Television and the Second Screen.

This book examines an emerging and fast evolving phenomena: that a growing number of people engage with two screens whilst watching television. It seems a simple concept – until we discover the important implications. In doing this, this book will move way beyond the study of online and multimedia content. It will go past the impact of mobile and multi-platform technology on the media. Instead it will examine how this new concept of second screen interactivity changes the way we watch, produce, commission and monetise television programmes in the UK.

Little reason to smile as Iannucci lays bare the tension between BBC and Tories.

Studying the impact of Armando Iannucci's McTaggart Lecture on the debate over the future of public service broadcasting in the UK.

Personalised TV ads are the future – but is it time to panic?

TV Advertising is evolving quickly. This article examines how the popularity of viewing content on mobile platforms is changing the way we advertise. VOD and OTT media services have meant that advertisers can now automate and personalise their TV advertising. It's having a significant impact on the UK TV business model.

'Don't stop': re-thinking the function of endings in narrative television

This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. In this regard, this thesis proposes a model of intra-narrative endings, islands of cohesion, structure, and meaning located within television texts, as a possible solution to the problem of endings in television. These intra-narrative endings maintain the functionality of traditional endings, whilst also allowing for the specificities of television as a narrative medium. The first two chapters set out the theoretical groundwork, first by exploring the essential characteristics of narrative television (serialisation, fragmentation, duration, repetition, and accumulation), then by exploring the unique relationship between narrative television and the forces of contingency. These chapters also introduce the concept of intra-narrative endings as a possible solution to the problems of television’s narrative structure, and the medium’s relationship to contingency. Following on from this my three case studies examine forms of television which have either been traditionally defined as particularly resistant to closure (soap opera and the US sitcom) or which have received little analysis in terms of their narrative structure (sports coverage). Each of these case studies provides contextual material on these televisual forms, situating them in terms of their narrative structure, before moving on to analyse them in terms of my concept of intra-narrative endings. In the case of soap opera, the chapter focusses on the death of the long running character Pat Butcher in the British soap EastEnders (BBC, 1985-), while my chapter on the US sitcom focusses on the varying levels of closure that can be located within the US sitcom, using Friends (NBC, 1993-2004) as a particular example. Finally, my chapter on sports coverage analyses the BBC’s coverage of the 2012 London Olympics, and focusses on the narratives surrounding cyclists Chris Hoy and Victoria Pendleton. Each of these case studies identifies their chosen events as intra-narrative endings within larger, ongoing texts, and analyses the various ways in which they operate within those wider texts. This thesis is intended to make a contribution to the emerging field of endings studies within television by shifting the understanding of endings away from a dominant literary model which overwhelmingly focusses on the terminus of the text, to a more televisually specific model which pays attention to the particular contexts of the medium’s production and reception.

Współczesna debata telewizyjna a konflikt destruktywny

W artykule dowodzi się tezy, że współczesne debaty publiczne, emitowane w telewizji (takie jak emitowany od 2004 roku w TVP2 program Jana Pospieszalskiego „Warto rozmawiać”), są zdarzeniami komunikacyjnymi zasadzonymi na konflikcie destruktywnym, a więc takim, który wg L. Kriesberga, nastawiony jest nie na problem wywołujący frustrację, ale jest manifestacją agresji, a celem sporu staje się nie pokonanie różnic dzielących strony, ale pokonanie oponenta. Wynika to z sytuacji komunikacyjnej debaty telewizyjnej i nastawienia w pierwszej kolejności na zdobycie uwagi, a potem zaspokajanie potrzeb odbiorcy sekundarnego – widza. Podporządkowane są temu takie elementy, jak wybór tematu debaty, jej scenariusz, dobór uczestników, a w dalszej kolejności ich zachowania werbalne i niewerbalne. W rezultacie, w debacie telewizyjnej złamane zostają typowe dla debaty konstruktywnej reguły i strategie, i zastąpione zostają zachowaniami typowymi dla konfliktu destruktywnego, takimi jak: brak otwartości na argumenty drugiej strony, nastawienie na pokonanie antagonisty, niechęć do szukania innych rozwiązań, jak tylko moja wygrana - twoja przegrana, działania nastawione na prowokację i podważanie wiarygodności partnera, przenoszenie ciężaru debaty ze sprawy na osobę, posługiwanie się argumentacją niemerytoryczną, niezgoda na konstruowanie wspólnego stanowiska. Taki wzorzec debaty telewizyjnej, która stała się pośpieszną, bezproduktywną prezentacją rozbieżnych stanowisk, nie prowadzącą do żadnych konkluzji, nastawioną najwyżej na obrażenie rozmówcy i dostarczenie widzowi krótkotrwałych emocji, buduje powszechne przekonania o niemożności dialogu i porozumienia w dyskursie publicznym i dominującym w nim antagonizmie.

On the implementation of a Laboratory of Digital Television according to the ISDB-Tb standard

Este artículo resume el proceso de implementación del Laboratorio de Televisión Digital (DTV) de la Universidad de Cuenca, que surge como un entorno confiable de experimentación e investigación que hace uso de las características asociadas al estándar ISDB-Tb adoptado por Ecuador en el año 2010 para la transmisión de señales de televisión abierta. El objetivo de este artículo es documentar los aspectos que se han considerado para simular un escenario real en el que un Transport Stream (TS) formado por contenido audiovisual y aplicaciones interactivas, primero se genera, para luego transmitirse a través del canal de comunicaciones, y finalmente ser recibido en una televisión con receptor ISDB-Tb. Así, se facilita el desarrollo y la experimentación de nuevos servicios aprovechando el nuevo formato de DTV.

El uso de la documentación audiovisual en los programas informativos diarios de televisión

[SPA] El objetivo de la investigación es conocer cual es la aportación cuantitativa y cualitativa de la documentación audiovisual en la información que ofrece diariamente la televisión. El marco temporal de la investigación de campo se sitúa en los años 1993 y 1994, en un marco geográfico constituido por los canales que emiten en el estado español. El estudio parte de una aproximación teórica a la documentación periodística, a la documentación audiovisual y a los estudios sobre la comunicación de masas, y lleva a cabo una investigación de campo en tres áreas: 1) Análisis de programas informativos diarios de seis cadenas de televisión (ETB, TVE, Canal Sur, TV3, Antena 3 y Canal+), a través de tres muestras independientes. 2) Análisis de las peticiones de documentación audiovisual realizadas desde las redacciones de programas informativos a los servicios de documentación. 3) Estudio de las funciones, tareas, estructura y organización de los servicios de documentación de televisión, basado en encuestas, visitas y entrevistas. En anexo se ofrece el análisis detallado de 620 noticias, así como la información de los centros de documentación. La investigación concluye afirmando que la documentación audiovisual es uno de los elementos constitutivos de la información de actualidad, tanto por su presencia cuantitativa (más de un 40% de las noticias emitidas la emplean), como por su aportación cualitativa y su utilización generalizada en todas las secciones informativas. Las conclusiones señalan que la importancia de las noticias incide positivamente en el empleo de documentación audiovisual, sintetizan las funciones de esta documentación y las características específicas de su uso. Confirman el carácter de retroalimentación de la documentación informativa en televisión. Señalan un empleo de esta documentación como documentación puramente visual. Y afirman que la documentación audiovisual, además de contribuir en la producción, coadyuva a la calidad de los programas informativos, en la medida en que facilita la tarea de ofrecer una información más completa y contextualizada.

Os docentes e a biblioteca escolar: Uma relação necessária

O presente estudo, descritivo com levantamento de dados, aborda a temática das relações entre os Docentes e a Biblioteca Escolar (BE). A escolha do tema deve-se à actualidade e pertinência do mesmo, já que numa sociedade caracterizada por um crescimento ilimitado de informação aliada à diversidade de meios de difusão e à facilidade de acesso às fontes, possibilitada pelas modernas tecnologias, obriga necessariamente a repensar o papel das Bibliotecas Escolares, que passará por uma estreita colaboração e articulação com os professores. Assim, procurou-se conhecer a relação que se estabelece entre os docentes de uma Escola Secundária com 3° Ciclo e a Biblioteca Escolar (BE) com destaque para as formas de apropriação da sua utilização; averiguar outras possibilidades de integração I articulação da BE no desenvolvimento do currículo e das suas práticas; e saber qual a concordância dos professores sobre indicadores que o Modelo de Auto-Avaliação das Bibliotecas Escolares propõe no âmbito da articulação curricular da BE com as estruturas pedagógicas e os docentes. Com o desenvolvimento do estudo verificou-se que os professores consideram que utilizam a biblioteca de uma forma mais participada, diversificada e frequente do que realmente acontece. Quanto à aplicação do Modelo de Auto-avaliação das Bibliotecas Escolares existe um quadro favorável à sua aplicação nesta Escola. /ABSTRACT: This descriptive study, which was done through the organization and analysis of large amounts of information, talks about the relation between teachers and the school library. This theme was chosen due to its pertinence as well as its actuality, as we live in a society marked by the unlimited growth of information associated with the diversity of the means of broadcasting and the easiness people can access the sources thanks to new technologies. This forces us to reconsider the role of school libraries, starting with a close collaboration and articulation with teachers. Thus, we'll try to know the kind of relationship established between the teachers of a high school and the school library, mainly the ways they use it; we'll examine other possibilities of integrating the school library in the development of the curriculum and its practices and know if the teachers agree with the indicators recommended by the self-evaluation model in what concerns the curricular articulation between the school library, the pedagogic structures and the teachers. This study shows that the teachers consider they use the library in a more diversified, shared and frequent way than they really do. ln what concerns the use of the school libraries self-evaluation model, we carne to the conclusion that it can be applied.

Plataforma digital de promoción y difusión musical

La industria musical a nivel mundial atraviesa una etapa de transición en varios procesos análogos a digitales y también de formatos físicos, como CD´s por mp3, esto representa para los artistas, nuevos caminos para generar ingresos y facilidades de introducción en la industria. En Ecuador, no se puede hablar de industria musical pues, lo que se ha desarrollado hasta este momento es solo una “escena musical” en donde los artistas intentan salir hacia mercados extranjeros utilizando diferentes herramientas de difusión tanto tradicionales como digitales, siendo pocos quienes consiguen este objetivo y además, rentabilidad en sus carreras musicales. El proyecto de intervención denominado “Construcción de una plataforma digital para la promoción y difusión de artistas musicales del género pop y rock de la ciudad de Cuenca, fundamentado en estrategias digitales creadas bajo el concepto ‘Mezcla de comunicaciones de marketing’, período 2015 -2016”, genera un modelo de negocio experimental basado en soportes digitales y estrategias de marketing y comunicación que benefician la difusión, venta y promoción de los artistas y su material musical. Todo esto con miras a aportar al desarrollo de la escena musical en Ecuador. El modelo de negocio experimental se basa en tres actividades que el Staff 4.32 (nombre de la plataforma digital) brindará como servicios a sus consumidores: 1) generador de contenidos con temáticas referentes a la industria musical, 2) distribución digital de música en tiendas online y 3) sello representante de artistas que forman parte del catálogo de músicos del Staff.

La reducción enunciativa: Podemos y la constricción de la voz de la multitud

La irrupción política de Podemos en el panorama mediático y electoral español ha supuesto no sólo una revolución política sino también comunicativa. El 15M significó la crisis definitiva de la hegemonía indiscutible del Modelo Difusión en política, como ya se había verificado en otros espacios de comunicación social. Con su “no nos representan”, el 15M fue ante todo un proceso de disolución enunciativa. Tras él Podemos es el único caso de un experimento de hibridación integral del Modelo Difusión y el Modelo Reticular, intentando propiciar su sinergia. El desembarco de Pablo Iglesias en la televisión resulta crucial, pues se trata de un intento de abrochar la enunciación mediático-electoral con la enunciación popular-reticular.

The footage is decisive’: Applying the thinking of Marshall McLuhan to CCTV and police misconduct

This article adapts Marshall McLuhan’s writings on mass media to ubiquitous and universal surveillance systems, looking at surveillance as media. The term ‘broadcast media’ is derived from an agricultural metaphor, a technique of planting. I argue that CCTV systems are an inversion of broadcasting: ‘harvest media’. Drawing on three case studies in which CCTV has been relevant to allegations of police misconduct, I explore how harvest media impacts on cultural and legal perceptions of evidence, and what can be known.

Media rituals in Eusébio’s exequies

While celebrating collective representation, the media can be seen as spaces of ritualization that are fundamental to the consolidation of wider social values. In this paper we give an empirical frame to the concept of “media rituals” considering it as an entrenched symbolic practice that could be traceable in Eusébio’s exequies television broadcasting. Three sorts of media rituals are identified: rituals dealing with immediacy, rituals dealing with collective prominence and rituals dealing with the revelation of reality. Each media ritual exemplifies how a space of comprehensive ritualization is erected. It is through this generalized and mediated ritualization that the idea of a major social occurrence is refreshed and worked through.

A experiência da ESEV TV - televisão académica on-line

The study focuses on the analysis of the academic experience entitled Television of the Superior School of Education from Viseu (ESEV TV). This academic project has been an online experience since 2011 and comprises a space of experimentation and broadcasting for audiovisual contents. The significance of the digital sphere embodied mostly through the internet places this medium as the ideal platform to the exchange of contents created by the academic community and favors its dissemination to a heterogeneous audience. The implementation of this audiovisual project encourages the collaboration and the creative initiative of those involved in it and, at the same time, intents to improve the capabilities of expression and communication skills of the participants. It is also an objective of this creative initiative to build an historical archive of audiovisual produced material as also as to promote the integration of students, strengthening ethical and moral values and increasing communication strategies. ESEV TV is available to all study cycles from the institution where it is allocated and represents a workshop camp where it is possible to practice techniques and develop knowledge in the television production area. The accomplishment of the project purpose is inextricably dependent on the existence of a working group constantly updated, also multidisciplinary, that aggregates students from different areas. This complex interdependent mission is guided by teachers with knowledge and experience in the audiovisual field. The team work expects to produce an interesting online schedule that reunites, at the same time, information, culture, education and entertainment.

Infants, interfaces, and intermediation: digital parenting and the production of 'iPad baby' videos on YouTube

We investigate the ways young children’s use of mobile touchscreen interfaces is both understood and shaped by parents through the production of YouTube videos and discussions in associated comment threads. This analysis expands on, and departs from, theories of parental mediation, which have traditionally been framed through a media effects approach in analyzing how parents regulate their children’s use of broadcast media, such as television, within family life. We move beyond the limitations of an effects framing through more culturally and materially oriented theoretical lenses of mediation, considering the role mobile interfaces now play in the lives of infants through analysis of the ways parents intermediate between domestic spaces and networked publics. We propose the concept of intermediation, which builds on insights from critical interface studies as well as cultural industries literature to help account for these expanded aspects of digital parenting. Here, parents are not simply moderating children’s media use within the home, but instead operating as an intermediary in contributing to online representations and discourses of children’s digital culture. This intermediary role of parents engages with ideological tensions in locating notions of “naturalness:” the iPad’s gestural interface or the child’s digital dexterity.