Television Production

The media are home to an eclectic bunch of people. This book is about who they are, what they do, and what their work means to them. Based on interviews with media professionals in the United States, New Zealand, South Africa, and The Netherlands, and drawing from both scholarly and professional literatures in a wide variety of disciplines, it offers an account of what it is like to work in the media today.
Media professionals face tough choices. Boundaries are drawn and erased: between commerce and creativity, between individualism and teamwork, between security and independence. Digital media supercharge these dilemmas, as industries merge and media converge, as audiences become co-creators of content online.
The media industries are the pioneers of the digital age. This book is a critical primer on how media workers manage to survive, and is essential reading for anyone considering a career in the media, or who wishes to understand how the media are made.

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

In this paper, we offer an examination of why traditional television production pedagogy remains cogent into the second decade of the 21st century. The shift to smaller distribution platforms and the democratization of television distribution through YouTube will cause production teachers to shift emphases in their overall approach. Our thesis is that regardless of
the delivery device, composition, the grammar of television and story structure still matter.

Teachers of the art and craft of television production routinely deal with a paradox; specifically, prepping their students for the future while adhering to their own educational and professional training that is often deeply rooted in the past. For decades, educators updated knowledge and upgraded skill levels by attending conferences and symposia, doing their own production work, and/or periodically re-immersing themselves in professional environments. New production technologies, practices and workflows have continually evolved but with some effort, teachers have always been able to keep their knowledge and skill bases current. Keeping pace with hardware has been a different tale. While industry trade shows have always tantalized attendees with the newest and coolest of technologies, collegiate budget lines have historically been guided by many things other than the need to be on the cutting edge. This has not helped colleges keep pace with ever-escalating changes in technology and equipment. As a result, teaching at the collegiate level has historically meant working in under-resourced facilities, with equipment and technologies just slightly behind those used in the professional world. Despite constant technological changes, however, it could be argued that the basic television production pedagogy learned in the last decades of the 20th century has remained relatively unchanged, viable and applicable well into the first decade of the 21st.

The recent introduction of video streaming services into the Australian television industry has already had a significant impact on the local broadcast and subscription ecology. Undoubtedly, the sudden influx of foreign content and choice, paired with increased content deregulation, will have considerable ramifications for the Australian production industry in the long term. While many have predicted widespread devastation, this paper suggests that access to ‘big data’ and increased audience ‘addressivity’ (Hallinan and Striphas 2014, 13) could in fact serve to protect and promote the continued production and consumption of local drama content via this ‘new screen’ option.

Using data from a study of 56 women workers in television production, and additional in-depth interviews, this chapter examines how women's roles within television changed from the 1970s onwards in the BBC, with more women entering senior positions. Differing challenges facing women in production emerge: being taken seriously, ageism, sexual harassment, and the difficulty of combining motherhood and programme making. The chapter also explores the extent to which television for women, was also television made by women, and determines how having a gender-skewed audience affected the style and substance of what was produced.

Readers The Art and Craft of Motion Picture Editing by Michael Hoggan (ACE) might be tempted to begin at the end, rather than the beginning of this slim volume. That would be a good choice since the Appendix, "Film Production's Historical Timeline" is a valuable addendum to a useful book. This list was compiled by Hoggan, Conrad Denke, Donald Petrie, Richard Leeman, Fred Ginsberg, and Joel Kranz in March, 2020. They created a document that is much more than a simple chronology. It covers not only film, but also radio and television, noting inventions, technologies, the people involved, and including all-important patents and legal decisions. There is informed and good-humored commentary such like that in the

This textbook is about basic television production techniques. The book is written in simple language for graduate and postgraduate students covering topics related to photography, video camera handling, sound, lighting, television news writing, documentary, news production, television reporting, video editing, graphics, make-up, set designing and television presentation. This book was part of the national Textbook Writing Project commissioned by the university.
This book can be purchased from the sales counter of the university. Email: https://www.mcu.ac.in/
Page: 167
Price: Rs. 175/- (Paperback)
Publisher: Makhanlal Chaturvedi National University of Journalism and Communication, Bhopal, India

รายการสาระเป็นรายการที่ไม่สามารถสร้างความนิยม ไม่สามารถเข้าถึงกลุ่มคนดูส่วนใหญ่ของสังคมได้ ทำให้สถานีโทรทัศน์ที่เป็นโทรทัศน์เพื่อการพาณิชย์ไม่สามารถให้เวลารายการเหล่านี้ได้ ดังนั้นสิ่งสำคัญคือต้องพัฒนารูปแบบรายการสาระให้เป็นรายการที่สามารถเสนอสิ่งที่ “คนควรรู้” ให้ “น่าดู” ซึ่งบทความนี้ได้ศึกษาเปรียบเทียบรายการประเภทความจริงบันเทิง (Factual Entertainment) ของประเทศอังกฤษ เพื่อเสนอแนวทางการพัฒนารูปแบบการเสนอรายการเกี่ยวกับความจริงด้วยรูปแบบความบันเทิง โดยเฉพาะการรูปแบบรายการลูกผสม (Hybrid) และเรียลิตี้ทีวี (Reality TV) ซึ่งจะสามารถทำให้รายการสาระความรู้เป็นที่นิยมและเข้าถึงกลุ่มคนดูจำนวนมากของสังคมได้ และเป็นโอกาสในการพัฒนารูปแบบรายการโทรทัศน์ในประเทศไทย

Televisión del Principado de Asturias (TPA) is a regional public television that has been operating in Spain since 2005 by outsourcing part of its broadcasting activities. From the perspective of the political economy of communication and culture, this article studies the evolution of TPA's outsourcing model, taking into account the production of news content. The time of the analysis extends from the start of its broadcasting to its last tender in this respect, in 2016. Initially, with the goal of promoting the regional audiovisual sector, TPA implemented a contracting model divided into content batches that were allocated to various companies, mostly regional. By doing so, the activities of production were distributed into different territorial areas. However, after the economic crisis of 2008, the confluence of several factors (economic austerity measures, the political change in the regional government and a torrent of lawsuits for illegal transfer of workers) changed the outsourcing model. Currently, the complete activity of production is concentrated on a sole tenderer, which is part of an audiovisual conglomerate at the national level, selected because of proposing the most advantageous economic offer. This has represented a reduction in the diversity of sources of production contracted and the triumph of an economic mind-set over social benefit and public service in the socioeconomic contexts of austerity.

Pay fiction experienced a production boom in Europe between 2008 and 2017. The output of original productions in Europe’s five main markets (France, Italy, Germany, Spain, and the UK) leapt from 8 series in 2008 to 47 in 2017 – a rise of +490% (as shown in the previous chapter). This growth is based on a change in the national production paradigms, which are increasingly modelled on “quality TV” from the US (Thompson 1997). Unsurprisingly, most of the titles travel very well across borders, both within and outside Europe. These series are much more export-friendly than what the national public and private (free) TV producers traditionally used to produce (Scaglioni and Barra 2013).
This renaissance of sorts in European scripted pay TV production is also bound up with major changes in the industry that affect how European fic- tion productions begin to circulate. Besides pay TV growth in all the main markets studied, it is also about the arrival of the global SVOD giants based in the US (Netflix and Amazon Prime Video), the explosion of European OTT platforms, and the ever-greater take-up of streaming technology by the more traditional networks (Lobato 2019). All these factors have led to both a certain uniformity in productions across Europe and an increased transnational circulation of these products. This chapter maps out the de- velopment of the transnational circulation of European series in the five sample countries from two distinct yet complementary standpoints. First, we explore the circulation of pay fiction in Europe from an export perspec- tive; second, we focus on how those countries have gone about importing European scripted pay fiction in this context

In principio, e poi per lunghi anni, la televisione è stata una “scatola nera”. Un’entità monolitica, priva di gradi e di articolazioni interne, quasi con una volontà propria, univoca e distinta: la Rai-tv che parla a una sola voce, la televisione che porta il mondo in ogni casa ed è capace di influenzare il suo pubblico.
Eppure, fin dai primi passi del nuovo medium, a vedere meglio emergono scelte, orientamenti, progetti, colpe e meriti: la tv è una struttura plurale, spesso al centro di scontri anche duri (che, una volta passato l’incanto, occupano pagine e pagine di giornali), costituita da dirigenti e da autori, da registi e da creativi, da tanti addetti ai lavori con competenze, obiettivi, talvolta persino visioni del mondo diverse.
Una storia della tv italiana deve così necessariamente tenere conto della varietà di quelle che si possono definire “culture della produzione” : delle diverse articolazioni del “mestiere” televisivo, dei soggetti in gioco e dei processi produttivi che compongono l’industria tv, dei passaggi che – spesso persino più del valore intrinseco dei singoli testi o delle scelte del pubblico – finiscono per incidere su quello che davvero va in onda in televisione, anno dopo anno e stagione dopo stagione.
Si tratta di una prospettiva difficile, inevitabilmente frammentaria, che si poggia su una documentazione scarsa e su molte testimonianze in prima persona inevitabilmente colme di imprecisioni e omissioni, ma che può offrire uno sguardo (almeno parzialmente) inedito sulla progressiva costruzione del mezzo tv in sé e insieme di un set di professionalità – spesso diversissime tra loro – utili a gestirlo al meglio.
Rileggendo le vicende della televisione in Italia alla luce del “fattore produttivo” , emerge un percorso spesso nascosto e carsico, lontano dall’attenzione dei media, fatto di sviluppo di ruoli e competenze, di attenzione a fenomeni prima trascurati, di controllo dell’inevitabile variabilità di un’industria culturale, di tentativi falliti, di snodi cruciali e di progressivo ampliamento della materia tv. Si viene così a stabilire, attraverso numerosi passaggi critici caratterizzati da personaggi, visioni e competenze forti, una sorta di percorso incrementale, un accumulo di elementi-chiave: in alcuni momenti al centro della scena ci sono necessità nuove, ma al tempo stesso tutto ciò che è già emerso e assestato, sia pur in modalità e forme che si possono ri-articolare, continua a mantenere un ruolo importante. [...]

Nei cinque anni compresi fra il 2008 e il 2013, il sistema tv nazionale vede emergere un importante fattore di cambiamento che lo riguarda sotto diversi profili: in termini di contenuti e linguaggi, di routine produttive come di rapporti fra il broadcasting e l’universo cinematografico, di figure professionali e di composizione dei pubblici. È qui che prende forma, anche in Italia, una fiction originale, di produzione nazionale, destinata al “giardino protetto” della pay anziché all’audience più indistinta della tv generalista.
Il fenomeno non è nuovo, se si allarga lo sguardo allo scenario internazionale: le cable americane hanno progressivamente rivoluzionato le caratteristiche della serialità, entrando nel campo della produzione di una fiction alternativa – per temi, linguaggio e pubblici di riferimento – a quella dei network ; in Europa, evoluzioni analoghe riguardano tutti i mercati maggiori, pur con livelli di maturazione disomogenei .
Ovviamente, ogni caso nazionale è profondamente diverso. In Italia l’affermazione della pay tv avviene in due tempi: dopo una “preistoria analogica”, Sky Italia, parte del gruppo multinazionale NewsCorp., diventa l’operatore dominante, fra il 2003 e il 2007, raggiungendo una massa critica di 4 milioni e mezzo di abbonamenti , soprattutto grazie ai generi premium per definizione: lo sport (in particolare il calcio) e il cinema. La seconda fase inizia nel 2008, quando il novero dei generi pay inizia ad ampliarsi grazie alla produzione di contenuti originali, sia scripted sia unscripted. [...]

Pagi Pagi merupakan program variety show NET TV yang dipandu oleh Andre Taulani, Hesti Purwadinata dan Ge Pamungkas. Program ini berlangsung mulai pukul 07.30 s/d 08.30 WIB dan berisi konten seputar isu terkini, musik, beberapa kejutan, talkshow, gameshow, sesi sharing, serta interaksi langsung dengan audiens melalui telepon. Para penonton dapat berbagi informasi mengenai kondisi jalanan, mengirim salam serta memilih video clip yang ada di playlist. Kemasan program bisa dikatakan cukup soft dan fresh untuk menemani penonton beraktivitas di pagi hari.

Scripted reality shows oscillate between fiction and nonfiction because based on a script they use amateur actors but also adopt the aesthetics of documentary-style reality television. Perception studies have proven that many viewers mistake the contents of such programs as everyday reality. An adequate framework to reveal these ambiguous relations needs to combine the product analysis with the additional analysis of the production aspects. That includes developing a categorization for (scripted) reality television, a combined analysis of the product and its production, and an analysis of the perception of scripted reality on television and through corresponding social media sites.

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

Bu çalışma Türkiye özel televizyonlarının en ilgi gören ürünlerinden biri olan televizyon dizilerinin emek sürecine yoğunlaşmakta ve temel veri olarak bu süreçte görev alan/almış kişilerle yapılan derinlemesine mülakat ve dizi setlerinde yapılmış olan yerinde gözlemlerde elde edilen sonuçları kullanmaktadır. Çalışmanın amacı, "bilgi toplumu", "maddi olmayan emek", "enformasyon çağı", vb. adlandırmalarla ilintili olarak, bilgi yoğun sektörlerdeki emekçileri "ayrı" bir toplumsal politik özne olarak tanımlayıp "emek-sermaye" çelişkisinden kaynaklı toplumsal gerilimin ötesinde ara bir konumda "orta sınıf" olarak düşünmeye meyleden kavramsallaştırmaların bir eleştirisini sunmaktır. Bunu yaparken sınıfın nesnel durumu ile bireylerin öznel toplumsal konumları arasındaki gerilimi ilişkisel bir çerçeveden okuyan bir literatüre dayanarak sınıfın, yalnızca iktisadi bir yapıya işaret etmenin ötesinde siyasi-ideolojik gerilimlerden de etkilenen ve bu farklı belirleyenlerin ilişkiselliği üzerinden kurulan bir tarihsel özne olduğu fikri ileri sürülecektir. Anahtar sözcükler: emek süreci, prekarya, orta sınıf, işçi sınıfı, ilişkisel yaklaşım ABSTRACT Thisworkfocuses on thelaborprocessesof onethemostappreciatedproducts of theTurkishprivatetelevsions, namely, televisionseries, andusesthe main data collectedfrom in-depth-interviews done withtheworkersthathavetakenpart in thisprocess as well as participantobservations in theproductionsets. Theaim of thiswork is tocriticizeapproachesthatconsiderthelabor in theknowledgeintensivesectors as a "separate" socialandpoliticalsubjectbeyondtheboundaries of thelabor-capitalconflict. Whiledoingthis, it claimsthatthe "classes" are not merelyeconomicstuructures but theyarealsoaffectedbypoliticalandideologicaltensions, relying on a literaturethatanalyzesthetensionbetweenobjectiveclasspositionsandsubjectivesocialp ositions in a relationalway.

Developed from detail derived from archival data and research interviews conducted with former BBC producer/directors Yvonne Littlewood and Susan Belbin, this article concentrates on women’s experiences within the BBC Light Entertainment group. While the principal aim of this article is to chart the historical experiences of women in this production group, it also draws attention to BBC’s relationship with women programme-makers in general, during the 1970s and 1980s.

La revolución digital ha transformado de un modo decisivo la industria del entretenimiento audiovisual,
especialmente la del sector televisivo. Los operadores españoles han pasado de gestionar una
cadena de televisión a un grupo de canales y toda una serie de plataformas complementarias accesibles
desde el móvil e Internet. Como consecuencia, toda la cadena de valor de la producción audiovisual
necesita ser revisada, desde la ideación de los contenidos hasta su producción y comercialización.
El presente artículo analiza la estrategia multiplataforma de los principales grupos de televisión
en España así como los formatos de entretenimiento más propicios para este nuevo ecosistema.

The digital revolution has deeply transformed the audiovisual entertainment industry, especially the television one.
Spanish broadcasters have gone from managing a single television network to a group of channels and a range of
complementary platforms accessible from the Internet and mobile devices. As a result, the entire audiovisual production
value chain needs to be revised, from content ideation to production and marketing. This article analyzes the
multi-platform strategy of the major Spanish television groups and evaluates the most suitable entertainment formats
for this new ecosystem.

Music videos are an audiovisual format that is created by the music industry for a performer´s public image and commercial purposes. This research aims to describe common practices in production and editing of current music videos regarding one particular aspect: the duration of the shot according to its frame. We carried out a textual analysis of Mike Posner´s video clip I Took a Pill in Ibiza (Jon Jon Augustavo, 2016). In this case, the most frequent shots in the video clip are close shots, and the average duration is around two seconds. The average length of the shots creates a scale of durations wich is equivalent to the scale of the size of the frames.

Resumen: El texto supone un acercamiento al actual desarrollo de la ficción televisiva en Estados Unidos a través del showrunner, que es el responsable de la dirección creativa del programa. Se trata de una figura profesional que comen-zó a alcanzar relevancia en la década de los noventa y es uno de los elementos sobre los que se articula el actual reconocimiento crítico de las series de televi-sión. En primer lugar nos aproximaremos al concepto desde un punto de vista histórico, para luego analizar las atribuciones profesionales con las que cuenta y su relación con los discursos sobre series. Por último, a modo de conclusión, vere-mos cómo la figura del showrunner está empezando a alcanzar relevancia en otros países. Palabras clave: ficción televisiva; televisión en Estados Unidos; creatividad televisiva; guion televisivo; producción televisiva. Abstract: This paper deals with the current development of television fiction in the United States focusing on the showrunner, who is responsible for the creative direction of the program. It is an industrial position that began to get relevance in the 90s and nowadays it is one of the elements on which the current critical recognition of the television series is based. First we will approach the concept from a historical point of view, and then we will analyze the professional functions of the showrunner and the relationship with discourses about television series. Finally, as a conclusion, we will see how the figure of the showrunner is starting to be used in other countries.

Considered by many to be one of the defining social, political and cultural features of post-war mass consumer culture, television today is undergoing a radical transformation. No less central to cultural life, it is fragmenting and morphing into something more expansive and diverse than ever before. In this course, we focus on developing critical, analytic tools with which to understand TV today as a complex set of political, social, technological, and cultural practices. On the first half of the semester, we will explore the rise of television as a powerful story telling system; its production and audience; ideologies and technologies; and various theoretical and analytical frameworks to study TV. On the second half of the semester, we delve deeper with several cases of studying TV texts, which includes issues of representation of class, gender, race, ethnicity in mainstream TV; quality versus quantity of television shows; as well as alternative currents of global TV programming. By the end of the course, students will be familiar with the basic debates and critical frameworks that shape television studies, and should be able to apply those concepts to their assigned work.   

Lectures, readings, and tutorials are complementary aspects of the course. Students are expected to do the readings each week in advance, and come to lectures and tutorials prepared to participate.

In this paper, we offer an examination of why traditional television production pedagogy remains cogent into the second decade of the 21st century. The shift to smaller distribution platforms and the democratization of television distribution through YouTube will cause production teachers to shift emphases in their overall approach. Our thesis is that regardless of the delivery device, composition, the grammar of television and story structure still matter. Teachers of the art and craft of television production routinely deal with a paradox; specifically, prepping their students for the future while adhering to their own educational and professional training that is often deeply rooted in the past. For decades, educators updated knowledge and upgraded skill levels by attending conferences and symposia, doing their own production work, and/or periodically re-immersing themselves in professional environments. New production technologies, practices and workflows have continually evolved but with some effort, teachers have always been able to keep their knowledge and skill bases current. Keeping pace with hardware has been a different tale. While industry trade shows have always tantalized attendees with the newest and coolest of technologies, collegiate budget lines have historically been guided by many things other than the need to be on the cutting edge. This has not helped colleges keep pace with ever-escalating changes in technology and equipment. As a result, teaching at the collegiate level has historically meant working in under-resourced facilities, with equipment and technologies just slightly behind those used in the professional world. Despite constant technological changes, however, it could be argued that the basic television production pedagogy learned in the last decades of the 20th century has remained relatively unchanged, viable and applicable well into the first decade of the 21st.

La irrupción del COVID-19 ha afectado a la producción televisiva de contenidos en directo. Los eventos deportivos televisados han alterado sus calendarios y su reanudación ha sido condicionada a la evolución de la pandemia. En la mayoría de los casos, se suprime la presencia del público en los recintos deportivos. Las principales competiciones han desarrollado modificaciones en su cobertura televisiva sujeta a las disposiciones de las autoridades sanitarias. Este artículo tiene como objetivo examinar las adaptaciones desarrolladas en la realización televisiva de un conjunto representativo de eventos deportivos durante la crisis sanitaria. También tiene como objetivo identificar cómo las innovaciones aportadas afectan a la recepción de los contenidos. La metodología aplicada combinó el estudio de caso y el análisis de contenido. Mediante el primero, se buscó tomar como referencia dos casos específicos de adaptaciones televisivas: competiciones europeas de fútbol y la NBA. En cuanto al segundo, el tratamiento de los datos seleccionados fue organizado en categorías a partir de las innovaciones encontradas en su retransmisión televisiva.  Los resultados obtenidos indican cómo la incorporación de nuevos elementos durante la emisión televisiva de los grandes eventos deportivos permitió reforzar la experiencia de la audiencia, sobre todo con un incremento de recursos virtuales.

Cosa rende alcuni di noi – abitatori di ecosistemi narrativi sempre più densi e complessi – compulsivi spettatori dell'orrore? Cosa decreta la vivacità di tropi horror dotati di una storia già lunga alle spalle e il loro corrente, inesausto riuso catodico?

La proposta critica che avanziamo in questa sede è un invito a contemperare nell'analisi delle produzioni televisive seriali contemporanee, aspetti narratologici e produttivi, fattori (intra- e inter)testuali e sociologici, a partire dalla convinzione che le ragioni della fortuna di una serie (non solo) horror vadano ricercate precipuamente nei territori dove questi aspetti si intrecciano.

Proponiamo come caso di studio il successo di pubblico e di critica di una delle serie d'autore per eccellenza degli ultimi anni: True Blood, creata da Alan Ball per il network HBO nel 2008 e giunta nel 2014 alla settima e finale stagione. Da situare entro il contesto di un più ampio fenomeno di proliferazione del genere horror nella serialità televisiva contemporanea, True Blood offre un ottimo esempio dei nuovi meccanismi di distinzione tramite i quali la serialità televisiva odierna sta differenziando in maniera crescente segmenti di pubblico.

Este artículo expone los resultados de un proyecto de investigación enfocado en comprender los elementos que intervienen en la generación de engagement por parte de los televidentes colombianos y el aporte del concepto de ‘calidad televisiva’
a ese proceso. Los resultados muestran
que en las audiencias consultadas, los elementos
más destacados dentro del proceso
de generación de compromiso están
relacionados con la identidad del canal
que transmite el producto, las expectativas
de los televidentes, la temática abordada,
la presencia de publicidad y los
criterios de programación. Asimismo, se
encontró que algunos de esos elementos
forman parte del concepto de ‘calidad
televisiva’.

This article is concerned with the international market consolidation in television entertainment production and its implications. The rapid growth of the TV format trade during the past 15 years has led to the formation of large European-led production groups. In recent years, U.S. media conglomerates have bought the largest of these groups. By tracing the groups’ development and the reasons for the U.S. acquisitions and by offering a model for the potential adverse implications this may have for television production and distribution in Europe, this article hopes to make a valuable contribution to media industries and policy research.

This paper presents the results of a content analysis and an inquiry into Colombian audiences regarding the concept of 'quality television' and its effect upon engagement. The results show that for the sampled audience the most relevant elements in terms of engagement to television programs are related to the identity of the channel (or brand) that broadcasts the product, the expectations of the viewers, the topics addressed, the inclusion of commercial advertisement, and the programming/ scheduling criteria. Likewise, some of those same elements were part of the sampled audiences' definition of 'quality television'. Qualidade de conteúdos televisivos e engagement: Análise de um canal privado na Colômbia

El presente trabajo de investigación analiza un capítulo de televisión infantil titulado “La asombrosa excursión de Zamba a la Revolución Industrial”, programa emitido en el año 2014 en Argentina. Este es una pieza audiovisual del célebre dibujo animado ar-gentino La asombrosa excursión de Zamba. Este programa televisivo público fue creado en el año 2010 por la productora El Perro en la Luna, en pleno período peronista-kir-chnerista, y se mantuvo activo con bastante popularidad hasta los primeros años del Gobierno conservador de Mauricio Macri. Por medio de un análisis cualitativo de este material se identifica la manera en que este producto presenta a los niños argentinos las diferencias entre el sistema económico capitalista y socialista mediante las creacio-nes animadas de Adam Smith y Karl Marx. Este programa se basa en la valencia de los discursos realizados por estos dos personajes históricos, las consecuencias de sus ac-tos y los contextos y ambientes en los que son representados por parte del producto. En este sentido, el programa representa un relato histórico e ideológicamente tratado que identifica la trama animada con el proyecto político del Gobierno peronista que dirigió a Argentina en la época 2003-2015. Como conclusión principal, se pudo deter-minar que el formato del programa denota un profundo sesgo propagandista que inci-de en la apropiación de una versión histórica y del modelo económico, pues parte de un medio público hacia un público infantil.

En el presente artículo se analiza la forma en que los profesionales de la iluminación articulan las posibilidades expresivas de la luz para apoyar la producción española de la ficción televisiva seriada en alta definición; cómo distribuyen la luz para adecuarla a las necesidades narrativas de  la  escena  y  las  exigencias  técnicas  de  las  cámaras  de  televisión.  El  caso  de  estudio  escogido es la séptima temporada de Amar en tiempos revueltos, producida por Diagonal TV para Televisión Española, ya que es una de las series más laureadas de Televisión Española, y supera en número de capítulos al resto de telenovelas de emisión nacional. El déficit de fundamentación  teórica  llevó  a  realizar  entrevistas  en  profundidad  con  los  directores  de  fotografía e iluminadores en estas producciones televisivas. Para el tratamiento de los datos obtenidos mediante la técnica dialógica y el visionado directo de los episodios de la ficción, se empleó la metodología cualitativa del análisis de contenido. Este enfoque concede carácter central al texto, en este caso audiovisual, y se usa para medir la frecuencia y significación de los elementos seleccionados. Entre las conclusiones más significativas de la investigación se puede destacar que la iluminación en alta definición de la séptima temporada de Amar en tiempos revueltos diferencia los distintos ambientes de la diégesis, a pesar de llevar un ritmo de producción que supera el capítulo diario. Además, la metodología propuesta es susceptible de ser marco de referencia para investigaciones futuras y posibles revisiones y discusiones de orden académico.

Este artículo explica cómo se presenta la relación entre los directores, guionistas, productores, realizadores e investigadores independientes de la televisión pública de Chile, Colombia y México, y la audiencia infantil; además, establece los criterios para definir un público objetivo. Para este estudio de corte cualitativo, se aplicaron 21 cuestionarios a los realizadores de programas emitidos a través de los canales de televisión pública como TVN y Novasur de Chile, el canal Once y Canal 22de México y Señal Colombia, los cuales recibieron nominaciones o premios nacionales e  internacionales  desde  su  emisión.  Los  resultados  evidencian  que  la  relación  se  presenta  por  iniciativa  propia  y  no  por  los  canales.  Además,  esta  se  produce  tanto en la fase creativa del proyecto —para testear su viabilidad— como en la etapa  de  producción  de  los  contenidos  durante  las  grabaciones.  Sin  embargo,  se  identifica  que  no  hay  un  seguimiento  de  la  aceptación  y  apropiación  de  los  mensajes producidos y emitidos por los canales de televisión, especialmente en aquellos que producen propuestas culturales y de eduentretenimiento —uno de los objetivos de la televisión pública—. Finalmente, los creativos de la televisión brindan  una  serie  de  recomendaciones  importantes  para  diseñar  proyectos  audiovisuales  infantiles,  que  tienen  en  cuenta  aspectos  como  la  investigación,  contenidos, producción y participación de la audiencia.

ABSTRACT While studies of production cultures have so far focused on public service broadcasters like the BBC (Born 2005), news organisations (Paterson and Domingo 2008), individual programmes like the PBS Childhood series (Dornfeld 1998) or complete industries like Hollywood (Caldwell 2008), few studies have been carried out at the level of individual private television production companies. In this paper we discuss a comparison of two Dutch television production companies: their internal integration, i.e., their organisational culture; and their external adaptation, i.e., their strategies and how their activities have changed over the years. Each company was founded by two experienced persons from the public television sector. The owners had expansive visions on how to develop their enterprises, but today the companies are on different tracks – one scaled down as a consequence of the crisis and is today maintaining its size, while the other is expanding its activities and is involved in networks of mergers and alliances with other companies. We want to explore how we can understand these differences.

Christopher Buschow und Beate Schneider beschreiben in ihrem Artikel die Anforderungen und Herausforderungen an Produktionsunternehmen für die neue Kombination von Fernsehen und Social Media. Dabei gehen sie unter anderem auf den Wachstumsmarkt Social TV ein, zeigen aktuelle Beispiele für den Einfluss von Social TV auf die Fernsehproduktion auf und geben einen Ausblick auf zukünftige Entwicklungen.

Religion is often regarded as posing a distinct challenge to the occupational norms of cultural production and journalism due to its subjectivities and complexities. Based on research with staff involved in the production of content for BBC television and radio, this article explores the occupational context in which they work. In particular, it focuses on the experiences and strategies of the BBC’s Department of Religion and Ethics as it attempts to secure its survival as an autonomous production unit. This group of executives, producers, presenters and production staff are in many ways unique because of the professional and social role that they fulfil, most notably through the close historical and ideological ties between religion and the principles of public service.
This research finds a distinct professional identity built around a fusion of public service logic and commercialism, along with the mobilization of specialist knowledge. This allows the department to symbolically and discursively separate itself from other actors in this field as it attempts to reinforce religious broadcasting’s professional distinctiveness at a crucial time in the survival of the unit and to highlight the uniqueness of religion as a topic within cultural production.

This article is concerned with the international market consolidation in television entertainment production and its implications. The rapid growth of the TV format trade during the past 15 years has led to the formation of large European-led production groups. In recent years, U.S. media conglomerates have bought the largest of these groups. By tracing the groups’ development and the reasons for the U.S. acquisitions and by offering a model for the potential adverse implications this may have for television production and distribution in Europe, this article hopes to make a valuable contribution to media industries and policy research.

This paper presents the results of an exploratory study, part of my Ph.D., focusing on 'viewer empowerment' in the audiovisual industry due to digitization and the emerging 'architecture of participation' [1] of Web2.0. In the 'traditional' broadcasting industry there are boundaries between the media professional and the non-professional (the audience) [2]. Web2.0 offers citizens/consumers the opportunity to create, distribute, share and publish all sorts of content (text, images, video, audio) via the internet. These changes in media consumption practices have consequences for the broadcasting industry and poses the question whether the traditional broadcasting industry is willing to adjust to this changing role of the viewer and open up to (inter)active nonprofessionals. The conclusion described, results from two preliminary studies that were meant to gain insight in a) ideas amongst internet and broadcasting specialists regarding viewer empowerment in interactive television formats and development and b) the current internet and interactive television usage in the greater Noord-Holland region. The studies indicate that internet and broadcasting professionals differ in the way they value enduser participation. However they have rather traditional ideas about making television. The different generations of end-users (e.g. 'digital natives', the younger people) have different needs; the audience changes. The use of participatory design could be an instrument for the broadcasting industry to bridge the gap.