Open TV Christian, Aymar Jean
01/2018, Letnik:
20
eBook
How the internet transformed television
Before HBO's hit show Insecure, Issa Rae's comedy about being a nerdy black woman debuted as a YouTube web series The Misadventures of Awkward Black Girl, her ...response to the absence of diverse black characters on the small screen. Broad City, a feminist sitcom now on Comedy Central, originated as a web series on YouTube, developed directly out of funny women Ilana Glazer and Abbi Jacobson's real-life friendship. These unconventional stories took advantage of the freedom afforded outside the traditional television system: online.
Open TV shows how we have left "the network era" far behind and entered the networked era, with the web opening up new possibilities for independent producers, entrepreneurs, and media audiences. Based on interviews with writers, producers, show-runners, and network executives, visits to festivals and award shows, and the experience of producing his own series, Aymar Jean Christian argues that the web brought innovation to television by opening up series development to new producers, fans, and sponsors that had previously been excluded. Online access to distribution provides creative freedom for indie producers, allows for more diverse storytelling from marginalized communities, and introduces new ways of releasing and awarding shows.
Open TV is essential reading for anyone interested in the changing environment of television and how the internet can inspire alternatives to what's on TV tonight.
Scarcity is the defining characteristic of television's history in Turkey due to the late arrival of a multi-channel structure, and the experience of television in Turkey is shaped by the extensive ...involvement of the government and the high level of social control over broadcasting. The dissatisfaction during the pre-streaming era among the audiences in Turkey started to intensify by early 2010s because of the formulaic and similar stories with no diversity, strict regulation and censorship, and the tediousness of long, slow-paced series and extended ad breaks. The arrival of streaming services in 2016–17 was initially disruptive of the strictly regulated market due to the lack of necessary laws for regulating online streaming. Streaming continues to be a significant alternative for producers/creators and audiences in Turkey, with increased political and cultural diversity in local stories and the emergence of diverse genres and formats with different aesthetic tendencies.
With the rise of Internet TV and other new media, people are now viewing the news through a variety of conduits. In addition, the influence of news media on people is changing. Viewers can post ...comments in Internet TV, and these comments has the viewers’ opinions of the news contents. Therefore, analysis of viewers comments is important in revealing the effect of the news. In addition, these comments are posted based on the morality of the viewers, and point of view of morality is considered important in the analysis of viewer comments in news. Therefore, this study purpose is to clarify the opinion on Internet TV news programs from a moral-based analysis viewers’ comments. This study analyzed the trend of viewer comments on ABEMA news programs using comment length and the application of two methods. First, the morality of viewer comments was analyzed by calculating the moral/immoral expression rate for each program using the moral foundation dictionary. Second, the distributed expressions of viewer comments (calculated by Doc2Vec) were clustered by k-means++, and program trends were analyzed using the cluster characteristics. The results indicated that there was no difference in comment length between the two program types. Comments on soft-news programs had a high moral/immoral expression rate for politics or current events. In contrast, comments of hard-news programs did not show a characteristic trend. A viewer can easily participate in the discussion, because the soft-news program deals with the same news for a long time as the news content is limited compared to the non-discussion program.
Solopos.tv is present as an internet-based television as an alternative to virtual audiences in the present era. How to develop internet based television program in solopos.tv? The question becomes a ...common thread in this paper. This research use case study method. The core of the discussion is divided into four namely; (1) Human resources (2) Information management is content production process and content distribution (3) Facilities, infrastructure and funding and (4) Internet-based television structure and culture. The conclusions of this paper are: First, Internet-based television has a difference with conventional television is usually from the use of human resources are trimmed so that it can reduce production costs and post production. Second, the management of informative content not only in the content production process but also its virtual based distribution strategy. The sophistication of new media technology helps save production costs and post production. Finally, the lean structure and creative culture so that it produces creative programs because it supports young people who are familiar with virtual digital technology. Solopos.tv hadir sebagai televisi berbasis internet sebagai alternatif bagi para audien virtual di era kekinian. Bagaimana pengembangan program televisi berbasis internet di solopos.tv? Pertanyaan tersebut menjadi benang merah dalam tulisan ini. Penelitian ini menggunakan metode studi kasus. Inti pembahasan terbagi menjadi empat yaitu; (1) Sumber daya manusia (2) Pengelolaan informasi yaitu proses produksi konten dan distribusi konten (3) Sarana, prasarana dan pendanaan dan (4) Struktur dan kultur televisi berbasis internet. Simpulan dari tulisan ini yaitu: Pertama, televisi berbasis internet memiliki perbedaan dengan televisi konvensional biasa yaitu dari sisi penggunaan sumber daya manusia yang dipangkas sehingga dapat memperkecil biaya produksi dan pasca produksi. Kedua, pengelolaan konten informatif tidak hanya pada proses produksi konten namun juga strategi pendistribusiannya yang berbasis virtual. Kecanggihan teknologi new media membantu menghemat biaya produksi dan pasca produksi. Terakhir, struktur yang ramping dan kultur yang kreatif sehingga berhasil memproduksi berbagai program kreatif karena didukung anak muda yang akrab dengan teknologi digital virtual.
This article examines the appisation of television: the emergence of apps as a mainstream means of delivering television services/content through smart TVs, connected devices, smartphones and ...tablets. Exploring the interrelationships between TV content, discovery and aggregator apps, the article demonstrates how content/software providers, device manufacturers and infrastructural platforms vie to control our access to, and experience of, television in a market underpinned by datafication, commodification and selection. This control is enacted within a multidimensional software, device and platform ecology where discoverability is central because it determines which content, services and apps are most prominent, accessible and easy to find.
Sport Beyond Television Hutchins, Brett; Rowe, David
2012, 20120427, 2012-06-01, 2012-04-27, Letnik:
40
eBook
Television is no longer the only screen delivering footage and news to people about sport. Computers, the Internet, Web, mobile and other digital media are increasingly important technologies in the ...production and consumption of sports media. Sport Beyond Television analyzes the changes that have given rise to this situation, combining theoretical insights with original evidence collected through extensive research and interviews with people working in the media and sport industries. It locates sports media as a pivotal component in online content economies and cultures, and counteracts the scant scholarly attention to sports media when compared to music, film and publishing in convergent media cultures.
An expanding array of popular sports media - industry, user, club, athlete and fan produced - is now available and accessible in networked digital communications environments. This change is confounding the thinking of major sports organizations that have lived off the generous revenue flowing from exclusive broadcast contracts with free-to-air and subscription television networks for the last five decades. These developments are creating commercial and policy confusion, particularly as sports audiences and the advertising market fragment in line with the proliferation of niche channels and sources of digital sports media.
Chapters in this title examine the shift from broadcast to online sports media markets, the impact of social networking platforms like Twitter and Facebook, evolving user and fan practices, the changing character of sports journalism, and the rise of sports computer gaming. Each chapter traces the socio-cultural implications of trends and trajectories in media sport.
Created around the world and available only on the web, internet "television" series are independently produced, mostly low budget shows that often feature talented but unknown performers. Typically ...financed through crowd-funding, they are filmed with borrowed equipment and volunteer casts and crews, and viewers find them through word of mouth or by chance. The fifth in a series focusing on the largely undocumented world of internet TV, this book covers 573 children's series created for viewers 3 to 14. The genre includes a broad range of cartoons, CGI, live-action comedies and puppetry. Alphabetical entries provide websites, dates, casts, credits, episode lists and storylines.
The German sci-fi series Dark depicts the disturbance of a small German town by the introduction of time travel technology. But as the first 'Netflix Original' produced in Germany and distributed on ...the international media company's online platform, the show itself disrupts a long tradition of linear television through its form and reflects on this disruption in its content. Though the characters in Dark focus on the philosophical, theological, and scientific quandaries of time travel, this essay will treat the ways in which the show's handling of technological innovations addresses the anxieties that accompanied Netflix's expansion into the German market and the special affordances its digital platform offered viewers. Moreover, the essay will trace the manner in which the series both self-consciously overturns the typical storytelling conventions of linear television and introduces its viewership to strategies for following its especially convoluted structure. In this way, Dark presents itself as a complex site for delineating the unique qualities of digital television and its impact on the German media landscape.
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