This book provides a detailed account of the creative, economic and regulatory processes underlying the production of children’s television in a multi-platform era.
Author: Anna Potter
Publisher: Intellect Books
This book provides a detailed account of the creative, economic and regulatory processes underlying the production of children’s television in a multi-platform era. Its collection of integrated case studies includes extended interviews with leading producers whose programs are watched by children all over the world. These reveal the impact of digitization on the funding, distribution and consumption of children’s television, and the ways that producers have adapted their creative practice accordingly. In its comprehensive analysis of the production culture of children’s television, this book provides a valuable lens through which to view broader transformations in media industries in the on-demand age. This original and engaging book explores the creative processes underlying the production of children’s television, with close attention to underlying economic and policy dynamics. It does so through a combination of detailed case studies and interviews with leading producers from across three English-language markets. In its examination of the impact of new streaming services like Netflix and Amazon Prime on the funding, production and distribution of children’s screen content, the book will reveal how producers successfully created content for these increasingly influential new services. It offers important insights into the production of children’s screen content in Australia, New Zealand and the United Kingdom, and builds on previous research in the field. The addition of analysis, which provides the context of historical, regulatory and economic factors that shape production in all three countries, is important for situating the personal testimonies and providing some critical distance. The variety of productions chosen for analysis, including drama, factual productions and animation, represents the very different pressures on different genres. Previous studies have looked at children’s content as one genre, whereas this new study reveals children’s content to be as diverse in range as adult content. The case studies show the pressures and opportunities emerging from different national and international context and offers its own unique take on matters such as diversity, gender representation and indeed the ethics of representing children from a producers’ perspective. As a contribution to industry studies, this volume represents a valuable addition to the literature and will no doubt be referenced by future studies. The quantity and quality of original interview material goes far beyond interviews in the trade press. Combined with the rich detail of production case studies, the articulate interviews and Potter’s highly engaging mode of writing, this book is an invaluable additional to research in the area. This book will provide a crucial analysis of success stories in the children’s screen production industries at a time of flux and adaptation as television’s distribution revolution takes place. The book will be indispensable for scholars of children’s television and of UK, New Zealand and Australian media policy. It will also engage a wider audience interested in television production, production studies and digital distribution – including those teaching at undergraduate and postgraduate levels. It will be a valuable library resource for courses that include screen media industries and television production culture as part of their content. It will be of interest to scholars beyond children’s television because of its analysis of success stories in screen production at a time of change and uncertainty. It will also be of relevance to the international screen production sector and industry bodies, including screen organizations such as Screen Australia, and the UK’s Children’s Media Foundation, for its analysis of success stories in the screen production industries. Also, of interest to the many groups with vested interests around children and children’s media – including regulatory bodies like Ofcom in the UK, the Australian Communications and Media Authority in Australia and other key institutions, including legacy broadcasters such as the BBC, ABC and ITV.
How does an advertiser-supported medium find leave alone quantify viewers who DVR This is Us but fast-forward through the commercials; have a season pass to The Walking Dead via iTunes to watch on their daily commutes; are a season behind ...
Author: MJ Robinson
Publisher: Bloomsbury Publishing USA
Category: Social Science
Since 2010 “curation” has become a marketing buzzword. Wrenched from its traditional home in the world of high art, everything from food to bed linens to dog toys now finds itself subject to this formerly rarified activity. Most of the time the term curation is being inaccurately used to refer to the democratization of choice – an inevitable development and side effect of the economics of long tail distribution. However, as any true curator will tell you – curation is so much more than choosing – it relies upon human intelligence, agency, evaluation and carefully considered criteria – an accurate, if utopian definition of the much-abused and overused term. Television on Demand examines what happens when curation becomes the primary way in which media users or viewers engage with mass media such as journalism, music, cinema, and, most specifically, television. Mass media's economic model is based on mass audiences – not a cornucopia of endless options from which individuals can customize their intake. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the post-network television industry – one whose ultimate effects and outcomes remain unknown. Curatorial culture is a revolutionary new consumption ecology – one that the post-network television producers and distributors have not yet figured out how to monetize, as they remain in what anthropologists call a “liminal” state of a rite of passage – no longer what they used to be, but not yet what they will become. How does an advertiser-supported medium find leave alone quantify viewers who DVR This is Us but fast-forward through the commercials; have a season pass to The Walking Dead via iTunes to watch on their daily commutes; are a season behind on Grey's Anatomy via Amazon Prime but record the current season to watch after they're caught up; binge watched Orange is the New Black the day it dropped on Netflix; are watching new-to-them episodes of Downton Abbey on pbs.org; never miss PewDiePie's latest video on YouTube, graze on Law & Order: SVU on Hulu and/or TNT and religiously watch Jimmy Fallon on The Tonight Show via digital rabbit ears? While audiences clamor for more story-driven and scripted entertainment, their transformed viewing habits undermine the dominant economic structures that fund quality episodic series. Legacy broadcasters are producing more scripted content than ever before and experimenting with new models of distribution – CBS will premiere its new Star Trek series on broadcast television but require fans to subscribe to its AllAccess app to continue their viewing. NBC's original Will & Grace is experiencing a syndication renaissance as a limited-run season of new episodes are scheduled for fall 2017. At the same time, new producing entities such as Amazon Studios, Netflix and soon Apple TV compete with high-budget “television” programs that stream around traditional distribution models, industrial structures and international licensing agreements. Television on Demand: Curatorial Culture and the Transformation of TV explains and theorizes curatorial culture; examines the response of the “industry,” its regulators, its traditional audience quantifiers, and new digital entrants to the ecosystem of the empowered viewer; and considers the viable future(s) of this crucial culture industry.
Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter. This book goes beyond an analysis of what makes great programming work.
Author: Neil Landau
Publisher: Taylor & Francis
Category: Performing Arts
TV Writing On Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today’s audiences, against the backdrop of a rapidly evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we’ve ever seen. No longer is there a distinction between broadcast, cable and streaming. It’s all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter. This book goes beyond an analysis of what makes great programming work. It is a master course in the creation of entertainment that does more than meet the standards of modern audiences—it challenges their expectations. Among other essentials, readers will discover how to: Satisfy the binge viewer: analysis of the new genres, trends and how to make smart initial decisions for strong, sustainable story. Plus, learn from the rebel who reinvented an entire format. Develop iconic characters: how to foster audience alignment and allegiance, from empathy and dialogue to throwing characters off their game, all through the lens of authenticity and relatability. Create a lasting, meaningful career in the evolving TV marketplace: how to overcome trips, traps and tropes, the pros and cons of I.P.; use the Show Bible as a sales tool and make the most of the plethora of new opportunities out there. A companion website offers additional content including script excerpts, show bible samples, interviews with television content creators, and more.
Author: United States. Congress. Senate. Committee on Commerce, Science, and TransportationPublish On: 1982
Consumer satisfaction with nonbroadcast television In addition to subscriber
information , a variety of other data were obtained as to ... Demand for
competitive mutichannel services No empirical data are available to provide
reliable subscriber ...
Author: United States. Congress. Senate. Committee on Commerce, Science, and Transportation
Author: United States. Congress. House. Committee on the Judiciary. Subcommittee on Commercial and Administrative LawPublish On: 2008
Basic telephone service consumer demand for cable television tends not to be
very price - sensitive , but other by between 17 . 5 percent and 35 . 0
communication services are . Price elasticity percent . estimates for cable television demand ...
Author: United States. Congress. House. Committee on the Judiciary. Subcommittee on Commercial and Administrative Law
Author: United States. Congress. House. Committee on Ways and MeansPublish On: 1968
figures which relate to company actions based on market factors concerning
black - and - white television sets in a ... Again , completeness and accuracy demand not only including the role of blackand - white set sales decline in the lay
- off ...
Author: United States. Congress. House. Committee on Ways and Means
Solberg, H., & Hammervold, R. (2008). TV sports viewers – who are they?.
Nordicom Review, 29, 95–110. Tainsky, S. (2010). Television broadcast demand
for National Football League contests. Journal of Sport Economics, 11, 629–640.
Author: Georgios Nalbantis
Category: Business & Economics
This book provides a comprehensive overview and economic analysis of US consumer demand for televised football (soccer). Accounting for transnational demand, research is focused on the US consumers demand for the English Premier League, Spanish La Liga, Italian Serie A, German Bundesliga, French Ligue 1 and the UEFA Champions League, which represent the most popular and marketable football competitions worldwide, and have recently sealed lucrative media rights contracts in many large markets, including the US. The study also takes account of North American Major League Soccer (MLS) in order to provide a more comprehensive overview of the country's football market and to allow for direct comparisons with the aforementioned European competitions. These findings offer valuable insights for US broadcasters, European league organizers and managers to adjust existing strategies and/or develop new strategies in conquering the US football market.
Estimated 1980 Projected 1990 From 1980 to 1990 the demand for Television
Camera Operators is projected to grow by approximately 10 % statewide . This is
slower than the statewide average growth rate for all occupations . 10 STATE OF
Author: United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Subcommittee on CommunicationsPublish On: 1990
... Competitiveness These very positive cable industry developments have made
a major contribution toward the unparalleled breadth and quality of video service
choices currently available to the American public . Cable television demand for ...
Author: United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Subcommittee on Communications
Author: Australian Broadcasting TribunalPublish On: 1982
Report of the Inquiry by the Australian Broadcasting Tribunal Into Cable and
Subscription Television Services and Related Matters Australian Broadcasting
Tribunal. The assumption is generally made that demand for these new services
Table 40 PUBLICITY SOURCES A. Picnic - Swimming Areas Lake Johanna Bald
Eagle 84 72 8 3 8 5 Newspaper Newspaper 5 46 Brochure Television 3 42 Television Brochure 1 4 B. Bike - Hike Trails Table 40 ( Cont . ) PUBLICITY ...
This peak can exhibit a increase in demand of 5 , 000 MW ( more than the total
CCGT capacity currently commissioned ) in 30 minutes . The effect of television on demand The electricity system is also subject to sudden surges of demand ...
The logic for the addition of the low + demand condition was as follows . The goal
of the low task demand condition was to simulate the level of demand found in television viewing . ? If participants exposed to video game play in demonstration
0501 PUBLIC RELATIONS SUPPLY Public Relations DEMAND 3320 Public
Relations Specialist 2 , 916 3 , 496 173 SET 09 . 06 RADIO TELEVISION NEWS
BROADCAST I 288 366 11 Subset A 09 . 0601 RADIO / TELEVISION NEWS ...
VII Demand High Sensitivity . Demand “ Standards , ” not “ Accessories . " You'll
need all you can get , so demand the Be sure you get all necessary equipment es
increze detector with -86 dBmV sensitivity . a near - field probe , tuned dipole ...
He shrinks because he fears that , if he did raise the standard even one inch
above the average level of demand , there might be a mass flight from television .
The purveyor therefore allows himself a margin of safety . He sets the level of his
The artistic techniques of television demand mastery of visual staging , a mastery
generally acquired in the motion picture studio and the theatre . Television scripts
require the writer to think in pictures and visual production techniques .