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1
Syafri, Peramasdino, and Sri Tunggul Pannindriya. "Strategi Riau Televisi (Riau TV) Menghadapi Persaingan dengan TV Nasional untuk Tetap Eksis Sebagai TV Lokal." Eko dan Bisnis: Riau Economic and Business Review 10, no. 3 (September 25, 2019): 287–307. http://dx.doi.org/10.36975/jeb.v10i3.215.
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Riau Televisi (Riau TV) is the first local television station in the Riau region located in the city of Pekanbaru. As a local television station in Riau, Riau TV clearly has to compete with national television stations, in fighting for viewers in the Riau region. In order to be able to compete with broadcasts from national television, as local television, Riau TV has a special strategy in broadcasting programs, including for marketing targets. The purpose of this research is to find out the strategy carried out by Riau TV, in facing competition with National TV and maintaining its existence as a local TV in Riau. The theory underlying the research is the theory of Media Ecology by Dimmick and Rothenbuhler. In media ecology theory, Dimmick and Rotherbuhler revealed that media needs life-supporting sources, namely types of content, types of audience. and capital. This study uses descriptive qualitative methods and data collection through interviews with Riau TV directors and management, observation and document collection for research purposes. The paradigm used in this study is constructivism. The main focus in this research is to find out what strategies Riau TV has taken to be able to compete with national TV in maintaining its existence. The results of this study concluded, to be able to compete with National TV, Riau TV has a strategy, among others; (1) Strategies for local content TV programs to capture the local audience market, (2) Strategies to expand cooperation networks with local governments, (3) Strategies utilizing internet technology and (4) Strategies to hold off air activities and special moments
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Howard, Herbert H. "TV Station Group and Cross-Media Ownership: A 1995 Update." Journalism & Mass Communication Quarterly 72, no. 2 (June 1995): 390–401. http://dx.doi.org/10.1177/107769909507200211.
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This study of television ownership was undertaken against a background of industry turbulence and likely regulatory change to provide new data on TV station multiple ownership and local newspaper-TV cross-media ownership in 1995. It reveals that 75% of all TV stations in the top one hundred markets are licensed to multiple owners, with 22.5% affiliated with newspaper publishers. Local newspaper-TV cross-media ownerships have become rare, with only 19 of 734 stations in the top one hundred markets sharing ownership with a colocated newspaper. Of the 210 TV groups, about 10 are major entities, with perhaps 25 firms playing a significant role in the television industry at this time.
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Wahab, Juliana Abdul. "Islamic Content On Malaysian TV: A Case study of TV Al Hijrah." MIMBAR, Jurnal Sosial dan Pembangunan 33, no. 2 (December 20, 2017): 445. http://dx.doi.org/10.29313/mimbar.v33i2.3193.
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Religion and media are converging and frequently becoming a subject matter for news content and popular entertainment programmes in television and film, publishing, music as well as the new media. Religion, arguably has become part and parcel of the media environment today. In Malaysian context, during the millennium era, many locally produced ‘Islamic programmes’ started to gain popularity among Malaysian audience especially within the entertainment genre such as television drama. With the establishment of Malaysian first Islamic free-to-air television, TV Al Hijrah in 2010, this paper aims to understand the nature of Islamic content available on the station. The preliminary findings of this paper suggest that there are varieties of television programmes created and aired on TV Al Hijrah cutting across different genres meant for disseminating Islam as a way of life. Programmes available are mainly about showcasing the values of Islamic teaching and beliefs with the ultimate goal to highlight Islam as a beautiful and peaceful religion.
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Wagumba, Collins Auta, and Michael M. Kamau. "Balancing Audience’s Needs and Producer’s Expectations in Television Serial Drama Programming." Jurnal Komunikasi Islam 10, no. 2 (December 28, 2020): 173–97. http://dx.doi.org/10.15642/jki.2020.10.2.173-197.
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The study sheds light on how the TV station executives balance the entertainment needs of its audience and the producers' expectations within a changing digital broadcast environment. The study is anchored on uses, gratification, and the encoding and decoding theories. The research employs a mixed-method design approach by using survey questionnaires (415), FGDs and in-depth interviews with 5 TV station executives in Kenya and serial drama fiction producers’. The results indicate that the station executive takes centre stage to fulfil the urban audience needs and the producers’ needs respectively. The station executives’ contextualize the viewers and the serial drama producers as ‘profit vessels’ and any decision made towards them should culminate in economic benefit to the station. The study recommends bridging the relationship between the station executives and the serial drama producers, making the former play an advisory and consulting role in the productions.
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McCargo, Duncan. "Thai Politics as Reality TV." Journal of Asian Studies 68, no. 1 (January 27, 2009): 7–19. http://dx.doi.org/10.1017/s0021911809000072.
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Early in the morning of August 26, 2008, a large group of stick-wielding, black-shirted masked men forced their way into the studios of Bangkok's NBT television station, briefly detaining a number of staff. Once inside, they flung open the main doors, allowing several hundred more yellow-shirted protestors from the People's Alliance for Democracy (PAD) inside. Other PAD supporters occupied the grounds of the station. NBT, the channel of the government's Public Relations Department (PRD) formerly known as Channel 11, was held by the PAD for around twelve hours. During this time, rogue engineers tried unsuccessfully to channel their illegal—but wildly popular—ASTV television signal through the NBT network. Defeated by the technical challenges, the protestors gave up their occupation of NBT, returning to Government House, the office of the Thai prime minister. That same afternoon, PAD supporters had climbed the fence of Government House and occupied the compound surrounding the Italianate Khu Fa building.
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Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.
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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art
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Cryle, Denis, Christina Hunt, and Ross Quinn. "Researching ABC Rockhampton TV, 1963–85: Two Decades of Regional Television Broadcasting." Queensland Review 17, no. 1 (January 2010): 47–57. http://dx.doi.org/10.1017/s1321816600005250.
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In 1963, Rockhampton was chosen by the Australian Broadcasting Commission to become its first television station in Queensland. ABC Rockhampton TV belonged to a select number of outlets that, in the days before aggregation and extensive networking, gathered and broadcast their own news and local programs to regional viewers. This article details the unearthing and preservation of records vital to this research, and uses these to document the highs and lows of the Rockhampton station. We argue that the history of ABC Rockhampton TV forms a neglected chapter in the ‘getting of regional television’ and the production of local content, and provides an account of the early operations of the organisation from its inception in 1963, an overview of its achievements and an explanation of the reasons for its abrupt demise in the mid-1980s. Additionally, we identify the achievements of particular programs and staff members, and acknowledge the personal tragedies that dogged the station and its community in the closing phase.
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Hafiar, Hanny, and Jimi N. Mahameruaji. "TANTANGAN OPTIMALISASI PERAN LABORATORIUM TV DI PERGURUAN TINGGI." Profetik: Jurnal Komunikasi 10, no. 2 (December 13, 2017): 80. http://dx.doi.org/10.14421/pjk.v10i2.1339.
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The conditions of television in the country are experiencing rapid development. It is characterized by the increasing emergence of private tv stations. The increase in the quantity of television station is a strategic opportunity for the College that has a course-based audiovisual media production. The television laboratory facilities are required to prepare graduates who are ready to use in the television industry. However, to manage the laboratory which ready to serve the internal and external public is not an easy step, there are a number of constraints that became its own challenges for the manager. Therefore, this research attempts to examine more deeply about the challenges faced in the effort to optimize the role of the laboratory in college. The method used is the descriptive method of data collection through interviews and observation and literature study. As for the results obtained include constraints concerning aspects of facilities, human resources, and management of laboratory related to various policy management.
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Geni, Gammara Lenggo, Rizki Briandana, and Farid Hamid Umarella. "The Strategies of Television Broadcast During the Covid-19 Pandemic: A Case Study on Indonesian Television." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 243–56. http://dx.doi.org/10.17576/jkmjc-2021-3702-15.
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This study aims to analyse the media management strategy of Indonesian television stations during the Covid-19 pandemic. In March 2020, an outbreak of the Covid-19 pandemic in Indonesia affected the operations of broadcasting offices, which forced people to work from home. This situation affects the operations, strategy, and content of the television industry. The object of research is Kompas TV, one of the largest media companies in Indonesia, which was the first to implement a digital concept for its customers. The concepts of planning, organising, actuating, and controlling are used to analyse the strategies media utilised. The methodology employed for the current research takes the form of a case study by adopting the qualitative approach through an in-depth interview and observation. The results showed that Kompas TV, through its digital platform in the form of websites, YouTube channels, and social media, achieved an increase in the number of viewers, users, and engagement during the pandemic. In particular, the digital aspect does not only appear in communication, but also in the implementation of the Kompas TV strategy. The results of the study also revealed that strategies carried out on Kompas TV can be used as a model for other television in Indonesia to emulate, in order to sustain its business in times of crisis. Keywords: Strategy, broadcast management, Indonesia television station, pandemic Covid-19, qualitative research.
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Lin, Xiaoqing Diana. "Playing with history and tradition: television educational programs in contemporary China." Media, Culture & Society 42, no. 6 (November 8, 2019): 823–37. http://dx.doi.org/10.1177/0163443719876623.
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TV educational programs mushroomed in China in the 1990s and beyond. They combined education and entertainment, and for the first time in Communist Chinese history, used TV ratings to determine the continued existence of these programs. This article addresses the predominant focus on history and traditional learning in the lectures at the most famous of these programs, China Central Television’s Lecture Room (baijiajiangtan) since its inception in 2001. Borrowing Pierre Bourdieu’s concept of habitus, it studies how a confluence of state policies, TV station decisions, market imperatives, and educators who presided over the programs created, through storytelling, a modern, open yet culturally conservative world, to keep the audience oriented to modern ideas and practices while deterring excessive individualism or freedom, and a vibrant social milieu favorable to these ideas and practices through audience input via TV program ratings.
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Jaska, Ewa. "Odbiór społeczny programu telewizyjnego jako główne źródło przewagi konkurencyjnej nadawców." Zarządzanie Mediami 9, no. 2 (2021): 297–308. http://dx.doi.org/10.4467/23540214zm.21.018.13413.
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Public Perception of a TV Program as a Major Source of Competitive Advantage for Broadcasters This paper’s is to present the importance of the level of public perception of TV program, with particular focus on television genres which contribute to creating the competitive advantage of the station. This study used primary and secondary sources. The original research involved a survey. The survey was conducted at the turn of 2018 and 2019 on a sample of 1249 adult Polish TV viewers. The secondary sources included: telemetry audience measurement reports and reports published by the major TV broadcasters in Poland. The programming of Polish television broadcasters is increasingly market-oriented, both when it comes to commercial and public broadcasters. Films, TV serials, sports broadcasts, entertainment shows and news programs are the key formats which attract satisfying audiences and create competitive advantage. The findings have implications for both the TV stations creating the broadcasting schedules for subsequent seasons and for advertisers making decisions about allocating their media budgets.
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Ulfah, Mariana. "Kontestasi Komodifikasi Media Massa dan Ideologi Muhammadiyah." Jurnal ASPIKOM 2, no. 3 (July 18, 2014): 165. http://dx.doi.org/10.24329/aspikom.v2i3.68.
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This study aims to determine the contestation commodification and mass media Muhammadiyah ideology. Television media industry is a capital intensive industry types. This compares with the strength to build a perception in society, resulting in the attraction of various interests disana.Pada generally a television station is affected by the strength of the owner, the advertising, and rating. One local TV station, ADiTV, has the additional element that also affects the identity tayangannya Muhammadiyah, as its founder. In this study, using a qualitative descriptive. Through descriptive method will be able to explain the phenomenon in detail and presents a more detailed analysis that can not afford revealed by quantitative methods. The identity of a television media is very important to determine the standard of impressions and development of the company in the long term. Ambiguity status Muhammadiyah TV ADiTV whether or not can be detrimental for both parties ADiTV either alone or Muhammadiyah. ADiTV losses include the whole range ADiTV can not freely determine the policy, especially pertaining to the propaganda value of Muhammadiyah
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Gollust, Sarah E., Erika Franklin Fowler, and Jeff Niederdeppe. "Television News Coverage of Public Health Issues and Implications for Public Health Policy and Practice." Annual Review of Public Health 40, no. 1 (April 2019): 167–85. http://dx.doi.org/10.1146/annurev-publhealth-040218-044017.
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Television (TV) news, and especially local TV news, remains an important vehicle through which Americans obtain information about health-related topics. In this review, we synthesize theory and evidence on four main functions of TV news in shaping public health policy and practice: reporting events and information to the public (surveillance); providing the context for and meaning surrounding health issues (interpretation); cultivating community values, beliefs, and norms (socialization); and attracting and maintaining public attention for advertisers (attention merchant). We also identify challenges for TV news as a vehicle for improving public health, including declining audiences, industry changes such as station consolidation, increasingly politicized content, potential spread of misinformation, and lack of attention to inequity. We offer recommendations for public health practitioners and researchers to leverage TV news to improve public health and advance health equity.
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Desmalinda, Desmalinda, Piky Herdiansyah, and Rahmadina Naripati. "DAMPAK KEHADIRAN STASIUN TELEVISI BERBAHASA LOKAL PAL TV (PALEMBANG TV) PADA PELESTARIAN BAHASA LOKAL DI KOTA PALEMBANG." Ranah: Jurnal Kajian Bahasa 5, no. 2 (December 1, 2016): 198. http://dx.doi.org/10.26499/rnh.v5i2.153.
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This research aims to describe the function and role of the television in preserving Palembang language. The method used in this research is qualitative descriptive method. The data were collected from direct interviews to seven informants reside in Palembang with various backgrounds, professions and education levels to discover the impact of Palembang-speaking local television station. The research shows that national television stations have not performed their role in education and language preservation as they should be. The level of local language preservation in national television stations is still low. This condition is covered by the presence of local stations, such as PAL TV. Televisions can be a strategic tool in language preservation with proper management by adding diverse programs that are in accordance with the public interests. ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan fungsi dan peran televisi dalam pelestarian bahasa Palembang. Adapun metode yang digunakan adalah metode deskripptif kualitatif. Data di peroleh dari wawancara langsung kepada tujuh narasumber yang berdomisisli di kota Palembang, beragam latar belakang, profesi, dan tingkat pendidikan untuk mengetahui dampak adanya televisi lokal berbahasa Palembang. Temuan penelitian ini adalah stasiun televise berjaringan nasional belum menjalankan fungsinya edukasi dan pelestarian bahasa daerah sebagaimana mestinya. Tingkat pelestarian bahasa lokal pada televise berjaringan nasional masih rendah. Kekurangan televise berjaringan ini sedikit tertutupi dengan hadirnya televise lokal, seperti PAL TV. Televisi dapat menjadi sarana strategis dalam pelestarian bahasa dengan pengelolaan yang baik berupa penambahan acara yang beragam dan sesuai dengan minat masyarakat.
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Hanana, Alna, Nindika Widya Tirta, Elva Ronaning Roem, and Yayuk Lestari. "SPONSOR-ORIENTED MARKETING COMMUNICATION BY PADANG TV FOR MAINTAINING LOCAL-CULTURAL CONTENT." Bricolage : Jurnal Magister Ilmu Komunikasi 6, no. 02 (October 1, 2020): 159. http://dx.doi.org/10.30813/bricolage.v6i02.2155.
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<p>This research focuses on promotional strategies conducted by Padang TV in an effort to introduce and maintain the Duduak Baselo program as a cultural content program. From the minimal existence of cultural content in the majority of Indonesian television, Padang TV is one of the local stations that present cultural content, one of which is the Duduak Baselo program. This program can survive, of course, because there are promotional and marketing efforts undertaken by the television station. Promotional mix analysis that becomes the focus of this research is on how the station approach to sponsors. This research uses descriptive qualitative method with a case study approach. In-depth interviews, observations, and documentation are used in collecting data. The data obtained were then processed with Miles and Huberman's technical analysis and validated with triangulation techniques. The results of this study indicate that the Duduak Baselo program carries out several communication activities as their promotional strategies in introducing and maintaining the Duduak Baselo program. Padang TV, as the station that produces Duduak Baselo, in such a way builds cooperative relationships with various parties, such as the government and the private sectors. This collaborative relationship is developed to get sponsors/advertisers. Activities undertaken to establish cooperation include building relationships, spreading proposals, lobbying, and negotiating.</p>
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Xinyu, Lu. "Government Subsidies, Market Socialism, and the “Public” Character of Chinese Television." Modern China 37, no. 6 (September 15, 2011): 661–71. http://dx.doi.org/10.1177/0097700411420796.
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In March 2011 Chongqing Satellite TV was made a public-interest channel and discontinued advertising, losing 0.3 billion yuan in revenue. The shortfall is to be partially made up by annual government subsidies of 0.15 billion yuan. The transformation of Chongqing Satellite TV is very much related to the widely debated reform of governance in Chongqing (the so-called Chongqing model), and thus is inevitably controversial. It has attracted critical commentary from academia, the advertising industry, and netizens, while the TV station and the Chongqing municipal government have not mounted an effective defense. Often, the two sides in the debate have been at cross-purposes and have spoken past each other. This article attempts to move beyond rigid binary oppositions, such as official/civilian and academic/ political, and to look at the arguments of both sides in the debate with an eye toward promoting a clearer understanding of public media in China.
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Azwar, Azwar, Alifia Pradyanti, and Nisfa Siti Elfianti Hidayah. "ETIKA DALAM PROGRAM HIBURAN TELEVISI." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 1, no. 2 (August 30, 2018): 91–102. http://dx.doi.org/10.30871/deca.v1i2.792.
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Entertainment programs in the television are currently being criticized by the public. Not only criticism, even some entertainment programs on television received reprimands from the Indonesian Broadcasting Commission (Komisi Penyiaran Indonesia-KPI). This is due to many entertainment programs that use jokes that exceed the limits of reasonableness. Therefore, this study aims to describe how ethics in entertainment programs on television stations, as well as the effects that can be caused to the public on quality and ethical entertainment programs. In this case, research on the NET TV station was emphasized in the Waktu Indonesia Bercanda program. This research is important, considering that many entertainment programs are consumed by the public through television media. On NET TV itself, the entertainment program presented reaches 50% of all existing program. Waktu Indonesia Bercanda is a TV program that is categorized as an entertainment program in the form of a quiz show and dexterity in thinking. Waktu Indonesia Bercanda also performed the program casually and inserted with their typical jokes, but still ethical. Ethics here is not to criticize, to hurt the hearts and physicalities of others and things that have other negative meanings.
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Hines, Terence, and Adam Ranellone. "TV Channel Cards and Office Directories are Searched Faster When Alphabetized." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 60, no. 1 (September 2016): 1359–61. http://dx.doi.org/10.1177/1541931213601313.
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There are millions of television cable channel cards in hotels, motels and homes around the world. Almost all of these lists are organized with TV channel numbers arranged in numerical order on the left and corresponding station call letters on the right. Office buildings have the building directories organized in a similar way. Such organization may be inefficient in terms of the time needed to find a specific channel. It may be more efficient to organize such lists with the station call letters arranged alphabetically at the left. To test this hypothesis participants were presented with lists of TV channels or personal names organized either in the traditional numerical order format or in an alphabetical format. The task was to find eight different TV channels or names on the two types of lists. Lists arranged alphabetically were searched significantly faster than those arranged in the traditional numerical sequence format.
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Pushkaruk, Nataliia. "Multimedia Technologies of French Non-Native and International TV and Radio Channels." Scientific notes of the Institute of Journalism, no. 3/4 (72/73) (2018): 58–66. http://dx.doi.org/10.17721/2522-1272.2018.73.5.
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The article examines the multimedia technologies used by the French TV channel France 24, the RFI radio station and the international television channel TV5 Monde in highlighting current information. The objective of the article is to ascertain the reasons of increased attention to multimedia content and interactivity of French broadcasting channels. To achieve this objective, the following methods were used: observation, analysis, generalization. The definition of the concept “multimedia” was considered and the monitoring of multimedia content of French media materials was implemented. As a result it was determined the most popular technologies and provided the recommendations on the use of multimedia technologies in the programs and on the web-site of the Ukrainian TV channel UA | TV.
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Darmawan, Deni, Edi Suryadi, and Dinn Wahyudin. "Smart Digital for Mobile Communication Through TVUPI Streaming for Higher Education." International Journal of Interactive Mobile Technologies (iJIM) 13, no. 05 (May 21, 2019): 30. http://dx.doi.org/10.3991/ijim.v13i05.10286.
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This study focuses on smart digital for mobile communication through television streaming. It makes use of the television station located in Universitas Pendidikan Indonesia (UPI) which requires further development. In 2017, research was carried out to develop web streaming and Mobile Audience through Smart Digital Mobile. However, this study uses a research and development approach comprising of 10 main steps some of which are broadcast programs needed in education and local wisdom. The UPI TV Station gained then complete trust from all segments of viewers from the internal academic community. The content test and ease of access are expected to get an overview of the information needs of campus television by the wider community. The results of this project are as follows : (a) Syllabus and SAP Tools in Education Communication courses; (b) Evaluation of the sustainability programs of TVUPI broadcast based on the web streaming; and (c) Mobile Smart Digital Development in expanding the reach of TVUPI viewers based on web streaming.
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Howard, Herbert H. "Television Station Ownership in the United States: A Comprehensive Study (1940–2005)." Journalism & Communication Monographs 8, no. 1 (March 2006): 1–78. http://dx.doi.org/10.1177/152263790600800101.
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Multiple-station, or group, ownership is a long established characteristic of broadcasting in the United States. It exists whenever a single organization owns more than one station or one medium. Through the efficiencies of operation of multiple outlets, or economies of scale, group media companies usually enjoy financial benefits that are not available to single medium operators. Thus, a long-term trend toward consolidation has prevailed throughout the history of the radio broadcasting industry. Television owners quickly adopted the practice, which has expanded steadily, as regulations have permitted ever since. The three forms of multiple ownership — Group ownership, Duopoly ownership, and Cross-media ownership are analyzed in this study. Particularly, this study provides (1) a statistical-historical account of the development of multiple-station ownership in the TV industry from 1940 to 2005; and (2) a historical account and analysis of the government's regulatory actions on media ownership during the same period. This study explores thus, the ownership consolidation and industry regulation that continue to be significant issues for the media industries with on-going implications.
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Anyanwu, Joseph Chika. "TV Drama in Papua New Guinea: a Case Study in National Identity." New Theatre Quarterly 12, no. 45 (February 1996): 79–84. http://dx.doi.org/10.1017/s0266464x00009659.
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The single television station serving Papua New Guinea transmits between ten and twelve hours a day of programmes that – apart from the new and a musical slot sponsored by Coca Cola – lack and significant national interest. Yet an eight-episode television drama, Warriors in Transit – conceived, written, shot, and performed entirely on location by local artists and talents, and with the potential to develop into a long-running series – has for three years remained unseen, despite several good reviews and sneak previews. The assertion of the Tv executives that Papua New Guineans do not want to watch their own programmes, and the inability of the production, alike bear witness to a problem typical of the develpment of television in the Third World, as traditional national cultures ineluctably give way befor the easy attractions of homogenized imports – a problem that can only be tackled by affirmative action on the part of governments whose best intentions too often conflict with financial constraints. The author, Joseph Chika Anyanwu, teaches in the Facutly of Creative Arts of the University of Papua New Guinea, and first presented the present paper at the 1994 conference of the Australasian Drama Studies Federation.
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Mayoyo, Edna Magoma, Josephine Khaemba, and Fred Wanjala Simiyu. "A Critical Discourse Analysis of Linguistic and Discursive Strategies Used in Kenya’s Citizen Television Advertisements to Display Gender Ideologies." East African Journal of Arts and Social Sciences 2, no. 1 (October 14, 2020): 154–70. http://dx.doi.org/10.37284/eajass.2.1.223.
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The present study sought to examine how linguistic devices and discursive strategies used in Kenya’s Citizen TV ads which pattern men and women differently according to gender well-being. This thereby results in unconscious rationalisations of social constructions. Using observation as the main tool of data collection, a corpus of fourteen adverts sourced from one mainstream media station, Citizen TV were purposively sampled, observed by the researcher, transcribed into data, coded, then thematically analysed using techniques of content analysis. Guided by Fairclough’s Critical Discourse Analysis theory which provided the framework for analysis, the study adopted a qualitative, case study research design. The research design provided in-depth information about the phenomenon in order to establish the discursive and linguistic strategies used in the TV ads and how they mirror society’s system of values, attitudes and beliefs about men and women. The findings of this study indicated that gender ideologies that affect how meaning is made out of Kenyan TV ads were embedded in linguistic structures, social processes and manoeuvres.
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Prabowo, Hartiwi, Pona Nurhanka, and Sri Budi Utami Nur Hasanah. "Evaluasi dan Rekomendasi Strategi Bisnis pada Divisi LPP-TVRI." Binus Business Review 1, no. 1 (May 30, 2010): 233. http://dx.doi.org/10.21512/bbr.v1i1.1070.
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TVRI represent of the first television station in Indonesia. In this time TVRI not yet able to serve any event enthused by people. In the effort improving returning competitiveness of TVRI station in industrial television sector, needed business strategy which capable to accommodate and anticipate change of technological growth that happened quickly and the economic globalization. Research was done to give suggestion at the development of division and broadcast. The purpose of this research is to evaluate business strategy which have been done and propose business strategy which can improve company competitiveness. Analysis techniques which used were Internal External matrix, SWOT matrix, matrix of Grand Strategy, and QSPM matrix. Result of research by evaluate internal condition of company and analyzing of factor external which related, business strategy which appropriate for LPP TVRI is product development strategy. Expected, LPP TVRI will increase new events that more innovative and creative so that able to become pre-eminent event program for TV beholder/audience.
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Cranford, Alexandra. "Women Weathercasters: Their Positions, Education, and Presence in Local TV." Bulletin of the American Meteorological Society 99, no. 2 (February 1, 2018): 281–88. http://dx.doi.org/10.1175/bams-d-16-0317.1.
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Abstract Data on weathercasters at local television stations in all 210 markets in the United States were gathered through individual weathercaster biography web pages provided on television news station websites. The weathercasters’ genders, positions, and educational backgrounds were compiled and analyzed to determine women’s presence in local broadcast meteorology. While the overall percentage of females in the field increased and females were more represented in larger markets, females held fewer influential and desired positions in 2016 compared with previous studies. Women made up 29% of all weathercaster positions, which was higher than in earlier studies that showed the percentage at 25% or less over the past two decades. Females made up 8% of chief meteorologist positions and less than 11% of evening shifts, which were lower than numbers in previous studies. The proportion of female weathercasters who held meteorology degrees was lower than their male counterparts (52% of females compared with 59% of males). This difference was statistically significant (p < 0.01). Chi-squared tests revealed strong and statistically significant associations between males and chief meteorologist positions and between males and evening shifts. There was a higher percentage of weathercasters with meteorology degrees in smaller markets as opposed to larger markets.
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Maulana, Amalia E., and Lexi Z. Hikmah. "Kick Andy, The Oprah Winfrey TV Show of Indonesia." Emerald Emerging Markets Case Studies 4, no. 1 (February 18, 2014): 1–13. http://dx.doi.org/10.1108/eemcs-08-2013-0162.
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Subject area Social Marketing, Entertainment Education Program. Study level/applicability Postgraduate program. Master in Strategic Marketing and Master in Business Administration. Case overview In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education. Expected learning outcomes This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.
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Vega-Casanova, Jair, and Andrea Lafaurie-Molina. "A Children’s Observatory of Television: «Observar TV», a Space for Dialogue between Children." Comunicar 20, no. 40 (March 1, 2013): 145–53. http://dx.doi.org/10.3916/c40-2013-03-05.
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This paper presents the results of work on «Observar TV», a children’s observatory of television launched in the city of Barranquilla (Colombia) in which children participated as protagonists in research, training and spaces for dialogue centred on their observations of television broadcasts. The goals of the project included: 1) to ascertain the reflection and discussion of preferences and opinions (expressed by boys and girls) regarding television; 2) to identify and discuss their imagery around citizenship in relation to coexistence and peace, multiculturalism and democratic responsibility and participation; 3) to understand the development processes that contribute to the construction of their critical thinking abilities regarding television and its consumption; 4) to increase the visibility of children as active participants in setting the public agenda of their city. This study was developed using a participatory action research approach that employed qualitative methods (focus groups, workshops, and observations) for the simultaneous execution of three components: research, training, and visibility/interaction. The results demonstrate that the child participants displayed a critical attitude toward television and expressed their likes and dislikes regarding television content. The participants took up the challenge to discuss, transform, or reaffirm their imagery relating to citizenship and strengthened their capacities in language and communication. The children expressed the reflections that came up in the work of the observatory by participating in the television program «Learning to watch television», that was produced by the regional station Telecaribe.Este artículo presenta los resultados de «Observar TV», un observatorio infantil de televisión puesto en marcha en la ciudad de Barranquilla (Colombia) en el que los niños y niñas participantes actuaron como protagonistas de los procesos de investigación, formación e interlocución llevados a cabo. El proyecto apuntó a: 1) la reflexión y discusión de las preferencias y opiniones que niños presentaron en relación con la televisión; 2) la identificación e interpelación de sus imaginarios de ciudadanía alrededor de la convivencia y paz, la interculturalidad y la participación-responsabilidad democrática; 3) el desarrollo de procesos de formación que contribuyeran a cualificar su capacidad crítica en torno a la televisión y su consumo; 4) la visibilización de los niños como interlocutores en la agenda pública de su ciudad. El proceso se desarrolló desde la investigación-acción participativa utilizando técnicas cualitativas (grupos focales, talleres y observación), para la ejecución de tres componentes simultáneos: investigación, formación y visibilización/interacción. Los resultados permitieron constatar que los chicos se presentaron críticos hacia la televisión, dando a conocer sus gustos y disgustos en relación con los contenidos. También que ellos asumieron el reto de discutir, transformar o reafirmar sus imaginarios de ciudadanía, y fortalecieron su capacidad expresiva al vincular las reflexiones surgidas en el observatorio dentro del programa «Aprender a ver TV», del canal regional Telecaribe.
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Silva, Rodrigo Barbosa e. "THE HOUSE AS A STUDIO: mediation in Telejournalism during the Covid-19 Pandemic." Revista Observatório 6, no. 3 (May 1, 2020): a5en. http://dx.doi.org/10.20873/uft.2447-4266.2020v6n3a5en.
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The present work tried to ponder about the communication strategies employed by a local television station, TV Anhanguera, an affiliate of Rede Globo in the state of Goiás, during the Covid-19 Pandemic period, with regard to the professional exercise of the presenters of Bom Dia Goiás, Anhanguera Newspaper 1st edition and Anhanguera Newspaper 2nd edition. From the monitoring of the three TV news programs for a period of two months, an analysis was made of the mediation built with the viewers in view of the policy of rotation of professionals adopted by the broadcaster. It was possible to conclude that there was no highlight to a presenter who represented "the face" of each news program, but the work in home office emphasized the possibility of approaching viewers by highlighting the intimacy of journalists through the exposure of their homes.
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Romero-Fernández, Ma Mar, Miguel Ángel Royo-Bordonada, and Fernando Rodríguez-Artalejo. "Evaluation of food and beverage television advertising during children's viewing time in Spain using the UK nutrient profile model." Public Health Nutrition 16, no. 7 (July 27, 2012): 1314–20. http://dx.doi.org/10.1017/s1368980012003503.
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AbstractObjectiveTo evaluate the nutritional quality of products advertised on television (TV) during children's viewing time in Spain, applying the UK nutrient profile model (UKNPM).DesignWe recorded 80 h of four general TV station broadcasts during children's viewing time in May and June 2008, and identified all advertisements for foods and beverages. Nutritional information was obtained from the product labels or websites and from food composition tables. Each product was classified as healthy (e.g. gazpacho, a vegetable juice) or less healthy (e.g. potato crisp snacks) according to the UKNPM criteria.SettingFour free-of-charge TV channels in Spain: two national channels and two regional ones.SubjectsTV commercials of food and beverages.ResultsA total of 486 commercials were broadcast for ninety-six different products, with a mean frequency of 5·1 advertisements per product. Some 61·5 % of the ninety-six products were less healthy, and the percentage was higher for foods (74·1 %). All (100 %) of the breakfast cereals and 80 % of the non-alcoholic drinks and soft drinks were less healthy. Of the total sample of commercials, 59·7 % were for less healthy products, a percentage that rose to 71·2 % during children's reinforced protection viewing time.ConclusionsOver half the commercials were for less healthy products, a proportion that rose to over two-thirds during the hours of special protection for children. This suggests that applying the UKNPM to regulate food advertising during this slot would entail the withdrawal of most food commercials in Spain. TV advertising of products with low nutritional quality should be restricted.
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Bock, Gabriele, and Siegfried Zielinski. "Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission." Journal of British Cinema and Television 11, no. 4 (October 2014): 418–39. http://dx.doi.org/10.3366/jbctv.2014.0227.
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This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.
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Morgan Parmett, Helen. "Television for the Peace Arch Country: Transnational Broadcasting History in the Pacific Northwest." Television & New Media 21, no. 5 (February 1, 2019): 510–29. http://dx.doi.org/10.1177/1527476418824299.
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This article contributes to international broadcasting history through a case study of a local, independent television station in the Pacific Northwest. KVOS-TV was one of a few stations on the U.S./Canadian border that sought out a cross-border audience, but it is unique in its efforts to produce programming to bridge these audiences into a unified viewing public that it termed the Peace Arch Country. The station’s international programming constituted its viewing public as translocal citizens in ways that supported the broader global ambitions of the Pacific Northwest region, as well as responded to and promoted the global ambitions of western liberal democracy and capitalism in the fight against Communism. KVOS-TV’s constitution of Peace Arch citizenship shows how television was a tool for creating translocal citizens, educating and governing them from a distance.
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Rini, Setia. "Violating the Maxims of Quality and Quantity on the ‘Demo Sabun’ Sketch of Extravaganza Situation Comedy TV." Register Journal 3, no. 2 (July 1, 2016): 145. http://dx.doi.org/10.18326/rgt.v3i2.145-162.
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This study focuses on analyzing the violation of maxims as proposed by Grice in his cooperative principles. The subject of the study is on one of TV sitcoms broadcasted by one of the private owned TV station in Indonesia. The writer collected the data by transcribing the dialogues among the comedian in one sketch. In this modern era there are many busy people who need such kind of entertainment to lead them release their fatigue after having a day work. This situation invites some creative people to produce humor which is then packaged in the form situation comedy. These sitcoms can be broadcasted in many television stations now. In creating such funny expressions, there must be the violation on some maxims. By violating the maxims; the humorous verbal interaction can be achieved. The writer found that there are two types of violation on maxims of quality and quantity in one of the extravaganza’s sketches.keywords; Violation; Maxims, Humor
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Sarkissian, John M. "On Eagle's Wings: The Parkes Observatory's Support of the Apollo 11 Mission." Publications of the Astronomical Society of Australia 18, no. 3 (2001): 287–310. http://dx.doi.org/10.1071/as01038.
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AbstractAt 12:56 p.m., on Monday 21 July 1969 (AEST), six hundred million people witnessed Neil Armstrong's historic first steps on the Moon through television pictures transmitted to Earth from the lunar module, Eagle. Three tracking stations were receiving the signals simultaneously. They were the CSIRO's Parkes Radio Telescope, the Honeysuckle Creek tracking station near Canberra, and NASA's Goldstone station in California. During the first nine minutes of the broadcast, NASA alternated between the signals being received by the three stations. When they switched to the Parkes pictures, they were of such superior quality that NASA remained with them for the rest of the 2-hour moonwalk. The television pictures from Parkes were received under extremely trying and dangerous conditions. A violent squall struck the telescope on the day of the historic moonwalk. The telescope was buffeted by strong winds that swayed the support tower and threatened the integrity of the telescope structure. Fortunately, cool heads prevailed and as Aldrin activated the TV camera, the Moon rose into the field-of-view of the Parkes telescope. This report endeavours to explain the circumstances of the Parkes Observatory's support of the Apollo 11 mission, and how it came to be involved in the historic enterprise.
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Tsukamoto, Jyunzo, and Hiroyuki Hayashida. "Special issue Tsukuba Expo '85. 4. High-definition television. 3 12GHz experimental station - High-definition TV experiment in Tsukuba." Journal of the Institute of Television Engineers of Japan 39, no. 7 (1985): 605–8. http://dx.doi.org/10.3169/itej1978.39.605.
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Tsai, Claire. "Television News Translation in the Era of Market-driven Journalism." Meta 57, no. 4 (December 17, 2013): 1060–80. http://dx.doi.org/10.7202/1021233ar.
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Translation scholars have discussed the changing role of translation in the transmission of international news information and called for news translators to adapt to such changes. However, the previous discussion has neglected to address the emerging phenomenon of market-driven journalism and its implications for news translation. Ratings-conscious news stations are beginning to revise news agendas and editorial priorities with a view of competing for audiences. Translators who work in newsrooms also assume a role that is traditionally associated with journalists. The rise of market-driven journalism affords scholars the opportunity to consider how the changing ethos of journalism alters news translation strategies. Furthermore, this change forces a rethinking of some earlier assumptions regarding the nature of translation. Although the prevailing trend of market-driven journalism crosses over different media types, this paper primarily centers on the case of television journalism. By examining authentic broadcast news items that were collected from a commercial television news station in Taiwan and interviews with senior TV news translators, this paper unveils a new profile of television news translators in a news ecology that is defined by market values.
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Frello, Birgitta. "Sporløs – Om biologi, identitet og slægten som fjernsyn [Find My Family - On biology, identity and kinship on television]." MedieKultur: Journal of media and communication research 27, no. 51 (September 26, 2011): 19. http://dx.doi.org/10.7146/mediekultur.v27i51.4073.
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During recent years, the Danish public service television station (DR) has launched several documentary serials that focus on kinship and genealogy. Genealogy makes ‘good TV’ because it enables an immediate identification with the protagonist of the programme. Furthermore, the protagonist’s personal story can function as a vehicle for telling other stories. However, the way kinship is depicted in the serials presupposes that a person’s knowledge about her biological kin equals knowledge about her personal identity. The article analyses the serial <em>Find my Family</em> (Danish: <em>Sporløs</em>), discussing the naturalisation of biological kin and the possible consequences of the conceptualisation of kinship that is taken for granted in the serial.
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Arisun, Rizki Musthafa. "METHOD TO INVESTIGATE FICTIONAL ENTITIES: A CASE OF ISHINOMORI SHOTARO’S “KAMENRIDER BLACK” TV SERIES IN INDONESIA." LINGUA : JURNAL ILMIAH 14, no. 2 (October 29, 2018): 32–48. http://dx.doi.org/10.35962/lingua.v14i2.44.
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This article reports an experiment to pursue appropriate observation method on fictional entities inside popular culture products from Japan: two dimensional characters, fictional characters in a movie. Previous research showed how Indonesian popular culture producers being empowered in production, as fictional entities involved, such as “Hatsune Miku” (HM), a virtual singer persona. This article focused on older cases where media Japan travelled to Indonesia. Back in 1989, a TV action serial "Kamen Rider Black/ Ksatria Baja Hitam" (KRB/KBH) from Japan, was broadcasted by Indonesian local television station RCTI, and dubbed in Indonesian language. The experiment on finding appropriate observation method is conducted by constructing frameworks, imagined as ‘dissecting’ fictional entities into smaller observable parts. The purpose of this paper is to map methods to examine the role of non-human entities under transnational media by evaluating through early stage experiment.
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Kerr, David. "'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 225–40. http://dx.doi.org/10.1386/jac_00018_1.
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Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
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Irawan, Rahmat Edi. "Representasi Pembawa Acara Program Talk Show di Televisi Indonesia." Humaniora 4, no. 2 (October 31, 2013): 782. http://dx.doi.org/10.21512/humaniora.v4i2.3506.
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Presentation of talk show host program has been known to be intelligent, smart, and is able to direct the conversation in the program well. The presentation is in line with the view of talk show programs packed seriously as a journalistic genre program with emphasis on the truth of the facts or information conveyed. However, in recent years there are different representations associated with the talk show host of the program. The representation shows that a talk show host is not such intelligent and smart, and is not able to direct the conversation in the program properly. The existence of this representation is consistent with the theory of social construction assuming that mass media play a major role in shaping the social reality in the society. As of this writing, the audience receives social reality as a representation. Like the previous presentation, as the television has broadcasted for a long time, people feel that the reality is normative and ideal conditions for them. Public realize that the social reality was only the reconstruction of the television when TV presents a representation of another social reality. Nevertheless, whatever the social reality that is deliberately made or reconstructed by the media, including television, in fact everything is a reality that is deliberately created just for the sake of the manager or owner of the television station.
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Rochim, Muhammad Robitho, Idqan Fahmi, and Siti Jahroh. "Factors that Affect the Satisfaction of Viewers Watching TVRI." International Journal of Research and Review 8, no. 6 (June 15, 2021): 96–107. http://dx.doi.org/10.52403/ijrr.20210612.
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The dynamics of the television industry require each TV station to display the best programming to bind its loyal viewers. TVRI as public television continues to strive to tie the loyalty of viewers by presenting the best programs. However, efforts to present the best programs on TVRI caused some problems later in life. This study aims to analyze TVRI audience satisfaction based on tvri viewers' direct assessment, by measuring satisfaction levels, analyzing factors that affect satisfaction, and analyzing tvri audience performance levels and interests. The indicators used to measure satisfaction in this study are program, motivation fulfillment, broadcasting quality, and program packaging. The results showed that respondents were satisfied with TVRI's performance with a satisfaction rate of 88.82%. Factors that significantly affect satisfaction are motivational fulfillment and program packaging. Meanwhile, although the program is a product sold by TV stations, in this study the program had no effect on viewer satisfaction. The main focus that must be improved by TVRI is the packaging of the program, which is the form of studio set display, supporting properties, and presenters. TVRI must also adapt to the needs of the audience in packaging the show, namely with the latest look, fresh and innovative creative ideas to provide a new experience for the audience, not only the broadcast of nostalgic programs that are repackaged, in order to achieve the target audience segment. Keywords: Factors, TVRI, Viewer Satisfaction.
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Listya, Ariefika, Reza Junianto, and Mirta Mirta. "STUDI KEMIRIPAN LOGO DUA PERUSAHAAN: GTV DAN GOOGLE." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (April 1, 2019): 33. http://dx.doi.org/10.25105/jdd.v4i1.4554.
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<p><strong>Abstract </strong></p><p><strong></strong><br />Logo Similarity Study of Two Companies: GTV and Google. GTV (Global TV) is one of private TV station in Indonesia under management of PT. Media Nusantara Citra Tbk (MNC group). In 2017, GTV (Global TV) changed its logo with an iconic G but cause the perception of netizens that it was similar to Google. Although GTV area of business is different from Google, which is GTV in entertainment television media and Google in information technology area, the similarity of logos will be an obstacle of GTV brand image as private television station in Indonesia. The aim of the research<br />is to find out how is the similarities, and what underlies GTV so that they redesign the logo which similar to Google. This study uses descriptive qualitative research method with aesthetic and marketing science approaches. The results showed the similarities located on the letter G of the GTV’s does’nt seem to mean intentionally imitate the letter G of Google’s because it turned out long before the Google logo established,<br />formalistic aspects of the GTV logo were already existed on the past logo. The GTV logo appearance has relevance to what are underlying the logo redesign. However, the similarity between them where Google is a global company which larger than GTV seems to be affected GTV images.</p><p><br /><strong>Abstrak</strong><br />Studi Kemiripan Logo Dua Perusahaan: GTV dan Google. GTV (Global TV)<br />merupakan salah satu stasiun TV swasta di Indonesia di bawah PT. Media Nusantara<br />Citra Tbk (MNC group). GTV mengganti logonya di awal tahun 2017 dengan G yang ikonik namun menimbulkan persepsi beberapa warganet bahwa logonya mirip dengan Google. Meski area bisnis GTV berbeda dengan Google di mana GTV bergerak di bidang hiburan pada televisi dan Google dalam dunia teknologi informasi, namun kemiripan logo menjadi kendala bagi citra brand GTV sebagai stasiun televisi swasta besar di<br />Indonesia. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana kemiripan desain logo kedua perusahaan itu, dan apa yang mendasari GTV melakukan perubahan logo yang hasilnya mirip dengan Google. Penelitian ini menggunakan metode penelitian kualitatif deskriptif dengan pendekatan estetika dan pendekatan ilmu pemasaran. Hasil<br />penelitian menunjukkan kemiripan logo yang terletak pada huruf G logo GTV dengan huruf G pada logo Google nampaknya bukan bermaksud menyengaja untuk meniru karena ternyata jauh sebelum logo Google muncul, aspek formalistik desain logo GTV sudah ada pada logo lamanya. Tampilan logonya juga mempunyai keterkaitan dengan<br />apa yang melatarbelakangi pergantian logonya. Namun begitu, kemiripan logo GTV dengan Google yang merupakan brand yang besar dan mendunia nampaknya dapat mempengaruhi citra brand GTV.</p>
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Peris Blanes, Alvar, and Benjamín Marín Pérez. "Valencian Politicians under the spotlight of the À Punt TV network: A study of television coverage of the 2019 regional elections." Debats. Revista de cultura, poder i societat 5 (December 30, 2020): 67–84. http://dx.doi.org/10.28939/iam.debats-en.2020-4.
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Despite repeated failures by the former Valencian television network — Canal 9 [Channel 9] — to live up to its public broadcasting duties, the station’s closure in 2013 still came as a shock. The step by the regional government (then run by the Conservative Partido Popular — PP) had a huge public impact, depriving Valencians of their public TV network at a stroke. That is why Valencian society had high hopes when a new public media platform — Punt Mèdia — was launched. Among other things, politicians and broadcasters needed to show that a more even-handed, professional approach could be taken to media reporting. The 2019 Regional Elections were a wonderful opportunity to prove this. On the one hand, it was a chance to usenew audiovisual methods to better convey political information to citizens. On the other hand, it gave the network and its masters the chance to renounce the shameless political partisanship that had so marred Canal 9’s history. This paper looks at the extent to which these goals were attained. It does so by examining À Punt's coverage of the election. Specifically, we focused on political interviews with candidates, and on the electoral debates. Various methodologies, both quantitative and qualitative, were used. We found that both the form and depth of news stories were fairly balanced. Nevertheless, the network showed a surprising lack of ambition despite À Punt’s stated aspiration to be Valencia’s leading TV station.
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Nakagome, Kiyoaki. "Television broadcast engineering. 3. News production systems; 3-3. On the system of prompt election-return reports at the major TV station." Journal of the Institute of Television Engineers of Japan 43, no. 4 (1989): 352–57. http://dx.doi.org/10.3169/itej1978.43.352.
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Almahallawi, Wesam, and Hasmah Zanuddin. "50 Days of War on Innocent Civilian: Ma’an News Agency Coverage of Israeli and Palestinian Conflict." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 420. http://dx.doi.org/10.14419/ijet.v7i3.21.17204.
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Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.
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Almahallawi, Wesam, and Hasmah Zanuddin. "50 days of war on innocent civilian: Ma’an news agency coverage of Israeli and Palestinian conflict." International Journal of Engineering & Technology 7, no. 4.9 (October 2, 2018): 145. http://dx.doi.org/10.14419/ijet.v7i4.9.20635.
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Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.
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Corral-De-Witt, Danilo, Sabbir Ahmed, Faroq Awin, José Luis Rojo-Álvarez, and Kemal Tepe. "An Accurate Probabilistic Model for TVWS Identification." Applied Sciences 9, no. 20 (October 10, 2019): 4232. http://dx.doi.org/10.3390/app9204232.
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Television White Spaces (TVWS)-based cognitive radio systems can improve spectrum efficiency by facilitating opportunistic usage of television broadcasting spectrum by secondary users without interfering with primary users. Previously applied models introduce missed detection errors, giving a limited estimation of the spectrum occupancy, which does not correspond to the reality of its usage, hence resulting in a partial waste of this resource. Considering jointly parameters like false alarm probability and detection probability, this article proposes a probabilistic model that can identify TVWS with improved accuracy. The proposed model considers energy detection criteria, combined with simultaneous sensing of the noise and of the signal from primary users. In order to demonstrate the model effectiveness, a low-cost Mobile Spectrum Sensing Station prototype was designed, implemented, and subsequently mounted on a vehicle. More than eight million spatio-temporally variant data samples were collected by scanning the UHF-TV spectrum of 500–698 MHz in the city of Windsor, ON, Canada. Analysis of the collected data showed that the proposed model achieves an accuracy improvement of about 9.6% compared to existing models, demonstrating that TVWS vary with spatial displacement and increasing significantly in the rural areas. Even in the most crowded spectrum zone, about 28% of the channels are identified as TVWS, and this number increases to a maximum of 60% in less crowded regions in urban areas. We conclude that the proposed model improves the TVWS detection compared with other used models, and also that the elements considered in this research contribute to reduce the complexity of the mathematical calculations while maintaining the accuracy. A low-cost open-source sensing station has been designed and tested, which represents an operative and useful data source in this setting.
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Rahmani, Sari, and Irma Suryani. "Analisis Kritis Program Tayangan Asing di Televisi Swasta Indonesia." Jurnal Komunikasi Global 10, no. 1 (June 30, 2021): 101–19. http://dx.doi.org/10.24815/jkg.v10i1.20233.
Full textAbstract:
Indonesia telah mengatur pembatasan tayangan asing di layar stasiun televisi dalam negeri. Regulasi tersebut tertuang dalam Undang-Undang Penyiaran Nomor 32 Tahun 2002 Pasal 36 ayat 2 yang mewajibkan setiap stasiun televisi untuk menayangkan sekurang-kurangnya 60% tayangan produksi domestik. Penelitian ini bertujuan untuk menganalisis permasalahan tayangan asing di televisi Indonesia dalam perspektif kritis industri budaya. Metode yang dilakukan adalah metode kualitatif studi kasus. Pengambilan data dari berbagai studi dokumen dan wawancara. Data yang telah dikumpulkan dianalisis dengan teknik pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa stasiun televisi swasta melanggar ketentuan mengenai muatan tayangan asing. Ada dua masalah utama tayangan asing di televisi Indonesia. Masalah pertama adalah lemahnya peran negara terhadap penyiaran di Indonesia. Kedua adalah masalah ekonomi media khususnya terkait dengan pekerja media. Indonesia issued the law regarding the limitation of foreign television programs in 2002. In Article 36, paragraph 2 of Law No. 32/2002 stated that every television station is obligated to broadcast domestic programs at least 60 percent of the total content. This research aimed to analyze foreign programs in Indonesia through a critical thinking perspective. This research adopted a study case, qualitative approach. Data collection was done through interviews, documents study. The collected data were analyzed by data collection, reduction, display, and conclusion drawing. The findings showed that The results showed that private television stations violated the provisions regarding the proportion of foreign programs. There were two main problems that emerge from foreign programs in private TV stations. The first problem was the weak role of the state in broadcasting in Indonesia. The second was the problem of the media economy, especially related to media workers.
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Treufeldt, Indrek. "Television News in the 1950s: New Medium in the Service of Soviet Power and Society." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 44–64. http://dx.doi.org/10.1515/bsmr-2015-0004.
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Abstract The article discusses the evolution of conventions for TV-journalism based on the early history of Estonian Television (ETV) news. ETV was launched in 1955, its founding was coordinated by the Soviet authorities in Moscow. Although one of the initial motivations for founding the station was to produce ideological programming directed to Finnish audience, the Estonian team within the institution used the new medium to develop a new nationally oriented media organization. Over time this new journalistic institution became increasingly established and standardized both in terms of its practices as well as its use of textual formats. As the authorities lacked a clear understanding of television’s specific journalistic means and affordances the governance of ETV became an object of a rather multilayered control system. The article analyses this complex system of institutional power distribution and discusses its effects on the evolution of “cognitive modalities” expressed in specific programming formats, especially in regard to mechanisms of representing time and space. Also the “interpretative modalities” or the various, often conflicting mechanisms of managing “collectively shared meaning-systems” are discussed. For instance, in response to ritualistic and non-dialogic elements of the program that were conditioned by the soviet ideological apparatus the local journalists also aimed at representing the quotidian experiences of the common men and at establishing relatively free and dialogic relationships with their audiences and with their sense of reality. As a result, the program evolved as a mixture both ideologically and modally different as well as, paradoxically, mutually conditioning elements.
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Dinata, Angel, Eko Harry Susanto, and Sudarto Sudarto. "Tinjauan Strategi Komunikasi Program Edutainment di Televisi." Koneksi 4, no. 2 (October 1, 2020): 324. http://dx.doi.org/10.24912/kn.v4i2.8155.
Full textAbstract:
Oh Gitu is one of the Edutainment genre programs that aired on Trans Tv television station. Oh Gitu has a goal to educate while entertaining his audience by choosing hosts from comedians. Information about public service, the production of a product, to the unique information about a culture that is still rarely known by people, is packed lightly by Oh Gitu. But unfortunately after 3 months from its premiere in November 2019, Oh Gitu had to stop airing at the end of February 2020. The purpose of this research is to determine the cause of the program Oh Gitu to stop airing and to know what kind of strategy the team is doing in an effort to attract the audience. In this research authors use qualitative methods of case studies to help achieve research results. Authors use data collection methods from interviews, Internet data observation, and data documentation. The results of this research author found that the edutainment program Oh Gitu stopped airing because more people are interested in pure entertainment program, decreased program rating, and strategy mistakes in promoting the program. And the authors hope, this research can be beneficial for Trans Tv in the future to be able to maximize the impressions and programs that educate for many people.Program Oh Gitu merupakan salah satu program bergenre Edutainment yang tayang di stasiun televisi Trans Tv. Oh Gitu memiliki tujuan untuk mengedukasi sekaligus menghibur penontonnya dengan memilih host dari kalangan komedian. Informasi mulai dari pelayanan umum, produksi suatu produk sampai informasi unik mengenai suatu budaya yang masih jarang diketahui oleh orang, dikemas secara ringan oleh Oh Gitu. Namun sayang setelah 3 bulan dari tayang perdananya bulan November 2019, Oh Gitu harus berhenti tayang pada akhir bulan Februari 2020. Tujuan penelitian ini adalah untuk mengetahui penyebab program Oh Gitu berhenti tayang dan untuk mengetahui strategi seperti apa yang dilakukan oleh tim dalam upaya menarik minat menonton masyarakat. Dalam penelitian ini penulis menggunakan metode kualitatif studi kasus untuk dapat mencapai hasil penelitian. Penulis menggunakan metode pengumpulan data dari hasil wawancara, observasi data internet, dan dokumentasi data. Hasil penelitian ini penulis menemukan bahwa program edutainment Oh Gitu berhenti tayang karena lebih banyak masyarakat yang tertarik dengan program pure entertainment, menurunnya rating tayangan, dan kesalahan strategi dalam mempromosikan program. Dan penulis berharap penelitian ini dapat bermanfaat bagi Trans Tv kedepannya untuk dapat memaksimalkan tayangan dan program yang mengedukasi bagi masyarakat.
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Maslina, Maria. "Survival of the Media in a Small Market: the Practice of Direct State Financial Support on the Example of the Grand Duchy of Luxembourg." Theoretical and Practical Issues of Journalism 8, no. 2 (May 24, 2019): 304–14. http://dx.doi.org/10.17150/2308-6203.2019.8(2).304-314.
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In this article, the author studies the current state of the system of direct financial support of the media in Luxembourg and further prospects for its development. Direct government support for the press has existed in the Grand Duchy since 1976. In accordance with the law for the promotion of the print media, newspapers receive subsidies, however, the press subsidy system is currently in the process of reforming. In 2017, grants for online media were first made available. In addition, discussions are underway to change the criteria for receiving financial assistance: if before the amount of the subsidy depended on the volume of publication (number of published pages), in the future it will depend on the number of journalists in the editorial office and, possibly, on the circulation or number of subscribers. Since 2021, the government plans, like press support, to allocate subsidies for RTL TV channels, but this decision is often criticized, because it is essentially a monopolization of RTL and threatens the disappearance of economically weaker broadcast stations, such as “L’essentiel Radio”, “Radio 100,7”. In this regard, many politicians are in favor of expanding the social and legal media sector, which is currently represented in the Grand Duchy only by the socio-cultural radio station “Radio 100,7”. In general, direct state support of the press (and from 2021 on television), which exists in Luxembourg, on the one hand, is one of the guarantees for the survival of economically weak media in a small market, on the other hand, it can be a danger to their political independence.