researchers Continue the
Biørn- Interpreted Experimental find that there is development of
Hansen, App and much potential technical
for PWAs to implementations for
Tim A. Progressive
become a unifier comparison and
Majchrzak, Web App for web-native evaluation purposes
Tor- development against established
Morten without the use development
Grønli of cross- approaches.
Jan 2017 platform
frameworks. As
an end-user, the
PWA installation
process becomes
more similar to
regular apps
through new
advancements in
user experience
aspects.
B Indonesia Interactive Descriptive; The It is also showed by
Baharuddi Learning in a Developmenta investigation the language which
n vocational l presents the important to avoid
interactive the constraints in
2018 high school
learning media terms of language.
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
developed is
feasible and
effective as a
medium of
learning,
especially in the
and also can
improve the
skills of teachers
in making
learning more
interesting for
students. So,
students more
interested in
learning,
because they
learn in a way
that is more
interesting.
Benjamin University Netflix (Digital Descriptive This proposes Netflix is trying to
Burroughs of Nevada, Media three categories replicate the HBO
26 Feb Las Vegas Industry) of emergent model of creating
streaming lore “quality” television
2018
and analyzes but through a digital
their relation to streaming
a growing distribution model.
streaming media This is significant as
industry. These audiences adapt to
categories the portability of
include (a) streaming
Netflix as technologies like
“quality” Netflix but also the
streams, (b) the shifts in attitudes
algorithmic toward ownership
audience, and No longer are
(c) consumers as
cord-cutters and closely connected to
cord-nevers. the materiality of
popular culture and
consumption in this
emergent streaming
culture.
Steiner, E., Philadelphi Twenty-one Descriptive Based on the The rapidly evolving
& Xu, K. a/New women and data, the technology and
York 15 men researchers culture that
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
2018 participated. found that constitute and drive
The viewers have the binge-watching
participants following have complicated
were between motives for audience
22 and 66 binge-watch: conceptions of
years old and catching up, television and,
lived in either relaxation, sense therefore, how
the of completion, television should be
Philadelphia cultural studied
or New York inclusion, and through U&G.
City improved
metropolitan viewing
areas; four experience. The
were born researchers also
outside the noted that
United States. interviewees
often
differentiated
their binge-
watching
experiences by
their levels of
attentiveness.
Emerald O. Philippines Cinemalaya Descriptive In the Plural points of
Flaviano Philippines, access to cinemas
2017 digital from around the
technology holds world—within and
much promise without the context
for filmmaking, of Cinemalaya and
and during the other local film
early years of its festivals—are thus
introduction, paralleled by
festivals such as different means of
Cinemalaya making sense of
provided the what rightly
needed represents national
infrastructure cinema.
that guaranteed
audiences for
independent
films. But the
institutional
need to
legitimize the
resulting new
film movement
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
—by delimiting
its aesthetics
and politics—
eventually came
to police the sort
of independent
cinema that
should rightly
represent a
Philippine
national cinema
to a national
public.
Alberto, Philippines Cinemalaya, Descriptive After conducting Since that the study
Pauline P. CCP, other focus interviews proves that the
Escosia, Film Festivals from Cinemalaya institution can affect
in the Foundation, film festival
Rei
Philippines Cultural Center organizers, the
Matthew E. of the researchers
Labrador, Philippines, and recommended that
Angelica other festival in making film
Louise S. organizers from festivals the
Limpiada, other local film organizers can look
Dennis S. festivals, the after the institution
researchers and adapt its
Ricaforte,
were able to process and also to
Angeloux conclude that make it as their
Q. Cinemalaya basis to their future
April 2018 FoundationCCP’s festival plans.
agenda “artistic
excellence” is
used as an
emphasis for
their messages
and content.
Gerald Philippines Philippine Descriptive Initial foray into Despite these,
Gracius Y. Cinemas the wealth of however, economic
Pascua data provided by and sustainability
FDCP and UPFI issues should
2019
proves that the eventually be
potential of brought up and
state-funded addressed in order
cinematheques for film exhibition
as venues that and viewership to
will incubate an prosper.
alternative film
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
viewing culture
is not illusory.
The demand for
films outside of
what is
conventionally
shown in mall
cineplexes
definitely exists.
Ormanlı, O. Turkey Netflix, Descriptive Netflix and most In reality, the
2019 Cannes Film of its rival cinema is a
Festival companies have technological
the USA and product and its
Hollywood development arose
origin. Within from technological
this framework, advances. Social,
cinema is economic and
indispensable psychological
source of income changes and issues
for the resulted from
individuals who technology directly
buy and hire its have an effect on
product in the cinema, presence of
USA. the branch of art
Independent mostly depends on
cinema, that is, the audience and
arthouse more audience if
cinema, try to possible.
have its own
position in such
atmosphere
where billions of
dollars box
office gross
takes place.
Roderik The Farm UK Academics Descriptive What has The day-and-date
Smits, Group, and film emerged from release model, and
Andrew London companies the perspectives the near day-and-
Higson, of UK-based date release model,
John producers, whereby the
Mateer, distributors and theatrical cinema
Huw D. VOD platforms window and online
Jones and are that window follow each
Beatrice questions of other in quick
D’Ippolito access and succession, were
27 Apr availability therefore proposed
Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
2017 remain critical in as solutions to
the online anticipate online
market: audience demands.
availability is
still
bound by the
logic of limiting
and restricting
access through
exclusive
contractual
agreements with
VOD platforms
for limited
periods of time,
and there is a
long way to go to
establish an
online market
that offers
unlimited choice
to audiences.
Marijke de Germany Film Festivals Descriptive With its Highlighting media’s
Valck unprecedented adaptability,
2020 scale and malleability, and
consequences, scalability under the
the COVID-19 conditions of a
pandemic has pandemic, the
generated a contributions to this
variety of new volume track and
configurations of analyze how media
media. emerge, operate,
Responding to and change in
demands for response to the
information, global crisis and
synchronization, provide elements
regulation, and toward an
containment, understanding of
these “pandemic the post-pandemic
media” reorder world to come.
social
interactions,
spaces,
and
temporalities,
thus
 Author/s Research Domains/ Methodology Salient Recommendations
and Date Locale Focus of the Used Findings /Limitations
Study
contributing to a
reconfiguration
of media
technologies and
the cultures and
polities with
which they are
entangled.
F. Indonesia Development Developmenta The skill of using Based on the
Ranuharja, of Interactive l Edugame media implementation and
G. Ganefri, Learning as a platform to evaluation of
B. Fajri, F. Media deliver teaching edugame program
Prasetya, Edugame materials to through edugame-
and A. students is well based learning
Samala acquired by the media presentations
May 2021 teachers as their in general, the
insights on knowledge and
Edugame mastery of teachers
increase. at the Elementary
School in
Dharmasraya
regency about the
innovation of
learning process in
the classroom using
Edugame media has
gradually improved.
Jiyeon Lee, Korea Progressive Descriptive The findings The research
Hayeon Web Apps stem from the proposed our
Kim, inherent PWA defense
Junghwan features that recommendations
Park, Insik provide native to enhance the safe
Shin, and app like Web use of PWAs in
Sooel Son browsing practice. We have
2018 experiences, also reported our
which make the findings to the
addressed risks corresponding
unique to PWAs. vendors. Samsung,
Firefox, and some of
third-party push
service providers
involved in our
attacks.

Chapter I
 INTRODUCTION
Rationale
Local Film Festivals in the Philippines and Abroad

Regional Independent Films

Online Film Platforms and the Future of Cinema

Quality of Experience in Video Streaming

Progressive Web App, Responsive Web App, or Native App

Rapid Application Development in Digital Platforms

Video Streaming App Using MERN Stack

Mainstream and Independent Films, Distribution and Access to Audience

The film industry in the Philippines has traditionally been dominated by

mainstream studios and exhibitors, leading to a lack of representation and diversity in the

types of films that are produced and shown in theaters (Dela Cruz, 2020; Lim, 2019).

However, the rise of independent cinema in the country has begun to challenge this

dominance, providing a platform for alternative voices and perspectives to be heard (Dela

Cruz, 2020).

According to Dela Cruz (2020), the growth of independent cinema in the Philippines

can be traced back to the 1990s, with the emergence of filmmakers such as Lav Diaz and

Brillante Mendoza, who challenged the conventions of mainstream cinema and gained

international recognition for their work. This rise of independent cinema has been

supported by the establishment of film festivals and organizations such as the Cinemalaya
Independent Film Festival and the Independent Filmmakers Cooperative (IFC) which

provide funding and resources for emerging filmmakers (Dela Cruz, 2020).

Despite the progress made by independent cinema in the Philippines, it continues to

face challenges in terms of distribution and access to audiences (Lim, 2019). The high cost

of distribution and limited number of theater screens in the country make it difficult for

independent films to gain widespread release, leading many filmmakers to rely on

alternative distribution channels such as digital platforms and community screenings (Lim,

2019). In addition, the mainstream film industry in the Philippines often has a larger

budget and greater resources, allowing it to dominate the market and limit the visibility of

independent films (Dela Cruz, 2020).

To address these challenges and promote the growth of independent cinema in the

Philippines, Dela Cruz (2020) suggests that the government can play a role by providing

funding and tax incentives for independent filmmakers. In addition, the expansion of

alternative distribution channels and the support of organizations such as the IFC can help

to increase the reach and visibility of independent films.

Overall, while the mainstream film industry in the Philippines continues to

dominate the market, the growth of independent cinema has begun to challenge this

dominance and provide a platform for alternative voices and perspectives. However,

challenges in terms of distribution and access to audiences remain, and efforts to support

independent filmmakers and expand alternative distribution channels are necessary to

continue promoting the growth and diversity of the film industry in the Philippines.

Local Film Festivals in the Philippines and Abroad

 In their case study, "The Emphasis in Message System and Patron Relationship of

Cinemalaya Foundation and Its Effects to Local Film Festival Organizers," Alberto et al.

(2022) conducted an inquiry into Cinemalaya Foundation, a Philippine organization that

supports independent cinema. The foundation's mission is to promote Philippine cinema

and support emerging filmmakers. The authors found that the foundation's emphasis on

this mission and its strong relationships with patrons had a positive impact on the success

of local film festivals.

The study also found that the message system of the Cinemalaya Foundation, which

includes its brand identity and communication strategies, played a role in its success. The

authors suggest that other local film festival organizers can learn from the Cinemalaya

Foundation's approach in order to improve their own events.

Meanwhile, in his study, Sand (2021) identified the key success factors for film

production in Norwegian regions. The study included interviews with filmmakers and

industry professionals, as well as a review of relevant literature. The study found that

access to funding was a critical factor in the success of regional film production in Norway.

In addition, strong partnerships with other organizations and a focus on audience

development were important factors. The author suggests that these success factors can be

applied to other regions in order to support the development of the film industry in those

areas.

Overall, both studies highlight the importance of strong relationships and effective

communication strategies in the film industry, particularly in the context of regional film

production. By understanding the key success factors and building strong partnerships,
filmmakers and film organizations can work to support the growth and success of the

industry.

Regional Independent Films

With the success of Cinemalaya and Cinema Rehiyon, local film festivals are being

born across the country. These festivals, each with its own theme and focused on the

culture of the province, town or organization that initialized the film festival, give a

platform for regional filmmakers to showcase their films.

One example is Ilocos Norte’s Tan-ok Ni Ilocano Film Festival. The Tan-ok ni Ilocano

Film Festival is a competition and a showcase of different film genres that focus on Ilocano

culture, history, traditions, the natural environment, industries, and all other aspects of

Ilocano life. Ultimately, the festival aims to impart to a modern audience the rich heritage of

Ilocos Norte and contribute in the continuance of the Ilocano story. The film festival

showcases short documentaries and short narrative films of Ilocos Norte residents.

Another example is the Hundred Island Film Festival. Hundred Islands Film Festival

is a Youth-oriented culture and arts development program that aims to encourage

filmmaking and inspire aspiring filmmakers in Alaminos City whilst promoting cultural

identity, heritage and tourist destinations in the city. The program is established and

organized by Layag Productions of Alaminos City National High School and initiated by

Mayor Arth Bryan Celeste and the Alaminos City Tourism Office of the Local Government

Unit. The film festival showcases the stories of Alaminos and accepts entries from other

regional filmmakers that showcase Filipino culture and identity.

Other film festivals in the Philippines include Cinema Culinarya Film Festival which

aims to champion well-crafted short films that showcase tasteful narratives, culinary
practices and traditions in hopes of strengthening the Filipino food identity and honoring

its rich heritage. CineKasimanwa: The Western Visayas Film Festival aims to be a venue for

Western Visayan films, its filmmakers and their stories to be presented to local audiences

and the world. The festival also accepts films from around the world. CineKasimanwa want

filmmakers and peoples of the world to visit Western Visayas (Iloilo, Capiz, Aklan, Antique,

Guimaras and Negros Occidental provinces) and shoot films in their islands. Ngilngig Asian

Fantastic Film Festival from Davao features “fantastic films” from Mindanao. It accepts

films from all over the country with themes that are gruesome, dreary, dreamy, dread, eerie

and scary to name a few.

There are other film festivals in the country and the common theme for all of them is

to showcase the voice and culture of each place. The ultimate showcase of these films

happens during Cinema Rehiyon, where the best of the regions are gathered and given an

avenue to be showcased.

All these film festivals have their common procedure in submission. Forms are

provided for the filmmaker to fill up and a screener of the film is also provided. The

curators will watch the films and will determine if they suit the provided theme, check out

all the requirements and do not violate any rules. After selection, there will be a final

selection of entries if all films coincide with the ideals of the film festival.

Traditionally, films are showcased in a movie theater or in a common place and

tickets are either sold or sponsored by the organization. Usually, films are showcased for a

week and are wrapped up in an awards night. Presently, some film festivals are held online,

through video-on-demand where audiences will have to pay in order to see the films and

enjoy coupons or discount codes given by some organizations.

Online Film Platforms and the Future of Cinema

In his chapter "Online Film Platforms and the Future of the Cinema," Ormanlı (2019)

discusses the impact of online film platforms on the traditional film industry and the future

of cinema. The author argues that the proliferation of streaming services such as Netflix

and Amazon Prime, as well as the increasing availability of films on digital platforms, has

disrupted the traditional model of film distribution and exhibition, leading to changes in

the way films are produced, distributed, and consumed.

Moreover, according to Ormanlı (2019), online film platforms have provided new

opportunities for filmmakers to reach audiences, bypassing traditional gatekeepers such as

studios and exhibitors. This has led to an increase in the production of independent and

niche films, as well as the emergence of new distribution models such as day-and-date

releases, in which films are released in theaters and on digital platforms simultaneously.

However, Ormanlı (2019) also notes that the rise of online film platforms has had

negative consequences for the traditional film industry, including the closure of

independent theaters and the decline of box office revenues. The author suggests that the

future of the cinema will likely involve a hybrid model, in which films are released both in

theaters and on digital platforms, and the traditional film industry will need to adapt to

these changes in order to remain relevant .

Overall, Ormanlı's (2019) chapter provides a comprehensive analysis of the impact

of online film platforms on the traditional film industry and the future of cinema. The

author argues that while these platforms have provided new opportunities for filmmakers
and introduced changes to the way films are distributed and consumed, they have also had

negative consequences for the traditional film industry. The future of the cinema will likely

involve a hybrid model in which films are released both in theaters and on digital

platforms, and the industry will need to adapt to these changes in order to remain relevant.

Meanwhile, Marijke de Valck's study on the impact of COVID-19 on film festivals is a

comprehensive analysis of the challenges and changes faced by film festivals in the wake of

the pandemic. De Valck (2020) argues that the COVID-19 crisis has had a significant impact

on film festivals, leading to the cancellation or postponement of many events and the

adoption of new formats and technologies to adapt to the new reality. Moreover, the

COVID-19 crisis has had a number of consequences for film festivals, including a decline in

ticket sales and sponsorships, as well as a reduction in the number of films being produced

and released. As a result, many film festivals have been forced to adapt and innovate in

order to survive, including the adoption of virtual and hybrid formats, the use of streaming

platforms, and the introduction of new forms of audience engagement (de Valck, 2020).

De Valck (2020) also discusses the challenges and limitations of these new formats,

such as the difficulties of replicating the social and cultural experience of film festivals and

the impact on the distribution and promotion of films. The author argues that while these

new formats have allowed film festivals to continue operating during the pandemic, they

also raise questions about the future of film festivals and the role they will play in the post-

COVID-19 world.

Overall, de Valck's (2020) study provides a valuable and timely analysis of the

impact of COVID-19 on film festivals and the challenges and changes faced by these events

in the wake of the pandemic. The author's arguments highlight the importance of
innovation and adaptation in the face of crisis, as well as the challenges and limitations of

new formats and technologies.

Quality of Experience in Video Streaming

In recent years, there has been increasing interest in the use of machine learning for

no-reference video quality estimation in streaming applications, particularly in the context

of passive gaming video streaming (Ngo et al., 2019). This approach involves using machine

learning algorithms to predict the perceived quality of a video without the need for a

reference video for comparison.

One study found that machine learning-based no-reference video quality estimation

can be an effective approach for predicting the perceived quality of passive gaming video

streams (Ngo et al., 2019). This is important for streaming services as it allows them to

optimize the delivery of video content and provide a better quality of experience for users.

In addition to video quality, consumer research has shown that there are several

other factors that influence the value that users place on streaming apps, including the

selection of content, the availability of offline viewing, and the user interface (App Annie,

2019). Understanding these factors can help streaming services to better meet the needs

and preferences of their users.

Progressive Web App, Responsive Web App, or Native App

Progressive web apps (PWAs) and responsive web pages are two different types of

web-based applications that are designed to provide a seamless user experience across a

range of devices. Native apps, on the other hand, are applications that are specifically

designed and built for a particular operating system, such as iOS or Android.
 One key difference between PWAs and responsive web pages is that PWAs are

designed to function offline, whereas responsive web pages require an internet connection

to function properly (De Souza, 2018). This makes PWAs a more reliable and convenient

option for users, particularly in areas with limited or unreliable internet access.

In terms of performance, PWAs are generally faster and more efficient than

responsive web pages, as they are built using advanced web technologies such as service

workers and cache APIs (Moussa, 2018). This allows PWAs to load quickly and provide a

smooth and responsive user experience, even on low-end devices.

Native apps, on the other hand, are generally considered to offer the best

performance and user experience, as they are specifically designed and optimized for a

particular operating system (De Souza, 2018). However, native apps also require users to

download and install them from an app store, which can be a barrier to adoption, and they

need to be updated and maintained separately on each device (Moussa, 2018).

Overall, PWAs and responsive web pages offer a more convenient and efficient

alternative to native apps, but native apps tend to offer the best performance and user

experience.

Rapid Application Development in Digital Platforms

The advent of digital technology has paved the way for Rapid Application

Development (RAD), a methodology that allows developers to produce software

applications in a shorter time frame. The iterative nature of RAD, characterized by quick

prototyping and immediate feedback, aligns well with the dynamic demands of the digital

era. Unlike traditional models, RAD facilitates a more agile response to changes in user

requirements.
 In her study, da Silva (2011) introduces a framework specifically designed for the

rapid development and customization of multimedia and rich content software. The

primary target audience for this software is students with special needs. As evidence of the

framework's capabilities, da Silva showcases a software application aimed at enhancing

social communication skills among children diagnosed with autism spectrum disorders.

One of the standout features of this framework is its incorporation of web technologies and

related standards. This incorporation facilitates a collaborative development process,

allowing tutors, field professionals, and even the end users to participate in software

development and customization. Remarkably, their involvement requires minimal training

and support, emphasizing the user-friendly nature of the framework.

In his 2017 research, Dmitry Golovin delved into the capabilities of OutSystems, a

visual low-code development platform designed for citizen developers. This platform

simplifies the process of crafting and deploying applications, even for those relatively new

to the field of development. Golovin's study was anchored on identifying challenges faced

by students at Lahti University of Applied Sciences and evaluating how OutSystems could

address these issues. He provided a theoretical backdrop explaining why OutSystems was

chosen as a Rapid Application Development Platform for crafting and deploying both

mobile and web applications, giving insights into the fundamental principles of this

technology. Through a combination of surveys, interviews, and a case study, where both a

mobile and a web application were developed, Golovin derived conclusions on the most

effective sequence and methodologies for crafting mobile apps tailored for student

services. He also underscored the importance of design insights from his case study to

ensure widespread user acceptance of the resulting application.

 Li et al. (2021) spotlight the burgeoning realm of digital health applications

harnessing diverse patient data sources to glean insights into behaviors, disease symptoms,

remote patient monitoring, and treatment modalities. Notably, a recurring obstacle faced

by these applications is their bespoke nature, resulting in duplicated efforts encompassing

infrastructure development, data collection, and frontend creation for each distinct project.

This project-specific approach not only lacks interoperability but also inhibits the

reusability of accrued data and functional components across applications. To counteract

these challenges and emphasize rapid application development, the authors introduced

DHLink—an event-driven microservice platform. DHLink effectively establishes secure

connections among disparate digital health applications, enabling real-time data exchange

and providing a scaffold for streamlined application development. Significantly, DHLink

incorporates a suite of versatile and reusable microservices, effectively expediting the

process of constructing digital health applications. Through illustrative use cases, the study

underscores DHLink's efficacy and practicality in promoting collaborative application

development and expeditious creation of novel applications in the digital health landscape

Together, these studies underscore the value of rapid application development

methodologies and technologies in addressing specific challenges across various domains.

The iterative, user-centered approach inherent in RAD aligns well with the demands of

modern digital landscapes, offering efficient solutions to complex development scenarios.

Video Streaming App Using MERN Stack

Video streaming applications have become increasingly popular in recent years, and

the MERN stack is a common choice for building these types of applications. MERN stack
stands for MongoDB, Express.js, React, and Node.js, and is a collection of open-source

technologies that are commonly used together to build modern web applications.

Using the MERN stack to build a video streaming application allows developers to

leverage the power and efficiency of these technologies to create a scalable and high-

performance application. For example, MongoDB can be used to store and retrieve large

amounts of data related to videos and users, while Express.js can be used to build the APIs

and server-side logic required to power the application. React can be used to build the user

interface and handle client-side interactions, and Node.js can be used to run the application

on the server-side.

There have been a number of successful video streaming applications that have

been built using the MERN stack, such as Netflix and Hulu (Netflix, Inc., 2021; Hulu, LLC,

2021). These applications demonstrate the power and flexibility of the MERN stack for

building video streaming applications.

Overall, MERN stack is a powerful and popular toolkit for building video streaming

applications. It provides a range of technologies and frameworks that can be used together

to build scalable and efficient applications that can handle large amounts of data and traffic.

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