Relevant bibliographies by topics / Television channel branding

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Television channel branding'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Television channel branding"

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Brownrigg, Mark, and Peter Meech. "From fanfare to funfair: the changing sound world of UK television idents." Popular Music 21, no. 3 (2002): 345–55. http://dx.doi.org/10.1017/s0261143002002222.

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Identifying a television channel on-air has become increasingly important in the multi-channel age. For viewers it is a navigational necessity; for broadcasting executives it contributes to corporate branding. But despite the fact that television is an audiovisual medium, the so-called channel idents which appear between programmes are almost always discussed in terms of their visual rather than their audio characteristics. This article aims to go some way to correct this imbalance in arguing that the latter have evolved in a distinctive manner. Initially borrowing the idea of the fanfare from
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Brownie, Barbara. "Fluid typography: transforming letterforms in television idents." Arts and the Market 5, no. 2 (2015): 154–67. http://dx.doi.org/10.1108/aam-07-2014-0024.

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Purpose – The purpose of this paper is to propose that, within the practice of motion branding, transforming type has been largely neglected by existing theorists and its importance to wider marketing trends overlooked. It will be observed that previous texts on transitional letterforms have tended to focus on changes in global arrangement and in doing so have neglected to recognise the significance of changes that occur at a local level, within individual letterforms. Design/methodology/approach – Taking an interdisciplinary approach, with examples including idents and bumpers from Channel 4,
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Longden, Kenneth. "The Curated TV Experience with ‘Value Added’." Canned TV Going Global 9, no. 17 (2020): 104. http://dx.doi.org/10.18146/view.216.

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Canned TV has been a television industry practice almost from the start of television itself and was a way in which local/nationally-produced television programmes gained extra revenue by travelling, under licence, around the world. As well as providing extra revenue, this process also provided, often unintentionally, various opportunities for branding – both at the broadcaster level and at the national level. However, using Channel 4’s OD platform, Walter Presents, this essay will consider the state of canned TV in more contemporary terms related to global and transnational ideas where televi
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Dodd, Samuel. "Learning from HGTV: Media Convergence and Design Branding in America." Design Issues 32, no. 2 (2016): 53–63. http://dx.doi.org/10.1162/desi_a_00382.

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In the United States, Home and Garden Television (HGTV) has become an authoritative design brand that defines popular tastes through near-total commercial dominance. Established in 1994 as a basic cable channel, HGTV currently reaches over 99 million American households with daily programming on interior design, real estate, and do-it-yourself decorating. Beyond television, the HGTV trademark spans magazines, building materials, model houses, and digital media. The stability of its “lifestyle brand” across media platforms makes HGTV appealing to advertisers and audiences alike. Yet, to the sma
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Vinogradova, Ekaterina. "Latin American TV Series as the Channel for Intercultural Communication with Europe." Contemporary Europe 99, no. 6 (2020): 112–18. http://dx.doi.org/10.15211/soveurope62020112118.

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The study of intercultural communication within large cultures is particularly relevant in the 21st century in an era of globalization. Nowadays, thanks to the development of new information channels, such as social networks, as well as public diplomacy, branding of culture and art, popularization of national cultural traditions has become an integral part of the cultural diplomacy of Latin American countries. Despite globalization that has led to the global hybridization of television production, Latin American television series still retain the characteristics of unique products, introducing
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Green, Joshua. "More Than TV: Channel Ten and Diversity in Free-to-Air Broadcasting." Media International Australia 100, no. 1 (2001): 49–63. http://dx.doi.org/10.1177/1329878x0110000107.

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Free-to-air broadcasting is currently facing some tough challenges. Amidst declining viewing figures, the rise of competing technologies and the infiltration of pay TV, free-to-air broadcasters have watched their audience fragment and their revenue base become shaky. This paper examines the way the Ten Network has reconfigured itself in response to some of these challenges, recasting itself as a free-to-air broadcaster narrowcaster, appealing specifically to the youth market as a way of making itself economically viable. In doing so, Ten has introduced to the Australian television environment
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Barker, Alexander, Magdalena Opazo-Breton, Emily Thomson, John Britton, Bruce Grant-Braham, and Rachael L. Murray. "Quantifying alcohol audio-visual content in UK broadcasts of the 2018 Formula 1 Championship: a content analysis and population exposure." BMJ Open 10, no. 8 (2020): e037035. http://dx.doi.org/10.1136/bmjopen-2020-037035.

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ObjectivesExposure to alcohol imagery is associated with subsequent alcohol use among young people, and UK broadcasting regulations protect young people from advertising alcohol content in UK television. However, alcohol promotion during sporting events, a significant potential medium of advertising to children, is exempt. We report an analysis and estimate the UK population exposure to, alcohol content, including branding, in UK broadcasts of the 2018 Formula 1 (F1) Championship.SettingUK.ParticipantsNone. Content analysis of broadcast footage of 21 2018 F1 Championship races on Channel 4, us
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Esch, Madeleine Shufeldt. "Picking through history: ‘Mantiques’ and masculinity in artifactual entertainment." European Journal of Cultural Studies 20, no. 5 (2017): 509–24. http://dx.doi.org/10.1177/1367549417701760.

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Traveling the back roads of the United States, the stars of American Pickers hunt for antiques in rural junkyards, dilapidated barns and shuttered small town storefronts. The series is part of a branding and programming strategy that History Channel executives call ‘artifactual entertainment’, a category that is generically related to a recent spate of macho, blue-collar reality television hits. Rather than engaging in the feminine therapeutic discourses of makeover specialists, the stars of American Pickers style themselves as archeologists on the hunt for ‘mantiques’ – masculine antiques. Th
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., Christina. "Strategi Pemasaran TVRI dalam Menaikkan Brand Image." Jurnal Komunikasi Nusantara 2, no. 1 (2020): 67–79. http://dx.doi.org/10.33366/jkn.v2i1.37.

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Televisi Republik Indonesia (TVRI) is a state television. Since its establishment on August 24, 1962, TVRI has indeed experienced various phases in its life. Through Law No.32 of 2002 concerning Broadcasting, TVRI was established as a Public Broadcasting Institution (LPP). LPP is a broadcasting institution in the form of a legal entity established by the state, independent, neutral, non-commercial and functions to provide services for the benefit of the community. At present, TVRI has changed its Director since March 2018 namely Helmi Yahya, known as the King of Quiz. With the new Managing Dir
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Vasudevan, Smitha, and F. J. Peter Kumar. "Changing realty: altering paths of brand discovery for real estate websites in India." Property Management 37, no. 3 (2019): 346–66. http://dx.doi.org/10.1108/pm-03-2018-0020.

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Purpose Brand awareness is a key cognitive metric and a vital component of consumer-based brand equity. Generating and maintaining brand awareness has been an important metric for brands and a significant outcome of advertising and promotional activities. Brand awareness has been studied over the years in the context of market share and mind share and is considered to be the fundamental starting point of a brand relationship. Most branding variables are challenged in their linear definitions by the multi-dimensionality of the connected online world. Consumers may start their brand journey with
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Dissertations / Theses on the topic "Television channel branding"

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Trimble, Jessica Lynn. "“More than just film” : rebranding independence on IFC." 2013. http://hdl.handle.net/2152/22270.

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In 2010, IFC (formerly Independent Film Channel) underwent a major rebrand campaign, which included a redesigned logo, tagline, and channel name; a transition to ad-supported programming and airing films with commercial interruptions; a reliance on original scripted comedy series; an emphasis on so-called 'blockbuster' indies over lesser-known films; and a general de-emphasis of independent film as the core of the brand identity. The features of the rebrand closely mirrored actions already taken by other film-based cable channels, most notably IFC's current parent channel, AMC (formerly Americ
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Murray, Sarah Anne. "The raw and the Cooking Channel : gender and the branding of a niche cable identity." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3259.

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The proliferation of niche cable programming in the U.S. post-network era includes a meteoric rise in food television. Indicative of this move toward an increase in food-related programming is the recent unveiling of the cable offering Cooking Channel. Creators behind Cooking Channel have worked to establish a distinct brand, describing the channel as a place for “food people” who are authentically and passionately “interested in upping their food IQ” (Scripps). The discourse surrounding the Cooking Channel launch is further complicated by the fact that men have an ostensibly larger presence o
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Botha, Woudri. "Ideology and myth in South African television : a critical analysis of SABC channel brand identities." Diss., 2011. http://hdl.handle.net/2263/26820.

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This dissertation investigates the brand identities of the South African Broadcasting Corporation television channels SABC1, SABC2 and SABC3 during the first decade of the 2000s (from 2000 to 2009). The study explores the manifestation and dissemination of dominant political ideologies and myths by the SABC television channels and their respective brand identities. It is argued that SABC television channels are structured and organised according to specific brand ideologies that match dominant political ideologies prevalent in South Africa. This is evident from the manner in which these channe
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Books on the topic "Television channel branding"

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Girlhood on Disney Channel: Branding, Celebrity, and Femininity. Taylor & Francis Group, 2017.

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Book chapters on the topic "Television channel branding"

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Woods, Faye. "Branding Youth Space: British Youth Strands and Channels." In British Youth Television. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44548-3_2.

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Ward, Sam. "Branding Bridges." In Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0006.

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In 2011 the United Kingdom’s leading pay TV provider launched a new channel, Sky Atlantic. Central to the channel’s promotional appeal was the sourcing of “quality” American drama, primarily via a £150 million deal with HBO that secured exclusive rights to its past and future productions. Building on ideas of importation as a process of assimilation with the national market, this chapter considers how, for Sky Atlantic, interaction between transnational and national industrial spheres has not simply served as a means of acquiring content, but has itself formed a key brand narrative. Through close reading of promotional texts surrounding the channel’s launch, as well as industrial data and press reception, the chapter demonstrates that recent commercial and technological developments in British television are leading not to a dissolution of national borders, but to the intense monetization of control over the flows that take place across them.
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"Crime Drama and Channel Branding: ITV and Broadchurch." In Contemporary British Television Crime Drama. Routledge, 2016. http://dx.doi.org/10.4324/9781315573793-19.

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Pagani, Margherita. "Branding Strategies for Digital TV Channels." In Branding and Sustainable Competitive Advantage. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-171-9.ch005.

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This chapter analyses the impact of digitalization on TV marketing strategies focusing on the role of brand as a loyalty-based resource, available to digital television networks to create a sustainable competitive advantage. We analyze the cognitive process adopted by a viewer in the selection process of a TV channel and provide managerial implications for branding strategy and the tools that a television network and an iTV portal need to adopt to communicate values connected with their brand. The goal of this analysis is to offer insights on how a digital television network may create a channel experience leveraging on brand to increase viewers’ loyalty and competitive advantage.
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Grainge, Paul. "Lost Logos: Channel 4 and the Branding of American Event Television." In Reading Lost. I.B.Tauris, 2009. http://dx.doi.org/10.5040/9780755697137.ch-006.

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Hilmes, Michelle. "Introduction." In Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0007.

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The introduction begins by pointing to the common themes among the chapters in this part. Chapters 5, 6 and 7 explore the functions that the selected case study programs serve for specific broadcasting institutions (PBS, Sky, ITV, HBO, and the BBC) that choose to partner in one form or another with their transatlantic counterparts. These chapters also explore the themes of national identity, heritage and channel branding touched upon in the first part, highlighting their importance to the relationship of transatlantic partners and to specific programs’ placement within their import markets. Chapters 8 and 9 investigate the ways in which two programs, Episodes and Game of Thrones, textually encode some of the problematics of the transatlantic relationship—widespread assumptions about the differences between US/UK production contexts and acting styles. The rest of the introduction provides brief summaries of each chapter.
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Hilmes, Michelle. "Introduction." In Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0002.

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This part examines recent developments in the media industry that underlie the rise of transatlantic television drama, exploring its history in the context of the impact of digital technologies on industry relationships, branding, coproduction, distribution, and industry consolidation. Significant programs and players include Masterpiece, Orphan Black, and Happy Valley; BBC and its global arm BBC Worldwide, American broadcast and cable channels such as PBS, AMC, and HBO; and the digital platforms Netflix, Amazon, Sky Atlantic, and Hulu.
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Yegen, Ceren. "Information Processing Model in Consumer Behaviors in Health Communication." In Innovations in Digital Branding and Content Marketing. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4420-4.ch003.

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In some private television channels in Turkey, herbal cream advertisements for joint diseases are televised. These ads, which are shown for a few minutes on the screens, are generally directed towards the elderly who complain of joint pain and related creams are claimed to be effective in passing many pains irrespective of the variety. In these ads, singers and elderly who complain of joint pain also show up and tell the effects of creams. The advertisements are constructed in a metaphoric language. Therefore, in this study, herbal cream advertisements for joint diseases will be examined through the advertisement of 3,000-year-old Miracle Cream, Miracle Cream of East Medicine, and Miracle Cream, which are televised in the middle of 2017. In this ethnographic study, how the relevant advertisements are coded, organized, and nurtured for the buyers who complain of joint pain will be investigated.
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McKevitt, Steven. "‘For Men Who Should Know Better’." In The Persuasion Industries. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821700.003.0007.

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Between 1969 and 1997 there was an ongoing re-evaluation of male consumer behaviour, which manifested itself through an emergent men’s lifestyle magazine sector, but also an expansion of established media—that is, newspapers, television, and radio. New applications of persuasion also came to the fore as public relations and branding began to play a salient role in the marketing mix. The result of these changes was a concerted increase in the quality and quantity of brand communication aimed at men. This chapter examines the changes in attitude within the persuasion industry towards male consumers and young men in particular and the emergence in the UK of a mass-market men’s magazine sector between 1986 and 1997. It also explores the relationship between titles such as LM, Q, Loaded, and FHM and the public relations industry.
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