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Journal articles on the topic 'Digital interactive television'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

González-Gómez, Antonia-Alejandra, and Karla Jiménez-Comrie. "Interactive digital TV and its learning tools." Comunicar 13, no. 26 (2006): 93–101. http://dx.doi.org/10.3916/c26-2006-15.

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Interactive Digital TV (IDTV) is a reality in the midst of the Information Society, is expected to allow the development of new interactive systems that may be useful in daily life as well as in other scopes such as education, politics and economics. The implications that IDTV requires to mature settles new challenges for both public and private authorities, and, demands also, new standards for other aspects such as technolgy applications, television industry, legal frames, social envioroments and education fields. This paper presents the basis of IDTV and also looks beyond to explore what are

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2

Magnenat Thalmann, N., and D. Thalmann. "Digital actors for interactive television." Proceedings of the IEEE 83, no. 7 (1995): 1022–31. http://dx.doi.org/10.1109/5.390120.

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3

Kourtis, A., and Ch Mantakas. "Interactive digital television at 42 GHz." Electronics Letters 33, no. 22 (1997): 1843. http://dx.doi.org/10.1049/el:19971280.

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4

Ribón, Julio R., R. Martín Monroy, and Antonio C. Ortega. "Interactive Online Marketing Via Digital Terrestrial Television." Indian Journal of Science and Technology 10, no. 15 (2017): 1–6. http://dx.doi.org/10.17485/ijst/2017/v10i15/109098.

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5

Mastorakis, George. "Optimizing Interactive Marketing in Digital Television Systems." Asian Journal of Marketing 5, no. 2 (2011): 55–62. http://dx.doi.org/10.3923/ajm.2011.55.62.

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6

Fernández, Francisco, and Sergio Goldenberg. "Aplicaciones interactivas para la televisión digital en Chile." Cuadernos.info, no. 22 (2008): 6–17. http://dx.doi.org/10.7764/cdi.22.86.

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7

Gunter, Barrie. "Digital information provision via interactive television: understanding the digital consumer." Aslib Proceedings 55, no. 1/2 (2003): 43–51. http://dx.doi.org/10.1108/00012530310462706.

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8

Scalabrin Müller, Mariana. "Beyond news consumption: television’s role on younger audiences in Portugal." Media & Jornalismo 24, no. 45 (2024): e4506. http://dx.doi.org/10.14195/2183-5462_45_6.

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This study explores the relationship between television and young audiences (aged 15-24) in Portugal, in a context of rising digital media. Through the analysis of data from an online survey of 1362 participants and 42 semi-structured interviews, youths are categorized into seven profiles based on their television consumption habits and critical perspectives. A nuanced media landscape is revealed, in which television's relevance is maintained in transformed roles—from a traditional source of news to a platform for streaming content. The engagement of young viewers with television is shown to b

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Solano, Andrés, Cristian Rusu, César A. Collazos, and José Arciniegas. "Evaluating interactive digital television applications through usability heuristics." Ingeniare. Revista chilena de ingeniería 21, no. 1 (2013): 16–29. http://dx.doi.org/10.4067/s0718-33052013000100003.

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Arroyo-Cañada, Francisco-Javier, and Jaime Gil-Lafuente. "Considerations of Interactive Digital Television as Advertising Media." Journal of Promotion Management 18, no. 3 (2012): 306–18. http://dx.doi.org/10.1080/10496491.2012.696456.

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Baldassarri, Sandra, Isabelle Hupont, David Abadía, and Eva Cerezo. "Affective-aware tutoring platform for interactive digital television." Multimedia Tools and Applications 74, no. 9 (2013): 3183–206. http://dx.doi.org/10.1007/s11042-013-1779-z.

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Feng, Ting, Chengfei Wang, and Ce Chen. "Creative Effect of Film and Television Advertising Based on Digital Media Interactive Technology." Mobile Information Systems 2022 (September 29, 2022): 1–10. http://dx.doi.org/10.1155/2022/6231760.

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Advertising creativity is the product of creative activities in modern advertising operations, and it is an extremely effective and creative way of communicating advertising information. A film and television advertisement without novelty and creativity, no matter how much funds are invested, only consumes financial resources and even causes the audience to be bored. At present, there are some problems in the creativity of film and television advertisements, such as random combination, lack of core ideas and soul, and high cost of good creativity. With the rapid development of communication te

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13

Tsekleves, Emmanuel, John Cosmas, Amar Aggoun, and Jonathan Loo. "Converged Digital TV Services: The Role of Middleware and Future Directions of Interactive Television." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–19. http://dx.doi.org/10.1155/2009/643680.

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The subject of the future of the interactive Television medium has become a topic of great interest to the academic and industrial communities particularly since in the recent years there has been a dramatic increase in the pace of innovation of convergence of digital TV systems and services. The purpose of this paper is to provide a brief overview of what we know as digital TV converged services, to present and categorise the digital Television middleware technologies that contributed to it, and to present possible future trends and directions. A new Television era of converged wireless and m

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Marquioni, Carlos Eduardo, and Marialva Carlos Barbosa. "Digital TV: structures of feeling in the television of becoming." Comunicação Mídia e Consumo 10, no. 27 (2013): 57–74. http://dx.doi.org/10.18568/cmc.v10i27.410.

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The objective of this text is to present some reflections on theinsertion of a new model of television in Brazil (interactive digital TV),adopting the concept of culture as the center to think of the television system.The notion for structure of feeling, by Raymond Williams, opens up atype of new window that helps to understand this new television whichis being implanted.

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15

Calderón C., Oscar J., Laura Gómez Figueroa, and Jesús Armando Sandoval León. "Mecanismos de Interactividad en un Ambiente de Televisión Digital y Propuesta de Interactividad Basada en Voz." Entre Ciencia e Ingeniería 4, no. 8 (2010): 128–47. https://doi.org/10.31908/19098367.746.

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Interactive television brings new services which need interaction mechanisms different from remote control for allowing effective and simple access to the information. Therefore, this document presents the analysis about the advantages and disadvantages the main interactivity devices used in a digital television environment have. Furthermore, this paper proposes a solution of Video on Demand service controlled through Voice over IP.

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Theodoropoulou, Vivi. "Convergent Television and ‘Audience Participation’." Convergent Television(s) 3, no. 6 (2014): 69. http://dx.doi.org/10.18146/2213-0969.2014.jethc071.

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The paper focuses on the introduction of interactive digital television (DTV) in the UK at the turn of the millennium, and its take-up and use by early audiences. It discusses whether the processes of television technological convergence went together with ‘consumer behaviour convergence,’1 enhanced audience engagement with the interactive TV services offered, and participation. Based on findings from a UK-wide survey and in-depth interviews with early Sky digital subscribers conducted during the early days of the service, the article shows that early interactive DTV was taken up because of it

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17

Amatller Clarasó, Jordi, David Baldo, Giuliano Benelli, Giovanni Luca Daino, and Riccardo Zambon. "Interactive Digital Terrestrial Television: The Interoperability Challenge in Brazil." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–17. http://dx.doi.org/10.1155/2009/579569.

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This paper introduces different standards implemented in existing Digital Terrestrial Television Broadcasting systems to allow the fruition of interactive services and applications through digital Set Top Boxes. It focuses on the interoperability issue between the Brazilian and the European architectures. In fact, despite in Brazil the GEM specification has been designed to foster wide content compatibility across a range of interactive platforms, it has never come to a final implementation and deployment. As a result the interoperability issue has been deeply explored in the BEACON project an

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18

Vennou, Paraskevi, Evangelia Mantzari, and George Lekakos. "Evaluating programme-embedded advertising format for Interactive Digital Television." International Journal of Digital Television 3, no. 2 (2012): 213–37. http://dx.doi.org/10.1386/jdtv.3.2.213_1.

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19

Perrinet, Jonathan, Xabiel Paneda, Sergio Cabrero, David Melendi, Roberto Garcia, and Victor Garcia. "Evaluation of Virtual Keyboards for Interactive Digital Television Applications." International Journal of Human-Computer Interaction 99999, no. 1 (2011): 1. http://dx.doi.org/10.1080/10447318.2011.555305.

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20

Cauberghe, Verolien, and Patrick De Pelsmacker. "Adoption Intentions Toward Interactive Digital Television Among Advertising Professionals." Journal of Interactive Advertising 11, no. 2 (2011): 45–59. http://dx.doi.org/10.1080/15252019.2011.10722184.

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21

Love, Matthew, and Sheena Banks. "Using Interactive Digital Television to Support Basic Skills Learners." Journal of Educational Media 26, no. 1 (2001): 35–48. http://dx.doi.org/10.1080/1358165010260104.

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22

Banks, Matthew Love, Sheena. "Using Interactive Digital Television to Support Basic Skills Learners." Journal of Educational Media 26, no. 1 (2001): 35–48. http://dx.doi.org/10.1080/13581650120072162.

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23

Gunter, Barrie, David Nicholas, Paul Huntington, and Peter Williams. "Digital interactive television: health information platform of the future?" Aslib Proceedings 55, no. 5/6 (2003): 346–56. http://dx.doi.org/10.1108/00012530310498923.

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Presents research that was designed to explore the early take‐up of a pilot digital interactive television (DiTV) health information service (Living Health) by cable television subscribers in Birmingham, UK. Log data indicated real‐time viewing behaviour of subscribers to the cable network on which the digital health service was carried. A survey of users delivered a return sample of 723 subscribers. Log data indicated an initial surge in use that subsided and stabilised at a lower level. Over one third of cable network subscribers visited the digital health TV site at least once during a 20‐w

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24

Kourtis, A., C. Mantakas, and V. Pallis. "Broadband interactive services and digital television at 42 GHz." International Journal of Communication Systems 12, no. 1 (1999): 11–22. http://dx.doi.org/10.1002/(sici)1099-1131(199901/02)12:1<11::aid-dac383>3.0.co;2-k.

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25

Sun, Lin. "Research on Digital Media Art Film and Television Special Effects Technology Based on Virtual and Reality Algorithm." Scientific Programming 2022 (September 24, 2022): 1–7. http://dx.doi.org/10.1155/2022/4424772.

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Art special effects, as a kind of new media art form, bring different visual impacts to viewers in film and television animation. This study discusses the application of digital media art film and television special effects’ technology through virtual and realistic algorithms. The wide application of digital media art film and television special effects’ technology has achieved the purpose of saving production time and cost for the creation of film and television dramas. Through the comprehensive analysis and research on art creation, image impact, film viewing perception, and natural interact

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26

Lei, B., K. Liu, Y. Gan, and M. Zhong. "Research and implementation of geographic information service mode in digital home." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-4 (April 23, 2014): 127–31. http://dx.doi.org/10.5194/isprsarchives-xl-4-127-2014.

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Accompanying infrastructure improvements and networking technology innovation, the development of digital home service industry has gotten more and more attention. However, the digital home service levels have not sufficiently met rising demand from users. Therefore, it is urgent to propose and develop new service modes for the digital home. Geographic information services can provide various spatial information services such as map search, spatial information query. It has become an inevitable trend to implement geographic information services in the digital home. This paper proposes three ne

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27

Furtado, Elizabeth Sucupira, Rafaela Ponte Lisboa Cardoso, and Hermínio Borges Neto. "An Integrated View of Communicational, Educational and Technological Categories Applied to the Content Production for IDTV and Mobile Devices." International Journal of Information and Communication Technology Education 10, no. 4 (2014): 41–52. http://dx.doi.org/10.4018/ijicte.2014100104.

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The improvement of the Brazilian system of interactive Digital Television (iDTV) has amplified usage perspectives for television in the educational realm, due to new possibilities of interaction. Thus, there is a growing discussion over the development of educational content that will address the needs of this new reality. The present article describes concepts of the technological, communicational and educational categories in an integrated proposal for the definition of educational content for iDTV. An interdisciplinary team applies steps and resources of integration, having T-ViLO (Video in

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28

Miranda, Mirtha Fabiana, and Sandra Isabel Casas. "Usable and interactive application generator for Digital TV." DYNA 86, no. 211 (2019): 174–83. http://dx.doi.org/10.15446/dyna.v86n211.75574.

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Interactive Digital TV (iDTV) enhances viewers’ experience and participation by engaging them with an active role. The development of interactive software requires the employment of usability criteria to provide satisfactory experiences for users. In addition, the diverse characteristics of television programs require efficient processes for interactive software development. In Latin America, the process of implementing DTV is in progress, so the current stage of development of interactive applications is too incipient and immature to support industrial, quality-level development. This paper p

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29

Abadía Quintero, Iván. "Serious Games to Digital Interactive Television. Literature Review and Definitions." Sistemas y Telemática 10, no. 22 (2012): 149. http://dx.doi.org/10.18046/syt.v10i22.1270.

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30

Barrero, Aurora, David Melendi, Xabiel G. Paneda, Roberto Garcia, Laura Pozueco, and Jose Luis Arciniegas. "A research on typing methods for interactive Digital Television Applications." IEEE Latin America Transactions 13, no. 11 (2015): 3612–20. http://dx.doi.org/10.1109/tla.2015.7387939.

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31

Garcia-Crespo, Angel, Belen Ruiz-Mezcua, Israel Gonzalez-Carrasco, et al. "Accessibility Services and Interactive Digital Television: An Opportunity to Reduce the Digital Gap." IEEE Revista Iberoamericana de Tecnologias del Aprendizaje 9, no. 1 (2014): 8–16. http://dx.doi.org/10.1109/rita.2014.2301887.

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32

Babić, Aleksandar. "Audience differentiation and advertising strategy on interactive television." Socioloski pregled 56, no. 4 (2022): 1500–1524. http://dx.doi.org/10.5937/socpreg56-40712.

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Starting from the assumption that Serbia is in arrears with the implementation of the concept of interactive television and the creation of new forms of advertising, the author studies the transformation patterns of media content consumption using a multi-strategy research method of the habits of the young audience. Combining survey and in-depth interview techniques with qualitative content analysis, the author concludes that traditional TV advertising in the digital environment multiplies in terms of content, which is especially noticeable in the sphere of marketing communications. Young peop

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33

Barboza, Elisa Maria Rodrigues. "Digital narratives: a study of the Arcade Fire interactive music videos." Comunicação e Sociedade 27 (June 29, 2015): 387–402. http://dx.doi.org/10.17231/comsoc.27(2015).2108.

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Initially seen as an audiovisual product made mainly for television, the music video, in recent years, has been expanding itself and gaining strength in the virtual environment. The possibility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technological changes culminates with the appearance of interactive music videos that strengthen investments made in experiences of digita

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da Silva Klehm, Volnei, Rodrigo de Souza Braga, and Vicente Ferreira de Lucena. "A Survey of Digital Television Interactivity Technologies." Sensors 22, no. 17 (2022): 6542. http://dx.doi.org/10.3390/s22176542.

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This paper presents a survey of the worldwide use of Digital Television interactivity (DTVi) standards. First, we recall some concepts of first-generation interactivity middlewares released in the early 2000s, such as the European MHP (based on Java) and the Japanese BML (based on XML). Then, we cover the new standards (emerging after 2010) that introduced the new Integrated Broadcast Broadband (IBB) model, which combines broadcast signals with a broadband interface and leverages synergies to offer high-quality, flexible, interactive and customized services and applications to viewers. Regardi

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35

Handayani, Sri. "WEB TV Sebagai Media Alternatif Mengakses Informasi." Jurnal The Messenger 2, no. 1 (2016): 42. http://dx.doi.org/10.26623/themessenger.v2i1.289.

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<p><em>The Information Technologies are growing fast. One of them is Internet. There are various applications to share information offered in Internet. WebTV is one of them. WebTV is interactive television using Internet as its distribution media. WebTV can be watched all the time, both delay or direct broadcasting.There are some main benefits of WebTV compared with common television are: there are no competition in getting frequency, the consumers are not limited by time to watch their preferred programs, there is an interaction in internet in using such services as e-mail, chat,

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36

Raudhatul Fitri, Rustim, Dynia Fitri, and FX. Yatno Karyadi. "Talkpod Program Broadcasting Diversification Program on Net Tv Through Digital Platform." Journal of Scientific Research, Education, and Technology (JSRET) 3, no. 2 (2024): 855–67. http://dx.doi.org/10.58526/jsret.v3i2.427.

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This research is to reveal that broadcasting diversification is an important strategy for television stations in facing the development of broadcasting technology platforms and changes in social media consumption patterns of android-based communities. The "Talkpod" program is one of NET TV's innovations that combines the concepts of talk shows and podcasts, which are then distributed through digital platforms. The research method used is a qualitative method and data collection techniques by conducting interviews, observations, and document studies. This research approach focuses on television

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37

Wu, Jing. "Application of Dynamic Visual Communication Design in Digital Media." Journal of Global Humanities and Social Sciences 5, no. 10 (2024): 389–94. http://dx.doi.org/10.61360/bonighss242017041005.

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With the rapid development of digital media technology, dynamic visual communication design plays an increasingly important role in modern communication. This paper discusses the basic concept of dynamic visual communication design and its application in advertising, multimedia, film and television, and digital product design, and analyses its importance in enhancing user interaction, information transfer efficiency and visual experience. Then it puts forward the development strategies of diversified interactive experience design, personalised and customised design, multi-sensory fusion design

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38

Rice, Mark, and Norman Alm. "Designing new interfaces for digital interactive television usable by older adults." Computers in Entertainment 6, no. 1 (2008): 1–20. http://dx.doi.org/10.1145/1350843.1350849.

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39

Barrero, Aurora, David Melendi, Xabiel G. Pañeda, Roberto García, and Sergio Cabrero. "An Empirical Investigation Into Typing Errors in Interactive Digital Television Applications." International Journal of Human-Computer Interaction 31, no. 3 (2014): 210–25. http://dx.doi.org/10.1080/10447318.2014.994195.

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40

Quico, Célia, Manuel José Damásio, André Baptista, et al. "Using digital interactive television for the promotion of health and wellness." International Journal of Health Promotion and Education 52, no. 6 (2014): 328–38. http://dx.doi.org/10.1080/14635240.2014.912446.

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41

Pequeno, Henrique S. L., George A. M. Gomes, Rossana M. C. Andrade, José N. de Souza, and Miguel F. de Castro. "FrameIDTV: A framework for developing interactive applications on digital television environments." Journal of Network and Computer Applications 33, no. 4 (2010): 503–11. http://dx.doi.org/10.1016/j.jnca.2010.01.002.

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42

Rees, Jeremy. "Digital interactive publishing: off- and on-line, some observations." Art Libraries Journal 24, no. 1 (1999): 33–39. http://dx.doi.org/10.1017/s0307472200019313.

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Many problems beset early digital interactive publishing on videodiscs and LaserDiscs, while the rapid development of the Internet, technically and in terms of user base, has in most fields now supplanted the CD-ROM. The future for off-line digital resources in the cultural field will depend on one hand on the success of the current (very slow) launch of DVD with its greatly increased storage capacity compared with CD-ROM and, on the other hand, on the widening and cheapening of Internet bandwidth. And the launch of high definition digital television will almost certainly change everything yet

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43

Garganas, Odysseas. "Digital Video Advertising: Breakthrough or Extension of TV Advertising in the New Digital Media Landscape?" Journalism and Media 5, no. 2 (2024): 749–65. http://dx.doi.org/10.3390/journalmedia5020049.

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The aim of this paper is to shape the identity of digital video advertising in the new digital media landscape, focusing on whether and to what extent popular digital ads on social media are differentiated from traditional television ads in the context of the convergence of traditional and new electronic media. Content analysis was preferred for the study of popular advertising content in social media. In this respect, the differentiation of digital video advertising from its television counterpart is examined in terms of the properties and effects of the transmission medium itself on the adve

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44

Lin, Lisa. "Beyond Canned Television." Canned TV Going Global 9, no. 17 (2020): 21. http://dx.doi.org/10.18146/view.224.

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The October of 2018 saw the creation of BBC Earth Tribe, a global online brand representing BBC Natural History Unit (NHU)’s programming on Tencent Video, one of China’s leading online streaming services. Besides providing over 650 hours of BBC documentaries to Chinese online audiences, BBC Earth Tribe delivers unprecedented access to creators from BBC NHU through interactive screen forms and offline events. This article offers a study of BBC Earth’s global strategies in its partnerships with one of the largest Chinese digital platforms, Tencent, in terms of coproduction and online community b

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45

Zhang, Lanshan, and Weike Shi. "Enlightenment and challenge of the concept of metaverse to film and television creation." Metaverse 3, no. 2 (2022): 11. http://dx.doi.org/10.54517/m.v3i2.2129.

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<p>Starting from the enlightenment of the concept of metaverse to film and television creation, this paper puts forward that metaverse will be possible to reconstruct digital virtual space-time, open a new context of interactive narration and replace real actors with virtual personification. The role of film and television audience will also experience the transformation from viewer to experiencer, from audience to player, and from audience to creator. In addition, the virtual world constructed by the metaverse may cause ethical risks due to the unlimited creative freedom, domesticate th

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Zhang, Lanshan, and Weike Shi. "Enlightenment and challenge of the concept of metaverse to film and television creation." Metaverse 3, no. 2 (2022): 11. http://dx.doi.org/10.54517/met.v3i2.2129.

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<p>Starting from the enlightenment of the concept of metaverse to film and television creation, this paper puts forward that metaverse will be possible to reconstruct digital virtual space-time, open a new context of interactive narration and replace real actors with virtual personification. The role of film and television audience will also experience the transformation from viewer to experiencer, from audience to player, and from audience to creator. In addition, the virtual world constructed by the metaverse may cause ethical risks due to the unlimited creative freedom, domesticate th

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47

Carmichael, Alex, Mark Rice, David Sloan, and Peter Gregor. "Digital switchover or digital divide: a prognosis for usable and accessible interactive digital television in the UK." Universal Access in the Information Society 4, no. 4 (2005): 400–416. http://dx.doi.org/10.1007/s10209-005-0004-x.

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48

Bennett, James, and Niki Strange. "The BBC's Second-Shift Aesthetics: Interactive Television, Multi-Platform Projects and Public Service Content for a Digital Era." Media International Australia 126, no. 1 (2008): 106–19. http://dx.doi.org/10.1177/1329878x0812600112.

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This article maps out some of the implications of interactivity and convergence for television's textual and industrial forms in relation to the BBC's status as a public service broadcaster. Whilst the digitalisation of television may bring about new textual, industrial and audience configurations, the goals for broadcasters remain the same: to attract viewers in a marketplace where there is increasing competition for screen-based leisure time. John Caldwell's work on ‘second-shift aesthetics’ demonstrates how TV-dot.com synergies must now attempt to ‘master textual dispersals and user navigat

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49

Bellman, Steven, Anika Schweda, and Duane Varan. "The Importance of Social Motives for Watching and Interacting with Digital Television." International Journal of Market Research 52, no. 1 (2010): 67–87. http://dx.doi.org/10.2501/s1470785310201065.

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Contrary to a key assumption of the TV industry, interaction with digital interactive TV (iTV) programmes and ads is driven as much by social motivations as it is by information seeking. This insight was revealed by a survey of a representative sample of 867 digital TV households in the UK, which has one of the largest and most experienced digital iTV audiences in the world. This new survey used a comprehensive but efficient set of motivation items, so that no important motivations were left out, which may explain why social motivations emerged as important in this study, whereas they have not

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50

Spinsante, Susanna. "Delivery of a Certified E-mail Service over the Digital Terrestrial Television Platform." Journal of Communications Software and Systems 4, no. 2 (2008): 113. http://dx.doi.org/10.24138/jcomss.v4i2.224.

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At present, the electronic mail service is probably the most widespread and commonly used asynchronous way ofexchanging information among people, thanks to its immediacy and easiness of use. Information delivered through E-mail can be sensitive or confidential: ensuring the sender’s identity and providing privacy has become a vital step in stopping spam, fraud and even more serious crimes. To this aim, public entities have adopted Certified E-mail systems to manage secure interactions with citizens.Digital Terrestrial Television introduced new facilities in thetraditional broadcasting environm

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