Rola marketingu społecznościowego w zarządzaniu relacjami z widzami seriali telewizyjnych na przykładzie produkcji Zakochani po uszy

The role of social media marketing in television viewer relationship management based on the TV production 'Zakochani po uszy' Social media marketing is becoming the main aspect of strategies implemented by traditional media workers. The aim of the study is an analysis of an impact this kind of internet marketing has on television viewer relationship management, in the form of case study. The author’s intention was to do the qualitative research on the TV production Zakochani po uszy created by TVN, including its promotion through an official profile on the social networking site called Instagram in terms of building relationships with viewers along with holistic and deepened description of analysed phenomena. In the study, the author presents the results of the research based on non-participant observation of the official profile of Zakochani po uszy on Instagram, in-depth interview with a person responsible for public relations of the series, results of the survey along with data analysis, which contains viewership and statistics from analysed profile. These activities enabled solving the research problem phrased as a question: how is the strategy, which is to create strong relations with viewers, formulated and answering detailed research questions posed in the study.

Gender division and television consumption in Kazakhstan

Television has remained the most prominent and influential form of the Kazakhstani mass media. According to the results of the study under consideration, 98 per cent of all households in the country have at least one television set. In this study, the author analyses data collected during a survey of the Kazakhstani population to assess gender differences relating to their habits of watching TV programmes to estimate levels of their TV consumption and their relationship to television in general. The collected data set also contained information about other related factors such as the administrative status of respondents (rural and urban), their age and occupation in order to identify a more nuanced profile of an average Kazakhstani television viewer.

Absolute Clarity

This chapter examines Michel Houellebecq’s La carte et le territoire [The Map and the Territory] (2010). In this Prix Goncourt-garnering novel, we see the world through the eyes of artist Jed Martin, who—like his cartography-inspired work—gazes upon the world with an ‘absolute clarity’ of vision. For Houellebecq’s protagonist, the map is ‘more interesting’ than the territory, but cartography is not the only visual paradigm lending its authority to his constructed gaze. I take Jed Martin’s mysterious and overlooked admission that he is above all a ‘television viewer’ as a starting point for an interrogation of the high-definition visual and rhetorical dynamics of Houellebecq’s prose. Ultimately, in this novel, in which Michelin the mapmaker becomes Michelin TV, and in which descriptions of landscapes read like commercials for automobiles, I propose that the true ‘television viewer’ is in fact Houellebecq’s ideal reader. This chapter mobilizes Bruno Latour on cartographic megalomania, Paul Virilio on visual media, and Antoine Compagnon on the Antimodern, delivering a new perspective on Houellebecq’s literary aesthetic.

The Television Viewer and the Television News

Television news has been studied from a number of perspectives. Few studies have focused on the moment of the encounter between the television viewer and the news. This research focused on what takes place at the encounter as described by the viewer. Its specific research questions were: what viewer typology constructs? What key news aesthetic emerges? And what is the nature of the encounter process? These were examined in a qualitative study mainly using a phenomenological approach involving 58 participants. The study had three key findings: that the television viewer is a disturbed, reflective, and dominating person at the encounter; that an epic news genre dominates the site and process; and lastly, that the key process at the encounter is one of intertextuality through a combative, combustive fusion and filter procedure. The research argues for a new area of encounter studies.

The Conceptualization of the Performance Elements of Media Organizations and the Factors that Influence their Performance

This study aims to examine the concept of media organizations` performance and the factors that influence their level of performance. Media organizations are often private profit-seeking enterprises but at the same time also have a public side that realizes freedom of speech, which is a core value of democracy. Therefore, a theory of media organizations` organizational performance needs to reflect this duality. We divide media organizations` organizational performance into two categories: economic-industrial and sociocultural. Economic-industrial performance can be defined as how media organizations perform in the market. A typical indicator is how much sales revenue they bring in. In addition, because their revenue heavily depends on advertisements, newspaper subscriptions or television viewer ratings, which are directly connected to advertisement revenue, can be used as performance indicators. Sociocultural performance refers to how media organizations perform with respect to their content. A media organization`s sociocultural performance primarily depends on whether it has accomplished the goals indicated by relevant laws. In addition, sociocultural performance depends on how the contents of a media organization are received by its readers or viewers, which can be identified by media credibility measures that are conducted by many organizations. Factors that influence media organization`s performance include independence, diversity and openness. The present study is a preliminary attempt to provide a conceptual analysis as groundwork for empirical research. We hope this preliminary examination builds a foundation for comparative studies of diverse public organizations such as public hospitals, universities, and public enterprises and can contribute to further theoretical and conceptual discussions about organizational performance.

Diary of a television viewer

In 1974, Melbourne teenager Jennifer Sketchley started keeping a daily diary. It continued until 1985, describing everyday life as a schoolgirl, leaving school at the age of 16, studying by correspondence and entering the workforce. She was happiest watching films and television, with her diary recording what she watched from morning to night. Sketchley’s diaries provide an intimate insight into the television habits and preferences of one Australian. This girl-centred article frames this unique record within the context of her family circumstances and within the field of girls’ media studies. It examines the everyday practice of an active television consumer and fan, engaging with programmes (especially Star Trek) and television periodicals, and seeking comfort and community.