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Television is changing almost beyond recognition. In the battle for consumers, social media sites, smart phones and tablets have become rivals to traditional linear TV. However, audiences and producers are also embracing mobile platforms to enhance TV viewing itself. This book examines the emerging phenomenon of the second screen: where users are increasingly engaging with content on two screens concurrently. The practice is transforming television into an interactive, participatory and social experience. James Blake examines interactive television from three crucial angles: audience motivation and agency, advances in TV production and the monetisation of second screen content. He also tracks its evolution by bringing together interviews with more than 25 television industry professionals - across the major UK channels - including commissioning editors, digital directors, producers and advertising executives. These reveal the successes and failures of recent experiments and the innovations in second screen projects. As the second screen becomes second nature for viewers and producers, the risks and opportunities for the future of television are slowly beginning to emerge. Television and the Second Screen will offer students and scholars of television theory, industry professionals and anyone with an abiding interest in television and technology, an accessible and illuminating guide to this important cultural shift.
Television is changing almost beyond recognition. In the battle for consumers, social media sites, smart phones and tablets have become rivals to traditional linear TV. However, audiences and producers are also embracing mobile platforms to enhance TV viewing itself. This book examines the emerging phenomenon of the second screen: where users are increasingly engaging with content on two screens concurrently. The practice is transforming television into an interactive, participatory and social experience. James Blake examines interactive television from three crucial angles: audience motivation and agency, advances in TV production and the monetisation of second screen content. He also tracks its evolution by bringing together interviews with more than 25 television industry professionals - across the major UK channels - including commissioning editors, digital directors, producers and advertising executives. These reveal the successes and failures of recent experiments and the innovations in second screen projects. As the second screen becomes second nature for viewers and producers, the risks and opportunities for the future of television are slowly beginning to emerge. Television and the Second Screen will offer students and scholars of television theory, industry professionals and anyone with an abiding interest in television and technology, an accessible and illuminating guide to this important cultural shift.
In this sixth edition of Television Sports Production, regional Emmy Award-winning producer Jim Owens walks readers through the planning, setup, directing, announcing, shooting, and editing involved in covering a sports event. Originally written as a training guide for entry-level broadcast staff at the Olympics, this manual gives readers the tools they need to effectively cover sports from ice skating to motorcycle racing. Throughout, Owens breaks down all aspects of the production process, revealing the techniques that producers and directors use to bring sports to a worldwide audience. Chapters further include tips and advice on using the latest technologies and tools such as production trucks, REMIs, smart phones, mobile units, cameras, audio equipment, and lighting rigs. Featuring new instructive illustrations and sample forms, as well as testimonials from experienced professionals in the business, this new edition gives readers an inside look at how the experts produce live or recorded television and sports coverage. This comprehensive book is essential reading for intermediate and advanced students looking to learn how to successfully produce sports broadcasting.
The Internet didn’t kill TV! It has become its best friend. Americans are watching more television than ever before, and we’re engaging online at the same time we’re tuning in. Social media has created a new and powerful “backchannel”, fueling the renaissance of live broadcasts. Mobile and tablet devices allow us to watch and experience television whenever and wherever we want. And “connected TVs” blend web and television content into a unified big screen experience bringing us back into our living rooms. Social TV examines the changing (and complex) television landscape and helps brands navigate its many emerging and exciting marketing and advertising opportunities. Social TV topics include: Leveraging the “second screen” to drive synched and deeper brand engagement Using social ratings analytics tools to find and target lean-forward audiences Aligning brand messaging to content as it travels time-shifted across devices Determining the best strategy to approach marketing via connected TVs Employing addressable TV advertising to maximize content relevancy Testing and learning from the most cutting-edge emerging TV innovations The rise of one technology doesn’t always mean the end of another. Discover how this convergence has created new marketing opportunities for your brand.
This book constitutes the refereed proceedings of the 6th European Conference on Interactive Television, EuroITV 2008, held in Salzburg, Austria, in July 2008. The 42 revised full papers were carefully reviewed and selected from 156 submissions. The contributions cover significant aspects of the interactive television domain including submissions on user studies, technical challenges related to new developments as well as new kind of formats. The papers are organized in topical sections on interactive TV, interactive authoring, personalisation and recommender systems, mobile TV, social TV, new TV environments, iTV architectures and systems, user interfaces and interaction design, user studies, and accessibility.
This volume presents timely discussions on how digital technology is reshaping broadcasting and the media in the United States and around the world. It features contributions from distinguished scholars and young researchers, representing work that spans domestic and international issues of technological change and the implications for broadcasting and related media in a global context. Among the many issues covered are: The impact of digital technology on the structure of broadcasting organizations and regulation; The nature of broadcast content or media programming and how it is delivered at home and abroad; Engagement and interaction of the public with broadcasting and social and mobile media; and The reshaping of revenue models for broadcasters and media organizations globally. The first two parts of the volume, addressing research challenges, issues, and advances in global broadcasting, are competitively reviewed research papers which were presented at the BEA2014 Research Symposium. The third part focuses on international perspectives, with chapters from broadcasting scholars and paper discussants at the Research Symposium. This section provides reflection on the problems and prospects for research, education, and public policy that arise in this era of rapid and continuing change. As a benchmark of the remarkable changes taking place in today’s media environment, the volume sets an agenda for future research on the implications of digital technology for broadcasting and broadcasting education.
Since the beginning of broadcasting, radio and television producers have pushed their shows to audiences in controlled environments that end in a discrete and quantifiable site to be transformed into advertising rates. Today's viewers program their DVR's to create their own viewing schedules, wait to watch entire seasons in marathon DVD viewing sessions and stream shows to their mobile devices. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the traditional television industry. While audiences clamor for more story-driven and scripted entertainment, their new viewing habits undermine the dominant economic structures that fund quality episodic series.Television on Demand examines how we have reached this present moment; and considers the viable future(s) of this crucial culture industry. This leads to an understanding of an empowered audience that realizes its means of control of how it consumes media, as well as a new way of looking at the industry we have traditionally and currently call 'television.'
This book constitutes the refereed proceedings of the 4th Iberoamerican Conference on Applications and Usability of Interactive TV, jAUTI 2015, and the 6th Congress on Interactive Digital TV, CTVDI 2015, held in Palma de Mallorca, Spain, in October 2015. The 10 revised full papers and two short papers presented together with an invited talk were carefully reviewed and selected for this volume from 30 accepted submissions. The papers are organized in topical sections on Second Screen Applications Immersive TV; Video Consumption Development Tools; IDTV Interoperability; IDTV User Experience; Audiovisual Accessibility.
Jennifer Berz explores the employment of social media tools for brand management purposes with regard to serialised television brands. Drawing upon an extensive literature review of the research fields of media brand management, television branding, as well as social media and relevant neighbouring fields of study, the author develops a model that investigates relationships between social media, television and brand related constructs. Social media strategies are found to have a positive impact on users’ loyalty towards serialised television brands and their relationships with these brands.
Winner of the 2023 SCMS Media Industries Scholarly Interest Group Outstanding Book Award sponsored by the Center for Entertainment & Media Industries On March 15, 2011, Donald Trump changed television forever. The Comedy Central Roast of Trump was the first major live broadcast to place a hashtag in the corner of the screen to encourage real-time reactions on Twitter, generating more than 25,000 tweets and making the broadcast the most-watched Roast in Comedy Central history. The #trumproast initiative personified the media and tech industries’ utopian vision for a multi-screen and communal live TV experience. In Social TV: Multi-Screen Content and Ephemeral Culture, author Cory Barker reveals how the US television industry promised—but failed to deliver—a social media revolution in the 2010s to combat the imminent threat of on-demand streaming video. Barker examines the rise and fall of Social TV across press coverage, corporate documents, and an array of digital ephemera. He demonstrates that, despite the talk of disruption, the movement merely aimed to exploit social media to reinforce the value of live TV in the modern attention economy. Case studies from broadcast networks to tech start-ups uncover a persistent focus on community that aimed to monetize consumer behavior in a transitionary industry period. To trace these unfulfilled promises and flopped ideas, Barker draws upon a unique mix of personal Social TV experiences and curated archives of material that were intentionally marginalized amid pivots to the next big thing. Yet in placing this now-forgotten material in recent historical context, Social TV shows how the era altered how the industry pursues audiences. Multi-screen campaigns have shifted away from a focus on live TV and toward all-day “content” streams. The legacy of Social TV, then, is the further embedding of media and promotional material onto every screen and into every moment of life.