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By looking at a range of different European Public Television (PTV) broadcasters, this book investigates the challenges that these broadcasters encounter in a competitive digital broadcasting environment and reveals the different policies and strategies that they are adopting in order to remain accountable, competitive and efficient.
"This book explores how the television industry is adapting its production culture and professional practices of scheduling to an increasingly non-linear television paradigm. Centered around four case studies, the book argues that a new television paradigm is being produced from within the multiplatform television organizations themselves in order to adapt to changing viewer habits and to the tensions between digital and broadcast television. Drawing on a unique genre and production studies approach, the analysis includes in-depth studies of: The communicative changes to the on-air schedule as a televisual text phenomenon in the digital era, and how the conceptualizations of the audience are changing in scheduling and curation for multiplatform portfolios; The changing production culture of scheduling in companies for their multiplatform portfolios; The dilemmas of curation in multiplatform portfolios. Situated at the intersection of the humanities and sociology in media production studies, this book will be of key interest to scholars and students of television studies, media production studies and cultural studies and to researchers and media professionals and management in the television industry"--.
In Germany and the U.S., Public Broadcasting Services serve the public sector with openly accessible programming that is distinct from privatized commercial networks.They enrich the public by offering 'quality' programming that entails cultural influence and educational gain. However, existing tests fail to examine the content of the actual programs, which serve as flagships of their enterprise. The purpose of this study is to first establish an understanding of the public identity utilizing Jurgen Habermas's framework of the public and the 'Public Sphere' and then incorporate that into a textual analysis of two fictional series and two documentaries originating from both Germany and the U.S. to examine the networks' application of their mission statements into their programming. While public networks attempt to rebrand themselves with innovative programming, they remain stigmatized by their traditional modality of promoting veracity and historical accuracy. New media has become another disruptor of the public broadcasting enterprise. By creating more challenges but also benefiting the networks' core mission statements, new media has broadened the scope for new public spectatorship and has redefined public television.
This book explores how the television industry is adapting its production culture and professional practises of scheduling to an increasingly non-linear television paradigm, a testing ground where different communicative tools are tried out in a volatile industry. Based on four case studies the book argues that a new television paradigm is being produced from within the multiplatform television organisations themselves in order to adapt to changing viewer habits and the tensions between digital and broadcast television. Drawing on a unique genre and production studies approach that cuts across the humanities and sociology in television studies, chapters cover in-depth studies of: • The communicative changes to the on-air schedule as a televisual text phenomenon in the digital era, and how the conceptualisations of the audience are changing in scheduling and curation for multiplatform portfolios • The changing production culture of scheduling in companies for their multiplatform portfolios • The dilemmas of curation in multiplatform portfolios. Situated at the intersection of the humanities and sociology in media production studies, this book will be of key interest to scholars and students of television studies, media production studies and cultural studies and to researchers and media professionals and management in the television industry.
Traditionally, the Netherlands has enjoyed status as a test market for new media. But in the past decade, such innovations have been severely hampered by questions about the future of public broadcasting. This issue has led to abundant political grandstanding, but little in the way of definitive policymaking. In February 2005, the Scientific Council for Government Policy published a report with practical policy suggestions. Media Policy for the Digital Age summarizes the Council’s recommendations, giving readers outside the Netherlands insight into the issues at stake and possible solutions, as well as a concise analysis that tackles the challenges of making robust media policy for the twenty-first century.
Changing Channels explores the potential impact of technological and structural change on audiovisual media in the light of the increasing likelihood of convergence between telecommunications, broadcasting, and computing.
As federal funding for public broadcasting wanes and support from corporations and an elite group of viewers and listeners rises, public broadcasting's role as vox populi has come under threat. With contributions from key scholars from a wide variety of disciplines, this volume examines the crisis facing public broadcasting today by analyzing the institution's development, its presentday operations, and its prospects for the future. Covering everything from globalization and the rise of the Internet, to key issues such as race and class, to specific subjects such as advertising, public access, and grassroots radio, Public Broadcasting and the Public Interest provides a fresh and original look at a vital component of our mass media.