Engaging viewers through social TV games

Author(s):  
Pedro Almeida ◽  
Jorge Ferraz ◽  
Ana Pinho ◽  
Diogo Costa
Keyword(s):  
2013 ◽  
Vol 10 (1) ◽  
pp. 24-33 ◽  
Author(s):  
Christopher Buschow ◽  
Beate Schneider ◽  
Lisa Carstensen ◽  
Martin Heuer ◽  
Anika Schoft

Fernsehsender, Start-Ups und Hardware-Hersteller setzen in zunehmendem Umfang auf soziale Interaktion während des Fernsehens – und erhoffen sich mit „Social TV“ einen Weg zur ‚Rettung‘ des linearen Fernsehens und der Erschließung neuer Geschäftsfelder. Auf der Grundlage von 34 leitfadengestützten Experteninterviews mit Marktteilnehmern diskutiert der Beitrag das Marktumfeld von Social TV und seine Perspektiven in Deutschland. Der Fokus liegt auf Nutzerinnen und Nutzern, spezifischen Fernsehformaten sowie auf technologischen Entwicklungen, zukünftigen Geschäftsmodellen sowie den damit verbundenen Chancen und Risiken von Social TV.


2013 ◽  
Vol 10 (4) ◽  
pp. 48-57 ◽  
Author(s):  
Christopher Buschow ◽  
Beate Schneider ◽  
Kira Drabner ◽  
Alena Bauer ◽  
Lisa Carstensen
Keyword(s):  

Social TV ist kein Phänomen, das von kapitalstarken Organisationen in Innovationsprozessen strategisch entwickelt wurde. Es entstand vielmehr in der Alltagspraxis von Nutzern, die neue Möglichkeitsräume in digitalen Medien erschlossen haben. Der Beitrag stellt Ergebnisse einer Befragung dieser Lead User vor und gibt Auskunft über ihre Nutzungsgewohnheiten, ihre technologische Ausstattung, genutzte Plattformen und Genrepräferenzen. Vergleichend werden Ergebnisse einer Untersuchung von Nichtnutzern herangezogen. Auf Basis der empirischen Erkenntnisse können Handlungsoptionen für die Marktteilnehmer, insbesondere für Fernsehunternehmen, abgeleitet werden.


Author(s):  
Stephen McCreery ◽  
Brian C Britt ◽  
Jameson Hayes

Social television (TV) engagement has become more commonplace as viewers seek alternative ways of engaging with TV shows and other viewers. This is especially true with televised professional wrestling; 119,506 tweets were analyzed using social network analysis during the four World Wrestling Entertainment telecasts. Results show that brand-affiliated users primarily interact among one another and not the fans themselves, despite fans reaching out to the brand, resulting in significant social stratification and low interactivity within the community. The findings suggest that when fans think they are able to join and contribute to the brand’s ongoing conversation, those fans might still be highly motivated to communicate with the brand, even if the brand does not reciprocate.


2016 ◽  
Vol 2 (3) ◽  
pp. 205630511666217 ◽  
Author(s):  
Lauren A. Auverset ◽  
Andrew C. Billings
Keyword(s):  

Author(s):  
Mohammed Habes ◽  
Sana Ali ◽  
Mokhtar Elareshi ◽  
Khalaf M. Tahat ◽  
Abdulkrim Ziani

Author(s):  
Jihyun Kim ◽  
Kelly Merrill

These days, many individuals engage in a unique form of TV viewing that includes a simultaneous act of watching television content and talking about it with others in a mediated environment. This phenomenon is commonly referred to as social TV viewing. Responding to the popularity of this form of TV viewing behavior, the present study examines the individual differences of the social TV viewing experience, particularly with regard to different communication platforms (e.g. private vs. public). Based on the data collected from an online survey, primary findings indicate that extroverted and lonely individuals have different social TV viewing experiences such as preferences for a particular type of platforms for social TV viewing. Further, social presence plays an important role in the understanding of social TV enjoyment in private and public platforms.


2021 ◽  
Vol 27 (1) ◽  
pp. 25-42
Author(s):  
Breno de Paula Andrade Cruz ◽  
Susana C. Silva ◽  
Steven Dutt Ross

Purpose – The social TV phenomenon has raised the interest of some researchers in studying the production of online reviews. However, little is known about the characteristics of reviewers that, without having had indeed a real experience of consumption, still dare to assess the service. The purpose of this research is to understand these reviewers better, using an experiment conducted in Brazil. Design/methodology/approach – Through a cluster analysis with 2547 reviewers of 7 restaurants that participated in a reality show in Brazil, we were able to create 4 fours. Using Spearman Correlation and Kruskal-Wallis Test, differences among groups were analysed in the search of behavioural changes among different types of reviewers. Findings – We conclude that social TV influence fake online reviews of restaurants that were involved in a tv show. Furthermore, we were able to verify that some reviewers indeed assess the service without indeed having tried the service, which strongly bias the influence they are going to cause in potential consumers. Four types of reviewers were identified: the real expert, the amateur reviewer, the speculator and the pseudo expert. The 2 latter types are analyzed through the anthropologic lens of the popular Brazilian culture and the TV influence in that country. Research limitations/implications – we were able to understand how TV can influence the construction of fake online reviews for restaurants. Practical implications – It is important for the restaurant and hospitality industry in general, to be able to be attentive to the phenomenon of fake reviews that can totally biased the advantages of this assessment system that was created to produce trust among consumers, but that can act exactly the other way around. Originality/value – This study highlights the relevance of taking into account cultural background of the country where the restaurant is located, as well as emphasizing the relevance of conducting a previous analysis of the decision of embarking on a reality show that it has high chances to biasedly influence consumers’ decisions.


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