scholarly journals Changing channels: an exploration of disruptive technologies and the challenges they pose to English-Canadian television product

2021 ◽  
Author(s):  
Tessa Sproule
Keyword(s):  
Public Service ◽  
Policy Framework ◽  
Television Industry ◽  
Television Production ◽  
Disruptive Technologies ◽  
Television Broadcasting ◽  
Production And Distribution ◽  
Broadcasting System ◽  
Television Plays ◽  
English Canadian

"The audience wants to be able to watch a program when they want - in fact most every technological innovation adopted by the television industry has had some aspect in its design to fulfil that desire. I'm interested in how technologies facilitate audiences in finding a way to watch what they want to, when they want to. I'm also interested in (and to be frank, somewhat anxious since I work in television) what new pitfalls and possibilities the latest technologies pose for the future of television production and distribution in Canada. As we'll lean later, there are technological changes afoot that could sideswipe the effort of generations of Canadian broadcast policymakers and topple the Canadian television industry in their wake. Ours is a fragile television broadcasting system, crippled by a deeply divided policy framework based on two opposing philosophies -- one that puts an emphasis on television's role as a public service and another that emphasizes its commercial purposes and profitability. I will evaluate whether that policy framework is equipped to safeguard Canada's precarious television industry against what some say is an inevitable tidal wave of American domination heading our way. But first I want to investigate whether American domination of our TV sets is such a horror. If television doesn't really matter when it comes to our cultural and national sovereignty, I might as well stop writing right now. But as we'll learn, it does matter. While there is much debate over how television plays a role in our functioning as a sovereign society there is a general consensus that something is happening when we watch TV. It is to the problem of what that something is that I turn to first."--Pages 1-2.

scholarly journals Changing channels: an exploration of disruptive technologies and the challenges they pose to English-Canadian television product

2021 ◽  
Author(s):  
Tessa Sproule
Keyword(s):  
Public Service ◽  
Policy Framework ◽  
Television Industry ◽  
Television Production ◽  
Disruptive Technologies ◽  
Television Broadcasting ◽  
Production And Distribution ◽  
Broadcasting System ◽  
Television Plays ◽  
English Canadian

"The audience wants to be able to watch a program when they want - in fact most every technological innovation adopted by the television industry has had some aspect in its design to fulfil that desire. I'm interested in how technologies facilitate audiences in finding a way to watch what they want to, when they want to. I'm also interested in (and to be frank, somewhat anxious since I work in television) what new pitfalls and possibilities the latest technologies pose for the future of television production and distribution in Canada. As we'll lean later, there are technological changes afoot that could sideswipe the effort of generations of Canadian broadcast policymakers and topple the Canadian television industry in their wake. Ours is a fragile television broadcasting system, crippled by a deeply divided policy framework based on two opposing philosophies -- one that puts an emphasis on television's role as a public service and another that emphasizes its commercial purposes and profitability. I will evaluate whether that policy framework is equipped to safeguard Canada's precarious television industry against what some say is an inevitable tidal wave of American domination heading our way. But first I want to investigate whether American domination of our TV sets is such a horror. If television doesn't really matter when it comes to our cultural and national sovereignty, I might as well stop writing right now. But as we'll learn, it does matter. While there is much debate over how television plays a role in our functioning as a sovereign society there is a general consensus that something is happening when we watch TV. It is to the problem of what that something is that I turn to first."--Pages 1-2.

scholarly journals Television Space of the Crimea and Sevastopol in the Context of the New State

2020 ◽  
Vol 9 (2) ◽  
pp. 347-362
Author(s):  
Galina Shchepilova ◽  
Dmitry Zhukov
Keyword(s):  
Public Information ◽  
Information Space ◽  
Television Industry ◽  
Current Period ◽  
Current State ◽  
Television Broadcasting ◽  
Broadcasting System ◽  
The Crimea ◽  
Russian Media ◽  
Media Systems

The article deals with the influence of the landmark event - the Crimea and Sevastopols reunification with Russia - on the peninsulas information space, whose functional importance is crucial for interaction with the audience. The object of the research is television as part of the information space that has always had the biggest effect on the population as compared to the other mass media, regardless of the statesmanship (Soviet, Ukrainian, or Russian). The authors do a detailed study of the current period of television development. They point out that, in order to draw a coherent picture of the Crimeas television broadcasting system, it is necessary to analyze its multiple aspects, namely, finance, content, organizational and legal sphere, technologies and audience. However, the authors focus on the structural transformation of television in the Crimea and Sevastopol. The aim is to determine the place of the peninsulas current television broadcasting system in Russian media environment, and to outline its problem spots. The empirical base of the research, which provides for better understanding of the current state of the television industry in the Crimea, is a historical retrospective review of its establishment based on public information sources and expert evidence. The key research method is insider view. The theoretical base includes approaches to studying media systems, as well as the concept of the frontier.

From flabby to fit: Restructuring the public broadcasting system in Egypt

2021 ◽  
pp. 174276652110239
Author(s):  
Rasha Allam
Keyword(s):  
Public Service ◽  
Regulatory Framework ◽  
Financial Reports ◽  
The Public ◽  
Strategic Vision ◽  
Broadcasting System ◽  
Public Broadcaster ◽  
Service Mission ◽  
Depth Interviews ◽  
Decentralized Model

The Egyptian public broadcaster, newly named the National Media Council (NMC), has been under pressure to undergo comprehensive restructuring. Many changes have taken place recently to enable this transformation. Through analysing financial reports, evaluating the new regulatory framework and conducting in-depth interviews, this study examines the likelihood of the NMC adapting to the recent changes and the extent to which the new regulatory framework promotes a public service system suggesting a model for implementation. Findings show that the NMC must respond to four main challenges: lack of strategic vision and identity, a centralized regime power structure, an acute financial deficit, and a weak digital presence. Interviewees evaluated the new regulatory framework as inexhaustive with an intention to maintain grip on power. Interviewees proposed an integrated decentralized model that combines the public service mission with private partnership.

Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra

2021 ◽  
Vol 16 (2) ◽  
pp. 163-180
Author(s):  
Eva Novrup Redvall ◽  
Katrine Bouschinger Christensen
Keyword(s):  
Public Service ◽  
Qualitative Case Study ◽  
Television Drama ◽  
Television Production ◽  
Successful Series

This article explores the strategies for fictional content of the Danish children’s channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016–now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the value of involving children more closely in content targeting them, not only to ensure that what is told and how it is told is relevant and appealing, but also to create a sense of participation and co-creation.

scholarly journals The platformisation of public service broadcasting in Germany: The network ‘funk’ and the case of Druck/Skam Germany

2021 ◽  
Vol 16 (2) ◽  
pp. 126-144
Author(s):  
Sven Stollfuß
Keyword(s):  
Social Media ◽  
Public Service ◽  
Third Party ◽  
Mobile Media ◽  
Media Environment ◽  
The Public ◽  
Public Service Broadcasting ◽  
Web Series ◽  
Production And Distribution ◽  
German Adaptation

This article investigates how platformisation changes the practices of content production and distribution through the case of the web series, Druck (tr. Pressure (2018–), for the public service content network ‘funk’ (ARD and ZDF). An analysis of the German adaptation of the Norwegian television and web series Skam (tr. Shame) (NRK3, 2015–2017) shows how public service broadcasting (PSB) in Germany is changing due to the influence of social media. To reach a younger audience, PSB has to meet them on third-party platforms. Consequently, PSB must provide content that fits the mobile media environment of social media.

scholarly journals The delay economy of “continuity” and the emerging impatience culture of the digital era

2019 ◽  
Vol 1 (1) ◽  
pp. 85-101 ◽  
Author(s):  
Hanne Bruun
Keyword(s):  
Public Service ◽  
Digital Technology ◽  
Television Industry ◽  
Broadcast Television ◽  
Digital Era ◽  
Communicative Strategies ◽  
Private And Public ◽  
Temporal Structures ◽  
Media Experience ◽  
Over The Top

AbstractThis article compares the “continuity” produced by private- and public service television companies and discusses whether it can survive in the digital era. In broadcast television, “continuity” carries the industry’s dominating business model: the commercial break. The present disruption to this model, caused by digital technology, over-the-top companies like Netflix and social media like Youtube, has made the television industry eager to adapt to new television viewing habits. However, based on a comparative analysis of the communicative strategies of four television companies in Denmark, the article argues that a traditional delay economy still governs the temporal structures and constructions of continuity. This delay economy draws heavily on the patience of its implied viewers. The article discusses this conceptualization of the audience in the context of an emerging impatience culture in which instant access to personalized audio-visual content and gaming on different devices are part of the viewers’ media experience.

Public Broadcasting through the Public Sphere: A Reimagining of Public Service Media in New Zealand

2014 ◽  
Vol 153 (1) ◽  
pp. 31-40 ◽  
Author(s):  
Donald Reid
Keyword(s):  
New Zealand ◽  
Public Service ◽  
Cost Effective ◽  
The State ◽  
Public Broadcasting ◽  
Public Service Broadcasting ◽  
Education And Health ◽  
Broadcasting System ◽  
Rural Broadband ◽  
The Public Sphere

During 2013, the New Zealand government heralded the launch of the Ultra-Fast Broadband (UFB) and Rural Broadband Initiatives (RBI) as significant tools across a range of economic and social policy areas, including the delivery of education and health services and the promotion of development policies for Maori. Conspicuously absent in the associated political discussion was the issue of public service broadcasting and the possibility for internet-based technologies to provide an efficient and cost-effective platform for the production and delivery of non-commercial public service media. The reason for this omission may be due to the governing National Party's historic disregard for public service broadcasting, as demonstrated by its disestablishment of a number of public broadcasting initiatives since 1999. Drawing on a Habermasian theoretical framework and Dan Hind's concept of ‘public commissioning’, the purpose of this article is to outline an alternative system for public service broadcasting based on a series of referenda and on open public debate. I begin by examining the present public broadcasting system and the traditional centrality of the state in governance and gatekeeping issues. I argue that the communicative potential of social media, enabled by universally accessible ultra-fast broadband, could provide an adequate platform for public gatekeeping, with the state having a significantly reduced role. I make the argument that the technological and resourcing mechanisms for such a system already exist, and the required shift in audience culture is already present in the consumption of entertainment and reality TV texts.

Digitalization in Cinema in Turkey

2019 ◽  
pp. 226-247
Author(s):  
Deniz Özalpman ◽  
Sibel Kaba
Keyword(s):  
Public Service ◽  
Cultural Policy ◽  
Third Parties ◽  
Policy Framework ◽  
Topical Issue ◽  
Digital Platforms ◽  
Communications Policy ◽  
The Public ◽  
Cultural Policies ◽  
Developing Society

The chapter deals with the topical issue of cultural policies through digitalization in cinema in Turkey, discussing the appropriate frameworks that need to be put in force. In a rapidly developing society like Turkey, the problems of digitalization in cinema vis-à-vis neoliberal regulation are being debated. Three crucial areas for a digital cultural policy in cinema are identified, namely expanding public service mindset on new services and national digital platforms, creating a communications policy framework of the different parties involved as government, parliament, regulatory authorities, the public service media, and the designated third parties as civil society and market representatives, and stimulating debate to follow an anti-monopolistic progression in (digitalized) cinema.

Super Sunday

2020 ◽  
pp. 209-232
Author(s):  
Richard C. Crepeau
Keyword(s):  
Growth And Development ◽  
Gilded Age ◽  
The Internet ◽  
Super Bowl ◽  
Thorstein Veblen ◽  
Television Production ◽  
Television Broadcasting ◽  
Production Techniques ◽  
Food And Drink ◽  
The Right

The Super Bowl has become a Mid-winter National Festival, a celebration of excess that somehow keeps growing. It is best spoken of in terminology created by Thorstein Veblen in his examination of the lives of the new rich in America’s Gilded Age of the late 19th century. Such phrases as Conspicuous Consumption, Conspicuous Waste, and Pecuniary Emulation seem to have been created for the spectacle of the Super Bowl. There are a multitude of measurements of superness including television ratings, television production techniques, corporate parties, and advertising costs. This chapter chronicles the growth and development of these indicators from Super Bowl I to Super Bowl LIV. Cities and States spend excessively, as indeed required by the NFL, to get the right to host a Super Bowl that allegedly brings get wealth and notoriety to that location. Individuals spend excessively to attend the game or to stay home and host lavish or modest parties. The amount of food and drink consumed on Super Sunday is second only to Thanksgiving Day. The use of Roman Numerals gives an Imperial touch to the occasion. The Super Bowl occupies growing space on the internet and in social media adapting to every new wrinkle in e-technology. The commercials for the game have become a mini-film festival and for many have become the main interest of the Super Bowl, not the game. Gambling on the game has spread worldwide along with television broadcasting, and every possible bet imaginable is made on and around the game. There is high interest in the parties and for some, particularly the Playboy and Maxim parties, attendance is a sure method of conspicuous leisure. There is two weeks between the Conference Championships and the Super Bowl to allow sufficient time to binge on the event. In the end, it is growth in everything even remotely related to the Super Bowl that marks this National holiday that excessively celebrates excess.

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