Abstract
This paper presents a Web intelligence portal that captures and aggregates news and social media coverage about “Game of Thrones”, an American drama television series created for the HBO television network based on George R.R. Martin’s series of fantasy novels. The system collects content from the Web sites of Anglo-American news media as well as from four social media platforms: Twitter, Facebook, Google+ and YouTube. An interactive dashboard with trend charts and synchronized visual analytics components not only shows how often Game of Thrones events and characters are being mentioned by journalists and viewers, but also provides a real-time account of concepts that are being associated with the unfolding storyline and each new episode. Positive or negative sentiment is computed automatically, which sheds light on the perception of actors and new plot elements.
Highlights
Television as a medium is currently undergoing significant systematic changes
This paper described the Westeros Sentinel, a Web intelligence application to analyze news and social media coverage about Game of Thrones, the American television series based on George R.R
The system’s capabilities to aggregate and analyze public discourse were presented using data collected during the television series’ fourth season that premiered on 2 April 2014
Summary
Television as a medium is currently undergoing significant systematic changes. A decade ago the experience of watching a television program typically involved one device (television) in one location (home), from a single source (station) and at a scheduled time (broadcast). The experience has become much more heterogeneous, with the introduction of a wide range of multimedia devices (PCs, smartphones, tablets, gaming consoles) and Internet video streaming services allowing users to consume old and new content at any time, at any place (Narasimhan & Vasudevan, 2012; Zeadally, Moustafa, & Siddiqui, 2011). New media technologies have added a new take on the social component of the television watching experience (Napoli, 2013). With these technologies comes a wealth of platforms, services and applications where audiences, but critics, actors, producers, and marketers alike can share their experiences, discuss important events, express views and provide interpretations.
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