Serial „Artyści” jako przykład telewizji jakościowej

The article The series “The Artists” as an example of quality television is an attempt to analyse the original TV series The Artists [Artyści] (2016) by Paweł Demirski and Monika Strzępka from the perspective of the determinants of the quality television model defined by Jane Feuer. The researchers consider the series, whose authors are neither film nor television artists, but are representing critical theatre in Poland, to be the first such full implementation of quality television in Polish TV culture. The authors of the article begin their analysis with the first Polish productions that featured elements of quality television (starting from The Cop [Glina] series from 2003) and defining synthetically its determinants. These genre determinants are deepened in the following sections in the perspective of the analysis of the series The Artists in terms of focusing the theme of the movie on the present; constructing the script of the series about characters from different layers and environments, in opposition to accepted norms; the author(s) as a guarantee of a high-quality artistic series; stylistic means; intertextual layer.

Broadway in the Box

Broadway in the Box shines a television-centric light on the cross-industry presence of a seminal American art form. Over seven chapters, it works to unearth, explore, and analyze pockets of over seventy years of television programming that have embraced, nodded toward, and satirized the American musical in its various forms. This concentrated exploration of the genre across American television allows for an explication of America’s shifting and at times wavering feelings toward the musical, its songs, and its stars. Further, examining these texts alongside constantly changing and at times intersecting entertainment industries uncovers forms of symbiosis and synergy that linked the cultural and economic futures of the musical across platforms. In the end, Mitzi Gaynor titillating America in a revealing and bejeweled Bob Mackie dress was not just the seventies being the seventies, but a single event reflecting a larger confluence of Broadway, film, Vegas, ratings, genre, and programming trends within a specific television model. Perhaps in a style similar to various Broadway and film retrospectives, Broadway in the Box takes individual events and brings them together to craft a larger commentary on American entertainments, economics, and industries. Broadway has always been in the box; someone just needed to plug it in to see what was on.

Nuevos modelos de negocio en la industria televisiva: El caso Netflix / New business models in broadcast television: the Netflix case

Netflix, a platform with more than 100 million users in the world, has forever changed the way television is produced and consumed. This article analyzes how this new television model convergent with Internet has transformed the concept of programming and teleclairvoyance through intensified viewing or binge watching. A conceptual review identifies the main theoretical displacements on television, programming and audiences generated by the platform, as well as a documentary analysis of news articles on the subject, and the visualization of the Original contents published until May 2017.Netflix, una plataforma con más de 100 millones de usuarios en el mundo, ha cambiado para siempre la forma como se produce y se consume la televisión. Este artículo analiza como este nuevo modelo de televisión convergente con internet ha transformado el concepto de programación y televidencias a través del visionado intensificado o binge watching. A través de una revisión conceptual se identifican los principales desplazamientos teóricos sobre televisión, programación y audiencias generadas por la plataforma, además de un análisis documental de artículos noticiosos sobre el tema, y la visualización de los contenidos originales publicados hasta mayo de 2017.

Towards another model of television system in the global communication age

Television plays a very important role in our societies but, until now, we have not been capable to stress on its social discussion and to promote a deep change of this media. Mostly channels (even public ones) remain closed to citizenship, too much influenced by advertising business and economic outcomes. Opening a big participation process within all social agents involved, it is possible to generate another television model, more open and connected with people. Three different questions are crucial in this process: a huge interaction between television producers and their multiples audiences, the creation of a third audiovisual sector (which the only owner should be community), and media literacy for everybody and everywhere. A qualified society for quality on televisions. Nos encontramos de lleno en la llamada era de la sociedad de la información y el conocimiento, pero no conseguimos generar una concurrencia de visiones e inquietudes entre los distintos agentes sociales que interactúan en el tablero de juego del sistema televisivo actual. En este documento se esboza una triple dinámica de intervención para transformar el medio. En primer lugar, estaría la incorporación de la sociedad como agente activo y decisivo en la conformación de la televisión. Como segunda premisa, cabría quebrar la separación existente entre centros emisores y audiencias, y sustituirla por una verdadera interacción. En tercer lugar, convendría aventurarse en el campo de la educación en comunicación (EC) como espacio para el diseño de políticas y experiencias de base para alfabetizar en los medios a todos los sujetos sociales sin excepción. El sistema comunicativo tiene que ir más allá de la dicotomía entre televisión pública y privada, y apostar por el desarrollo del «tercer sector audiovisual».

Quality and digital terrestrial television

Since the television was raised as a predominant media by its high penetration in our homes, numerous experts have emphasized the importance of the analysis of the direct effects of the relation «man & television», cause the powerful influence in the backbone of our society. In this way, the different involved agents have been affecting the need of a television based on the quality of its contents, reverberating positively in the way we form all around us. In spite of these good intentions, the result we are getting is not all the positive it should. Today, everybody speaks about quality in all areas, but we don’t know exactly what this mean. To talk about a quality television it would be necessary to establish, as first step, the parameters which we consider a television of quality, not only in the area of the contents, cause are other important secondary aspects that configure a television of quality (relation with the audience, workers, organizational structure...). For it, the first step will be an unambiguous definition of the meaning of quality in television. From this point, and well known in five years the television model as we know will change, the disappearance of the analogical television and the soon coming of the digital terrestrial television which benefits (especially the interactivity we will get) are different, this article try to draw the lines that will have to be contemplated in favor of the introduction of a TDT of quality. Desde que la televisión se erigiera en un medio de comunicación predominante por su alta penetración en los hogares, numerosos estudiosos han destacado la importancia del análisis de los efectos resultantes de la relación hombre-televisión, ya que ellos influyen poderosamente en la vertebración de la sociedad. En este sentido, desde los distintos agentes implicados se ha venido incidiendo en la necesidad de una televisión «de calidad» que repercuta de manera positiva en la conformación de nuestro entorno. Pero a pesar de las buenas intenciones, el resultado no podemos decir que sea positivo. Hoy está de moda hablar de calidad en todos los ámbitos, pero no se sabe a ciencia cierta qué implica dicho término, que será diferente en función del objeto al que se aplique. Así, para hablar de televisión de calidad habría que establecer, como primer paso, cuáles son los parámetros bajo los cuales consideramos que dicha televisión es de calidad, no sólo en el ámbito de los contenidos, sino que también hay que tener en cuenta otros aspectos que hacen que una televisión sea de calidad (relación con los espectadores, trabajadores, estructura organizativa...). Por ello, el primer paso será una clara definición de lo que es calidad en televisión en un sentido amplio. A partir de ahí, y dado que dentro de cinco años el modelo televisivo habrá cambiado con la desaparición de la televisión analógica y el advenimiento de la televisión digital terrestre cuyas potencialidades (sobre todo en lo que respecta a la interactividad) son diferentes, el presente artículo pretende esbozar las líneas que se deberán contemplar para favorecer la implantación de una TDT de calidad.