Relevant bibliographies by topics / Commercial broadcaster

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  2. Dissertations / Theses
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Academic literature on the topic 'Commercial broadcaster'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Commercial broadcaster"

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Wilk, Dorota. "Role and Room for Social Broadcaster With Radio Fara as an Example." Social Communication 4, no. 2 (2018): 16–29. http://dx.doi.org/10.2478/sc-2018-0012.

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Abstract The broadcaster, who uses the possibility of functioning in the broadcasting media space as a social broadcaster, ensures not only independence from power centres, political parties and commercial entities, but also full control over the broadcast content. He consciously directs ithe message to a specific group of recipients, often a niche group, providing content that commercial and public stations avoid, considering it to be unattractive. The type of programmes broadcast is strictly defined by the role it has to fulfil, the requirements set by the legislator for social broadcasters and the possibilities resulting from having such status. This has a significant impact on the place it occupies in the media radio market.
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Andrews, Hannah. "‘More than a Television Channel’." Convergent Television(s) 3, no. 6 (2014): 5. http://dx.doi.org/10.18146/2213-0969.2014.jethc065.

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Obliged by act of Parliament to ‘innovate and experiment’, Channel 4 has, since its birth in 1982, been the UK’s most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation’s 2000 Annual report, ‘More than a Television Channel’ indicates the confidence, optimism and boldness with which this expansion was approached. The rapid expansion of the channel’s portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel. Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4’s strategy that pertained to one of the broadcaster’s particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company.
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Skrzypczak, Jędrzej, and Grzegorz Iwasiuta. "Polarisation of Content in Polish News Making, as Exemplified by News Programmes of Licensed Broadcasters and the Public Service Broadcaster." Zeszyty Prasoznawcze 64, no. 2 (246) (2021): 23–48. http://dx.doi.org/10.4467/22996362pz.21.009.13474.

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The paper contains a quantitative and qualitative analysis of the news services of the three largest broadcasters and three events essential for the functioning of the state and public life in Poland. The first one was the amendment to the Supreme Court Act of July 2017. The second event was the local elections campaign in Poland (broadcasts aired on the 18th of October 2018, the last but one day of the elections campaign), while the third set of material were the news items on the murder of the Mayor of Gdańsk – Paweł Adamowicz (broadcasts aired on the 15th of January 2019, one day after the tragic event). The analysis focused on the evening news editions by the three most popular broadcasters with the highest viewership, including commercial stations (i.e. TVN’s Fakty and Polsat’s Wydarzenia) and the public broadcaster (i.e. the Polish Television’s Wiadomości). In total, 43 news items of 2 hours, 20 minutes and 6 seconds were analysed. The study has revealed a clear polarisation of news content coming from the licensed broadcasters and the public service broadcaster.
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Sjøvaag, Helle, Truls André Pedersen, and Thomas Owren. "Is public service broadcasting a threat to commercial media?" Media, Culture & Society 41, no. 6 (2018): 808–27. http://dx.doi.org/10.1177/0163443718818354.

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This article asks to what extent public service broadcasting’s online news service resembles that of commercial media. The context of this inquiry is claims of ‘out-crowding’ facing public service broadcasters across Europe. In Norway, commercial players in this debate accuse the public service broadcaster, NRK, of being too similar to competitors in the private sector for commercial operators to attain sustainable revenues in the online realm. To ascertain the extent to what these claims are warranted, this article compares NRK’s online content with that of nine commercial competitors in national and local markets, using a hybrid methodological approach combining quantitative content analysis with Latent Dirichlet allocation, analysing in excess of 115,000 documents. Findings show that commercial operators resemble each other more than they do NRK, indicating closer competition in the commercial segment than between the public service broadcaster and market players.
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Norris, Paul. "Public Broadcasting in the Digital Age: Issues for Television in New Zealand." Media International Australia 117, no. 1 (2005): 43–54. http://dx.doi.org/10.1177/1329878x0511700106.

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New Zealand has a unique model of public broadcasting for television. The state broadcaster is almost totally commercial, although since 2003 it has been given a charter and some limited public funding. A state agency, NZ On Air, administers funding contestable between national broadcasters for public broadcasting, meaning in essence local (national) content in the threatened genres of drama, documentary, children's and minority programs. But this system is under challenge from the rise of multi-channel and the transition to digital. Audiences are fragmenting and the combined impact of broadband, the PVR and VOD threaten the notion of the broadcast schedule and the viability of commercial free-to-air television itself. The concluding section of this paper examines issues for the New Zealand model in adapting to the digital challenge, and looks at the criteria on which the model's success or failure may be judged.
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Jenssen, Anders Todal, and Toril Aalberg. "Why perceived political bias on TV does not inevitably lead to a polarized audience. The case of NRK and TV2 in Norway." Communications 44, no. 4 (2019): 382–406. http://dx.doi.org/10.1515/commun-2018-2022.

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Abstract This paper investigates whether political polarization of the TV audience is emerging also in a typical democratic corporatist system. The study is motivated by the claim put forward by several US scholars, who argue that in today’s high choice information environments, partisans tend to see mainstream media as ‘hostile’ and therefore seek out and select broadcasters who confirm and deepen their worldview (Arceneaux and Johnson, 2013; Iyengar and Hahn, 2009; Tewksbury and Riles, 2015). This demand, they argue, expands the market for partisan TV and contributes to growing political polarization. We ask if there is evidence of a politically polarized Norwegian TV audience, by exploring the relationship between partisan preferences, perceived political bias and selective exposure to TV news. We find that many Norwegians believe that both the public broadcaster and the leading commercial broadcasters are politically biased. Consistent with the “hostile media hypothesis”, people on the right accuse the broadcasters of favoring the parties on the left, whereas people of the left tend to see the broadcasters as favoring the parties on the right, albeit not to the same degree. By using a survey experiment, our study also demonstrates that given the opportunity, the audience does select news stories consistent with their political beliefs from a politically ‘friendly’ broadcaster. However, they also choose news stories consistent with their political beliefs from a perceived hostile news source over politically inconsistent stories from a friendly source. This suggests that ‘friendly’ content triumphs perception of broadcaster bias. Despite widespread perceptions of partisan favoritism in the Norwegian TV market, we find few traces of a politically polarized audience. The main reason for this is that the public broadcaster still draws a wide audience across the political spectrum, as even critics consider this news source as too important and relevant to be ignored.
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Volčič, Zala, and Melita Zajc. "Hybridisation of Slovene Public Broadcasting: From National Community towards Commercial Nationalism." Media International Australia 146, no. 1 (2013): 93–102. http://dx.doi.org/10.1177/1329878x1314600113.

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Public broadcasting institutions have existed as central and publicly funded national institutions, providing services in the public interest. The coincidence of technological, political and economic circumstances in the last 20 years or so, however, has challenged their monopoly position. Technological developments – specifically digitalisation – have expanded spectrum availability. In some cases, public television has been commercialised, privatised or marginalised by the introduction of commercial channels. This article focuses on a specific case study of the Slovene public broadcaster. It addresses the fate of public service television in the digital and post-communist era, tracing the transformation from state broadcasters to the era of digital delivery, audience fragmentation and commercial nationalism. It explores, on the one hand, the way in which public service broadcasters have embraced and capitalised on new forms of digital distribution and, on the other, how they continue to embrace national(istic) and commercial imperatives.
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Svensson, Kent, and Lelia Green. "Battling the Commercialisation of the Swedish Mediasphere." Media International Australia 95, no. 1 (2000): 117–30. http://dx.doi.org/10.1177/1329878x0009500112.

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The regulation of national broadcasting is a forum for the official expression of a country's media priorities. Sweden has consistently attempted to prevent foreign broadcasters from establishing themselves in the Swedish mediasphere. Subsequently, wherever a non-Swedish broadcaster has demonstrated market demand for a media product not available in Sweden, the government has attempted to create a Swedish equivalent to meet public demand and prevent the loss of audience share to non-Swedish broadcasters. This dynamic is especially clear in terms of the introduction of commercial broadcasting. Sweden was the last country in Western Europe to license a commercial television station, in 1992. This case study addresses the accommodation of the historically socialist government to the demands for commercial broadcasting, and the policy debates which informed these deliberations. It is argued that one reason for the Swedish government resisting commercial television was an opposition to the country's further integration within global capitalism, regardless of the fact that Swedish technology has helped the expansion of transnational broadcasting systems.
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Valentine, John. "Cultural Citizenship or Commercial Interest? The 1962 Grey Cup Fiasco." Sport History Review 49, no. 2 (2018): 161–75. http://dx.doi.org/10.1123/shr.2018-0009.

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In 1962, the Board of Broadcast Governors (BBG), an arm of the Canadian federal government responsible for broadcasting, made the unprecedented move to force the national public broadcaster to televise the Grey Cup, the championship game of Canadian football, ostensibly because it was in the national interest. However, research reveals that this decision was not necessarily made because it was in the national interest, but more so to assist the new struggling private television network, CTV. The important content, allegedly linked to cultural citizenship, was not the national championship, but the television commercials. This paper explores why the BBG intervened and how the dispute was settled.
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Green, Joshua. "More Than TV: Channel Ten and Diversity in Free-to-Air Broadcasting." Media International Australia 100, no. 1 (2001): 49–63. http://dx.doi.org/10.1177/1329878x0110000107.

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Free-to-air broadcasting is currently facing some tough challenges. Amidst declining viewing figures, the rise of competing technologies and the infiltration of pay TV, free-to-air broadcasters have watched their audience fragment and their revenue base become shaky. This paper examines the way the Ten Network has reconfigured itself in response to some of these challenges, recasting itself as a free-to-air broadcaster narrowcaster, appealing specifically to the youth market as a way of making itself economically viable. In doing so, Ten has introduced to the Australian television environment a new way of conceiving a television network — as an entity that transcends the broadcasting medium and configures itself as a desired cultural space. This paper examines Ten's shift from the position of a broadcaster to a narrowcaster through the introduction of niche marketing and determined counter-programming strategies. Hand in hand with this. Ten's branding strategies and expanded media interests have sought to establish the network as a youth cultural mecca rather than simply a youth-focused broadcaster. This paper will look at the way the reconfigured Ten exists as a portal for youth viewers to gain access to a youth-specific public sphere, a commercial space where they can engage in semiotic self-determination and utilise transnational products enabling a process of DIY citizenship (Hartley, 1999: 162).
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Dissertations / Theses on the topic "Commercial broadcaster"

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Lam, Wai, and 林蔚. "Code switching and code mixing in the broadcasts of Commercial Radio Hong Kong (CRHK)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192985.

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Being a British colony for more than a century, Hong Kong has been influenced by the western culture in multiple aspects. One of the prominent western footprints is the ubiquitous Cantonese-English code switching and code mixing behavior which permeates all walks of life in this bilingual community. Though having seen its pervasiveness in different domains, limited studies from the sociolinguistic perspective have been conducted in the broadcasting domain, especially within the radio broadcast domain. This research gap prompts a study idea to unravel the sociolinguistic motivations behind the Cantonese-English code switching and code mixing behavior in Hong Kong radio broadcasts. Instances of code-switched and code-mixed which happened during the conversations among radio hosts were transcribed from the broadcasts of Commercial Radio Hong Kong (CRHK) between April 26th and May 24th 2013 for exploratory analysis. The language alternation behavior was investigated through a communicative discourse context. In essence, the reasons motivating code switching and code mixing behavior among radio hosts include ‘principle of economy’, ‘generality/ specificity’, ‘euphemism’ and ‘emotional buffer’. Code switching/ code mixing also serves as a purposeful communicative strategy in tone switching or creating comical effect to enhance the entertainment value of the programs. It also helps the speakers to portray a particular social orientation or specifically, to project a western image. By code switching/ code mixing, the hosts also take into consideration of the societal preference of codes. The ideas of ‘we-code’, ‘they-code’, and ‘social distance’ are also applicable in exploring the social meaning of code switching/ code mixing within the Hong Kong radio broadcasts.<br>published_or_final_version<br>English Studies<br>Master<br>Master of Arts
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McCann, Kim. "Communication Policy and Public Interests: Media Diversity in Public and Commercial Broadcast Television in the U.S." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1189542869.

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Jana, Kimberly L. "An attitudinal study of job satisfaction for full-time, on-air female personalities at commercial radio stations in Indiana." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230607.

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The goal of this research was to provide how women in Indiana perceive their roles in the radio industry.Thirty-five female participants from across the state sorted Q statements that covered the following topic areas: relationships with men, relationships with co-workers, personal on-air work, career opportunities/education, and personal life.Through an analysis of the Q sorts collected for this particular study, three distinct factor types were found: Optimists, Pessimists, and Neutralists. The Optimists are enthusiastic about their work in radio and do not feel as if they have been slighted by male co-workers or managers. Pessimists, while they expressed a general enjoyment of their work, are overwhelmed with feelings of suppression by the men with whom they work with. Finally, the Neutralists seem uncertain of any professional limitations in the radio industry because of male dominance.There was little evidence that the three groups in relation to age, level of education or years in radio was related to the three factor types.<br>Department of Journalism
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Johnson, Matthew L. "STANDARD OPERATING PROCEDURES FOR THE TRAFFIC INVENTORY DEPARTMENT OF THE DISNEY ABC TELEVISION GROUP." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/262.

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The Mack truck principle is the reason a Standard Operating Procedure (SOP) document is a good idea – so I was told by my boss in my early days working for Disney ABC Television Group. This principle is quite simple: if the one person who knows how to do the job walks out the door and is hit by a Mack truck, we have a problem; no one else knows how to do what that person did. And when it comes to television operations, that is a huge dilemma! Standard Operating Procedures is a document that lists the step-by-step process for completing tasks in order to, in this case, keep a network on the air. This document would be beneficial in cases of disaster recovery, but it might be just as useful for training new employees or for covering for someone who is out sick. There may be various reasons to go to the SOP, but they all have the same goal: to keep operations working to fulfill the business objective. An SOP for the operations of an entire network would likely fill at least one if not multiple books, so in order to keep this project manageable, I limited the development of the SOP to one department, Traffic Inventory, which is responsible for the commercial and promotional assets which are sold and scheduled to air on any of the Disney cable networks (Disney Channel, DisneyXD, and Disney Junior.) In order to develop an SOP, it was necessary to review the different software programs in use, and understand their purpose and application to the overall operations of the cable networks. This will be a “living” document, meaning updates and changes will be anticipated, requiring constant maintenance of the SOP in order to keep it up to the latest development. In an effort to make it truly useful, multiple screen captures are used, as this provides a more user-friendly tutorial and makes for a more effective “blueprint” to comprehend and follow. By having Standard Operating Procedures on hand, anyone in the department will be able to effectively follow the process for handling the commercial and promotional assets in an efficient manner, with minimal impact on the daily operation of the networks. This will then be a valuable document, helping the business to keep its commitment to both advertisers and viewers, without the fear of Mack trucks.
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Taylor, J. "From sound to print in pre-war Britain : the cultural and commercial interdependence between broadcasters and broadcasting magazines in the 1930s." Thesis, Bournemouth University, 2013. http://eprints.bournemouth.ac.uk/21079/.

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This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.
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Jingklev, Niklas. "Quality and diversity in Swedish television? : In what way has public service television been affected by competition from commercial broadcasters in terms of quality and diversity." Thesis, Uppsala University, Department of Information Science, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6035.

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<p>Abstract</p><p>Purpose/Aim: To study the effect competition from commercial-TV has had on public-service-TV in Sweden in terms of quality and diversity.</p><p>Material/Method: Literature study</p><p>Main results: The SVT Corporation continues to offer a wide range of quality programming. Its new digital-TV ventures also show clear characteristics of high ambitions in regards to quality and diversity. The company’s investment in light entertainment is not in conflict with its public service commitments. TV4 has shown a clear tendency to move towards a more commercial outline. Its programming shows a smaller diversity-profile and light entertainment has increased substantially. Its digital-TV ventures are also of lesser ambitions in regards to quality and diversity than those of SVT.</p><p>Keywords: Public Service, Media, Quality, Commercialisation, Diversity</p>
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Velloso, Rafael Henrique Soares. "Aquarelas musicais das Américas : projetos identitários de nação nas performances radiofônicas de Radamés Gnattali e Alan Lomax (1939-1945)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/125985.

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As trajetórias e as atuações profissionais de duas personalidades emblemáticas do campo artístico-intelectual das Américas no século XX – Alan Lomax e Radamés Gnattali – apresentam-se nesta investigação como elementos centrais para a aproximação entre os projetos político-culturais implementados no âmbito das relações Brasil-EUA no período entre 1939 e 1945. O agenciamento desses atores foi determinante na criação de modelos de performatização musical utilizados em programas radiofônicos de conteúdo "folclórico", que, segundo se infere, contribuíram para as transformações políticas e culturais por que passaram ambos os países durante a 2ª Guerra Mundial. Do ponto de vista teórico-metodológico, a hipótese que justifica uma aproximação entre os projetos é que tanto as técnicas de arranjo utilizadas por Gnattali para os programas feitos em parceria com Almirante na Rádio Nacional do Brasil (1941-1945) como as performances musicais conduzidas por Lomax e seus convidados nos programas da CBS nos EUA (1939-1941) podem ser interpretadas como processos de agenciamento entre os produtores, os grupos sociais representados nos programas, os modelos ideológicos defendidos por intelectuais especializados no estudo do folclore e os interesses políticos dos regimes. Esses núcleos de poder, portanto, se relacionariam de forma heterogênea em relação à identidade nacional nos diferentes contextos em que foram inseridos. Por meio de exemplos de programas da série Wellspring of music – escrita e produzida por Alan Lomax para o projeto American School of the Air – e da série Aquarelas do Brasil – produzida por Radamés Gnattali, Almirante e José Mauro e patrocinada pela empresa norte-americana Pan-American World Airlines –, busca-se examinar as estratégias utilizadas para a criação dos modelos de performance musical responsáveis pelos processos de comunicação simbólica operados pelos programas, que teriam contribuído tanto no Brasil como nos EUA para a construção de identidades nacionais utilizadas nos contextos regionais e pan-americanos.<br>The study of the trajectories and professional activities of two emblematic personalities on the artistic and intellectual scene of the Americas in the 20th century – Alan Lomax and Radames Gnattali – present themselves in this investigation as central elements in the analysis between the cultural projects and policies implemented under Brazil-US relations in the period between 1939-1945. To this end, this research seeks to examine, through a theoretical and methodological perspective, how the these actors’ agency were instrumental in creating different performance models related with "folk" content used in radio shows that intended to contribute to the political and cultural transformations faced by both countries during the Second World War. The hypothesis for this relationship between the trajectories is that both Gnattali’s arrangement techniques used in the programs in partnership with Almirante at the National Radio of Brazil (1941-1945), and the idealized musical performances used by Lomax and his partners for the series produced by CBS in the USA (1939-1941), could be perceived as mediation processes between the social groups represented on the radio shows, the ideological models advocated by intellectuals linked to folklore, and the political interests that took part in national and international schemes. These centers of power, therefore, would deal heterogeneously in relation to their identities in the contexts in which they were performed. Using examples of two programs – one from the series "Wellspring of Music," written and produced by Lomax that was part of the project American School of the Air, and one from the program "Aquarelas do Brasil" [Watercolors of Brazil] produced by Radamés Gnattali and Almirante and sponsored by Pan American World Airlines—the research will also highlight the strategies used in the musical performances developed by those radio producers as a mediation field in relation to the semiotic process, as sound material became important symbols of national identity used in national and Pan-American projects.
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"Mainstream or alternative?: the RTHK coverage of the 2004 Legislative Council election compared with the commercial broadcaster." 2005. http://library.cuhk.edu.hk/record=b5892611.

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So Ming Hang.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 218-227).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Acknowledgements --- p.v<br>Content --- p.vii<br>List of Table and figures --- p.xi<br>Chapter Chapter 1 --- Introduction: the dilemma of RTHK and research questions --- p.1<br>Chapter 1.1 --- Introduction --- p.1<br>Chapter 1.2 --- Significance of the study: importance of the mass media and RTHK in the political process in Hong Kong --- p.4<br>Chapter 1.3 --- Significance of the study: practical policy concerns for RTHK --- p.6<br>Chapter 1.3.1 --- The unstable financial situation of the public broadcasters around the world --- p.6<br>Chapter 1.3.2 --- "The political context of Hong Kong, which RTHK is situated" --- p.12<br>Chapter 1.4 --- Research questions --- p.22<br>Chapter Chapter 2 --- Literature Review: The normative role of public broadcaster and their performance in actual practice compared with commercial broadcaster --- p.25<br>Chapter 2.1 --- Introduction --- p.25<br>Chapter 2.2 --- Public vs Private --- p.26<br>Chapter 2.3 --- Theoretical defense for the public broadcasting: Market failure in broadcasting --- p.27<br>Chapter 2.3.1 --- Spectrum scarcity and failure of competition --- p.27<br>Chapter 2.3.2 --- """Public goods"" nature of broadcasting" --- p.28<br>Chapter 2.3.3 --- Externality of the broadcasting as a media --- p.29<br>Chapter 2.3.4 --- The incapacity of the audience --- p.34<br>Chapter 2.4 --- Spectrum scarcity: Weakening rationale --- p.35<br>Chapter 2.5 --- "Market Solution for the ""public goods"" failure: Advertising" --- p.36<br>Chapter 2.6 --- Empirical studies: The public broadcasters may not be very different --- p.39<br>Chapter 2.6.1 --- Information source/news source/guest --- p.39<br>Chapter 2.6.2 --- Topics/Agenda --- p.42<br>Chapter 2.6.3 --- Frames/Themes/Angle --- p.43<br>Chapter 2.6.4 --- Other studies --- p.44<br>Chapter 2.7 --- Theoretical explanation for the quite similar phenomenon between the public and commercial broadcasters --- p.46<br>Chapter 2.7.1 --- Political economy perspective --- p.47<br>Chapter 2.7.2 --- Sociological/Cultural approach --- p.48<br>Chapter 2.8 --- Empirical studies: Public broadcaster make commercial broadcaster better --- p.49<br>Chapter 2.9 --- Empirical studies: Public broadcasters still show its unique role --- p.50<br>Chapter 2.10 --- Empirical studies: Public broadcaster may be different but pro-government (the presence of political pressure) --- p.52<br>Chapter 2.11 --- The study on Hong Kong mass media and Public Broadcasting --- p.55<br>Chapter 2.12 --- Summary --- p.60<br>Chapter Chapter 3 --- The historical background and expected distinctive mission of RTHK in Hong Kong --- p.63<br>Chapter 3.1 --- Introduction --- p.63<br>Chapter 3.2 --- The basic structure and existing service of RTHK --- p.64<br>Chapter 3.3 --- The historical development of RTHK as a public broadcaster --- p.66<br>Chapter 3.4 --- The existing base for RTHK working as a public broadcaster --- p.71<br>Chapter 3.5 --- Role of RTHK as a different broadcaster: claimed by RTHK and the government --- p.73<br>Chapter 3.6 --- Role of RTHK as a different broadcaster: expected and interpreted by the public --- p.78<br>Chapter 3.7 --- Role of RTHK as a different broadcaster: expected and interpreted by the pro-China camp --- p.80<br>Chapter 3.8 --- Summary: High expectation on RTHK to act differently --- p.82<br>Chapter Chapter 4 --- Research method and design: The coverage of RTHK on 2004 Hong Kong Legislative Council election compared with the commercial broadcasters --- p.84<br>Chapter 4.1 --- Introduction --- p.84<br>Chapter 4.2 --- 2004 Legislative Council Election as a case to compare the public and commercial broadcaster --- p.85<br>Chapter 4.3 --- The Radio broadcasting in Hong Kong --- p.87<br>Chapter 4.4 --- Commercial radio broadcasting in Hong Kong --- p.89<br>Chapter 4.4.1 --- Commercial Radio --- p.90<br>Chapter 4.4.2 --- Metro Broadcast --- p.92<br>Chapter 4.5 --- Research Method: quantitative content analysis with the help of qualitative analysis --- p.94<br>Chapter 4.6 --- Hypothesis setting --- p.95<br>Chapter Chapter 5 --- Data Analysis I: The News bulletins in the 2004 Legislative Council Election --- p.101<br>Chapter 5.1 --- Introduction --- p.101<br>Chapter 5.2 --- Background --- p.101<br>Chapter 5.3 --- The salience of the election coverage --- p.102<br>Chapter 5.4 --- The themes of the election coverage --- p.105<br>Chapter 5.5 --- The news source of the election coverage --- p.112<br>Chapter 5.6 --- The sound bite sources and their duration of the election coverage --- p.118<br>Chapter 5.7 --- Summary: RTHK quite followed the mainstream commercial broadcasters --- p.123<br>Chapter 5.8 --- Case I: The nomination period for the election --- p.125<br>Chapter 5.9 --- Case II: Ma Lik has been diagnosed as having cancer --- p.136<br>Chapter 5.10 --- Discussion and Summary for the finding --- p.139<br>Chapter Chapter 6 --- Data Analysis II: The phone-in current affairs programme in the 2004 Legislative Council Election --- p.143<br>Chapter 6.1 --- Introduction --- p.143<br>Chapter 6.2 --- Background --- p.143<br>Chapter 6.3 --- The salience of the election-related discussion --- p.145<br>Chapter 6.4 --- The topics for the discussion about the election --- p.150<br>Chapter 6.5 --- The guest for the election discussion --- p.165<br>Chapter 6.6 --- Discussion and Summary for the findings --- p.183<br>Chapter Chapter 7 --- Conclusion: RTHK provided limited alternatives in the coverage of 2004 Legislative Council Election by news bulletins and phone-in programmes --- p.187<br>Chapter 7.1 --- Introduction --- p.187<br>Chapter 7.2 --- Summary of the findings from the study --- p.191<br>Chapter 7.3 --- Implication and discussion --- p.196<br>Chapter 7.4 --- Limitation and further research --- p.202<br>Appendix --- p.205<br>Appendix I The original quotation used in different chapters --- p.205<br>Appendix II Analysis Form for each story in the news bulletin --- p.209<br>Appendix III Analysis Form for the phone-in current affairs programme --- p.213<br>Appendix IV The election-related topics that discussed by the phone-in programmes in the study period --- p.215<br>Bibliography --- p.218
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Kaihar, Sunita. "Multifaceted broadcasting : an analysis into Lotus FM's role and identity as a "national public service-cum-commercial broadcaster with community responsibility"." Thesis, 2001. http://hdl.handle.net/10413/5323.

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Radio broadcasting is usually classified as either a public broadcasting service or as being commercially driven. In the South African context, the concept of community radio has further complicated the definition of a public broadcasting service. While profit motivation and niche marketing characterize a radio driven by commercial means, community radio is predominantly non-profit oriented, directed towards a particular community. A public broadcasting service is, amongst other elements, typified as being geographically accessible to all and of paying particular attention to minority groups. Lotus FM, a radio station that came into existence on 16 January 1983, for the South African Indian community, describes itself as a "national public service-cum-commercial broadcaster with community responsibility". The South African Indian community, a minority group within the broader South African population, comprises of five language groups (Hindi, Gujarati, Urdu, Tamil and Telegu) and three religious groupings (Hinduism, Islam and Christianity). This research aims to explore the feasibility with which Lotus FM is accommodating the conflicting interests of being a melange of all three forms of broadcasting and reflecting it via its programmes.<br>Thesis (M.A.)-University of Natal, Durban, 2001.
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Shahaf, Sharon. "Prime time postzionism : negotiating Israeliness through global television formats." 2009. http://hdl.handle.net/2152/6584.

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Prime Time Postzionism - Negotiating Israeliness through Global Television Formats looks at the Israeli reality competition show – Kohav Nolad (“A Star is Born”) as a key text to help explore the ways in which Israeli broadcasters in the contemporary commercial television environment, adapt globally dominant televisual forms as models for the production of extremely popular local series. This program, widely perceived as epitomizing contemporary Israeli national identity, is simultaneously also debated as the product of globalization, and as marker of a post-national/post-Zionist era. In these discussions, perceptions of the proper Israeli national culture and identity are juxtaposed with assumptions about the nature and perceived influence of the shift from public state monopoly in television broadcast to a globalized commercial multichannel broadcast environment. Combining production ethnography with analysis of industry, texts, and public reception discourses, this project explores the significance of global format adaptations for marginal and belated broadcast systems like Israeli television.<br>text
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Books on the topic "Commercial broadcaster"

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D, Cary Norman, Tannenbaum Stanley I, and Brady Frank R, eds. The radio & television commercial. 3rd ed. NTC Business Books, 1996.

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Cronauer, Adrian. How to read copy: Professionals' guide to delivering voice-overs and broadcast commercials. Bonus Books, 1990.

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Contant, Peter. De tv-oorlog: De keerzijde van tien jaar commerciële televisie in Nederland. Kosmos-Z&K, 2000.

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Authority, Australian Broadcasting. Commercial radio inquiry: Report of the Australian Broadcasting Authority hearing into Radio 2UE Sydney Pty Limited. Australian Broadcasting Authority, 2000.

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Hurwitz, Donald Lee. Broadcast "ratings": The rise and development of commercial audience research and measurement in American broadcasting. University Microfilm International, 1985.

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Dellinger, Brett. Finnish views of CNN television news: A critical cross-cultural analysis of the American commercial discourse style. Universitas Wasaensis, 1995.

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Cóid i gcomhair caighdeán, cleachtais agus toirmeasc san fhógraíocht, san urraíocht agus i gcineálacha eile cur chun cinn tráchtála sna seirbhísí craolacháin =: Codes of standards, practice, and prohibitions in advertising, sponsorship, and other forms of commercial promotion in broadcasting services. The Stationery Office, 1995.

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Niblock, Michael. The future for HDTV in Europe: The role of broadcasters in the commercial development of a European standard for High Definition Television. European Institute for the Media, 1991.

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And now a few laughs from our sponsor: The best of fifty years of radio commercials. Wiley, 2002.

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The television gray market. Index Pub. Group, 1993.

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Book chapters on the topic "Commercial broadcaster"

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Potschka, Christian. "The Start of Commercial Broadcasters: Competition (1982–89)." In Towards a Market in Broadcasting. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230370197_15.

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Rahman, Anis, S. M. Shameem Reza, and Fahmidul Haq. "The politico-commercial nexus and the broadcast policy reform in Bangladesh." In Media as Politics in South Asia. Routledge, 2017. http://dx.doi.org/10.4324/9781315267159-8.

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Bignell, Jonathan. ""Do You Really Enjoy the Modern Play?”: Beckett on Commercial Television." In Pop Beckett. ibidem Press, 2019. http://dx.doi.org/10.24216/9783838211930_03.

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Television was the key popular medium of the second half of the twentieth century in the UK, and Beckett’s work was consistently aired by BBC, the British non-commercial TV broadcaster that had already featured his work on radio since the mid-1950s. But Beckett’s work also appeared on Independent Television (ITV), the commercially-funded British television channel set up in 1955 to rival BBC. The commercial ABC TV company made the series The Present Stage for ITV in 1966. In its feature announcing the series, the TV Times listings magazine asked “Do you really enjoy the modern play like Look Back in Anger or Waiting for Godot? A new 13-week series, The Present Stage, starts next Sunday and is designed to help you enjoy and understand modern plays.” The series was based on a popular book by John Kershaw, and alongside Beckett’s drama it dealt with plays by the dramatists Arnold Wesker, Max Frisch, Eugene Ionesco and Harold Pinter, each of which were landmarks in London theatre at the time. The series was broadcast on Sundays, following a home improvement programme, and this chapter asks what it meant for the ITV channel to screen a programme about Beckett’s drama amongst televised church services and home decor advice. The chapter places Beckett’s drama in the context of dynamic instability in British culture, when the categories of the popular and the elite were being contested, to argue that ITV’s programme contributed to a cultural revolution.
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Redvall, Eva N. "Mainstream Trends and Masterpiece Traditions." In Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0009.

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The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United States, and beyond.
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Potter, Simon J. "Losing control, 1945–1959." In This is the BBC. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898524.003.0005.

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After the Second World War, the BBC sought to return to pre-war normality, broadcasting a wide range of radio programmes, reinforcing British and imperial identities, and cutting back on American content and influences. However, it proved hard to restore old certainties. While the BBC’s pre-war imperial role continued, it now had to repurpose propaganda weapons used to fight fascism and deploy them against communism in the Cold War. This entailed close links with other elements of the British state, and a major clash with the government during the Suez Crisis of 1956. Moreover, domestic listeners demanded more choice and more fun: they were given a wider selection of BBC programmes, including almost non-stop entertainment on the Light Programme. The BBC restarted television, but only developed the medium slowly, due to financial constraints and a continuing belief in the superior artistic merits of radio. This fuelled demands for the introduction of commercial television, and in 1955 the first ITV station was launched in London. The BBC’s monopoly of British broadcasting was over. Despite helping to popularize television with its broadcasts of live sport and the Coronation of Elizabeth II, the BBC now lost out to the competition. If it were relegated permanently to the status of minority broadcaster, it would be hard to justify licence fee funding in future. Senior managers and programme makers thus began to seek ways to bring the audience back to BBC television.
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"Commercial Announcing." In Broadcast Announcing Worktext. Routledge, 2012. http://dx.doi.org/10.4324/9780080927954-11.

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"Commercial Announcing." In Broadcast Announcing Worktext. Routledge, 2013. http://dx.doi.org/10.4324/9780240818610-11.

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Beadle, Mary E., Reed W. Smith, and Alan R. Stephenson. "Commercial Announcing." In Broadcast Announcing Worktext. Routledge, 2020. http://dx.doi.org/10.4324/9780429356278-6.

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Rhodes, Gary D., and Robert Singer. "Origins." In Consuming Images. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460682.003.0002.

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Understanding the television commercial’s evolution from its inception to the late 1950s illustrates how it was influenced by the classical Hollywood style, and that its very adoption of that style into a brief running time meant that it necessarily had to alter the style as well, particularly in terms of editing. The result meant, that even as the commercial borrowed conventions from Hollywood feature filmmaking, the two forms quickly became involved in a dialogue, with the television commercial influencing feature filmmaking, and vice-versa. Chapter 1 initiates the book's exploration of these issues by focusing on early commercials and using the work of Gerald “Jerry” Schnitzer as an important case study. Schnitzer is the essential linking figure between the initial postwar broadcast commercial’s direct appeal to the audience and its later, stylized evolution.
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Potter, Simon J. "Wireless Nationalism, 1938–1939." In Wireless Internationalism and Distant Listening. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198800231.003.0005.

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During the late 1930s international broadcasting was mobilized as a weapon for deployment in the coming conflict, an essential tool of propaganda. In 1938 the BBC began broadcasting to the Middle East in Arabic and to Latin America in Spanish and Portuguese. In running the Arabic Service in particular, the BBC was obliged to accept the input of civil servants from the Foreign Office and other branches of the state, particularly when it came to the editing of news bulletins. Material was carefully included and omitted to further British foreign policy goals. BBC officers sought to build up an Arabic Service that would appeal to listeners across the Middle East but made limited headway due to a lack of resources and the scarcity of listener feedback. Similarly, there seemed little evidence to suggest that the BBC Latin American Service developed a significant audience. Attempts to strengthen links between British and American broadcasters meanwhile continued. Only vestiges of wireless internationalism remained: these were years of wireless nationalism, driven by the expansion of fascist broadcast propaganda. The September Crisis of 1938 prompted the inauguration of BBC broadcasts in German, Italian, and French. In all these activities the BBC adhered closely to official policies of appeasement, and accepted government directions to avoid broadcasts that would provoke Germany and Italy. The British government also covertly broadcast to Europe from commercial stations on the Continent, particularly Radio Luxembourg, with the involvement of the Secret Intelligence Service.
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Conference papers on the topic "Commercial broadcaster"

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Ratna Shakya, Sarbagya, Chaoyang Zhang, and Zhaoxian Zhou. "Basketball-51: A Video Dataset for Activity Recognition in the Basketball Game." In 11th International Conference on Computer Science and Information Technology (CCSIT 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110712.

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In recent years, there has been an increase in the association of technology in sports and live sports broadcasting networks. From score updates, broadcasting commercials, assisting referees for decision making, and minimizing errors, the adoption of technology has been used for fair play and improve results. This has been possible with the advancement in video analysis, classification techniques, and the availability of resources. This paper introduces a new labelled video dataset collected from a live basketball game broadcasted on live TV to determine the type of basket scored in the basketball game. Among different shots, the points the player can score are basically of three types: 3 points, 2 points, which depends on the range of shots taken and 1 point which is the free shots taken after a foul. This dataset consists of labelled video clips collected from the live broadcast of the game from the broadcasting medium to classify different scoring activities. This paper also gives the preliminary analysis of the dataset for different class labels using 3D ConvNet and two-stream 3D ConvNet methods to show the complexity of the dataset.
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Sarica, Sinan, and Gokhan Ince. "Audio based commercial monitoring in TV broadcasts." In 2017 25th Signal Processing and Communications Applications Conference (SIU). IEEE, 2017. http://dx.doi.org/10.1109/siu.2017.7960392.

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Wang, Lijuan, Jeffrey Gonder, Eric Wood, and Adam Ragatz. "The Accuracy and Correction of Fuel Consumption from Controller Area Network Broadcast." In Commercial Vehicle Technical Papers. SAE International, 2017. http://dx.doi.org/10.4271/2017-01-7005.

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Vyas, Apoorv, Raghvendra Kannao, Vineet Bhargava, and Prithwijit Guha. "Commercial Block Detection in Broadcast News Videos." In the 2014 Indian Conference. ACM Press, 2014. http://dx.doi.org/10.1145/2683483.2683546.

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Durus, Murat, and Aytul Ercil. "Brand logo recognition system in TV commercial broadcasts." In 2009 IEEE 17th Signal Processing and Communications Applications Conference (SIU). IEEE, 2009. http://dx.doi.org/10.1109/siu.2009.5136433.

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Kostić, Silva, and Ana Slavković. "LINGUISTIC FEATURES OF TV COMMERCIALS AND MARKETING STRATEGIES FOR ADDRESSING CONSUMERS." In 6th International Scientific Conference ERAZ - Knowledge Based Sustainable Development. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eraz.2020.175.

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Advertisements are unavoidable and ubiquitous. We encounter them on television and the radio, in newspapers and magazines, on billboards, in public transport vehicles and mailboxes, on mobile phones or on websites we visit on the Internet. The aim of this paper is to examine linguistic features and marketing strategies used by advertisers to attract and hold consumers’ attention, make them remember advertisements and encourage them to buy advertised products. This paper discusses the way advertisers, using the advertising discourse, manipulate consumers’ opinions, beliefs and behaviour. Starting from previous research of the advertising discourse, this paper shows the results of the analysis of the most important linguistic features as well as marketing strategies for addressing consumers used in TV commercials broadcast on four Serbian TV channels - TV Prva, RTS 1, TV B92 / 02 and TV Pink, from March 2016 to September 2019. The analysis is based on the theoretical principles of Critical Discourse Analysis.
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Archer, Steve, James Loiselle, Steve Archer, and James Loiselle. "Global broadcast service payload - Utilization of commercial technologies for military applications." In Defense and Space Programs Conference and Exhibit - Critical Defense and Space Programs for the Future. American Institute of Aeronautics and Astronautics, 1997. http://dx.doi.org/10.2514/6.1997-3904.

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Yang, Chouchang, Jeremy Gummeson, and Alanson Sample. "Riding the airways: Ultra-wideband ambient backscatter via commercial broadcast systems." In IEEE INFOCOM 2017 - IEEE Conference on Computer Communications. IEEE, 2017. http://dx.doi.org/10.1109/infocom.2017.8057162.

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Ellington, Troy, and Ray Barker. "Applying commercial DBS technology toward achieving a military Global Broadcast Service (GBS)." In Space Programs and Technologies Conference. American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-3719.

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Iannone, P. P., K. C. Reichmann, J. Pastor, et al. "Experimental Demonstration of a Cost-Effective Broadcast Overlay for a Commercial WDM PON." In National Fiber Optic Engineers Conference. OSA, 2011. http://dx.doi.org/10.1364/nfoec.2011.ntub3.

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Reports on the topic "Commercial broadcaster"

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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Tempia, Frank N. Global Broadcast Service An Assessment of Potential Military-Commercial Integration. Defense Technical Information Center, 1999. http://dx.doi.org/10.21236/ada367202.

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