Internet TV

In the last decade, media industries have witnessed a shift in the way audiovisual content is localised, broadcast, and consumed by multifaceted audiences: from traditional linear TV to subscription video-on-demand (SVOD) services. While this major shift has been well-documented by media studies scholars (Lotz 2014; Lobato 2017a, 2017b; Storstein Spilker and Colbjørnsen 2020), the overall effect it has had on audiovisual translation (AVT) is relatively under-researched within Translation Studies. Hence, this article aims to delve into the current state of the art of AVT within a mediascape dominated by non-linear over-the-top (OTT) platforms. Drawing on the impact that streaming solutions such as Amazon Prime, Disney+, and Netflix have had on the acceleration of AVT workflows worldwide as a way to localise a high volume of content created to reach global audiences, my analysis focuses on their impact on the way subtitling workflows are managed and turnaround times scheduled. This study focuses on the day-of-broadcast (DOB) model, the media release strategy intended to make audiovisual content available 'now and everywhere'. The disruptive nature of DOB models in localisation workflows is investigated using a case study, the ad hoc subtitling workflow devised for Netflix's Chelsea, and analysed using a qualitative research method. The aim is to unveil the practices behind the scenes of the first global talk show subtitled in twenty languages with a turnaround time of only fourteen hours.

Internet Protocol Television (IPTV) is a transformative approach to delivering audio and video services through high-speed Internet networks, enabling direct access to television content via home computers or set-top boxes. Despite its promising advantages, including flexibility, interactivity, and bundled services such as triple play (voice, Internet, and TV) and quadruple play (adding mobile services), IPTV is still in its development phase. Key challenges include achieving a Quality of Service (QoS) comparable to traditional broadcasters, addressing limited bandwidth, and overcoming a lack of standardization among service providers.
This paper explores the technical, operational, and consumer-oriented aspects of IPTV. It discusses data compression techniques, protocols like IGMP and RTSP, and the role of advanced codecs like H.264 in ensuring efficient data transmission. The study also examines the distinctions between IPTV and open-network Internet TV, the importance of security and privacy, and the emergence of new business opportunities through targeted advertising and interactive services. Although IPTV is unlikely to completely replace traditional broadcasting, it is poised to play an important role in shaping the future of television by offering personalized, secure, and scalable viewing experiences.

This study is focused on enhancing Decision Tree on its capabilities in classification as well as prediction. The capability of decision tree algorithm in classification outperforms its capability in prediction. The classification quality will be enhanced when it works with resampling techniques such as Adaboost.

Berjumpa lagi dalam Jurnal ULTIMATICS yang saat ini telah memasuki Volume VII No 1. Jurnal ini merupakan jurnal yang menyajikan artikel-artikel penelitian ilmiah dalam bidang analisis dan desain sistem, pemrograman, analisis algoritma, rekayasa perangkat lunak, serta isu-isu teoritis dan praktis terkini, mencakup komputasi, kecerdasan buatan, sistem bergerak, dan topik-topik lainnya di bidang Teknik Informatika. Pada ULTIMATICS edisi Juni 2015 ini, terdapat sebelas (11) buah karya tulis ilmiah yang berasal dari para peneliti, akademisi dan praktisi di bidang Teknik Informatika, yang mengangkat beragam topik berbeda, seperti pengembangan aplikasi TV dengan protokol streaming RTSP/ RTMP, komparasi algoritma quicksort dan bucket sort, pemanfaatan augmented reality pada marketing communication, pengembangan aplikasi web pendeteksi gangguan kecemasan dan depresi, penerapan histogram equalization pada OCR preprocessing, analisis siklus hidup aplikasi web, pengembangan aplikasi diagnosis karies gigi, pengembangan piranti lunak pengelola parameter akuisisi data terowongan angin kecepatan rendah Indonesia, review piranti lunak StarUML berdasarkan faktor kualitas McCall, load balancing pada cloud computing menggunakan penggabungan algoritma ESCE dan Throttled, serta peningkatan performansi decision tree dalam pengelompokkan dan prediksi resiko credit. Pada kesempatan ini, kami juga ingin mengundang partisipasi Anda semua, para peneliti, akademisi, maupun praktisi di bidang Teknologi Informasi dan Komunikasi, untuk mengirimkan karya tulis ilmiah yang berkualitas pada International Journal of New Media Technology (IJNMT) maupun jurnal ULTIMATICS, ULTIMA InfoSys, dan ULTIMA Computing. Informasi mengenai pedoman dan template penulisan, serta informasi terkait lainnya dapat diperoleh melalui alamat surel umnjurnal@gmail.com. Akhir kata, kami mengucapkan terima kasih kepada seluruh kontributor dalam jurnal ULTIMATICS edisi Juni 2015 ini. Kami berharap karya tulis-karya tulis ilmiah hasil penelitian dalam jurnal ini dapat bermanfaat dan memberikan sumbangsih terhadap perkembangan penelitian dan keilmuan di Indonesia.

In the last decade, media industries have witnessed a shift in the way audiovisual content is localised, broadcast, and consumed by multifaceted audiences: from traditional linear TV to subscription video-on-demand (SVOD) services. While this major shift has been well-documented by media studies scholars ( Lotz 2014 ; Lobato 2017a , 2017b ; Storstein Spilker and Colbjørnsen 2020 ), the overall effect it has had on audiovisual translation (AVT) is relatively under-researched within Translation Studies. Hence, this article aims to delve into the current state of the art of AVT within a mediascape dominated by non-linear over-the-top (OTT) platforms. Drawing on the impact that streaming solutions such as Amazon Prime, Disney+, and Netflix have had on the acceleration of AVT workflows worldwide as a way to localise a high volume of content created to reach global audiences, my analysis focuses on their impact on the way subtitling workflows are managed and turnaround times scheduled. This study focuses on the day-of-broadcast (DOB) model, the media release strategy intended to make audiovisual content available ‘now and everywhere’. The disruptive nature of DOB models in localisation workflows is investigated using a case study, the ad hoc subtitling workflow devised for Netflix’s Chelsea, and analysed using a qualitative research method. The aim is to unveil the practices behind the scenes of the first global talk show subtitled in twenty languages with a turnaround time of only fourteen hours.

This study is focused on enhancing Decision Tree on its capabilities in classification as well as prediction. The capability of decision tree algorithm in classification outperforms its capability in prediction. The classification quality will be enhanced when it works with resampling techniques such as Adaboost.

Este trabajo analiza los procesos de comunicación en medios en línea sobre cuatro series de televisión, todas ellas en Netflix (La Casa de Papel, Peaky Blinders, Elite y Educación Sexual). Nos interesa cómo estas series de streaming son reconstruidas por audiencias específicas en las redes sociales. Nos fijamos en las conversaciones organizadas alrededor de estas series por parte de comunidades digitales de fans en Twitter, Facebook, YouTube, y otros contextos digitales (por ejemplo, las revistas en línea). Se generó un total de 408.536 menciones y 189.040 usuarios como corpus de datos. El proceso de análisis requiere de una canalización del flujo de datos, definiendo un sistema coherente de temas y categorías. El artículo muestra los elementos presentes en las comunidades de fans para reconstruir las historias, por ejemplo, mencionando a actores o a personajes. Aparecen dimensiones muy similares tanto en relación con las historias como con la forma en la que se construyen a partir ...

Este artículo presenta un análisis empírico de la comunicación en las pequeñas y medianas empresas (PYMES) que operan bajo el régimen de franquicia, para conocer la influencia y la importancia de ésta en su funcionamiento. Para poder analizar de manera rigurosa el tema propuesto, se realizaron 101 encuestas a las empresas franquiciadoras que operan en España. Esto supone que un 11,19% del total respondieron a las cuestiones planteadas.

Este artículo se centra en el análisis de algunas de las innovadoras alternativas que ofrece Internet, en simbiosis con la „televisión a la carta‟, como la IPTV. Se estudia el nuevo sistema como atractiva plataforma publicitaria para anunciantes, y cómo éstos se benefician de la nueva y determinante segmentación de las audiencias. Se traza una panorámica sobre la importante penetración que ha tenido Internet en la propia vida de las personas, condicionando su acercamiento a cualquier fenómeno comunicativo. Se efectúa un trabajo de campo mediante la descripción y la cuantificación de alternativas que registran los mejores resultados en el aspecto publicitario dentro del mismo formato IPTV. Se estudian dos de los sistemas de IPTV que hoy día funcionan en España (Imagenio, Yatv), y se analizan metodologías del discurso publicitario que aprovechan el recurso de la cercanía para mejorar sus posibilidades de impacto, impulsando el consumo de un producto concreto. Se exploran, asimismo, lo...

In appraising the usage of mobile video streaming application, the importance of performance get into focus because it affects application usability. In this research, video quality and streaming are recognized as the two major aspect in the usage test of mobile video streaming applications. These aspect are influenced by many grouped factors that are differs from platforms to platforms. In mobile platforms, the limitations caused by the compact screen sizes of the mobile devices, also the low bandwidth and network connections are tottery. Also some factors affect the performance of mobile video streaming like start-up delays, jitter, latency and re-buffering. Video quality is decided by bit rate, frame rate and quality. One of the few ways to avoid this to tackle this is by using Adaptive Bit-rate Streaming. (HTTP Live streaming) supports Adaptive Bit-rate Streaming.

Information society offers the possibility to access content and services, to make business, to communicate people. However not everybody have the skills required to use a PC in order to access these new services. The group of users that are let out of this information society is called the digital gap. On the other hand, we have television sets, a platform with a huge penetration that everybody is capable of using, but with not so many applications. Actions taken to reduce the digital gap, usually imply trying to make PCs more accessible to everybody. In this paper, in the contrary, we propose an approach where applications are moved into the television environment, so that users do not require new skills to interact with this new content. In this paper we present the architecture of an advanced media center that makes this approach possible.

The recent proliferation of smart and portable devices has made multimedia streaming services available in mobile communication networks, which sometimes causes heavy traffic and network congestion problems. In contrast, there are no network congestion issues in mobile broadcasting networks. Due to the unidirectional property of mobile broadcasting networks, it is possible to provide multimedia streaming services efficiently. This paper, therefore, proposes a pragmatic mediasharing device capable of receiving ATSC Mobile DTV broadcast and relaying it to several smart and portable devices through Wi-Fi. The proposed device provides both multimedia streaming and data services of ATSC Mobile DTV broadcast and works well with smart devices based on different mobile operating systems such as Android and iOS.

This paper presents a quantitative analysis of a sample of six hundred audiovisual initiatives targeting the web as a distribution platform. The main purpose of this study involves using our sample to establish what we call unidirectional and interactive dimensions, based on the description of several indicators that will determine the nature of the services implemented and applications used in all the items analysed. These dimensions will be compared with two variables in order to analyse, firstly, the content lines, and secondly, whether or not the items represent the extension of conventional communication media (unidirectionality) on the web. The resulting data will show and specify the main differences between the dimensions of unidirectionality and interactivity with regard to Rebut /

El presente estudio se centra en el fenómeno WebTV de las televisiones en Internet. Por motivos empresariales, tecnológicos y comunicacionales, la revolución inversa, quizá más radical (Internet desde la pantalla de TV), está todavía pendiente. Mientras esta se produce, nuestro objeto de estudio aparece ya plenamente generalizado y en gran medida marcará las pautas de esta convergencia fundamental.En este contexto, nuestra investigación pretende, en primer lugar, el análisis conceptual y la determinación de todas las propuestas (y de sus formatos) que tendrían que ver con la incorporación de la televisión a la Red; en segundo lugar, a partir del diseño de una muestra, desarrollamos la descripción y tipología de éstas

There is currently no method for quality measurement suitable for the resolution of dis putes between IPTV operators and governing regulators; the G.107 ITU and G.1070 ITU standards employ too many objective measurements, which complicates their application. The appropriateness of the development of practical techniques for collecting subjective quality evaluations of the IPTV themselves is shown; such factors can serve as a basis for solving the disputes mentioned. The problem of simplifying the ITU G.107 and ITU G.1070 standards by multivariate statistical analysis and selec tion of the most informative objective quality indicators is shown.

Uno de los grandes avances tecnológicos de la última década, lo constituye la Televisión por Internet, un servicio que, actualmente, incorporan la mayoría de canales de televisión convencionales y que, en estos años, se está implementando en las universidades de todo el mundo. En este trabajo nos centramos en explicar cuáles son los principales sistemas de Televisión por Internet así como sus aportaciones tanto en el campo de la comunicación como en el de la docencia dentro del Campus de Excelencia Internacional Agroalimentario (ceiA3).One of the greatest technological advances of the last decade is the Internet Television, a service which has been incorporated by the majority of the current conventional TV channels, and implemented by universities all over the world during the last years. This work is focused on explaining what the main Internet TV systems are, as well as its contributions to the communication and teaching spheres into the Agrifood Campus of International Excelence...

Im frühen 20. Jahrhundert begeisterten sich die Menschen für Rekorde aller Art, für die Geschwindigkeit der Eisenbahn, des Autos: schneller, schneller ... in die Zukunft. Die Futuristen riefen: "Wir erklären, dass sich die Herrlichkeit der Welt um eine neue Schönheit bereichert hat: die Schönheit der Geschwindigkeit". Der sonderbare Eindruck des Rückwärtslaufens der Eisenbahnräder in der filmischen Aufnahme, der die menschliche Wahrnehmung verunsichert, traf im Kino auf die Freud'sche Traumanalyse. Traumbilder und Projektionen im Kinosaal formten ein neues Erzählmantra. Das große Versprechen des 20. Jahrhunderts war der Kommunismus - ein Kinotraum. Heute scheint es, dass uns die Geschwindigkeitsfantasien des 20. Jahrhunderts überholt haben. Während sich zwischen den Jahren 1500 und 1900 das Wissen der Menschheit nur etwa alle hundert Jahre verdoppelte, geschieht dies heute alle fünf Jahre - Tendenz steigend. Datenströme fließen in Echtzeit, Verkehrsströme haben sich ve...

The new technologies use at the school is a subject that interests diverse society segments, to include the separation that are between digital born and no digital born. The text approaches under the perspective of the education which the concepts that the new technologies had presented for the society contemporary and that they can be applied in the education to help to reduce at the difference between digital born and no digital born. The concepts are argued and alternative pedagogical they are presented for the application of the same ones in the context of the classroom. The involved schools are Brazilian, the pedagogical line is from Paulo Freire and the used technological resource as experiment is the digital video. brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Revista ICONO14-Revista científica de Comunicación y...

Due to the significant increase in the last five years of audiovisual content distribution over the web, this paper is focused on a study aimed at the description and classification of a wide sample of audiovisual initiatives whose access is carried out by means of the World Wide Web. The purpose of this study is to promote the debate concerning the different names of these incipient

Due to the significant increase in the last five years of audiovisual content distribution over the web, this paper is focused on a study aimed at the description and classification of a wide sample of audiovisual initiatives whose access is carried out by means of the World Wide Web. The purpose of this study is to promote the debate concerning the different names of these incipient

With the proliferation of video streaming services, now internet TV has become a popular service on the Internet. Catch-up TV is an attractive service in internet TV, where user who misses a live programme can watch it later. Meanwhile, not all streaming protocols, by default, are able to support catch-up TV application. This paper explains how to develop catch-up TV application in RTSP/RTMP streaming protocol, by doing shell-script programming and using Wowza streaming engine, on Linux-based streaming server. The research result has been implemented in UseeTV, one of the largest commercial internet TV service in Indonesia.

As the number of audiovisual contents to be identified and analysed has been increasing since the last few years, and as the resources available to face this situation are decreasing, Artificial Intelligence has become a desired tool for television archives. The future automatic metadata extraction workflows will be based in three complementary technologies: artificial vision, speech technologies and natural language processing. The use of these technologies will allow us to access a greater number of contents as well as to increase the granularity in the analysis. The role of the documentalist will be modified once again. Training algorithms and data validation will be two new relevant tasks for these professionals. In this new scenery, the RTVE University of Zaragoza Chair promoted the Iberspeech 2018 Challenge. This technological challenge made more than 500 hours of audiovisual content in Spanish available to the scientific community. Iberspeech 2018 also allowed the different n...

This paper describes an architecture to relay on demand a real-time IP multicast audio-video stream broadcasted by a satellite on a terrestrial link. The stream is received by suitably equipped sites and then relayed to other sites that are not equipped with satellite receiving hardware but are nonetheless willing to receive the stream. By exploiting the properties of satellite transmission and adopting a hybrid satellite/terrestrial, multicast/unicast approach, the described architecture allows to overcome the restrictions suffered by multicast traffic in the global Internet, allowing it to scale easily across autonomous systems. All things considered, the proposed architecture outlines a large-scale interactive audio-video distribution system similar to those based on Content Distribution Networks (CDN) and it compares favorably with them when performances, costs and scalability are examined.

This article presents an analysis of the original content of fictional series created by one of the leading companies in the streaming television market, Netflix. This work aims at offering an in-depth study of the original series of the company Netflix, which will allow to classify these contents according to their strategic nature and, secondly, to offer a formal taxonomic overview on them. In addition, their forms, formats, languages, genres and thematic descriptors are analysed in order to establish a taxonomy for the classification of Netflix’s original content. To this end, this article is based on a quantitative method with qualitative contributions, adopting a descriptive but also exploratory approach. Its sample is made up of 490 series available on the Spanish version of the platform from its beginning in 2013 to 2019. The results lead to find a commitment to the production of fictional series with a global nature, but also focused on the local through alliances and produc...

By using algorithms to track the data of their users in Mexico, Netflix has managed to solve the equation of cultural proximity. Since 2015 it has produced original series that include melodramatic traits, even if they align with genres like comedy, biopic and political thriller. Applying industrial and textual analysis, this article argues that Netflix has established a love-hate relationship with Mexican melodrama, making fun of its conventions but using them nevertheless. It concludes that algorithms have the potential to transform Internet tv providers into competitors for local producers.

This paper presents a quantitative analysis of a sample of six hundred audiovisual initiatives targeting the web as a distribution platform. The main purpose of this study involves using our sample to establish what we call unidirectional and interactive dimensions, based on the description of several indicators that will determine the nature of the services implemented and applications used in all the items analysed. These dimensions will be compared with two variables in order to analyse, firstly, the content lines, and secondly, whether or not the items represent the extension of conventional communication media (unidirectionality) on the web. The resulting data will show and specify the main differences between the dimensions of unidirectionality and interactivity with regard to Rebut /

This paper describes an architecture to relay on demand a real-time IP multicast audio-video stream broadcasted by a satellite on a terrestrial link. The stream is received by suitably equipped sites and then relayed to other sites that are not equipped with satellite receiving hardware but are nonetheless willing to receive the stream. By exploiting the properties of satellite transmission and adopting a hybrid satellite/terrestrial, multicast/unicast approach, the described architecture allows to overcome the restrictions suffered by multicast traffic in the global Internet, allowing it to scale easily across autonomous systems. All things considered, the proposed architecture outlines a large-scale interactive audio-video distribution system similar to those based on Content Distribution Networks (CDN) and it compares favorably with them when performances, costs and scalability are examined.

The tension underlying interactive television (TV) systems stems from the clash between interactivity as a communication model and TV as an organizing platform. Conventional TV is a communication system with an information-producing-and-distributing center and an information-receiving periphery. Interactive communication, on the other hand, is a catalyst for a power shift away from the center as the media are reorganized into two-way communication systems. The telecommunications firms, however, organize interactive TV following the conventional TV model because it is a historically familiar and successful economic model and an exemplary control mechanism for the production, distribution, and consumption of information. Thereby interactivity in interactive TV is reduced to mechanical query-response/request-delivery processes. Since interactive TV does not unleash the new liberties of communicative action offered by new technologies, the supposedly new medium is not really a new medium.

This article presents an analysis of the original content of fictional series created by one of the leading companies in the streaming television market, Netflix. This work aims at offering an in-depth study of the original series of the company Netflix, which will allow to classify these contents according to their strategic nature and, secondly, to offer a formal taxonomic overview on them. In addition, their forms, formats, languages, genres and thematic descriptors are analysed in order to establish a taxonomy for the classification of Netflix’s original content. To this end, this article is based on a quantitative method with qualitative contributions, adopting a descriptive but also exploratory approach. Its sample is made up of 490 series available on the Spanish version of the platform from its beginning in 2013 to 2019. The results lead to find a commitment to the production of fictional series with a global nature, but also focused on the local through alliances and productive methods with local businesses. Furthermore, the importance of in-house production as a present and medium-term future strategy is highlighted, together with the commitment to the division of production languages, considering local languages as a resource for the acceptance of the products. As for the predominant formats, a new trend marks how new audiovisual products are created by focusing, among other things, on reducing the duration and longevity of the series broadcast by the company.

In appraising the usage of mobile video streaming application, the importance of performance get into focus because it affects application usability. In this research, video quality and streaming are recognized as the two major aspect in the usage test of mobile video streaming applications. These aspect are influenced by many grouped factors that are differs from platforms to platforms. In mobile platforms, the limitations caused by the compact screen sizes of the mobile devices, also the low bandwidth and network connections are tottery. Also some factors affect the performance of mobile video streaming like start-up delays, jitter, latency and re-buffering. Video quality is decided by bit rate, frame rate and quality. One of the few ways to avoid this to tackle this is by using Adaptive Bit-rate Streaming. (HTTP Live streaming) supports Adaptive Bit-rate Streaming.

El mercado de la televisión por suscripción sufrió un punto de quiebre para finales de la primer década del siglo XXI. El surgimiento de la plataforma “Over-TheTop” conocida como Netflix no solo marcó un antes y un después en los servicios de streaming, sino que también reconfiguró las maneras en las cuales las personas consumen habitualmente series, películas y otros tipos de contenido audiovisual.

Netflix ha resuelto la ecuación de la proximidad cultural en México utilizando algoritmos para monitorear los datos de sus usuarios. Desde 2015 ha producido series originales que muestran rasgos melodramáticos a pesar de pertenecer a géneros como la comedia, la biografía o la acción de trasfondo político. Con base en un análisis textual y de la indus-tria, este artículo sostiene que Netflix ha establecido una relación de amor-odio con el melodrama mexicano, burlándose de sus convenciones pero usándolas al mismo tiempo. Se concluye que el uso de algoritmos tiene el potencial de transformar a los proveedores de televisión por Internet en competidores de los productores locales.
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By using algorithms to track the data of their users in Mexico, Netflix has managed to solve the equation of cultural proximity. Since 2015 it has produced original series that include melodramatic traits, even if they align with genres like comedy, biopic and political thriller. Applying industrial and textual analysis, this article argues that Netflix has established a love-hate relationship with Mexican melodrama, making fun of its conventions but using them nevertheless. It concludes that algorithms have the potential to transform Internet tv providers into competitors for local producers.

This study is aiming to research the present and past situation of Turkish language TV broadcasts from European countries as Germany, the Netherlands, Belgium, France, the United Kingdom, Sweden, Switzerland and Austria.
The first Turkish language TV broadcasts in Europe were aired subsequently after Turkish workers migration started in the early 1960`s. The first TV program aimed towards Turkish workers in Europe was aired in 1965 by the German WDR broadcasting network in form of the multilingual setting “Their home our home/Ihre Heimat unsere Heimat (Sizin Vatanınız Bizim Vatanımız)”. In the following years, public TV stations other countries started to set similar examples.
The TV channel “Avrupa Türk Televizyonu” (ATT) which started broadcasting in Ludwigshafen on September 17th 1984 was the first purely Turkish station in Europe. This step was followed by the channel TD1, that started broadcasting in 1985 from West-Berlin. A positive correlation between the density of Turkish population and the frequency of Turkish TV broadcasts can be established when studying the development of such enterprises. As more than half of Europe’s Turkish population is living in Germany, most of Turkish TV broadcasts were aired from there. Following Germany, broadcasts concentrate in the Netherlands, France and Belgium. In Austria, Switzerland, the UK and Sweden, the number of Turkish TV broadcasts has been much lower. In 1990, Turkish state television TRT founded the channel TRT-INT, resulting in a growing audience in Europe being able to follow TV channels directly from Turkey. Following that development, Turkish TV programs became the main medium of news and entertainment for Turks in Europe. Nowadays, Turkish TV viewers all over Europe are able to choose between about 500 Turkish TV stations.
As of December 2018, Turkish TV stations broadcasting via traditional channels or the internet in Europe are numbering fourteen, out of those, only five are viewable via cable TV or satellite TV. As TV channels situated in Turkey have established a near monopoly on the advertisement market, Turkish TV stations located in Europe itself often could not keep up and were forced to close down. Therefore, Turkish TV stations in Europe are focusing on internet broadcasting, as that medium is bearing much lower costs. Furthermore, it has been observed that TV stations broadcasting in Turkish language tend do prefer the more functional IPTV than internet TV. 
Nowadays, with about five million Turks living in Europe, the migrants have started the transformation process from “guest worker” to “citizen”. While Turks have been becoming a present factor in fields like politics and economy, media has becoming an important factor for the continuity and evolvement of the Turkish language among the third generation of Turkish immigrants.
This study is limited to Turkish TV broadcasts from eight different European countries, the Balkans are not covered within its scope. From a methodological point of view, primary and secondary literary sources have been used together with person to person interviews. Especially the interviews have revealed many new and previously uncovered findings regarding the development of Turkish internet TV broadcasts from abroad.

En apenas dos décadas de existencia, Netflix se ha convertido en una marca de resonancia mundial y en una nueva manera de entender el
entretenimiento moderno. La compañía daba el salto al mundo digital en 2007, tras diez años de andadura analógica, durante los cuales su negocio consistía en ofrecer una tarifa plana para el alquiler de DVD que se enviaban a domicilio.
En lo sustancial su modelo seguía siendo el mismo (llevar el cine y las series de televisión a los hogares), pero a través de una actividad
100 % digital: streaming de contenidos sin descarga al dispositivo de reproducción, mediante una suscripción mensual. Apostar por Internet parecía arriesgado con la situación que por aquel entonces vivía el home entertainment, debilitado a causa de la piratería y la desaceleración en la
venta y alquiler en formato físico. «Nadie querrá pagar por algo que se puede tener gratis» se convirtió en el comentario recurrente, sobre todo por parte de los agentes tradicionales del sector. Los mismos que se encontraban (y aún se encuentran) inmersos en el dilema de cómo retener las ventajas de su negocio analógico y, a la vez, explotar las necesidades que generaba el nuevo ecosistema digital. Netflix ha demostrado que sí era posible. Ha sido fiel a su filosofía de oferta inmediata y accesibilidad total, incluso con sus producciones originales. En la actualidad goza de un cómodo liderazgo en el ámbito de la televisión por Internet, con casi 110 millones de suscriptores en todo el mundo y presencia en más de 190 países (según datos del tercer trimestre de 20171). Y aunque la suya no ha sido una andadura exenta de tropiezos y errores, ha sabido reorientar su modelo de negocio cuando ha hecho falta, adaptando su oferta a un mundo sumido en una innovación acelerada y unos hábitos de
consumo en constante cambio. También ha demostrado que era posible rentabilizar un servicio de contenidos digitales, ofreciendo un valor añadido por el que el usuario estuviese dispuesto a pagar. Y, por el camino, ha transformado profundamente los cimientos del consumo cultural en pantallas.

Teknolojinin gelişmesiyle beraber her gün daha fazla hayatımıza giren internetin, bu gelişimine paralel bir biçimde hukuki düzenlemelere de konu olması kaçınılmaz bir zorunluluk haline gelmiştir. Zira hem yaşamımızın her alanına girmiş bulunması hem de sürekli olarak değişen ve gelişen bir alan olması, hukukun da aynı şekilde bu gelişmeleri takip etmesini gerekli kılmaktadır. İnternetle ilgili yapılan hukuki düzenlemeleri son olarak Türkiye Büyük Millet Meclisi Genel Kurulu'nda kabul edilen ve sonra Resmi Gazete'de yayımlanarak yürürlüğe giren yasa takip etmiştir. Yasa, internet ortamında yapılan yayınlara Radyo ve Televizyon Üst Kurulu denetimi getirmekte ve Kurula erişimin engellenmesini talep etme yetkisi vermektedir. Bu yazımda, RTÜK denetimi getiren tasarıyı değerlendirebilmek adına öncelikle bilişim teknolojilerinin gelişmesiyle beraber internet ve internete ilişkin hukuki düzenleme yapma ihtiyacının doğuşunu detaylı bir biçimde açıklayıp; bu ihtiyacı karşılayabilmek adına düzenlenen 5651 sayılı Kanun ve Kanun'un ilgili hükümlerini açıklayacağım. Ardından RTÜK denetimi getiren tasarının özellikle 5651 sayılı Kanun kapsamında hukuka uygunluğunu denetleyip, bu noktada eleştiri ve endişelerimi dile getireceğim. Ancak 6112 sayılı Radyo ve Televizyonların Kuruluş ve Yayın Hizmetleri Hakkında Kanun'da yapılan ek aslında doğrudan internet iletişim hukuku ile ilgilidir. Dolayısıyla öncelikle internetin ve internetteki ifade özgürlüğünün ne anlama geldiği, 5651 sayılı Kanuna bu açıdan getirilen eleştiriler ortaya konulduktan sonra, bu makalenin konusunu oluşturan kanunda yapılan ek tam olarak anlaşılabilir ve nesnel bir biçimde eleştirilebilir.

Caso Netflix Modelo de negocios: Inicialmente Netflix usó un modelo de precios similar al ofrecido por las tiendas tradicionales de video. Los clientes escogían sus películas empleando el sitio web de la compañía, pagaban 4 dólares por película alquilada más 2 dólares por cargo de envío, las películas debían ser devueltas en una fecha estipulada sino se les cobraría por alquiler extendido. Hastings y su equipo usaron los modelos de los más exitosos vendedores al por menor de Internet de ese momento para identificar características que pensaban que podían atraer a los clientes: (1) valor, (2) conveniencia y (3) gama de películas. El sitio web de Netflix incluía un motor de búsqueda que permitía a sus clientes ordenar fácilmente las películas que escogían por título, actor, director y género. Empleando este motor de búsqueda, los clientes creaban una lista de películas, llamada una fila, que Netflix les enviaría, en lugar de copiar el modelo de las cadenas de alquiler de videos y alquilar puntos de ventas al por menor, Netflix dependía del Servicio Postal de Estados Unidos (USPS) para entregar los DVD. Pero la retroalimentación de los primeros clientes reveló frustración con el hecho de que Netflix cobraba precios de alquiler semejantes a los de las tiendas de alquiler de la competencia cuando ofrecía un servicio de entrega más lento. Hastings creía que pasar a un servicio de suscripción prepagada podría brindar más valor a los clientes de Netflix y también convertir sus mayores tiempos de entrega en una ventaja. La primera iteración del modelo de suscripción permitió a los clientes disponer de cuatro películas a la vez y recibir hasta cuatro nuevas películas cada mes. Muy poco después, Netflix ajustó nuevamente su sistema de precios, ofreciendo alquileres ilimitados por primera vez. Ahora los suscriptores podían mantener tres películas a la vez y cambiarlas tan frecuentemente como ellos quisieran. Esto se debido a que simplificaría drásticamente el programa y haría más fácil explicar el servicio. También permitió comercializar una propuesta de valor más atractiva. El término " ilimitado " es excelente en mercadeo. Fanáticos para quienes el alquiler de películas era una parte regular de su entretenimiento diario estos usuarios frecuentes, el modelo de Netflix de " todo lo que pueda comer " era una alternativa atractiva a la estructura tradicional de tarifa por día. Se comenzó a luchar con un nuevo problema. La mitad de los DVD que se despachaban eran nuevos. Los principales estrenos recibían mucha demanda. Los ingenieros de Netflix desarrollaron un sistema propio de recomendación para equilibrar mejor la demanda del cliente. Luego de registrarse por primera vez en una nueva cuenta, los clientes llenaban una pequeña encuesta para identificar sus géneros favoritos de películas así como calificar títulos específicos de películas del uno al cinco. El sistema incrementó la utilización de la filmoteca de Netflix al satisfacer a los clientes con películas ya adquiridas y en existencia, en lugar de requerir la compra de más copias de las películas más nuevas. Este software estableció una relación con los clientes que no era igualada por los empleados de medio tiempo de una tienda de video al por menor, ni fácilmente reemplazables al cambiarse al servicio de un competidor y hacia que los suscriptores disfrutaran de películas menos conocidas que se les recomendaban. Conclusiones: Desde que Netflix fue fundada siempre ha tratado de tener esa ventaja tecnológica que las diferencia de sus competidoras, como el implementar el DVD en lugar de la tradicional VHS. Es una empresa que pudo adaptarse ante cualquier adversidad que se le presentaba encontrando soluciones que le ayudaban a desarrollarse como empresa.

A series of short presentations and a round table discussion will focus on selected exhibitions that reflect specific curatorial characteristics of Bluecoat's programme. These include its ongoing engagement with art that addresses issues around diversity, race and difference. The way the gallery spaces have changed over time will be explored, as their configuration – and documentation-has reflected developments in artistic practice, from painting to installation and moving image, and the different display requirements these have demanded. This longitudinal perspective will come right up to the present by considering the current Public View exhibition, with its breadth of media and selection of artists-local, UK and international. The speakers will also consider the extent to which Bluecoat is a recognisably Northern gallery and whether this 'peripheral' positioning largely outside of the mainstream has contributed to the directions and distinctiveness of its exhibition programming. The evening will conclude with an opportunity for the audience to contribute to the debate in a question and answer session.

The rise of the Internet (and so, the Cloud-based services) and other technological innovations have dramatically revolutionized the way we live our lives, and especially the way in which we consume media. The television industry, which has been a model for stability and success since the Fifties (let think about the American example), is now under intense pressure to maintain its revenue streams and margins in the face of Internet-based competition. With advertising revenues especially threatened, it is not clear how broadcast networks can continue to remain sustainable without significantly changing the nature of their programming or entering the online space themselves. As Internet penetration increases and the population becomes more tech-oriented, it is plausible to suggest that television networks and cable services may cease to exist. However, it is impossible to predict the technological changes that may occur in the next 50 years, which is why I will focus on the more immediate future.

Rancangan proposal pengajuan Kelompok Kegiatan Mahasiswa (KKM) ART TV di  Fakultas Seni Media Rekam (FSMR) menjadi Unit Kegiatan Mahasiswa (UKM) TV Kampus ISI Yogyakarta ART TV. Proposal diajukan untuk mempermudah aktivitas menjalankan televisi kampus ISI Yogyakarta.

La optimización tecnológica de las redes de Internet ha sentado las bases para la explosión en la transmisión de contenidos audiovisuales por web. En los últimos tres años la red ha expe- rimentado una evolución natural hacia un entorno a modo de célula de comunicación audiovisual. Las cadenas de televisión han iniciado importantes estrategias de desarrollo en el ámbito de Internet. Bajo este contexto, se analiza, desde un punto de vista morfológico y de contenidos, el nuevo portal de RTVE inaugurado en mayo de 2008.

El presente estudio se centra en el fenómeno WebTV de las televi-siones en Internet. Por motivos empresariales, tecnológicos y co-municacionales, la revolución inversa, quizá más radical (Internet desde la pantalla de TV), está todavía pendiente. Mientras esta se produce, nuestro objeto de estudio aparece ya plenamente generali-zado y en gran medida marcará las pautas de esta convergencia Abstract The present study focuses on the phenomenon WebTV of the televisions on Internet. For managerial, technological and communication motives, the inverse revolution, probably more radical (Internet from TV's screen), is still hanging. While this one takes place, our object of study turns out to be already fullly widespread and in great measure it will mark the guidelines of this fundamental convergence. In this context, our research claims, first, the conceptual analysis and the determination of all the offers (and of its formats) that they would have to see with the incorporation of the television to the Net; secondly, from the design of a sample, we develop the description and typology of these.

Dado el significativo aumento en los últimos cinco años de la difusión de contenidos audiovisuales a través de la web, se presenta en este artículo un estudio descriptivo y clasificatorio sobre una amplia muestra de iniciativas audiovisuales cuyo acceso se realiza mediante la World Wide Web. Este estudio tiene como objetivo general impulsar un debate acerca de las denominaciones de estos incipientes medios, así como su tipificación y caracterización, de manera que proporcione un universo ordenado del fenómeno WebTV. Se realiza un análisis de formatos y contenidos basándonos en técnicas cuantitativas, cuyo resultado será la proposición de una tipología de categorización. Dichos formatos y contenidos serán estudiados bajo tres variables fundamentales: “Contenidos”, “Origen” y “Dominio .tv”. “Contenidos” nos ayudará a delimitar las líneas programáticas de nuestra muestra objeto de estudio; “Origen” precisará la raíz o procedencia del caso de estudio (WebTV nativa o WebTV representativa de un medio convencional) y “Dominio .tv” concretará la proporción de casos de estudio alojados con el dominio .tv. Los resultados obtenidos ofrecen a investigadores y profesionales una amplia descripción de los modelos adoptados actualmente en el panorama del vídeo y la televisión en la web.

This paper presents a quantitative analysis of a sample of six hundred audiovisual initiatives targeting the web as a distribution platform.
The main purpose of this study involves using our sample to establish what we call unidirectional and interactive dimensions, based on the description of several indicators that will determine the nature of the services implemented and applications used in all the items analysed. These dimensions will be compared with two variables in order to analyse, firstly, the content lines, and secondly, whether or not the items re- present the extension of conventional communication media (unidirectionality) on the web. The resulting data will show and specify the main differences between the dimensions of unidirectionality and interactivity with regard to the variables mentioned above. The findings here show that software development capacity informs the coexistence between conventional mass media functions and new participation options, but the results obtained lead us to conclude that interactivity is not considered the most representative quality of our study sample.