Advertising the Medium: On the Narrative Worlds of a Multimedia Promotional Campaign for a Public Service Television Channel

2010 ◽  
Author(s):  
Elsa Simões Lucas Freitas
Keyword(s):  
Public Service ◽  
Television Channel ◽  
Promotional Campaign ◽  
Narrative Worlds

Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission

2014 ◽  
Vol 11 (4) ◽  
pp. 418-439 ◽  
Author(s):  
Gabriele Bock ◽  
Siegfried Zielinski
Keyword(s):  
Public Service ◽  
Risk Taking ◽  
Independent Film ◽  
Television Channel ◽  
Policy Context ◽  
Funding Mechanism ◽  
Contemporary Perspective ◽  
Hybrid Character ◽  
Commercial Station ◽  
First Time

This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.

scholarly journals Risk Communication Initiatives amid COVID-19 in India: Analyzing Message Effectiveness of Videos on National Television

2020 ◽  
Vol 22 (2) ◽  
pp. 262-280
Author(s):  
Neetu Purohit ◽  
Seema Mehta
Keyword(s):  
Risk Communication ◽  
Public Service ◽  
Family Welfare ◽  
Message Content ◽  
Information Need ◽  
Timely Manner ◽  
Television Channel ◽  
Message Effectiveness ◽  
Public Health Emergencies ◽  
New Type

Communication for all hazards including widespread public health emergencies is a massive task. The crucial element is to reach and cover maximum people in a timely manner. This article is based on a systematic content analysis of videos on coronavirus disease (COVID-19) on National Television by Indian Public Service Broadcaster and Ministry of Health and Family Welfare. A total of 36 videos were telecasted on National Television channel Doordarshan from 3 March to 21 April 2020 in between programme breaks. The article analyses the presentation characteristics of these videos with respect to timing, duration, language, characters, format and key message content of communication videos on COVID-19. The article deliberates about the manner in which the chronology of the communication messages synced with the external events of the trajectory of the pandemic and thereby information-need of the community in India. All the messages which evolved in these videos (real and animated) were built on each other and depicted an information hierarchy (e.g., washing hands to social distancing) which could be viewed as an empowering tool for the community. The videos were analysed based on the nine constructs of conceptual model of emergency risk communication given by Seeger et al. (2018) . The key preventive messages in these videos focused on generating awareness, which was the fundamental necessity in view of the new type of pandemic like COVID-19. The summated scores show that 36 videos were appropriate up to 79 per cent times for the nine constructs, indicating the effectiveness of the messages in communicating the intended message as per the assessed construct. Limitations of the messages were primarily related to the inability to design communication messages with respect to specific understanding, needs and culture of the community.

scholarly journals ‘More than a Television Channel’

2014 ◽  
Vol 3 (6) ◽  
pp. 5
Author(s):  
Hannah Andrews
Keyword(s):  
Public Service ◽  
Rapid Expansion ◽  
Digital Television ◽  
Test Case ◽  
Commercial Television ◽  
Television Channel ◽  
Television Industry ◽  
Commercial Viability ◽  
Distribution Company ◽  
The Uk

Obliged by act of Parliament to ‘innovate and experiment’, Channel 4 has, since its birth in 1982, been the UK’s most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation’s 2000 Annual report, ‘More than a Television Channel’ indicates the confidence, optimism and boldness with which this expansion was approached. The rapid expansion of the channel’s portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel. Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4’s strategy that pertained to one of the broadcaster’s particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company.

scholarly journals Interactive television? A retrospective analysis of why red button content failed

2019 ◽  
Vol 10 (2) ◽  
pp. 203-215 ◽  
Author(s):  
Andy Fox
Keyword(s):  
Public Service ◽  
Interactive Television ◽  
The Political ◽  
Methodological Framework ◽  
Television Channel ◽  
Interactive Applications ◽  
Short Period ◽  
Television Experiment ◽  
The Media ◽  
Interactive Experience

Interactive television was intended to provide the viewers with an enhanced experience of television. In the late 1990s and early 2000s, both public service and subscription-based television broadcasters provided the audience with a variety of ‘interactive’ applications. By 2012, most of the interactive applications had been either reduced in scale and ambition or withdrawn completely. This article is an overview of why the interactive television experiment failed. The methodological framework is a content analysis undertaken in the summer of 2012 which found a small amount of red button content supporting traditional broadcasts. The little found was either pre-existing content or entailed the button’s use as, effectively, the portal to a supplementary television channel. Moving forward, the article provides a discussion on why the optimism that television could be an interactive experience in the early 2000s dissolved in a relatively short period of time. The conclusion is that interactive television did not fit the political economy of the media landscape.

scholarly journals Negotiating Creativity on a Small Budget

2018 ◽  
Vol 39 (1) ◽  
pp. 19-32 ◽  
Author(s):  
Mads Møller Andersen
Keyword(s):  
Production Process ◽  
Public Service ◽  
Target Audience ◽  
Television Channel ◽  
Production Analysis ◽  
Service Institution ◽  
Production Company ◽  
Production Conditions ◽  
Made In ◽  
Discursive Approach

Abstract This article presents findings from a production analysis of the Danish public-service television channel DR3’s fiction production Anton 90, which was made in cooperation with a small independent production company called New Creations. In the context of intensified competition on the Danish market for fiction series, the ambivalent cooperation behind this production exemplifies the low-budget efforts of a traditional public service institution to produce the fiction series that their younger target audience desires. The article uses a narrative-discursive approach to creativity and develops the term creative assumptions in order to analyse how media professionals’ implicit assumptions about conditions for creativity can influence the production process, and can generate disagreements. The analysis shows that the value of Anton 90 as a product is negotiated socially by the involved parties who have quite different assumptions about how production conditions can promote creativity, and suggests that a low-budget production can still be labelled as “successful”.

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