The missing puzzle : birth of a format

The art of storytelling is one of the oldest forms of creative discourse. Apart from finding stories, the most important job in television is the construction of stories to have a broad audience appeal. This first-hand review of Missing Persons Unit, hereafter referred to as MPU, a prime time program on the Nine Network in Australia with immense audience appeal, is an original work by the executive producer (development and series producer Series One, executive producer Series Two and Three) based on an overview of two-and-a-half years of production on three series. Through a case study approach, this Masters project explores how story is constructed into a television format. The thesis comprises two parts: the creative component (weighted 50%) is demonstrated through two programs of MPU (one program for evaluation) and the academic component through a written exegesis (50%). This case study aims to demonstrate how observational hybrid series such as MPU can be managed to quick turn-around schedules with precise skill sets that cut across a number of traditional genre styles. With the advent of radio and then television, storytelling found a home and a series of labels called genres to help place them in a schedule for listeners and viewers to choose. Over recent years, with the advent of digital technology and the rush to collect the masses of content required to feed the growing television slate, storytelling has often been replaced by story gathering. Today even in factual series where a clear story construct is important, third party ‘quick fix’ specialists are hired to shape raw content shot by a field team, who never put their own work together and may never come into the edit suite during a project. This thesis explores the art of storytelling in fast turn-around television. In particular it explores the layer cake approach used in the production process of MPU, that enables producers of fast turn-around television to shepherd their own stories from field through to post-production. While each new hybrid series will require its own particular sets of skills, the exploration of the genesis of MPU will demonstrate the building blocks required to successfully produce this type of factual series. This study is also intended as a ‘road map’ for producers who wish to develop similar series.

Habit, aggregation and long memory: Evidence from television audience data

Byers, D., Peel, D., Thomas, D. (2007). Habit, aggregation and long memory: Evidence from television audience data. Applied Economics, 39 (3), 321-327. RAE2008

National, Regional, Global TV in Algeria : University students and television audience after the 2012 Algerian Media law

Acknowledgments: The authors would like to thank the colleagues Saida Kheira Benammar, who helped to set up the survey in Mostaganem, and Mohamed Chihat, who helped to contact and meet researchers in Algiers, for their generous and wholehearted support. Viola Sarnelli also wishes to thank Prof. Bel Abbes Neddar, who sponsored and supervised her post-doctoral fellowship at the University of Mostaganem, and his Magistere students, for their active participation in the Media and Cultural Studies seminars.

A small screen alternative to stone and bronze: The Great War series and British television

This article examines the first major British television series about the First World War, The Great War (BBC, 1964), in terms of its cultural, historical and aesthetic significance. As a central component of the BBC`s 50th anniversary commemorative programme to mark the outbreak of war, the series was a major media event -a small-screen memorial cast in sounds and images instead of stone and bronze. This article looks at how the British television audience responded to this form of on-screen commemoration. Material for this article was derived from the series' extensive production records housed in the BBC Written Archives Centre at Caversham, Berkshire. This was supplemented by, among other sources, material from interviews and correspondence with several surviving members of the production team. This allows a broader understanding of the motivations of those involved in the production of a groundbreaking historical series, while acknowledging the wide-ranging nature of its audience. [From the Publisher]

Breaking the Intimate Screen: Pre-Recording, Special Effects and the Aesthetics of Early British Television

The technological constraints of early British television encouraged drama productions which emphasised the immediate, the enclosed and the close-up, an approach which Jason Jacobs described in the title of his seminal study as 'the intimate screen'. While Jacobs' book showed that this conception of early British television drama was only part of the reality, he did not focus on the role that special effects played in expanding the scope of the early television screen. This article will focus upon this role, showing that special effects were not only of use in expanding the temporal and spatial scope of television, but were also considered to be of interest to the audience as a way of exploring the new medium, receiving coverage in the popular press. These effects included pre-recorded film inserts, pre-recorded narration, multiple sets, model work and animation, combined with the live studio performances. Drawing upon archival research into television production files and scripts as well as audience responses and periodical coverage of television at the time of broadcast, this article will focus on telefantasy. This genre offered particular opportunities for utilising effects in ways that seemed appropriate for the experimentation with the form of television and for the drama narratives. This period also saw a variety of shifts within television as the BBC sought to determine a specific identity and understand the possibilities for the new medium.
This research also incorporates the BBC's own research and internal dialogue concerning audiences and how their tastes should best be met, at a time when the television audience was not only growing in terms of number but was also expanding geographically and socially beyond the moneyed Londoners who could afford the first television sets and were within range of the Alexandra Palace transmissions. The primary case study for this article will be the 1949 production of H.G.Wells’ The Time Machine, which incorporated pre-recorded audio and film inserts, which expanded the narrative out of the live studio performance both temporally and spatially, with the effects work receiving coverage in the popular magazine Illustrated. Other productions considered will be the 1938 and 1948 productions of RUR, the 1948 production of Blithe Spirit, and the 1950 adaptation of The Strange Case of Dr Jekyll and Mr Hyde. Despite the focus on telefantasy, this article will also include examples from other genres, both dramatic and factual, showing how the BBC's response to the changing television audience was to restrict drama to a more 'realistic' aesthetic and to move experimentation with televisual form to non-drama productions such as variety performances.

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.

In the tracks of Blinky Bill : How Sam the koala led news journalists into an Australian literary tradition

The world was captivated when footage of a badly burnt koala taking water from a Victorian Country Fire Authority volunteer was taken with a mobile phone and broadcast to the world on YouTube in February 2009. When the story of ‘Sam the Koala’ was subsequently adopted by traditional broadcast and print media, recombinant themes were used to construct her story – from heroism, patriotism, villain v victim - even romance was incorporated to entertain and create audience appeal. This paper explores how ‘Sam the Koala’ became a defining news story in the coverage of Victoria’s Black Saturday bushfires and examines the power of narrative when cross pollination occurs between new and traditional media in the production of news. It is argued that Sam’s story is evidence of journalists adopting new approaches to storytelling in a bid to retain their legitimacy as the authoritative voice of news and information in an increasingly technologically driven society.

The role of language in tv shows and its impact on the audience: A linguistic analysis of Game of Thrones

Through the analysis of American TV show Game of Thrones, this dissertation will focus on the linguistic issues concerning the adaptation from books to television, the power of language over the audience, and the creation of two languages, with all the linguistic and cultural implications related to this phenomenon.

Non-conventional advertising formats in television versus spots: An analysis based on the generated recall

Advertising investment and audience figures indicate that television continues to lead as a mass advertising medium. However, its effectiveness is questioned due to problems such as zapping, saturation and audience fragmentation. This has favoured the development of non-conventional advertising formats. This study provides empirical evidence for the theoretical development. This investigation analyzes the recall generated by four non-conventional advertising formats in a real environment: short programme (branded content), television sponsorship, internal and external telepromotion versus the more conventional spot. The methodology employed has integrated secondary data with primary data from computer assisted telephone interviewing (CATI) were performed ad-hoc on a sample of 2000 individuals, aged 16 to 65, representative of the total television audience. Our findings show that non-conventional advertising formats are more effective at a cognitive level, as they generate higher levels of both unaided and aided recall, in all analyzed formats when compared to the spot.

SBS’s First Contact is the real ‘festering sore’ of the nation

The SBS/Blackfella Films production First Contact – that takes six non-Indigenous people and immerses them into Aboriginal Australia for the first time – captured the nation’s attention this week amassing a television audience nearing 1 million viewers, while the program’s Twitter hashtag #FirstContactSBS trended worldwide. Over the three episodes, we saw the participants get their “first contact” with Aboriginal Australia as they were welcomed into the homes of Aboriginal people in the city and in the bush...

El uso de los Consejos Comunitarios de Gobierno como propaganda política por el gobierno de Álvaro Uribe Vélez en su primer periodo

El proyecto político del ex Presidente Álvaro Uribe Vélez se presentó como una novedad histórica, articulada alrededor de la lucha contra el terrorismo y se creía que era la única salida eficaz a la situación de violencia que se venía generando en Colombia cincuenta años atrás. El estilo político de gobierno y la imagen personal de Álvaro Uribe Vélez marcó una ruptura significativa con relación a sus antecesores y a otros importantes dirigentes políticos de Colombia, ya que se tenía la concepción de que los anteriores gobiernos se caracterizaron por la incapacidad para enfrentar el conflicto armado. Esta novedad se vio reflejada no solamente en las medidas y políticas propuestas e implementadas desde comienzos de su administración, sino en toda una serie de estrategias tendientes a capturar la atención de los medios de comunicación y el respaldo de la ciudadanía al programa de gobierno en general y a la política de seguridad democrática en particular. Los consejos comunales de gobierno celebrados en los departamentos de Vichada y Chocó durante 2002 y 2006, incidieron en los resultados de las votaciones presidenciales del 2006 a favor de Álvaro Uribe Vélez. Esto es así dada la propaganda política que se hizo en ellos de la imagen del presidente y el uso de algunas reglas especiales que permitieron persuadir al electorado. Como se pudo observar, los consejos comunales hacían especial énfasis en las cualidades atrayentes del presidente: carácter, credibilidad, dinamismo, carisma y liderazgo. El uso de las 5 reglas explicadas: aprovechamiento de los deseos preexistentes de la audiencia, la apelación a las emociones, la simplificación de las emociones, la repetición de los temas principales y las afirmaciones declarativas directas, finalmente pretendían vender al presidente como un político sui generis, con unas cualidades excepcionales y como el único capaz de asumir los problemas de las regiones con autoridad y decisión. Esto sumado al vínculo emocional que siempre generaba con el público, catalizó su efecto propagandístico.

Bê-a-bá a tv digital: proposta de produção de interprogramas para canais públicos

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Audiencia tradicional frente a audiencia social: un análisis comparativo en el prime-time televisivo

La interacción de redes sociales y productos televisivos ha dado pie al nacimiento de la televisión social en la que el espectador participa activamente en el desarrollo de los espacios. Este fenómeno emergente está siendo objeto de múltiples investigaciones en el campo de las audiencias por las posibilidades y el potencial que supone para el medio a la hora de conocer e interactuar con los espectadores. El objetivo de este trabajo es realizar una comparación entre la audiencia real y la audiencia social (o impacto social) de los programas emitidos en prime-time durante varias semanas de los meses de abril y mayo de 2013. Esta investigación se centra en Twitter por ser la red social que concentra gran parte de los debates sobre televisión (Gallego, 2013). Para ello se plantean las siguientes hipótesis de partida: 1- No existe paralelismo entre los cinco programas más vistos en televisión con aquellos que se sitúan entre los cinco con mayor audiencia social del mismo día. 2- El éxito de un programa en audiencia social no depende exclusivamente de su formato. Para alcanzar los objetivos de la investigación se estudian los datos de audiencia real procedentes de Kantar Media, así como los de impacto social facilitados Tuitele y Global-In-Media.

Life storytelling at the ABC: Challenges of 'giving the audience a voice' in the context of public service media

Life storytelling projects have become an important means through which public service media institutions such as the Australian Broadcasting Corporation are seeking to foster audience participation and involve particular cohorts in the creation and distribution of broadcast content. This paper contributes to the wider conversation on audience participation within public service media intuitions (PSMs), and focuses on the opportunities and challenges that arise within life storytelling projects that are facilitated by these institutions, and that aim to ‘give voice’ to members of ‘the audience’. In particular, it focuses on two of the Australian Broadcasting Corporation’s current life storytelling projects: ABC Open and Heywire.