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1 1. See https://www.statista.com/statistics/259477/hours-of-video-uploaded-to-youtube-every-minute/.

2 2. We are not the first to use the notion of platformization. Helmond conceptualized platformization as “the extension of social media platforms into the rest of the web and their drive to make external web data ‘platform ready’” (2015: 1). In this book, our understanding is both broader and more specific. It is broader because we make an argument that platformization is not only a techno-economic phenomenon. It is narrower because we specifically focus on the cultural industries. For a more extensive discussion of the concept of platformization, see Poell et al. (2019).

3 3. For the sake of readability and simplicity, throughout this book we use business studies, critical political economy, and software studies as a shorthand for broader bodies of work. Whereas critical political economy of communications has a long history (Winseck & Jin, 2011), software studies includes an amalgam of the – arguably emerging – fields of software and critical code studies (e.g., Bucher, 2018; Helmond, 2015; Mackenzie, 2006), app studies (e.g., Gerlitz et al., 2019; Morris & Murray, 2018), platforms studies (e.g., Montfort & Bogost, 2009), and what Robert Gorwa (2019a) has dubbed “critical platforms studies” (e.g., van Dijck et al., 2018). Business studies encompasses an even wider group of subdisciplines, which includes orthodox economics, strategic management and entrepreneurship, engineering design, and information systems research.

4 4. We purposely are not including research on platform companies such as Uber, Lyft, or Airbnb, as these are, as of yet, not of economic or technological relevance to cultural production. We do recognize that many of the dynamics we discuss are particular to a broader shift described as “platform capitalism,” which marks the disruption of existing markets by introducing new regimes of power (Srnicek, 2017).

5 5. To be precise, Facebook has started to license intellectual property in order to compete in the markets for live streaming (e.g., sports), and scripted television and film distribution.