Policy Issues Surrounding Broadcasting

2016 ◽  
Author(s):  
Hilde Van den Bulck
Keyword(s):  
Value Chain ◽  
Video On Demand ◽  
New Public ◽  
Pay Television ◽  
Production And Distribution ◽  
Media Markets ◽  
The Media ◽  
Media Types ◽  
Over The Top ◽  
The Relationship

In Europe and elsewhere broadcasting is considered by some a “thing of the past,” and broadcasting policy subsequently as hard to develop or even no longer relevant. Broadcasting has indeed seen a considerable number of changes since its inception in the 20th century and this has created policy challenges brought on by the evolving market for audio-visual content, policymakers, and various stakeholders. In its early and “golden” years, broadcasting policies where incited by a social responsibility in thinking about the relationship between the media and the state, resulting mostly in public service broadcasting monopolies. In the 1980s these monopolies were replaced by a liberalization of broadcasting policies and markets which led to a multichannel, commercializing television landscape. Digitization and ensuing and ongoing convergence have further changed the media landscape in recent decades, questioning old boundaries between once distinct media types and markets and opening up traditional media markets to new players. As a result, the traditional process of production and distribution, the valorization of this work in the different phases hereof (the so-called value chain), and the accompanying distribution of costs and revenues (the business model) have been and are being subjected to considerable changes. For instance, “free-to-air,” that is, traditional linear broadcasting, has stopped being the only channel of distribution as “video-on-demand” (VoD), pay television, “over-the-top content”-services (OTT), and other platforms and services bring products to new and different markets, allowing for a diversification across several valorization “windows.” Broadcasting has evolved into an audiovisual industry which poses new challenges to media policymakers as the ex ante testing for new public services and signal integrity cases illustrate. Broadcasting thus is not so much dying as constantly transforming, posing ever new changes to policymakers.

scholarly journals TO TEST OR NOT? SINGULAR OR MULTIPLE HERITAGE?

2015 ◽  
Vol 12 (2) ◽  
pp. 321-347 ◽  
Author(s):  
Jennifer L. Hochschild ◽  
Maya Sen
Keyword(s):  
New Technology ◽  
Multiple Points ◽  
Racial Identities ◽  
Public Opinion Surveys ◽  
New Public ◽  
History Of ◽  
The Media ◽  
Nationally Representative ◽  
Media Reports ◽  
The Relationship

AbstractDNA ancestry testing may seem frivolous, but it points to two crucial questions: First, what is the relationship, if any, between biology and race? Second, how much and why do people prefer clear, singular racial identities over blurred, mixed racial self-understandings, or the reverse? We posit that individuals of different racial or ethnic backgrounds will have different levels of support for this new technology. In particular, despite the history of harm caused by the biologization of race, we theorize that African Americans will be receptive to the use of DNA ancestry testing because conventional genealogical searches for ancestral roots are mostly unavailable to them. This “broken chain” theory leads to two hypotheses, of disproportionately high Black interest in DNA ancestry testing—thus an implicit acceptance of a link between biology and race—and high acceptance among Blacks of multiple heritages despite a preference for evidence of roots in Africa.To test these hypotheses, we analyze two databases of U.S. newspaper articles, one with almost 6,000 items and a second with 700. We also analyze two new public opinion surveys of nationally representative samples of adult Americans. Most of the evidence comes from the second survey, which uses vignettes to obtain views about varied results of DNA ancestry testing. We find that the media increasingly report on the links between genetic inheritance and race, and emphasize singular racial ancestry more than multiple heritages. The surveys show, consistent with our theory, that Blacks (and Hispanics, to some degree) are especially receptive to DNA ancestry testing, and are pleased with not only a finding of group singularity but also a finding of multiple points of origin. Qualitative readings of media reports illuminate some of the reasons behind these survey findings. We conclude with a brief discussion of the broader importance of DNA ancestry testing.

Patterns of successful media production

2016 ◽  
Vol 24 (3) ◽  
pp. 251-268 ◽  
Author(s):  
M Bjørn von Rimscha ◽  
Marcel Verhoeven ◽  
Isabelle Krebs ◽  
Christoph Sommer ◽  
Gabriele Siegert
Keyword(s):  
Media Production ◽  
Product Characteristics ◽  
Media Type ◽  
Process Characteristics ◽  
Production Processes ◽  
Starting Point ◽  
Production And Distribution ◽  
German Speaking ◽  
The Media ◽  
Media Types

While it has been acknowledged that convergence is a multidimensional phenomenon, the convergence of media production processes has received little attention from researchers so far. In this article, we address this research gap with a qualitative study of production processes in different types of media. Our starting point is that independent of the media type, common product characteristics can be identified, that promote success in the audience market. We ask whether the same is true for process characteristics; whether there are converged processes that promote audience success independent of the media type. The study is based on n = 39 interviews in the German-speaking markets. Our findings provide a differentiated result: We do find similarities in the processes along the lines of product characteristics; however, the project phase is an important influencer. While processes in the development phase are more converged, production and distribution still demand distinct processes for different media types. In general, we can confirm studies that find a reluctance of media practitioners towards convergence, which often remains an underfunded and cost-oriented brain child of the top management.

scholarly journals SVOD Global Expansion in Cross-National Comparative Perspective: Netflix in Israel and Spain

2020 ◽  
pp. 152747642092649
Author(s):  
Michael L. Wayne ◽  
Deborah Castro
Keyword(s):  
Similar Pattern ◽  
Comparative Research ◽  
Industrial Process ◽  
Video On Demand ◽  
Meso Level ◽  
Global Expansion ◽  
On Demand ◽  
Pay Television ◽  
Over The Top ◽  
Cross National

This article compares the processes by which Netflix entered national pay-television markets in Israel and Spain. In both contexts, Netflix first establishes itself through collaborations with over-the-top (OTT) television operators and then expands through collaborations with legacy providers. By using the perspective of cross-national comparative research, this analysis complicates the scholarly understandings of subscription video on-demand (SVOD) global expansion by drawing attention to the significance of national multichannel providers. Given the differences between the Spanish and Israeli pay-TV markets, Netflix’s similar pattern of engagement in each case highlights the value of understanding SVOD global expansion as a coherent industrial process that produces distinct, context-dependent outcomes. Ultimately, the histories of Netflix in Israel and Spain reveal that internationalization operates at a meso-level where collaborations with pay-television providers facilitate access to national audiences.

ENRICHING MEDIA MERCHANDISE SARANA PENUNJANG PROMOSI STUDI KASUS PADA BOOKSTORE

CCIT Journal ◽  
2014 ◽  
Vol 7 (3) ◽  
pp. 420-436
Author(s):  
Dewi Immaniar ◽  
Sudaryono Sudaryono ◽  
Ayu Ningrum
Keyword(s):  
Visual Media ◽  
Test Duration ◽  
Media Campaign ◽  
Business World ◽  
Retail Business ◽  
The Media ◽  
Media Types ◽  
The Times ◽  
A Company

Talk about retail business can not be separated from the importance of service to consumers and good quality goods . But at the present time due to intense competition in the business world , the service and quality of goods is not enough to be able to increase revenue and attract customers loyal . This makes companies think hard to survive and stable in the business . One of them is by using a media campaign in this regard more toward print or visual media is indirectly felt the value of their effectiveness in communicating product marketing programs . PT . Times Prima Indonesia is a company engaged in the retail book with the name of the Times bookstores . Based on the analysis of the company’s problems requires additional media types supporting more varied and creatif promotion of existing ones, which will be used as a complement and a media campaign as well as to enrich the data renewal campaign design to capture the interest of consumers in which one form of the media campaign is shaped merchandise . Therefore , do Enriching ( enrich ) media campaign merchandise before it is less varied and has not formed a company image . The methodology used is the analysis, observation and design . Besides the new design has been tested with the implemented test duration for 6 months, and greatly increases the perceived contribution , this is evidenced by the chart sales increasing each month.

Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir
Keyword(s):  
Video On Demand ◽  
Global Strategy ◽  
Industrial Change ◽  
Export Markets ◽  
Literary Adaptation ◽  
The North ◽  
Industrial Landscape ◽  
Production And Distribution ◽  
Critical Scrutiny ◽  
The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

Diversification propaganda work with foreign audiences

2020 ◽  
Vol 4 (4(13)) ◽  
pp. 31-50
Author(s):  
Shiyu Zhang ◽  
Keyword(s):  
Developing Countries ◽  
International Relations ◽  
Strategic Partnership ◽  
The Past ◽  
Bilateral Relations ◽  
The Media ◽  
The Relationship

Over the past decade, bilateral relations between China and Russia have attracted the attention of the whole world. As neighbors and rapidly developing countries, China and Russia are becoming increasingly important in the international arena. The strategic partnership and interaction between China and Russia occupy a significant place in the politics of both countries. Cooperation is developing dynamically in various fields, primarily in politics. After 2012, a change of government took place in China and Russia, which brought new changes to international relations. Studying the involvement of the media in this process can clarify their impact on international relations, in particular, their role in the relationship between China and Russia.

Diversity and the Degree of Concentration of the Media Markets in Korea

2009 ◽  
Vol 46 (1) ◽  
pp. 37-61
Author(s):  
Joo-Yeun Park ◽  
Bum Soo Chon
Keyword(s):  
Media Markets ◽  
The Media

Culture and Commerce

2017 ◽  
Author(s):  
Mukti Khaire
Keyword(s):  
Cultural Change ◽  
Cultural Production ◽  
Field Research ◽  
Market Mechanism ◽  
Creative Industries ◽  
Royal Patronage ◽  
Commerce Building ◽  
Production And Distribution ◽  
Necessary Evil ◽  
The Relationship

This book describes how commercial ventures in creative industries have cultural impact. Since royal patronage of arts ended, firms in the creative industries, working within the market mechanism, have been responsible for the production and distribution of the cultural goods—art, books, films, fashion, and music—that enrich our lives. This book counters the popular perception that this marriage of art and business is a necessary evil, proposing instead that entrepreneurs who introduce radically new cultural works to the market must bring about a change in society’s beliefs about what is appropriate and valuable to encourage consumption of these goods. In so doing, these pioneer entrepreneurs change minds, not just lives; the seeds of cultural change are embedded in the world of commerce. Building on theories of value construction and cultural production, integrated with field research on pioneer firms (like Chanel and the Sundance Institute) and new market categories (like modern art and high fashion in India), the author develops conceptual frameworks that explain the structure and functioning of creative industries. Through a systematic exposition of the roles and functions of the players in this space—creators, producers, and intermediaries—the book proposes a new way to understand the relationship among markets, entrepreneurship, and culture. Khaire also discusses challenges inherent in being entrepreneurial in the creative industries, paying special attention to the implications of digitalization and globalization, and suggests prescriptive directions for individuals and firms wishing to balance pecuniary motivations with cultural convictions in this rapidly changing world.

Mediatizing Sex

2019 ◽  
Author(s):  
Crispin Thurlow
Keyword(s):  
New Media ◽  
Academic Writing ◽  
Lived Experiences ◽  
Digital Technologies ◽  
Communicative Practices ◽  
Digital Discourse ◽  
The Media ◽  
The Relationship

This chapter focuses on sex/uality in the context of so-called new media and, specifically, digital discourse: technologically mediated linguistic or communicative practices, and mediatized representations of these practices. To help think through the relationship among sex, discourse, and (new) media, the discussion focuses on sexting and two instances of sexting “scandals” in the news. Against this backdrop, the chapter sets out four persistent binaries that typically shape public and academic writing about sex/uality and especially digital sex/uality: new-old, mediation-mediatization, private/real-public/fake, and personal-political. These either-or approaches are problematic, because they no longer account for the practical realities and lived experiences of both sex and media. Scholars interested in digital sex/uality are advised to adopt a “both-and” approach in which media (i.e., digital technologies and The Media) both create pleasurable, potentially liberating opportunities to use our bodies (sexually or otherwise) and simultaneously thwart us, shame us, or shut us down. In this sense, there is nothing that is really “new” after all.

scholarly journals A buffered media system for yeast batch culture growth

2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Rianne C. Prins ◽  
Sonja Billerbeck
Keyword(s):  
Nitrogen Source ◽  
Ammonium Sulfate ◽  
Batch Culture ◽  
Biomass Production ◽  
Buffering Capacity ◽  
Drop Out ◽  
Batch Cultures ◽  
Media System ◽  
The Media ◽  
Media Types

Abstract Background Fungi are premier hosts for the high-yield secretion of proteins for biomedical and industrial applications. The stability and activity of these secreted proteins is often dependent on the culture pH. As yeast acidifies the commonly used synthetic complete drop-out (SD) media that contains ammonium sulfate, the pH of the media needs to be buffered in order to maintain a desired extracellular pH during biomass production. At the same time, many buffering agents affect growth at the concentrations needed to support a stable pH. Although the standard for biotechnological research and development is shaken batch cultures or microtiter plate cultures that cannot be easily automatically pH-adjusted during growth, there is no comparative study that evaluates the buffering capacity and growth effects of different media types across pH-values in order to develop a pH-stable batch culture system. Results We systematically test the buffering capacity and growth effects of a citrate-phosphate buffer (CPB) from acidic to neutral pH across different media types. These media types differ in their nitrogen source (ammonium sulfate, urea or both). We find that the widely used synthetic drop-out media that uses ammonium sulfate as nitrogen source can only be effectively buffered at buffer concentrations that also affect growth. At lower concentrations, yeast biomass production still acidifies the media. When replacing the ammonium sulfate with urea, the media alkalizes. We then develop a medium combining ammonium sulfate and urea which can be buffered at low CPB concentrations that do not affect growth. In addition, we show that a buffer based on Tris/HCl is not effective in maintaining any of our media types at neutral pH even at relatively high concentrations. Conclusion Here we show that the buffering of yeast batch cultures is not straight-forward and addition of a buffering agent to set a desired starting pH does not guarantee pH-maintenance during growth. In response, we present a buffered media system based on an ammonium sulfate/urea medium that enables relatively stable pH-maintenance across a wide pH-range without affecting growth. This buffering system is useful for protein-secretion-screenings, antifungal activity assays, as well as for other pH-dependent basic biology or biotechnology projects.

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