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Journal articles on the topic 'Public service broadcaster'
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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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Calfano, Brian Robert, and Donald P. Green. "Assessing the Efficacy of Radio Public Service Announcements: Results From Three Field Experiments." Electronic News 13, no. 3 (2019): 134–51. http://dx.doi.org/10.1177/1931243119883655.
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Public service announcements (PSAs) are key staples for broadcasters in fulfilling their Federal Communications Commission–mandated public interest mission, and the familiarity of the PSA format has helped motivate broadcaster attempts to monetize these short, community-focused messages. But relatively few studies have rigorously assessed the impact of PSAs; to date, there have been no randomized experiments gauging PSAs aired on radio stations with different programming formats. To fill this gap, we report the results of three field-based experiments randomizing the airdates of PSAs on three separate broadcast radio stations. Results suggest PSAs have significant, but short-lived, effects on audience behavior. This finding has implications for organization sponsorship and broadcaster use of PSAs as well as researcher approaches to studying these spots through randomized field experiments.
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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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Hermida, Alfred. "E-democracy remixed: Learning from the BBC's Action Network and the shift from a static commons to a participatory multiplex." JeDEM - eJournal of eDemocracy and Open Government 2, no. 2 (2010): 119–30. http://dx.doi.org/10.29379/jedem.v2i2.29.
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This paper examines a five-year initiative by the UK's public service broadcaster, the BBC, to reinvigorate civic engagement at a time of declining public participation in politics. The Action Network project, originally called iCan, ran from 2003 to 2008 and was one of the most high profile and ambitious attempts by a public service broadcaster to foster eParticipation through an online civic commons. This study analyzes Action Network within the context of conceptualizations of the Internet as a networked, distributed and participatory environment and the shift towards what scholars describe as a networked public sphere. It suggests that the project did not have the impact anticipated as it was borne out of a paternalistic broadcast legacy, out of step with the trend towards distributed and collaborative discourse online that reassesses the notion that the public is simply a resource to be managed. This paper argues that the BBC experience provides lessons in how the media, and specifically public service broadcasters, can contribute towards greater political participation and democratic dialogue through the Internet by adopting Web 2.0 approaches that enable citizens to engage on different levels and at different times, depending on contexts.
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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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Long, Malcolm. "Do More — With Less: Some Challenges for the Public Service Broadcaster." Media Information Australia 41, no. 1 (1986): 21–26. http://dx.doi.org/10.1177/1329878x8604100107.
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The 1980s seems to be the decade in which public service broadcasting will have to answer for its existence as never before. Certainly in most countries, where public service broadcasting is part of the media scene, there has been the bubbling of controversy in the past: heated debates about funding; disagreements about program policies; revelations of management inefficiency and incompetence. These things are perhaps all part of the complex, somewhat neurotic love/hate relationship that audiences have with their national broadcaster. In recent years, however, the ‘debate’ about public service broadcasting has taken on a new tone. It is almost a frantic debate, conducted with a great deal of energy by government, broadcasters and audiences, and often with considerable bitterness. There is now a constant testing of the legitimacy of the public service broadcaster. Those of us who work within these organisations find that we are required regularly to make the argument for national broadcasting and to restate the philosophical assumptions that underpin its existence. Why is this so?
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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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Starks, Michael John. "Digital Convergence and Content Regulation." Convergent Television(s) 3, no. 6 (2014): 125. http://dx.doi.org/10.18146/2213-0969.2014.jethc075.
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Distribution systems for broadcasting, Press and Internet journalism are converging: the same infrastructure can deliver all three historically separate services. Reception devices mirror this: the Connected TV, the tablet and the smart phone overlap in their functionality. Service overlaps are evident too, with broadcasters providing online and on-demand services and newspapers developing electronic versions. Does this mean that media regulation policies must converge too? My argument is that they should, though only where historically different communications are now fulfilling a similar function, e.g. broadcaster online services and electronic versions of newspapers. Convergence requires a degree of harmonisation and, to this end, I advocate a review of UK broadcasting’s ‘due impartiality’ requirement and of the UK’s application of the public service concept. I also argue for independent self-regulation (rather than state-based regulation) of non-public-service broadcasting journalism. These proposals are UK-specific since, given the regulatory and cultural differences between countries, detailed policy changes are likely to be determined mainly at national level, but I note the wider European context. Moreover, the underlying principle is relevant internationally: as freedom of entry into the non-public service sector of broadcast and online journalism becomes closer to the historically much greater freedom of entry into the Press, so the regulation of freedom of expression in these converging fields should become more consistent – and, I would argue, less state-based.
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Trouillard, Pauline. "Financing the public service broadcasting under European Union law." Comunicação e Sociedade 30 (December 29, 2016): 451–63. http://dx.doi.org/10.17231/comsoc.30(2016).2508.
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A protocol annexed to the Amsterdam Treaty, regarding public broadcasting in Member States, provides that Member States are free to fund public service broadcasting as far as it does not affect competition in the European Union to an extent which would be contrary to the common interest. As a result of this condition, the European Commission carries out a proportionality test to check if there is no overcompensation or disproportionate effects of public funding. It nonetheless does so by adopting a global control which considers all public broadcaster programmes as part of the public service remit. Such control is problematic because it does not take into account the distinction between commercial and public service programmes nor the actual quality of programmes. The Commission indeed focuses its control on the advertisement market, making sure that public broadcasters do not take advantage of public funding to lower the price of advertisement rates. The freedom enjoyed by public broadcasters to provide any types of programmes as far as they respect the advertisement market comes out to be contrary to citizen welfare.
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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 navigations that can and will inevitably migrate across brand boundaries’ in order to keep audiences engaged with their proprietary content for as long as possible (Caldwell, 2003: 136). However, for public service broadcasters, mastering these user flows does not simply take the form of an economic transaction. Rather, these second-shift strategies must serve and fulfil public service (PS) obligations and engage viewers in new relationships. Based on a combination of textual analysis and critical industrial research, including interviews with key industry personnel, this article examines the BBC's early second-shift practices in relation to interactive television (iTV) and ‘multi-platform projects’, as the corporation moves from being a PS broadcaster to a PS content-provider.
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Bechan, Nirvana. "An evaluation of SAfm as a public service broadcaster." Communicatio 25, no. 1-2 (1999): 95–104. http://dx.doi.org/10.1080/02500169908537885.
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Masduki. "Political economy of sport broadcasting: Assessing Indonesian PSB policy in sport broadcasting." International Communication Gazette 79, no. 2 (2017): 162–74. http://dx.doi.org/10.1177/1748048516689196.
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The increasing presence of sport broadcasting on public service broadcasters in Indonesia is driven by a mixture of interests. It may serve as a tool for education and entertainment as well as for increasing awareness of ‘symbolic nationalism’. Sport can also be used as a soft political campaign in the electoral system or even for pragmatic business purposes. This article assesses the sport broadcasting histories and policies of two Indonesian public service broadcasters: Radio of the Republic of Indonesia, and Television of the Republic of Indonesia. It assesses two political periods: the authoritarian period (1966–1998) and the transition towards a more liberal system (1998-present). Furthermore, this article critically examines both the political and economic interests behind the mediated sport policy. In addition, it intends to fill the gap in studies on sport policy, specifically public service broadcaster sport programming in transitional states. This study found that a change in the political structure resulted in unstable policies of sport broadcasting in Indonesian public broadcasters.
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Larsen, Håkon. "The Legitimacy of Public Service Broadcasting in the 21st Century: The Case of Scandinavia." Nordicom Review 35, no. 2 (2014): 65–76. http://dx.doi.org/10.2478/nor-2014-0015.
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Abstract The present paper examines the debate on the future of public service broadcasting (PSB) in Norway and Sweden in the 2000s. I have analysed the discourses on PSB that dominate the public debate in the two countries, the cultural policy related to PSB, as well as the legitimizing rhetoric of the Norwegian public service broadcaster Norsk rikskringkasting (NRK) and that of the Swedish public service broadcaster Sveriges Television (SVT). Theoretically, the analysis draws on normative theories on the role of PSB in promoting democracy, culture and a well-functioning public sphere, as well as theories on democracy and the public sphere per se.
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Rahman, Anis. "Not public service broadcaster but public service roles: A political history of state-broadcasting in Bangladesh." Interactions: Studies in Communication & Culture 11, no. 2 (2020): 207–25. http://dx.doi.org/10.1386/iscc_00019_1.
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This article offers a historical critique of state-administered media in South Asia. Taking Bangladesh as a media epicentre, the article extrapolates the geopolitical consequences of the colonial era and postcolonial transformation in the South Asian region under which the modern state-administered media in Bangladesh continue to survive, albeit declining. Drawing from field interviews and documentary research, the article further highlights the historical struggles of the state-broadcasters, particularly Bangladesh Television, in providing public service to fragmented masses. The findings suggest that despite its failure to break free from colonial and authoritarian political misuse, state-broadcasting continues to matter for the public service to a limited extent, not because how pervasive its propaganda is but how well its programming serves the diverse publics despite persistent political mistreatment and growing market pressures. The findings are reflected with other contexts of South Asian state-broadcasting.
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Stjernholm, Emil. "GDR Cinema on Swedish Television." VIEW Journal of European Television History and Culture 10, no. 19 (2021): 41. http://dx.doi.org/10.18146/view.259.
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This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.
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Faustino, Paulo. "Restructuring and Turnaround of A Public Service Broadcaster: Public Management with a Private Attitude." Journal of Media Business Studies 5, no. 3 (2008): 53–81. http://dx.doi.org/10.1080/16522354.2008.11073475.
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Andrews, Hannah. "‘This is FilmFour – Not Some Cheesy Pseudo-Hollywood Thing!’: The Opening Night Simulcast of FilmFour on Channel 4." Journal of British Cinema and Television 9, no. 4 (2012): 569–87. http://dx.doi.org/10.3366/jbctv.2012.0106.
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Channel 4's tradition of supporting, promoting and contributing to British cinema culture entered a new phase in 1998. Its film-making operations were consolidated into a single, semi-vertically integrated studio called FilmFour. On 1 November it launched a brand-new pay-TV channel of the same name. This channel programmed a variety of cinema, premiering world cinema films, FilmFour's own productions and independent films. It was the first digital channel in Britain affiliated to a public service broadcaster. The new channel was introduced on its opening night with a simultaneous broadcast with terrestrial Channel 4. Scheduled on this evening was a representative selection of films and programmes to entice viewers to take up the new channel, including the UK television premiere of The Usual Suspects (1995). This article presents a detailed textual analysis of this opening night simulcast. It examines how the new channel was presented to the audience, focusing particularly on interstitial material: the introductory programme, interviews with well-known faces from the British film industry, and additional material broadcast between the films. Evaluating the evening's output, the paper argues that the opening night simulcast represented both a marketing tool for the new channel and a means of extending the Channel 4 corporation's brand. This article offers a case study in how a public service broadcaster began to negotiate for itself a space in the new digital broadcasting environment by targeting a specific, discriminating audience.
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Maeseele, Pieter A., and L. Desmet. "Science on television: how? Like that!" Journal of Science Communication 08, no. 04 (2009): A03. http://dx.doi.org/10.22323/2.08040203.
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This study explores the presence of science programs on the Flemish public broadcaster between 1997 and 2002 in terms of length, science domains, target groups, production mode, and type of broadcast. Our data show that for nearly all variables 2000 can be marked as a year in which the downward spiral for science on television was reversed. These results serve as a case study to discuss the influence of public policy and other possible motives for changes in science programming, as to gain a clearer insight into the factors that influence whether and how science programs are broadcast on television. Three factors were found to be crucial in this respect: 1) public service philosophy, 2) a strong governmental science policy providing structural government support, and 3) the reflection of a social discourse that articulates a need for more hard sciences.
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Flew, Terry. "The Special Broadcasting Service after 30 Years: Public Service Media and New Ways of Thinking about Media and Citizenship." Media International Australia 133, no. 1 (2009): 9–14. http://dx.doi.org/10.1177/1329878x0913300103.
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This article considers the distinctive ways in which the Special Broadcasting Service (SBS) has evolved over its history since 1980, and how it has managed competing claims to being a multicultural yet broad-appeal broadcaster, and a comprehensive yet low-cost media service. It draws attention to the challenges presented by a global rethinking of the nature of citizenship and its relationship to media, for which SBS is well placed as a leader, and the challenges of online media for traditional public service media models, where SBS has arguably been a laggard, particularly when compared with the Australian Broadcasting Corporation (ABC). It notes recent work that has been undertaken by the author with others into user-created content strategies at SBS and how its online news and current affairs services have been evolving in recent years.
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Orive Serrano, Víctor, María Latorre Martínez, and Juan Artero Muñoz. "Economic differences among regional public service broadcasters in Spain according to their management model. An empirical analysis for period 2010-2013." Intangible Capital 12, no. 2 (2016): 530. http://dx.doi.org/10.3926/ic.722.
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Purpose: This piece of research quantifies and analyses empirically the given economic differences among public service television in Spain according to the adopted management model (classic or outsourced). Design/methodology/approach: In so doing, an average contrast of different economic variables studied in the literature is conducted (audience share, total assets, public subsidies, cost of personnel, suppliers spending and profit after taxes). In addition, these variables are related so as to calculate productivity obtained by each two groups of television operators. This analysis is conducted for period 2010-2013, featured by a crisis context in the Spanish economy. Findings: Management model adopted by each regional broadcaster impacts on different economic variables as obtained share, total assets, public subsidies, cost of personnel, suppliers spending or profit after taxes. Moreover, those public corporations adopting an outsourced management model present better productivity values. Research limitations/implications: Only one country has been analyzed for a 4 years period. Practical implications: Regional public service broadcasters with an outsourced model present less economic losses and require less public subsidies by their corresponding regional governments. Social implications: Outsourcing part of the value chain can be useful so as to guarantee sustainability of regional public service television. Originality/value: It has been proven empirically that the management model of a regional public service television impacts its economic results.
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Malik, Sarita, and Clive James Nwonka. "Top Boy : Cultural Verisimilitude and the Allure of Black Criminality for UK Public Service Broadcasting Drama." Journal of British Cinema and Television 14, no. 4 (2017): 423–44. http://dx.doi.org/10.3366/jbctv.2017.0387.
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In the early 2000s, a new form of multicultural television drama began to emerge in the UK, exploring contemporary gang life within Britain's black communities. A notable example of this ‘black urban crime’ genre is Top Boy, screened by the UK's leading multicultural public service broadcaster, Channel 4, in 2011 and 2013. This article produces an analysis, drawing on sociological and media studies perspectives, and through historicisation and contextualisation, that seeks to understand the fascination of the black urban crime genre for programme-makers, broadcasters and audiences in the contemporary British mediascape. It locates Top Boy at the intersection of complex media relations and modes of production that are themselves intertwined with political, legislative and cultural agendas tied to post-multiculturalist and neoliberal tendencies within public service broadcasting frameworks. The article suggests that black urban crime narratives do not advance understandings of the organisational structure of urban gangs or drug-related crime that are so central to these texts, nor do they offer a progressive contribution to contemporary debates or the representation of black criminality.
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Peciulis, Zygintas. "Genesis of Public Broadcaster in Post-Soviet Society. Lithuanian Case." Current Issues of Mass Communication, no. 18 (2015): 8–21. http://dx.doi.org/10.17721/2312-5160.2015.18.8-21.
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The goal of the research was to analyse the development of the idea of the public service broadcasting (PSB) in Lithuania as one of Post-Soviet countries that restored its independence in 1990. The Lithuanian case serves in revealing the great variety of ways to interpret the idea of the PSB, the possibilities to manipulate various notions, and the way the fate of the PSB can be affected by politicians and competing business groups. In this research we distinguished the following stages of the PSB concept formation in Lithuania: the first debates (the development of legislative basis), and attempts of influence – the so-called depoliticisation, decommercialisation, and optimization. In order to achieve it, we analysed the Lithuanian legislation and its amendments, parliamentary discussions, and press publications. We also compared the Lithuanian PSB concept with the Western perception. It was concluded that despite of the official declarations about further limiting the interference with the national service broadcaster, there actually were the attempts of influence and politicisation. Politicisation by depoliticising. In pursuit of changing the Lithuanian Radio and Television (LRT) management the procedure of LRT Council formation was changed in 1996-1997: representatives were delegated by 15 creative and public organisations. The principles of public organisations selection have been criticised. Politicisation by de-commercialising. In 2000-2002, the LRT was criticised because of its commercialisation and non-performance of its mission. It was intended to develop a special funding system whereby the LRT should submit the Seimas with a funding plan and evidences justifying that the anticipated programmes are in compliance with the national mission. Introduction of such amendments could pose a risk of direct political interference with the LRT management and formation of the programme content. Politicisation by optimising. In 2009-2010 the attempts were made to radically reform the LRT management. The criticism related to linkage of the LRT Council members mandate with the political calendar, possibility of recalling the Council members by the delegating institutions and organisations, and the right of the Seimas Committee to approve or reject the strategy of the LRT programming. In 2014, a new financing model of the LRT has been developed, following which the LRT in 2015 discontinued broadcasting the commercial ads (except for certain established cases). The LRT financing is known in advance and calculated on the basis of the budget revenue and excise duty collection results of a preceding calendar year.
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Sundet, Vilde Schanke. "From ‘secret’ online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission." Critical Studies in Television: The International Journal of Television Studies 15, no. 1 (2019): 69–90. http://dx.doi.org/10.1177/1749602019879856.
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This article addresses the production, distribution and global expansion of the online teen drama, SKAM/SHAME (2015–2017), produced by the Norwegian public service broadcaster NRK. The article combines perspectives on transmedia storytelling with production studies and studies of public service broadcasting to investigate the distinct production, publishing and promotion models underpinning SKAM, as well as its public service mission. Furthermore, it addresses SKAM’s transition from a ‘secret’ online teen drama targeting young Norwegians in season one to a global cult phenomenon with viewers and fans in all age groups and on all continents in seasons three and four, and relates this expansion to recent shifts within the television industry.
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Charlesworth, Diane. "Stand Up to Cancer 2012 and 2014." Critical Studies in Television: The International Journal of Television Studies 11, no. 2 (2016): 217–29. http://dx.doi.org/10.1177/1749602016645750.
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In a fragmenting attention economy, the stakes for television (TV) and for the public service broadcaster are particularly high. This article looks at the different strategies at play in the British broadcaster C4’s adaptation of the US-originated Stand Up to Cancer telethon format to present its particular voice and brand in this ecology. This intervention into the politics of medicine is analysed in relation to the discourses of neo-liberalism which, it is argued, have increasingly become part of the mode of address of British factual TV content and have increasingly defined the working of the country’s national health system.
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Spicer, André, and Graham Sewell. "From National Service to Global Player: Transforming the Organizational Logic of a Public Broadcaster." Journal of Management Studies 47, no. 6 (2010): 913–43. http://dx.doi.org/10.1111/j.1467-6486.2009.00915.x.
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Gorobiy, Alexey V. "Analysis of Genres of the BBC One TV Programs." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (2021): 115–22. http://dx.doi.org/10.22363/2312-9220-2021-26-1-115-122.
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The relevance of the study is based on the fact that the BBC One channel is interesting as an example of a public service broadcaster which retains its image and competitiveness on the global media market. The goal of the research is to analyze the BBC One programming with regard to its forms of journalists and cameramens work. The semiotic methodology is chosen for interpreting sign systems, i. e. journalists texts or TV frames, as interconnected phenomena of culture. As a result, important sociocultural and philosophical elements integrated into the BBC One programming and determining its genre profile have been revealed. The social mission of the public broadcasting, combination of regional and metropolitan grounds, the prevalence of serious news genres are among them. Moreover, the programs are open for entertaining content including a foreign-made one. There is also a visual and aesthetic adaptation of pre-TV cultural forms of theater and the tabloid press, etc. Therefore, we can speak of a rather flexible programming policy of the BBC One, which can be a good model to develop strategies for public service broadcasters in other countries.
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Pečiulis, Žygintas. "Visuomeninis transliuotojas: nepriklausomumas ir politinės valdžios įtakos problema." Informacijos mokslai 54 (January 1, 2010): 73–86. http://dx.doi.org/10.15388/im.2010.0.3174.
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Vakarų Europoje po Antrojo pasaulinio karo susiformavusi visuomeninio audiovizualinio transliuotojo sistema XX amžiaus pabaigoje paplito visoje Europoje. Keturis pokario dešimtmečius visuomeniniai transliuotojai dirbo valstybinio monopolio sąlygomis, praėjusio amžiaus devintajame dešimtmetyje prasidėjo konkurencinė kova su komerciniais transliuotojais. Esminiai visuomeninės audiovizualinės tarnybos bruožai – diskusijų ir nuomonių pliuralizmo skatinimas, kultūros, švietimo sklaida, nacionalinio identiteto įtvirtinimas, ypatingas dėmesys tautinei įvairovei. Svarbiausi būdai užtikrinti tinkamą visuomeninio transliuotojo veiklą – finansinis ir politinis nepriklausomumas nuo politinės valdžios. Tai padaryti leidžia visuomeninis valdymas ir tiesiogiai piliečių mokamas abonentinis mokestis. Tačiau Europos visuomeniniams transliuotojams būdinga valdymo ir finansavimo modelių įvairovė. Taip pat pastebimas valdančiųjų politinių jėgų siekis kontroliuoti visuomeninį transliuotoją arba daryti jam įtaką. Šiame straipsnyje aptariami konkretūs atvejai, kai akivaizdžiai matomos Lietuvos politikų pastangos daryti įtaką Lietuvos radijo ir televizijos (LRT) veiklai. Konkrečios situacijos nagrinėjamos lyginant su teoriniais visuomeninio transliuotojo principais, galiojančiais teisės aktais, pateikiamas tarptautinis kontekstas.Pagrindiniai žodžiai: audiovizualinė masinė komunikacija, visuomeninis transliuotojas, nepriklausomumas, politinė įtaka, Lietuva, LRT.Public Service Broadcasting: Independence and the Problem of Political Power InfluenceŽygintas Pečiulis SummaryThe public audiovisual broadcasting system has formed in West Europe after World War II, and at the end of the 20th century it spread in the whole Europe. Public service broadcasting has operated in national monopoly conditions for four postwar decades. In the last century’s ninth decade, the competitive fight with commercial broadcasters has begun. The essential features of public service broadcasting are encouragement of discussions and opinions, culture and education spread, national identity strengthening, special attention to national diversity. The basic conditions of securing a proper operation of public service are financial and political independence from the political power. It can be done by public management and the licence fee paid directly by citizens. However, the variety of managing and financing models are natural for Europe’s public broadcasters. There are also governing political powers’ ambitions to control the public broadcaster. There are particular cases of obvious attempts of Lithuanian politicians to influence the Lithuanian Radio and Television (LRT). Particular situations are analysed in comparison with the theoretic principles of public service broadcasting, valid legal acts. Also, the international context is shown.Key words: audiovisual mass communication, public service broadcasting, independence, political influence, Lithuania, LRT.
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Rutherford, Leonie. "The ABC, the Australian Children's Television Foundation and the Emergence of Digital Children's Television in Australia." Media International Australia 151, no. 1 (2014): 5–15. http://dx.doi.org/10.1177/1329878x1415100103.
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This article analyses the campaign to establish terrestrial digital children's public service broadcasting in Australia. It finds that the development of the Australian Broadcasting Corporation's digital children's channel (ABC3), an initiative initially embraced somewhat opportunistically, enabled an expansion strategy for the public service broadcaster that ultimately helped determine the shape of its current digital channel portfolio. Contrasting the collective and divergent interpretations of future audience behaviours and needs developed by the Australian Children's Television Foundation (ACTF) and the ABC, it argues that both organisations developed strategies and made policy decisions that were influential in conditioning the current digital television ecology.
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Christensen, Christa Lykke. "SKAM som social utopi." K&K - Kultur og Klasse 46, no. 125 (2018): 139–56. http://dx.doi.org/10.7146/kok.v46i125.105554.
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In this article I discuss the Norwegian teen drama series Shame, broadcast by the public service broadcaster NRK 2015-2017. In the Scandinavian countries the series was targeted to a young audience around 16 years old but it became extremely popular among viewers of all ages, among men and women, and moreover, streaming made it available globally. The article discusses TV production for a youth audience within a public service and a commercial media system. The argument is that the series, expressing the ethos of social responsibility of Scandinavian public service broadcasting, represents a social utopia and that it in several ways has much in common with the long tradition for Scandinavian realistic drama production for young audiences. Thus, the article argues that the drama series of Shame is based on a narrative of inclusion – in contrast to popular TV-shows for a young audience on commercial channels, for instance reality gameshows, which are often based on a narrative of exclusion. The theoretical framework draws on Erving Goffman’s micro-sociological considerations of the social dramaturgy of face work, and is inspired by the theory of recognition by Axel Honneth. Analytically, the face work and interactions of the main characters of the Shame-series are used to exemplify how the drama series creates a narrative of inclusion while addressing critical issues such as face loss, emotional rejections, and shame. In conclusion, the series is an example of successful public service programming that is able to address young people.
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Panis, Koen, Steve Paulussen, and Alexander Dhoest. "Managing Super-Diversity on Television: The Representation of Ethnic Minorities in Flemish Non-Fiction Programmes." Media and Communication 7, no. 1 (2019): 13–21. http://dx.doi.org/10.17645/mac.v7i1.1614.
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This study examines and evaluates the representation of ethnocultural diversity in non-fiction TV programmes broadcasted by the Flemish (Belgian Dutch-speaking) public service broadcaster VRT in the 2016–2017 TV season. A qualitative content analysis of a sample comprising 36 clips and episodes of 14 non-fiction programmes was supplemented by four focus group interviews with a total of 12 participants belonging to different ethnocultural minorities. The findings suggest that despite several measures undertaken by the VRT, the representation of ethnocultural minorities is still unbalanced and biased in at least three ways: first, in presenting minorities as homogeneous groups rather than highlighting intragroup differences; second, in ‘typecasting’ people with a migration background thematically, i.e., for items on topics and issues related to their ethnocultural identity; and, third, in portraying and approaching minorities from a dominant group perspective. The article ends with the recommendation for public service media to further improve ethnocultural diversity in the workforce and to encourage their journalists and TV producers to reconsider their ‘professional pragmatics’ in order to increase their ethnocultural sensitivity and better manage the representation of super-diversity in their programmes.
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Lleida, Eduardo, Alfonso Ortega, Antonio Miguel, et al. "Albayzin 2018 Evaluation: The IberSpeech-RTVE Challenge on Speech Technologies for Spanish Broadcast Media." Applied Sciences 9, no. 24 (2019): 5412. http://dx.doi.org/10.3390/app9245412.
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The IberSpeech-RTVE Challenge presented at IberSpeech 2018 is a new Albayzin evaluation series supported by the Spanish Thematic Network on Speech Technologies (Red Temática en Tecnologías del Habla (RTTH)). That series was focused on speech-to-text transcription, speaker diarization, and multimodal diarization of television programs. For this purpose, the Corporacion Radio Television Española (RTVE), the main public service broadcaster in Spain, and the RTVE Chair at the University of Zaragoza made more than 500 h of broadcast content and subtitles available for scientists. The dataset included about 20 programs of different kinds and topics produced and broadcast by RTVE between 2015 and 2018. The programs presented different challenges from the point of view of speech technologies such as: the diversity of Spanish accents, overlapping speech, spontaneous speech, acoustic variability, background noise, or specific vocabulary. This paper describes the database and the evaluation process and summarizes the results obtained.
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Picone, Ike, and Karen Donders. "Reach or Trust Optimisation? A Citizen Trust Analysis in the Flemish Public Broadcaster VRT." Media and Communication 8, no. 3 (2020): 348–58. http://dx.doi.org/10.17645/mac.v8i3.3172.
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In democracies, one of Public Service Media’s (PSM) main roles is to inform the public. In a digital news ecosystem, where commercial, citizen, and alternative news sources have multiplied, questions about the ability and need for PSM to fulfil this role are increasingly being raised. While the role of PSM can and should be scrutinized, a too-narrow a focus on an informed citizenry may obfuscate aspects, other than audience reach and objectivity, that are key to this information role, such as trust. Against this background, this article studies whether and to what extent citizens still trust the news and information services of their public broadcaster, asking if that trust is still high, whether there is a difference between groups in the population, and if trust is in line with reach. Based on a representative survey of news users in Flanders, the Dutch-speaking community of Belgium, the article studies the reach and trust scores of the brands of VRT, Flanders’ PSM, and compares them to those of its main competitors, with a specific focus on differences in terms of age, education levels, and political orientation. The results suggest that VRT struggles more than the main commercial players to reach young people and the lower-educated, but still leads when it comes to trust. The data show the continued importance of widening our assessment of PSM beyond market-focused indicators of reach.
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Žilič Fišer, Suzana, and Mercedes Medina. "Model of Broadcasting as a Model for Local Media: Distinctiveness with Market Orientation." Lex localis - Journal of Local Self-Government 9, no. 3 (2011): 231–45. http://dx.doi.org/10.4335/9.3.231-245(2011).
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The idea of satisfying cultural and economic dimensions of a society is the crucial issue of modern media in local environment. Management of local media organizations has become a very complex process. It is inevitable to anticipate different interests, technological changes, changes in regulation, political changes and different societal trends. The paper explores the issue of confrontation between public interest, and economic success of media organisation, and management approaches to fulfil the economic success and social responsibility at the same time. The case of Channel 4, public service broadcaster in UK, explains why it is important to attract a broader range of viewers with its programmes while still catering for minorities with new digital services. The idea of Channel 4 will be examined as a possible broadcasting model for a local media environment.
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Masduki. "Digital interface in Indonesia’s public service broadcasting: Its initiatives and regulatory challenges." Journal of Digital Media & Policy 10, no. 3 (2019): 295–309. http://dx.doi.org/10.1386/jdmp_00004_1.
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The merging of broadcast platforms, the Internet and social media has challenged the former state-owned broadcasters of Indonesia to find new content strategies and forms suited to the networked media environment. Over the past decade, the arrival of digital technology and rapid growth of social media has broken down the previous linear model of service delivery in Indonesian broadcasting. However, national policy on this issue remains lacking. At present, the Indonesian Broadcast Law (Law No. 32 of 2002) only gives the country’s public radio an ability to use the spectrum in the analogue model. Digital migration, as well as legal protection of social media services, remains an ongoing debate among policy-makers, that will allow free market competition, in particular to opportune the interface of service providers and content producers. Drawing from semi-structured interviews, observations and regulatory reviews, this article broadly investigates the introduction of digital interfaces in the new public service broadcasters of Indonesia, with particular focus on the process through which Indonesian PSBs have embraced the digital media environment to enable the flow of information and public participation between the media entities and their publics. In this article, I present both technology and regulatory perspectives by emphasizing the dynamics of the digital media modes of public service delivery, particularly those through which analogue broadcasts and social media have sought new ways to intertwine. In detail, I will examine certain interactive services applied by Radio Republik Indonesia (RRI), the flagship of Indonesian national public radio, namely RRI-Play, RRI.co.id and RRI-Net, to manage audience participation. Since 2016, these digital platforms have mediated public access to RRI content, generated data on media users, and monitored technological performance. In inspecting these platforms, I refer firstly to the normative debate of public service broadcasters as ‘deliberative public sphere’ before segueing into the three public-service functions that are important in social network media landscape: curation, moderation and monitoring. Furthermore, this article analyses problems behind the regulatory design of Indonesian public-service media within the context of digital broadcasts in the country.
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Potter, Anna. "You've Been Pranked: Reality Tv, National Identity and the Privileged Status of Australian Children's Drama." Media International Australia 146, no. 1 (2013): 25–34. http://dx.doi.org/10.1177/1329878x1314600106.
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Australian children have always been considered a special television audience. In November 2009, Australia's public service broadcaster the ABC launched Australia's first dedicated free-to-air children's channel. Within a year of its launch, ABC3's most popular program was a local version of the transnational reality format, Prank Patrol. The popularity of reality television with children challenges policy settings, including the Children's Television Standards (CTS), that privilege drama in the expression of the goals of cultural nationalism. While public service broadcasting ideology is expressed and applied to Australian commercial free-to-air channels through the CTS, public service media compete with pay TV channels for the child audience using a range of genres. Thus contemporary Australian children's television is characterised by an abundance of supply, pan-platform delivery and a policy regime that has remained largely unchanged since the late 1970s.
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Rando, Gaetano. "Broadcasting in Italy: Democracy and Monopoly of the Airwaves." Media Information Australia 40, no. 1 (1986): 39–48. http://dx.doi.org/10.1177/1329878x8604000109.
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Australia, as compered with some overseas countries, has a stable and continuous radio and television history. The price has been the creation of an oligopolistic commercial sector which is much stronger than the national broadcaster, the Australian Broadcasting Corporation. Public (community) broadcasting is still confined to a sector starved of funds; public TV still a pipedream. Ethnic radio and multicultural television, through the Special Broadcasting Service, have a short history which is far from smooth and under constant threat for TV to be merged with the ABC.
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Ngubane, Zwakele, and Brilliant Mhlanga. "The Tribulations of a Public Service Broadcaster: The South African Broadcasting Corporation and its Structural Dilemmas." Relation 1 (2014): 303–26. http://dx.doi.org/10.1553/relation4s303.
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Ichikawa, Yoshiharu, and Masatsugu Tsuji. "Evaluating the Product Portfolio of NHK, the Japanese Public Service Broadcaster: A Propensity Score Matching Approach." International Journal on Media Management 18, no. 2 (2016): 117–36. http://dx.doi.org/10.1080/14241277.2016.1188817.
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Bruun, Hanne. "Producing the on-air schedule in Danish public service television in the digital era." Critical Studies in Television: The International Journal of Television Studies 13, no. 2 (2018): 137–52. http://dx.doi.org/10.1177/1749602018763700.
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This article presents results from a production study on how the on-air schedule is changing in the digital era at the Danish public service broadcaster, TV 2. TV 2’s multichannel and increasingly non-linear television portfolio has a profound impact on the production practices involved in order to meet the public service obligations. The analysis shows that the producers develop new ways to secure an audience of scale under these conditions. So far three lessons are learned: First, the workflow of promoting content and the demands on the qualities of the promotional material have changed. Second, an understanding of the interplay between flow and subscribtion-video-on-demand (SVOD) scheduling is emerging. And third, a renewed focus is put on branding the viewer–provider relationship. The article concludes that the production of on-air scheduling makes the contours of what can be termed ‘a third television paradigm’ visible in which a distinction between linear and non-linear television does not apply.
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Vanhaeght, Anne-Sofie. "The need for not more, but more socially relevant audience participation in public service media." Media, Culture & Society 41, no. 1 (2018): 120–37. http://dx.doi.org/10.1177/0163443718798898.
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In public service media (PSM) theory and policy, it is argued that more audience participation is needed in the production of PSM programs. However, little research has been done on the actual implementation and evaluation of audience participation in practice. Therefore, we investigate the values and meanings media users attach to participatory opportunities in PSM. We focus on the case of Bel10, a radio project of the Flemish public broadcaster VRT, as audience participation in radio is an under-researched field. First, we look at the literature to provide an overview of the main challenges PSM is dealing with in relation to audience participation. Subsequently, we conduct 24 in-depth interviews with participants in the Bel10 project and 10 focus groups with non-participating listeners. Finally, we conclude that audience participation is especially valued by media users when it contributes to societal objectives, such as being critical of the status quo.
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Debrett, Mary. "Extreme Makeover: The Recurring Motif of New Zealand Broadcasting Policy." Media International Australia 117, no. 1 (2005): 76–85. http://dx.doi.org/10.1177/1329878x0511700109.
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Broadcasting policy in New Zealand has been described as ‘political football’ (Gregory, 1985: 98). Predating the Lange Labour government's radical deregulation of 1989, this metaphor reflects routine restructuring and political disregard for the potential cultural and social merits of state-owned broadcasting. Pragmatic change, masquerading as reform, has left the public increasingly underserved: from the ‘Clayton's’ solution of the monopoly era, non-commercial days, to the radical transformation into a ‘cash cow’ in the 1990s, to the Clark Labour government's CROC — a chartered public service broadcaster with a continuing remit to be profitable. This article explores, for an international audience, the combination of factors — historical predisposition, economics and political ideology — that has denied the New Zealand public a mainstream, non-commercial television service and, with reference to the changing nature of broadcasting, discusses the continuing importance of such a model.
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Vanhaeght, Anne-Sofie. "Audience Participation in PSM from a Media-centric to a Society-centric Approach." Public Service Broadcasting in the Digital Age 8, no. 16 (2019): 45. http://dx.doi.org/10.18146/2213-0969.2019.jethc174.
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Audience participation in production of public service media programs appears to achieve objectives that are more often media-centric than society-centric. The Monitor, a journalism program of Dutch public broadcaster NPO chooses not to focus on participation in production but on participation in the information-gathering phase. We investigate whether and how participation in this stage involves society-centric participation. We carry out expert interviews with the journalists, questioning their intentions and how they evaluate audience input in terms of societal objectives. In the conclusion, we discuss how participation in pre-production can help journalists to step out of their bubble.
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Puijk, Roel. "Limits to Change." Nordicom Review 37, no. 2 (2016): 99–113. http://dx.doi.org/10.1515/nor-2016-0011.
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Abstract Production studies have become popular over the past decade. Recent studies have analysed, amongst other things, innovation, management strategies and the effects of convergence on editorial processes. There have only been a few studies that have analysed what happened inside media organisations in the earlier transformative stages (outside the UK and the USA). This paper analyses how the Norwegian public service broadcaster (NRK) adapted to the loss of its monopoly and the beginning of competition during the mid-1980s. It provides a window into how the flagship of public service, the Enlightenment Department, dealt with the new situation. If one follows the production process of the main programme of the department (with the revealing working title ‘Flagship’) from its conception to its realisation as a weekly programme broadcast in prime time, this reveals how innovation at the time was restricted by organisational arrangements, internal values and external pressures. The programme makers included many elements that are still today considered to be advantageous in factual programming (humour, dramatization, popularisation, serialization, recognition, and even interactivity). Along the way several of these were changed: what had started as a proposal for a documentary series turned into something that was predominantly a discussion programme.
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Meagher, Bruce. "SBS: Is There a Role for a Multicultural Broadcaster in 2009 and beyond?" Media International Australia 133, no. 1 (2009): 19–23. http://dx.doi.org/10.1177/1329878x0913300105.
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This article notes that the degree of retreat from multiculturalism in public policy in Australia since the mid-1990s has challenged the rationales for government support for the Special Broadcasting Service, and presents the case for ongoing community and government support for SBS in terms of its distinctive contribution to public debates within Australia, and Australia's place in the world. It is noted that this is not uniquely a function of its news and current affairs programs, but is seen across a suite of programming ranging from documentaries to locally produced drama, light entertainment and comedy. It also emphasises the language support remit for SBS, and some of the new challenges faced in supporting communities for recently arrived refugees into Australia.
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Božović, Petar. "Anglophone culture through the Western Balkan lens: a corpus-based study on the strategies used for rendering extralinguistic elements of culture in Montenegrin subtitling." Círculo de Lingüística Aplicada a la Comunicación 85 (January 11, 2021): 9–19. http://dx.doi.org/10.5209/clac.73536.
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One of the most demanding aspects of intercultural communication is rendering the elements of foreign culture from source to target linguocultural system. As today more people are exposed to audiovisual than any other form of text, cultural representation is an important issue as these texts can be a powerful tool for construction or deconstruction of cultural and sociological stereotypes, dissemination of ideas, facilitating intercultural communication, etc. Hence, this study attempts to shed light on how the Anglophone culture is rendered in subtitling and what could be some underlying reasons for that. To this end, we have constructed a morphosyntactically annotated parallel English – Montenegrin corpus of TV subtitles consisting of 110 episodes of three different TV series that were broadcast on the public service broadcaster of Montenegro and scrutinized it to map the strategies used for rendering extralinguistic elements relying on the analytical framework proposed by Pedersen (2011).
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Perrin, Daniel. "Language policy, tacit knowledge, and institutional learning: the case of the Swiss public service broadcaster SRG SSR." Current Issues in Language Planning 12, no. 3 (2011): 331–48. http://dx.doi.org/10.1080/14664208.2011.604953.
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Połońska-Kimunguyi, Eva. "From public service broadcaster to development actor: Deutsche Welle and the (con)quest of African female audiences." Critical Arts 29, no. 3 (2015): 382–99. http://dx.doi.org/10.1080/02560046.2015.1059554.
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Cryle, Denis. "The Press and Public Service Broadcasting: Neville Petersen's News Not Views and the Case for Australian Exceptionalism." Media International Australia 151, no. 1 (2014): 56–65. http://dx.doi.org/10.1177/1329878x1415100108.
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This article revisits historical rivalries between established and emerging media, namely the press and broadcasting, during the first half of the twentieth century. To this end, the author constructs a dialogue between Neville Petersen's broadcasting research and his own press research over a similar period. In his major work, News Not Views: The ABC, Press and Politics (1932–1947), Petersen (1993) elaborates in detail the ongoing constraints imposed by Australian newspaper proprietors on the fledgling Australian Broadcasting Commission (ABC) in their ultimately unsuccessful struggle to restrict its news supply and influence. Drawing on subsequent press research based on international forums, the author revisits this rivalry, particularly Petersen's thesis that Australian press proprietors exercised disproportionate influence over the national broadcaster when compared with other English-speaking countries, such as Britain and Canada.
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Gundlach, Hardy, and Ulrich Hofmann. "Online strategies of public broadcasting services in the tension between sustainable public services and state aid control." Informacijos mokslai 60 (January 1, 2012): 7–220. http://dx.doi.org/10.15388/im.2012.0.1672.
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The aim of this study was to analyze the conflicting situation faced by the public broadcasting service (PBS) companies in Germany. However, the paper points to a possible conflicting situation which fails to illustrate the situation that is unique to Germany. Rather, the situation in the online strategies of the public broadcaster is very similar in all European Union member states. The article stresses that the public management of public service broadcasters will have to prove that the online strategies contribute to creating the public value and that they are in compliance with the competition policy and state aid control of the European Union.Key words: digital and Internet economics, media economics, public service broadcasting, European state aid control, public management.Visuomeninio transliavimo paslaugų internetinės strategijos esant įtampai tarp ilgalaikių viešųjų paslaugų ir valstybės pagalbos kontrolėsHardy Gundlach, Ulrich Hofmann SantraukaStraipsnio autoriai teigia, kad viešas visuomeninio transliavimo paslaugų valdymas atsidūrė prieštaringoje padėtyje. Toks scenarijus tinka viešųjų paslaugų įmonėms ne tik Vokietijoje, bet ir visose Europos Sąjungos šalyse narėse. Kai kurios visuomeninio transliavimo paslaugos iš tiesų skatina internetinės žiniasklaidos naujoves. Tačiau autoriai taip pat pabrėžia, kad visuomeninių transliuotojų vadovybė negali valdyti įmonės taip, lyg ji būtų privati, nes viešųjų paslaugų transliuotojai yra viešosios įstaigos, įsipareigojusios vykdyti konkrečią viešųjų paslaugų funkciją, finansuojamą valstybės lėšomis. Taigi, vadovybė turės pagrįsti, kad internetinės strategijos prisideda prie viešosios vertės kūrimo ir neprieštarauja Europos Sąjungos konkurencijos politikai ir valstybės pagalbos kontrolei. Šiuo metu aktualus TV vaizdo peržiūros internete klausimas. Privatūs transliuotojai skundžiasi, kad visuomeninių transliuotojų transliuotų TV programų peržiūros paslaugos sutrukdys jiems plėtoti mokamų užsakomųjų vaizdo perdavimo paslaugų verslo modelį. Todėl Vokietijos žiniasklaidos politikoje įvestas nustatytas prieinamumo laikotarpis, atsižvelgiant į pasiūlymą ir jo turinį. Ši konkreti nuostata tapo politikos sutvirtinimo elementu.Vis dėlto vadovybė privalo apsvarstyti, kaip visuomeninio transliavimo paslaugos galėtų išlikti tinkamos ateityje. Tai reiškia, kad paslaugos turėtų išlikti patrauklios jaunajai auditorijai. Taigi, svarbiausia yra patrauklios internetinės paslaugos ir ypač užsakomosios vaizdo perdavimo paslaugos.Europos valstybės pagalbos kontrolė yra trečiasis veiksnys, į kurį reikėtų atsižvelgti kuriant sėkmingą strategiją. Todėl naujai internetinei paslaugai įvesti reikia atlikti rinkos poveikio vertinimą. Bet pirmiausia išankstinio vertinimo procedūra turi išaiškinti, kokią viešąją vertę kuria naujoji visuomeninio transliavimo paslauga. Klausimas apie viešąją vertę gali būti atsakytas tik atlikus rinkos poveikio vertinimą. Rinkos tyrimas turėtų atsakyti į klausimą, kokį neigiamą poveikį rinkai turės (jei apskritai turės) naujoji visuomeninio transliavimo internete paslauga. Taikant specialų empirinį hipotetinio monopolisto testą kartu su jungtine (angl. conjoint) analize, galima apskaičiuoti vartotojų emigracijos ar imigracijos mastą dėl produkto požymio (pvz., kainos, kokybės ar kliento paslaugos) lygio pakitimo. Kalbant apie viešųjų paslaugų informacijos portalo atvejį, apskaičiuojamas vartotojų, kurie nesinaudoja internetine paslauga dėl pablogėjusios turinio kokybės, skaičiaus pokytis. Vis dėlto svarbiausia yra viešosios internetinės paslaugos ir jos kokybinio indėlio į redagavimo paslaugų konkurenciją ir visuomenės nuomonės formavimą viešoji vertė. Taigi, privaloma rasti kompromisinį sprendimą.
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Hendrickx, Jonathan, Annelien Smets, and Pieter Ballon. "News Recommender Systems and News Diversity, Two of a Kind? A Case Study from a Small Media Market." Journalism and Media 2, no. 3 (2021): 515–28. http://dx.doi.org/10.3390/journalmedia2030031.
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Content recommender systems have become commonplace in all digital platforms, and they profoundly alter the media content presented to users. This also applies to news recommender systems (NRSs) used by media companies. However, as it is generally accepted that diverse news coverage is crucial to maintain democratic societies, the role of NRSs is frequently questioned. We assess the development processes of NRSs at three media companies: two private ones active in several European countries, and one public service broadcaster, using a previously established conceptual model for news diversity. Ultimately, we find that news personalization is currently still more of an idea than an actual recurrent practice, and that the application of NRSs is integrated and harmonized across countries and/or other types of new media types (e.g., streaming services) of the same company. We highlight similarities and differences in approaches, objectives and rationales between private and public companies.