Television Production

Resumo As políticas europeias, em matéria de televisão pública e de produção audiovisual têm sido, de um modo geral, muito negativas para a experiência cultural europeia, e para a identidade e o reforço da Ideia de Europa. Ao fim de mais de 30 anos de políticas hesitantes e precárias que têm vindo sistematicamente a diminuir a esfera de ação cultural e a identidade europeia do audiovisual público dos Estados-membros da UE, estamos provavelmente a chegar a um ponto de não retorno, em plena fase de transição para o digital. No atual contexto político de revisão da Diretiva do audiovisual, ou essas políticas reforçam a competência das televisões públicas europeias para a construção da Ideia de Europa, ou será a própria Europa e os meios audiovisuais de difusão da sua cultura que entrarão definitivamente em perigo.

Multicamera television production’s similarity to the video clip has become evident in the production of the EBU’s Eurovision Song Contest, where various musical numbers representing public television stations from the organizing countries compete against each other in terms of spectacularity and originality. The main objective of this research is to analyze several acts to identify such appropriation. We will apply a textual analysis to the audiovisual discourse of a sample chosen through subjective sampling. We divide our analysis into four sections: preliminary phase, formal audiovisual analysis, staging and performance. The investigation leads to the conclusion that the characteristic fragmentation of space and time of video clips can also be identified in live music videos. This fragmentation is seen in the break in spatial continuity, resulting from recreating sets on stage and the abstraction of the stage thanks to screens and an avant-garde composition shot. We also consider...

The presented monograph primarily examines the ways in which people establish contacts with media content in the cultural reality and under the technological and economic conditions of the 21st century. The publication aims to respond to current questions shaping media audience research, whether in relation to the existence and formation of the so-called hypermodern media culture, or within the framework of broader considerations about the promotion of media content and fan activities, which in the last twenty years have become a self-evident and automatically expected part of our daily interactions with media content. Media audiences express their increasing sensitivity towards social issues, actively participating in public life and political affairs – whether they realise it or not. The proclaimed loss of authenticity seems to be the essential problem, as media audiences are quick to recognise pretentious content and badly executed promotional campaigns. The authors aim to discuss a range of problems which stretch beyond the boundaries of media and communication studies, influencing everyday life, political stances and consumer behaviour under the conditions of ideologically polarised Western world. The publication is primarily interesting for media and marketing scholars, as well as for media professionals and marketing experts specialising in production and distribution of audiovisual content. The thematic focus of the publication directly responds to the challenges of contemporary socio-economic practice, emphasising the key economic issues of the near future, especially the need for reassess production, distribution, and marketing strategies in terms of the ever-changing preferences of media audiences.

This article addresses the usefulness of audience metrics and the tools for developing communicative practices of Inbound Marketing in the digital environment. The objectives of this article are to identify what new indicators audience metrics are using, determine the data they provide for inbound marketing practices, assess how data allows contents to be tested and plan them. For this purpose, the central measurement tools were identified and the services they offer as well as the metrics that allow user behavior and emotions regarding messages to be detected, enabling content testing and planning accordingly to attract and retain audience attention and foster loyalty. The conclusions reveal how new metrics are reshaping the way in which contents are produced and distributed, making them indispensable tools for identifying the capacity to attract, retain, satisfy and create loyal users. Data analysis has become a tool in which practical aspects intersect with emotional ones, allowi...

This research aims to discover the representation of foreign cultures in "Informal Talks" a Chinese TV program, focusing on foreign culture portrayal and cross-cultural communication through the qualitative method of textual analysis. This study examines TV program production, Topic selection, and representatives' actions to present foreign cultures. The analysis objectives from seasons 1 to 4 of "Informal Talks" are divided into cultural aspects, data collection, and analysis. Cross-cultural communication theory and the cultural dimension were used to examine the content. Results from the content analysis revealed how foreign cultures are portrayed in informal talks, and how topic selection caters to foreign guests in "Informal Talks" which indicates that "Informal Talks" use humor and relatable discussions to enhance understanding of foreign cultures, cultural sensitivity, and to promote cross-cultural communication in Chinese TV programs. This research is significant for providing insights into foreign cultures shown in Chinese TV programs, contributing to cross-cultural understanding, and promoting national communication in the context of globalization.

The objective of this article is to analyze the process whereby user ⴀ૰‐ȁgenerated content is produced and subse ⴀ૰‐ȁ quently  shown  on  television.  The  commercial  possibilities for  these  products  are  examined,  based  on  the  economics of user ⴀ૰‐ȁgenerated content, and their process of creation and development is examined. A brief overview of the origin, production and distribution of online series in

The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables “[camera] shot with question while listening” and “shot with question with split screen”. The variables have been subjected to descriptive analyses, correlation with...

This article focuses on production and reception practices for live reality television using critical theory and empirical research to question how producers and audiences co-create and limit live experiences. The concept of care structures is used to make visible hidden labour in the creation of mood, in particular audiences as participants in the management of live experiences. In the case of Got to Dance, there was a play off between the value and meaning of the live events as a temporary experience captured by ratings and social media, and the more enduring collective-social experience of this reality series over time.

The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables “[camera] shot with question while listening” and “shot with question with split screen”. The variables have been subjected to descriptive analyses, correlation with...

This article examines the notions of substitution and archetypes in the film Big Hero 6, in both its narrative and audiovisual dimensions from the perspective of poetic possible worlds, exploring how these two notions shape the personal world of the film’s protagonist, Hiro Hamada. Our research makes a novel contribution to the field of Superhero Studies, offering an analysis of the audiovisual characteristics of a superhero film and exploring a work within the genre that has not yet received attention from researchers. The research identifies and explains several narrative strategies and their function: the role of the mediating substitute, the mimetic aspect of exemplary storytelling, and the mechanism of preserving the world’s structure through substitution. Camera position, framing and lighting all serve as audiovisual counterparts of these narrative strategies.

International trade and cooperation are increasingly affecting what we experience in the national and local media. This development is rapidly evolving with live televised events, like Idols and Dancing with the Stars, and here I pursue why (and how) this is so. I engage specifically with the ways in which licensed international programme formats intervene in existing programme traditions, and affect the repertoire and capacity of national television producers. I trace the practices of the two largest Norwegian broadcasters over the last two decades. The question is not only how licensed formats affect different industry sectors, in this case license-funded NRK and commercial TV 2, but also how different units within the broadcasters are impacted. The article calls for heightened sensitivity to new forms of control and collaboration in creative processes, and new routines for premeditating live events. It suggests that format exchange should be evaluated along a continuum from open to closed; a continuum that can bring nuance to discussions of cultural colonisation.

The new model of television production is based upon: digital formats, the centralized management of media content and associated metadata, non-linear assembly of media elements, high-speed networks, format agnostic distribution and automated processes. An effective software-intensive production system should allow incoming material-text, audio, video and associated metadata-to be available to all users on the system as soon as it arrives at the production facility. The framework for ingest system's model in problem space is presented in this paper. During the analyses of new content ingest workflow, behavioural description is modelled by the Use Case diagram.

The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables “[camera] shot with question while listening” and “shot with question with split screen”. The variables have been subjected to descriptive analyses, correlation with...

Atendiendo a los datos de consumo, los intereses televisivos de la audiencia española, en lo que a contenidos se refiere, no parecen haber cambiado de forma drástica en los más de setenta años de historia de televisión en España. La televisión – la generalista en abierto y ahora las plataformas OTT – se ve condicionada por los hábitos de consumo de su audiencia pero, al mismo tiempo, es capaz de marcar la propia identidad de los espectadores con los contenidos que produce y ofrece. La programación televisiva ha sabido adaptarse a cada contexto histórico-social, especialmente cuando se produjo la irrupción de las cadenas privadas, con la apuesta por nuevos formatos y géneros televisivos. Para comprobar este escenario, y validar precisamente estos modelos de consumo, se ha realizado una investigación ad hoc estructurada en siete focus groups coincidentes con las franjas de edad del Estudio General de Medios. Los resultados muestran, según las distintas edades, cómo se consume hoy el c...

This exploratory paper considers the evolution of drama production companies in the UK against the backdrop of regulatory interventions (Paterson, 2017a). In so doing, it poses the question of what was it that made a successful drama production company as the context of tv production changed. A set of firm types of current drama production companies is established, the density of companies occupying this niche mapped, and the growing heterogeneity of firm types over time identified. Firms within these types are examined applying the fitness landscape methodology, developed for the analysis of organisations from complexity theory (Kauffman, 1993). This approach offers a dynamic conception of an industrial sector in continuous change responding to the technological, market and the endogenous factors with which firms engage. The adaptive walks of a set of companies within each firm type are plotted by examining a company's reputation, their access to talent and their ability to secure commissions and raise finance for development and production. What becomes possible for a company at particular junctures-the adjacent possible-is variable, but as will be demonstrated routes to growth have tended to become normative once any innovation in organizational form is successful. The implications of this approach are broached in relation to further possible policy interventions and broader technological changes.

Création d'espaces et espaces de la création 45 | Le crime organisé. Réalités et représentations 44 | Noir Caraïbe 43 | Altérité et marginalité 42 | Pouvoir(s) des femmes. Femmes de pouvoir 41 | Entre politique, éthique et esthétique 40 | L'esprit de parodie dans l'aire romane 39 | Remémorations Ibériques 38 | Territoires de la non fiction 37 | Le roman graphique en langues romanes 36 | Écrire et dire les migrations 35 | Le peuple. Théories, discours et représentations 34 | Aux origines du roman policier 33 | Fragments de mémoire européenne 32 | Amérique francophone et Amérique latine 31 | Les formes hétérogènes du roman policier 30 | Les mots du politique 29 | Oser métamorphoser 28 | Límites, fronteras e intersecciones en América Central 27 | Mythes sans limites 26 | Herméneutiques 25 | Réécritures policières 24 | L'autre même 23 | L'ailleurs. Pratiques et représentations 22 | Fuites en avant ou à rebours. La fuite en mots et en images 21 | Regards croisés dans le monde roman 20 | Traces d'autrui et retours sur soi 19 | Rites et rythmes urbains /2 18 | Rites et rythmes urbains /1 17 | Auberges, hôtels et autres lieux d'étapes 16 | La ville dans le cinéma documentaire espagnol 15 | Roman policier et Histoire 14 | Traduction et Plurilinguisme 13 | Les belles infidèles de la « Jérusalem délivrée » 12 | La ville, lieux et limites 2 11 | La ville dans la photographie espagnole 10 | Voies narratives et voies ferrées : le train en mots et en images 9 | 2003 Subvertir les règles : le roman policier italien et latino-américain 8 | 2003 La ville, lieux et limites

One of the main objectives of this research has been to measure the quality of television programmes. The results that have been achieved give a symptomatic description of television nowadays. However, the most significant contribution lies in finding some specific and objectively acknowledged indicators in the field, in order to strive for and reach quality, if this is desired. The demand for better quality in television is neither new nor uniform, because different groups and sectors in society have been complaining for years against the presence of «junk television». This general dislike is addressed by the very same object -television- but with different requirements. The academic community, foundations, educational institutions as well as family associations and other groups show their concern for the kinds of representations of the world portrayed on the screen. Furthermore, mass media professionals and advertising companies also express a desire for a better quality in the pr...

Es la coordinadora del Master oficial en Contenidos de comunicación audiovisual y publicidad. Fue directora del Departamento entre 2009 y 2012. Es investigadora senior del grupo de investigación consolidado Griss de la UAB. Ha participado en proyectos de investigación financiados por el gobierno español y actualmente es la IP de un proyecto sobre la televisión social en Europa (CSO2015-65350-R). Su labor como investigadora se centra principalmente en los estudios televisivos.

Resumen. Late Motiv, el programa de Movistar + presentado y dirigido por Andreu Buenafuente, donde la crítica, el humor o la irreverencia están presentes cada medianoche de lunes a jueves, tuvo que adaptarse a la aparición del Covid 19 y el estado de alarma decretado el catorce de marzo de 2020 (BOE, n. 61, 12 de marzo). Los invitados y colaboradores que repasan la actualidad, los monólogos del propio presentador o las actuaciones musicales que componen el programa de forma habitual, se vieron trastocados con el confinamiento y se han vuelto a adaptar a la "nueva normalidad" en su sexta temporada en Movistar +. Palabras clave: Late Motiv; Movistar +; teletrabajo; Digital Studio; confinamiento. [en] Late Motiv: the transformation of late night before, during and after the lockdown caused by Covid-19 in 2020 Summary. Late Motiv, the Movistar + program presented and directed by Andreu Buenafuente, where criticism, humor or irreverence are present every midnight from Monday to Thursday, had to adapt to the appearance of Covid 19 and the state of alarm that was decreed on March 14, 2020 (BOE, n. 61, 12 de marzo). The guests and TV collaborators who review the current events, the monologues of the same TV presenter or the musical performances that make up the program on a regular basis, were disrupted lockdown and have again adapted to the "new normality" in its sixth season in Movistar +.

The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables “[camera] shot with question while listening” and “shot with question with split screen”. The variables have been subjected to descriptive analyses, correlation with hypotheses, and bivariate analyses using Pearson’s correlation (Rx-y). The results indicate a clear difference in the modes of television representation between national Spanish and European debates. It is discussed whether this audiovisual differentiation may condition the perception that the audience may have of European politics.

Des pratiques anciennes et controversées Les premiers travaux pédagogiques entrepris autour de ce média ont débuté il y a une cinquantaine d'années. Ils étaient alors le reflet d' une double approche. Les optimistes voyaient dans la télévision une alliée objective, un vecteur potentiel d'ouverture et d'éducation sans pareil. Les pessimistes, nettement plus nombreux ,envisageaient la télévision comme une concurrente ou même comme une ennemie dispensatrice de divertissements de deuxième catégorie et de culture vulgaire. D'où une suspicion très marquée vis-à-vis du «petit écran».

Este artículo rastrea la importancia de las catálisis, tal y como las formula Roland Barthes (1968), para asignar valor a los detalles en la descripción en las narrativas. Partimos de su hipótesis según la cual lo aparentemente insignificante del relato es lo que produce el efecto de realidad y proponemos pensar las series televisivas contemporáneas desde lo aparentemente inútil en el relato. Para ello, analizamos desde una perspectiva semiótica cuatro casos de estudio paradigmáticos que se han distanciado de los mecanismos convencionales de enganche y espectáculo y han apostado formalmente por la sutileza y la atención al detalle: la dialogada En terapia (In Treatment, Hagai Levi, Rodrigo García, HBO: 2008-2010), la hiperestilizada Mad Men (Matthew Weiner, AMC: 2007-2015), la irreverente Breaking Bad (Vince Gilligan, AMC: 2008-2013) y la siniestra True Detective (HBO: 2014-). Los análisis revelarán cómo en las catálisis de estas ficciones televisivas se pone en juego lo que es difí...

Australia’s longest-running television drama, Neighbours, is the latest casualty in the global flux of television cultures. The death of this iconic show warrants a health-check for the Australian TV industry.

Neighbours first aired in 1985 and its final episode will hit our screens this week. The final broadcast marks the end of a show recognised for launching the acting careers of some of Australia’s most internationally renowned stars, including Kylie Minogue, Liam Hemsworth and Margot Robbie.

Established working practices, reinforced by traditional hegemonies of power, are resistant to single factor change such as the taxing live-shoot production in South Korea and the way those who benefit the most from success are unwilling to change a system that actively harms its participants  While current analyses of the live-shoot production system of television production in South Korea often base the existence and survival of the system on local economics, two different influxes of money disprove this theory and instead indicate that traditional hegemonies of power based on social and cultural hierarchies reinforce this system creating resistance to change. The influx of Chinese money in 2016 and the accompanying restrictions due to the Chinese system of tv censorship seemed poised to push the industry into a more standard international model of production where there is more time allotted to individual episode production and a greater lapse between production and airing. Then in 2019, as Netflix began financing South Korean productions, the influx of Western international money and the Netflix system of production seemed to have a similar potential to influence the South Korean production system. Yet in the aftermath of both situations, the larger industry has broadly remained immobile to these apparent changes and in fact, even with different funding practices, those productions began to mimic the national standard. The system of live-shoot production in South Korea is a punitive system, not only physically but mentally. In contrast to other practices of production, the punitive effects of the system can be felt not only by the lowest crew members but also by the main (and often only) writer, the producers and the star actors. However since live-shoot production allows considerable flexibility in the production process which enables writers and producers to increase reward in the event of success and reduce failure in the face of massive risk, those most able to profit from the success are unwilling to leave behind the system despite the clear physical and mental toll.

When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD di...

El presente artículo tiene como objetivo realizar una revisión histórica y conceptual de la autoría en la producción televisiva, tomando como referente la Politique des Auteurs francesa aplicada a la televisión estadounidense. Con dicha finalidad, desde una metodología cualitativa, se lleva a cabo un análisis bibliográfico y documental del concepto de autor en la industria del cine y la televisión. Pese al carácter colaborativo del proceso de producción televisiva, los resultados revelan la significación en éste de una autoría individual: el productor ejecutivo de series de ficción televisiva, conocido con el término de “showrunner”. Estamos ante el máximo responsable de la producción del proyecto, que aplica un estilo creativo personal en el conjunto de su obra audiovisual. Dicha autoría, influenciada por la cadena de televisión y los espectadores, promueve la consideración de las series de ficción como un producto cultural de calidad e influye en las estrategias de promoción del m...

Este artículo estudia cómo los showrunners se comunican con su audiencia en la red social Twitter. Tras una revisión literaria sobre el panorama televisivo derivado de la implantación de servicios de streaming y redes sociales, se analizan cuantitativa y cualitativamente las técnicas, el contenido y los elementos audiovisuales y textuales que utilizan en Twitter los showrunners de series originales de Netflix. A pesar de la heterogeneidad de su gestión, los resultados reflejan un uso reiterado del hashtag de la serie de televisión, de los tuits informativos/promocionales y de los enlaces externos.

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This paper studies the techniques used by showrunners to communicate with their audience on the social network Twitter. Following a literature review of the television landscape resulting from streaming services and social media, the techniques, content, and audiovisual-textual elements present in the Twitter activity of the showrunners of original Netflix tv series are quantitatively and qualitatively examined. In spite of the heterogeneous activity, the findings indicate repeated use of the tv series’ hashtag, informative/promotional tweets, and external links.

As television production becomes increasingly global, television studies must advance its understanding of how the global and the local intersect and impact upon the cultures of production. Drawing on original comparative research of three small European nations – Denmark, Ireland and Wales – this article offers empirical insights into the distinct challenges and opportunities for non-Anglophone producers and public service broadcasters (PSBs). The concept of small nations is employed critically to reveal how distinctions of scale and power make a tangible difference to how television is produced and distributed, and to how smaller, national PSBs are trying to secure a sustainable future.

This thesis harnesses the practice of creating and running the Pebble Mill website (http://pebblemill.org) and associated @pebblemillstudios Facebook page, to explore a new historiographical method, which embraces the functionality of online interactivity to tell a democratic community history, through the contribution of the community themselves. It demonstrates a new collective approach to the writing of contemporary history, and identifies a paradigm shift in oral history work. The subject of the project: Pebble Mill, was the BBC broadcast centre in Birmingham, which opened in 1971, and was demolished in 2005. It produced around ten per cent of BBC television and radio output in its heyday, and employed around 1,500 staff. The aim of the website and Facebook page is to celebrate and document the programme making from Pebble Mill. The Pebble Mill project has created an openly accessible online archive of more than 1,600 multi-media artefacts, the majority of which have been donated by members of the online community which has grown up around the project. The digital archive includes video, audio, photographs as well as written blog posts. The research is at the intersection of different academic fields and draws on literature from oral history, memory studies, archival practice, online participation, and museum display, in order to inform the practice.

For many journalists and scholars, what distinguishes binge-watching from garden variety television viewing is the number of episodes viewed in one sitting. However, the question of what viewers define as 'bingeing' is likely to shift significantly depending on a range of factors, including age, occupation and family situation. What remains stable is that binge-watching is always understood as self-determined viewing: It is the viewer who decides when to watch and what to watch, not the broadcasting schedule. Another key aspect is that binge-watching only happens in relation to serialised formats as opposed to films or one-offs. Proposition 2: Binge-watching is Netflix's schedule The television schedule has been theorised as central to the television medium, from Raymond Williams (1974) to John Ellis (1992). So, what does it mean when Netflix highlights, at every juncture, that the schedule (or its absence) is precisely what sets it apart from television? BBC iPlayer, Hulu or HBO Go may allow for self-scheduled viewing, but the way programming is disseminated remains contingent on the

Tradisi di setiap daerah atau wilayah Indonesia dilakukan secara turun temurun dan menjadi ciri khas daerah tersebut. Salah satu tradisi yang ada di Pulau Jawa adalah tradisi sinoman. Tradisi sinoman adalah salah satu contoh bentuk perilaku gotong royong dan tanggung jawab yang dilakukan masyarakat khususnya remaja Jawa. Penelitian ini memiliki tujuan untuk mengetahui faktor yang mempengaruhi penurunan keterlibatan remaja mengikuti tradisi sinoman di era modern. Metode penelitian yang dilakukan dengan metode kualitatif. Data diperoleh dari wawancara dan literatur review. Data dari penelitian terdahulu dianalisis kemudian dikritisi dan diberikan evaluasi untuk mendapatkan kesenjangan permasalahan yang terjadi. Hasil penelitian ini adalah tradisi sinoman mengalami penurunan keterlibatan oleh remaja. Hal ini disebabkan oleh beberapa faktor antara lain menurunnya rasa gotong-royong, munculnya budaya instan, kurangnya sosialisasi budaya sinoman terhadap generasi muda. Kurangnya keterlibatan remaja pada tradisi sinoman menyebabkan hubungan antarindividu kurang mengenal satu sama lain.

The new model of television production is based upon: digital formats, the centralized management of media content and associated metadata, non-linear assembly of media elements, high-speed networks, format agnostic distribution and automated processes. An effective software-intensive production system should allow incoming material-text, audio, video and associated metadata-to be available to all users on the system as soon as it arrives at the production facility. The framework for ingest system's model in problem space is presented in this paper. During the analyses of new content ingest workflow, behavioural description is modelled by the Use Case diagram.

La televisión interactiva (TVI) ha experimentado un amplio desarrollo aunque sin llegar a alcanzar la implantación masiva. Este artículo analiza los criterios que los productores de TVI están adoptando para conseguir que los nuevos programas satisfagan las expectativas de la audiencia y aprovechen al máximo las posibilidades del medio. En primer lugar, se identifican los temas esenciales que afectan a la producción de TVI y se formulan las hipótesis de la investigación, relacionadas con la selección de los contenidos, los estudios de mercado, el uso de la interactividad y los modelos de negocio. Se realizó una encuesta entre productores de empresas de TVI europeas y norteamericanas, con objeto de recabar sus opiniones al respecto. La mayoría de los productores considera que el modelo de TVI actual necesita un sólido modelo de negocio, incorporar los avances tecnológicos y potenciar las aplicaciones interactivas más demandadas por los usuarios. Los resultados indican que la industria...

For many journalists and scholars, what distinguishes binge-watching from garden variety television viewing is the number of episodes viewed in one sitting. However, the question of what viewers define as 'bingeing' is likely to shift significantly depending on a range of factors, including age, occupation and family situation. What remains stable is that binge-watching is always understood as self-determined viewing: It is the viewer who decides when to watch and what to watch, not the broadcasting schedule. Another key aspect is that binge-watching only happens in relation to serialised formats as opposed to films or one-offs. Proposition 2: Binge-watching is Netflix's schedule The television schedule has been theorised as central to the television medium, from Raymond Williams (1974) to John Ellis (1992). So, what does it mean when Netflix highlights, at every juncture, that the schedule (or its absence) is precisely what sets it apart from television? BBC iPlayer, Hulu or HBO Go may allow for self-scheduled viewing, but the way programming is disseminated remains contingent on the

Contemporary fiction TV series production in North America is characterized by the showrunner figure’s importance. This paper aims to study the concept of “showrunner” as executive-creative producer, analyze the competencies and responsibilities carried out by them during the production process of TV shows according to personal and professional factors, and examine their position within the current television market. For this purpose, a literature review on fiction TV series production and television authorship has been conducted. After this, adopting the focus of media production studies, a qualitative methodology based on in-depth personal interviews has been used, which was carried out with a selection of thirty-six significant executive producers and writers of contemporary American TV series. The findings indicate the relevance of this profile from a historical perspective, and particularly in recent years. Although there is a basic scheme of tasks developed by the showrunner i...

This thesis harnesses the practice of creating and running the Pebble Mill website (http://pebblemill.org) and associated @pebblemillstudios Facebook page, to explore a new historiographical method, which embraces the functionality of online interactivity to tell a democratic community history, through the contribution of the community themselves. It demonstrates a new collective approach to the writing of contemporary history, and identifies a paradigm shift in oral history work. The subject of the project: Pebble Mill, was the BBC broadcast centre in Birmingham, which opened in 1971, and was demolished in 2005. It produced around ten per cent of BBC television and radio output in its heyday, and employed around 1,500 staff. The aim of the website and Facebook page is to celebrate and document the programme making from Pebble Mill. The Pebble Mill project has created an openly accessible online archive of more than 1,600 multi-media artefacts, the majority of which have been donated by members of the online community which has grown up around the project. The digital archive includes video, audio, photographs as well as written blog posts. The research is at the intersection of different academic fields and draws on literature from oral history, memory studies, archival practice, online participation, and museum display, in order to inform the practice.

El presente artículo tiene como objetivo realizar una revisión histórica y conceptual de la autoría en la producción televisiva, tomando como referente la Politique des Auteurs francesa aplicada a la televisión estadounidense. Con dicha finalidad, desde una metodología cualitativa, se lleva a cabo un análisis bibliográfico y documental del concepto de autor en la industria del cine y la televisión. Pese al carácter colaborativo del proceso de producción televisiva, los resultados revelan la significación en éste de una autoría individual: el productor ejecutivo de series de ficción televisiva, conocido con el término de “showrunner”. Estamos ante el máximo responsable de la producción del proyecto, que aplica un estilo creativo personal en el conjunto de su obra audiovisual. Dicha autoría, influenciada por la cadena de televisión y los espectadores, promueve la consideración de las series de ficción como un producto cultural de calidad e influye en las estrategias de promoción del m...

This paper is result of a research Project PCI funded by AECID between University Carlos III of Madrid and University Cheikh Anta Diop. Our aim is to design and edit an e-learning platform characterized by a user interface adapted to the cultural heritage of Senegalese immigrant communities living in Madrid. This project, implemented by the NGO “Casa de Senegal” was developed using a qualitative methodology of participant observation and interviews with teachers and students of this center. As a result it has been developed a map of icons typical of Wolof culture for use in representing the commands in the e-learning platform: e-Senegalaise. Platform created specifically to provide a web environment for contextual learning in a Senegalese immigrant community. As a result it was found that Senegalese immigrants had digital and media skills enough to be able to act autonomously if possessed of a platform for media literacy. However, its competences are limited when try access to basic...