Television Content Production Research Articles

Retracted: Optimization of Self-Media Film and Television Content Production and Dissemination Paths under the Background of Artificial Intelligence

Retracted: Optimization of Self-Media Film and Television Content Production and Dissemination Paths under the Background of Artificial Intelligence

Optimization of Self-Media Film and Television Content Production and Dissemination Paths under the Background of Artificial Intelligence

The development of Internet technology and cloud computing has promoted the rapid development of self-media technology. The self-media technology has better people-friendliness compared to the traditional media communication mode, so it has gained more popularity compared to the traditional media mode. For professional self-media teams, the popularity and clicks of self-media content are very critical. It needs to make corresponding predictions and judgments according to the content and transmission path of the self-media. However, self-media is transmitted in the form of video, which involves a huge amount of data. This team of self-media staff is a more difficult and tedious task. This study uses the atrous convolution and long short-term memory neural network to predict the video content, sound features, and propagation path of self-media technology. Atrous convolution is more suitable for research objects with more data. The research results show that the atrous convolution and LSTM methods have better feasibility and credibility in predicting three special characteristics of self-media. Compared with a single atrous convolution, the feature prediction errors of the three kinds of self-media are smaller by using the atrous convolution and LSTM hybrid method. The largest prediction error is 2.39%, and this part of the error is mainly due to the sound characteristics of self-media technology.

Semi-supervised audio-driven TV-news speaker diarization using deep neural embeddings.

In this paper, an audio-driven, multimodal approach for speaker diarization in multimedia content is introduced and evaluated. The proposed algorithm is based on semi-supervised clustering of audio-visual embeddings, generated using deep learning techniques. The two modes, audio and video, are separately addressed; a long short-term memory Siamese neural network is employed to produce embeddings from audio, whereas a pre-trained convolutional neural network is deployed to generate embeddings from two-dimensional blocks representing the faces of speakers detected in video frames. In both cases, the models are trained using cost functions that favor smaller spatial distances between samples from the same speaker and greater spatial distances between samples from different speakers. A fusion stage, based on hypotheses derived from the established practices in television content production, is deployed on top of the unimodal sub-components to improve speaker diarization performance. The proposed methodology is evaluated against VoxCeleb, a large-scale dataset with hundreds of available speakers and AVL-SD, a newly developed, publicly available dataset aiming at capturing the peculiarities of TV news content under different scenarios. In order to promote reproducible research and collaboration in the field, the implemented algorithm is provided as an open-source software package.

New Broadcasting Ecosystem and the Second Screen Phenomenon in Turkey: Case Study on the Serial Insider

Traditional television broadcasting has shown a significant change with the convergence to the new media environment. This convergence has changed the traditional ways of television content production and consumption. The audience has become the most important actor in the broadcasting industry, and new mediums and platforms, such as second screen applications and social TV, have gained importance in television broadcasting. This article discusses the transformation of television broadcasting from the second screen phenomenon and the new broadcasting ecosystem through the case of the Turkish serial Insider. The participation of the audience as a producer and consumer, the changing industry strategy, and the new ways of brand integration in this new broadcasting environment were examined through content analysis. The analysis results reveal the audience management strategies of the Turkish broadcasting industry and the audience’s position as producer and consumer in this new ecosystem.

Attaining Legitimacy in Temporary Business: The Case of New Entrepreneurs in the Television Industry

This work seeks to identify behavioral processes that new entrepreneurs can adopt to construct legitimacy in frequently changing temporary business environments. Focusing on independent television content production in the UK, the study finds that new entrepreneurs exploit the varying roles that their projects can play and then sequence these in order to tailor the legitimacy they need to build their business. This research draws on a 5‐year inductive study of 81 projects won by entrepreneurs of five new independent television production companies.

Television production, Funding Models and Exploitation of Content

El creciente aumento de las plataformas digitales está transformando las estrategias de financiación de los medios de comunicación para la producción y la explotación del valor económico de los contenidos creativos. En la industria de la televisión, los cambios que se han producido en las tecnologías de distribución y la aparición de servicios VOD (video bajo demanda) como Netflix están cambiando gradualmente tanto al público como el poder financiero de los radiodifusores, al tiempo que está generando oportunidades sin precedentes para los realizadores de programas. A partir de los resultados de un reciente investigación financiada por la RCUK (Research Councils UK), este artículo examina cómo estos cambios están afectando a la financiación de la producción de contenidos para televisión. En particular se centra en evaluar los cambios en las dinámicas de los mercados de derechos así como los nuevos enfoques estratégicos para la financiación<br />de la producción de la televisión con el fin de comprender el valor que tienen para los mercados, las industrias y las políticas destinadas a apoyar la sostenibilidad económica de las empresas de producción de contenidos televisivos independientes.

Book Review: Popular Media, Social Emotion and Public Discourse in Contemporary China, by Shuyu Kong

Popular Media, Social Emotion and Public Discourse in Contemporary China. Shuyu Kong. London, UK: Routledge, 2014. 168 pp. $140 hbk.China is global force that has risen to prominence in the last two decades, and books that provide insights into the various aspects of media in China are needed to better our understanding of the changes that have been taking place there. Hence, Shuyu Kong's highly readable book, Popular Media, Social Emotion and Public Discourse in Contemporary China is welcome addition to the existing literature in this field. She captures the trials and tribulations, hardships and benefits, and joys and sorrows experienced by people in rapidly changing China through an analysis of audiences' emotional online responses to variety of media content in modern-day China. The author has effectively portrayed the changing media content and habits and public opinion within the historical, political, and socioeconomic context of country in transition.Many factors have led to wider choices in media content for viewers in China. These factors include commercialization of media, increasing popularity and diffusion of the interactive aspects of the Internet and social media, investment of domestic private capital, and participation of non-state business organizations in television content production. The book is divided into six chapters, each focusing on case study of specific type of media content, including film, television drama, reality shows, dating shows, and military and spy shows. Several of these shows are directly connected with important social issues confronting the Chinese. Some of the shows are local adaptations of shows that are popular in America, Russia, and other countries. The book is based on extensive research and analysis of the media content and its context, reviews of the shows, and discussions by fans of the films and television shows in online forums.The market economy in China provides more freedom to media content producers. However, the state keeps close watch or is itself involved in the production of content. Kong observes that state monopoly has been replaced with a new kind of commercial monopoly based on capital-albeit frequently mixture of political and economic capital leading to the growth of blockbuster megafilms such as Aftershock (Tangshan da dizhen). Aftershock, joint production of Tangshan municipality and two other firms, cost 120 million yuan and deals with the 1976 earthquake in Tangshan that took 240,000 lives. The film was government effort to reconstruct the image of Tangshan. Based on novella, the film emphasized family values and morals and allowed the nation to mourn the tremendous loss they had suffered in this natural disaster. Crying Your Heart Out (Youlei jingling liu), TV drama, one of the many in the 1990s on the theme of laid-off women workers, received high audience ratings and provided audiences with similar opportunity to empathize with others who had suffered job losses. …

Foreign market entry as network entry: A relational-structuration perspective on internationalization in television content production

Summary Our study of German television content production firms entering the Hungarian market and other markets, and of U.S. firms entering the German market shows that foreign market entry in this industry often takes the form of network entry and, in some cases, collective network entry. The network orientation is the preferred strategy, to help firms cope with the often substantial “cultural discount” on their products. To interpret these observations, we extend the network approach of the Nordic school of international business research and distinguish between networks as a (relational) perspective and a form of governance. Our data show that, in this industry, different “market” entry strategies are implicated in network entry. Foreign market entry is a process that includes a dynamic mix of market, hierarchical, and network arrangements. Using ideas from Giddens’ (1984) structuration theory, we conceptualize foreign market entry as a process driven by the recursive interplay of knowledgeable agents and the social structure of organizational networks and fields.

The Institutional Embeddedness of Project Networks: The Case of Content Production in German Television

Project networks are an organizational form of production and exchange among functionally interdependent but legally autonomous firms and individuals. Although these networks are of limited duration, co-ordination of actors and activities takes place with respect to past experiences and future expectations. Project networks depend on supportive institutions in the surrounding organizational field to provide the regulative and normative resources within which practices are given meaning. In this paper, we explore the role of 'institutional thickness' for the performance of project networks in television content production in two media regions in Germany. We use GIDDENS', 1984, structuration perspective, to emphasize the dynamics and ambiguities of institutional processes. The analysis suggests that the two media regions differ in institutional thickness in ways which explain, at least in part, differences in the growth and viability of project networks. Les réseaux de projet constituent une forme organisationnelle de production et d'échange parmi des entreprises et des individus qui sont interdépendants du point de vue fonctionnel mais autonomes sur le plan juridique. Malgré la durée de vie limitée de ces réseaux-là, la coordination des acteurs et des activités a lieu en fonction des expériences du passéet des attentes futures. Les réseaux de projet dépendent des organismes de soutien situés dans le domaine organisationnel environnant afin de fournir les ressources régulatrices et normatives au sein desquelles les pratiques se voient donner un sens. Cet article cherche à examiner le rôle de l'ancrage institutionnel pour ce qui est de la performance des réseaux de projet dans la production du fond et de la forme dans la télévision de deux régions d'importance médiatique en Allemagne. On se sert de la perspective stucturante de GIDDENS, 1984, pour souligner la dynamique et l'ambiguité des processus institutionnels. L'analyse laisse voir que deux régions se distinguent du point de vie de leur ancrage institutionnel d'une façon qui explique, du moins en partie, les différences de la croissance et de la viabilité des réseaux de projet. Projektnetzwerke sind eine Organisationsform ökonomischer Aktivitäten von zwar rechtlich selbständigen, jedoch funktional interdependenten Unternehmungen bzw. Unternehmern, die für eine begrenzte Zeit--ein Projekt--zusammenkommen, ihre Zusammenarbeit allerdings im Lichte ihrer bisherigen Erfahrungen und im Schatten ihrer zukünftigen Erwartungen koordinieren. Projektnetzwerke sind dabei auf die Unterstützung durch Institutionen in dem organisationalen Feld angewiesen, die ihnen den Zugriff auf Ressourcen ermöglichen und Sinn und Legitimität verfügbar machen. In diesem Beitrag wird die Rolle von "institutional thickness" für die Performanz von Projektnetzwerken im Feld der Content-Produktion für das Fernsehen in zwei deutschen Medienregionen untersucht. Dies geschieht auf der Grundlage der Giddens' schen Strukturationstheorie, die die Dynamik und Ambiguität von Institutionalisierungsprozessen betont. Die Analyse zeigt, dass die zwei untersuchten Regionen sich hinsichtlich der institutionellen Dichte signifikant unterscheiden. Dies erklärt--zumindest zum Teil--die Wachstums- und Erfolgsdifferenzen der Netzwerke und Regionen.

Reactions to globalisation by the television industry in post-apartheid South Africa

ABSTRACT This article discusses the different ways in which the South African television industry has reacted to globalisation forces during the post-apartheid era that started in the early 1990s. Of particular interest is how the local television industry initially planned political and economic reforms aimed at bringing the industry more in line with global trends, but then later reacted mainly to protect the local television production industry against foreign competition and to protect local viewers against perceived cultural imperialism impacts of foreign programs. These protective actions were however not as successful as was intended with regard to promoting local television content production. The paper discusses the underlying dynamics of the globalisation and the various localisation processes that occurred (varying chronologically from primary, to secondary, to tertiary localisation), as well as the ways in which television industries in other parts of the world have reacted to similar global forces. It is contended that the local South African television production industry stands to benefit most in future if broadcasting policy makers respond more pro-actively to opportunities offered by global technological forces operating upon the industry. This is in agreement with the thrust of the latest broadcasting policy process of the Department of Communication. It is concluded that a recent joint initiative by the country's two major broadcasters in which an increased number of both locally produced and other “African” programs are being broadcast via satellite to prospective geo-cultural markets in the rest of Africa, holds promise for the future viability of the South African television industry.