Television Industry Research Articles

The emergence of virtual production – a research agenda

Virtual production is increasingly seen as a way to make film and television more efficiently by harnessing the power of game engines to create unique locations and sets, offer directors more flexibility, and to cut carbon emissions. But while the technologies at the centre of virtual production are not new, their combination into filmmaking pipelines is in its infancy and the field is evolving fast. Indeed, so rapid is its evolution that pinning down what virtual production is, or might become, is a challenge in itself. What is clear, however, is that the approach is seen as an important element of filmmaking that is here to stay. In this article, we outline the emergence of virtual production and constituent technologies to pin down its current form. We also examine the emergent orthodoxies about what virtual production can do, what it can’t do and what it might allow filmmakers to do in the future. We finish the article by outlining a research agenda for further work on virtual production for scholars interested in its technologies, impact on working practices, how it might impact equality, diversity and equality agendas, and its implications for existing and emerging skills gaps across the film and TV industry.

“‘We Hope They Forget COVID Exists’: Pandemic Dissonance in HGTV’s Evergreen Escapism”

This article analyzes American cable channel HGTV’s programing strategies in response to the COVID-19 pandemic, and specifically their construction of a “COVID-free” fantasia in their series Home Town and its spinoff, Home Town Takeover. By considering this response through the lens of dissonance, I argue that while the network originally emphasized their social responsibility to mitigating the spread of the virus, their business model incentivized them to move past the virus more swiftly than other channels, pushing the labor of mediating dissonance onto their on-screen talent and their audience. This case study foregrounds how variables like genre, channel, and audience shaped the television industry’s response to the pandemic, with HGTV’s business model built on “evergreen” reality programing leading them to abdicate principles of social responsibility both more quickly and more thoroughly, despite numerous options that would have addressed the dissonance of COVID in a more balanced fashion.

The good manager in TV: tales for the Twenty-first century

The UK Creative Industries provide meaningful employment to more than two million people (Creative Industries Council, 2022) with opportunities for self-actualisation and satisfaction beyond what many jobs can provide. This is so particularly within the television industry where, since 2015, new streaming services have massively expanded demand for content and consequently employment. Such opportunities, however, have been heavily dependent upon a freelance workforce, whose experience is often characterised by financial insecurity, poor work-life balance, and lack of coherent career structure or support, within a system that predicates against diversity. This article sets out to address some of these issues and their solutions by offering, and problematising, the concept of ‘The Good Manager in TV’. In 2021 the authors followed-up an earlier survey of management practices in unscripted TV production across the UK with a series of in-depth interviews with individuals who, in another context, would be characterised as ‘middle managers’. Our data suggests that the challenges faced by the would-be good manager in TV can seem overwhelming, evoking the predicament of Brecht’s Good Person of Szechwan. Yet it also points to solutions to those challenges. This article reviews our findings in order to answer the following questions: What does it mean to be a good manager in the volatile, project-based, context of TV production? What are the challenges faced by those who aspire to fill the role? How can such challenges be addressed across this evolving creative industry?

The Theme Park as Simulation of American Rape Culture: #MeToo and the Problem of Justice in HBO’s Westworld

Drawing on Jean Baudrillard’s theorizing of the theme park, this study recognizes the TV show Westworld (2016-2022) as a simulation of contemporary America with intriguing questions about rape culture and justice in a post-#MeToo moment? In seasons 1 and 2, android characters like Dolores (Evan Rachael Wood), Maeve (Thandiwe Newton), and Akecheta (Zahn McClarnon) are violated but rebel against sexist and racist programing, and the “Man in Black” represents the violating nature of the stereotypical, Western hero. The principles of the Old West, like benevolent violence, are reflected in a TV industry where the actors of Westworld document their own violation in #MeToo artifacts, such Wood’s documenting of abuse in Phoenix Rising (2022), and interviews with Newton. In thinking about justice, Westworld falters, because it frames redress only in terms of further violence and revenge. Wood and Newton, however, represent the prevention of future violence, offering a possibility of justice.

Study on the Influence of Tiktok on the Bridging of The Digital Divide of Zhejiang Residents

China's digital economy is at a stage of rapid development, the digital economy has become an important engine to promote China's economic development, and our society is developing in the direction of digital. While vigorously supporting the development of digital economy, we should also be vigilant about the existence of digital divide, pay attention to the coordination between the two, and strive to bridge the digital divide is imminent. Short video users account for more than 88% of the current Internet users in China, and Tiktok is the top application in the short video industry, which plays a non-negligible role in bridging the digital divide. Therefore, this study takes the influence of Tiktok on the bridging of the digital divide of Zhejiang residents as the research theme, and carries out the design and research of its research program.

The concept of normalization in the production of LGBTIQ+ media imaginaries: the scriptwriters’ conceptions

Abstract The representation of the LGBTIQ+ community in TV series has received major attention from academia, mostly from textual and reception perspectives. However, the creative and industrial processes behind the production of media content, including the writers’ views and experiences, remain under-explored, especially outside of the United States and Northern Europe. Drawing on Queer Production Studies, this research seeks to fill this gap in Queer Media Studies by examining Spanish screenwriters’ experiences and conceptions regarding the creation of fictional LGBTIQ+ characters for TV shows, and observes how the broadcasting industry influences this process. Semi-structured interviews were conducted with 19 Spanish screenwriters. Following thematic analysis informed by grounded theory, the main results show that normalization guides the creation of LGBTIQ+ characters, although there are differences in the way screenwriters define this concept. Moreover, the narrative exposition of the intimate lives of LGBTIQ+ characters emerges as the main dilemma in that normalization. Likewise, scriptwriters perceive ambivalent attitudes from the TV industry: Whereas the inclusion of LGBTIQ+ characters seems mandatory these days, there are fears that this might lead to low viewing figures or of reputations being tarnished by negative criticism. The results of this investigation further our understanding of how the concept of normalization shapes the creation of LGBTIQ+ media representations as perceived by professionals who play significant roles in their production. These findings contribute to the advancement of knowledge within LGBTIQ+ media studies and the construction of queer media representations. They also expand the scope of the under-explored field of Production Studies and diversify its geographical area of study.

Application of Intelligent Algorithms and Big Data Analysis in Film and Television Creation

With the rapid development of social media, people can access a large amount of data in a short period of time, and big data technology has emerged. With the vigorous development of cloud computing and big data, the method of mining audience interests through a large amount of data to guide film and television creation has attracted more and more attention from experts and scholars. In order to understand the current situation of film and television drama creation in China and provide suggestions for the shortcomings in the industry, this article mainly analyzes the application of intelligent algorithms for traffic prediction models and big data analysis in film and television creation. This intelligent algorithm can predict the potential audience of movies or TV dramas, helping producers and investors make decisions. This system utilizes artificial intelligence technology to select suitable actors for characters based on their matching degree and past work performance. This article applies intelligent algorithms to big data processing to improve the accuracy of data processing. This article explores the application of intelligent algorithms and big data analysis in film and television creation. Using machine learning algorithms to predict the potential audience of a movie or TV series based on historical data, providing decision-making basis for investors and producers. This system utilizes AI technology to select suitable actors for characters based on their matching degree with characters and past work performance, improving the scientific and accurate selection of roles. The application of these technologies helps to improve production efficiency and quality, reduce costs and risks, and inject new impetus into the sustainable development of the film and television industry.

Impacts of Short Video to Long Video and the Corresponding Countermeasures: Taking Tencent Video as an Example

The video industry is a comprehensive field that integrates multiple attributes such as culture, technology, and economy. It uses artificial intelligence and high-tech means as a communication medium, with film and television entertainment content as its core, and has become an important part of the tertiary industry. At the same time, the video industry has a profound impact on people's living conditions and spiritual world. With the rapid rise and prosperity of short videos in recent years, the traditional video industry has been greatly impacted. Taking Tencent Video as an example, this article deeply analyzes the impact of short videos on long videos in terms of copyright and profit and proposes feasible measures to promote Tencent Video to adjust its profit structure and development layout, and further promote the new development of the long video field.

Application of AIGC in the design of film and television props

This paper discusses the application, influence and long-term value of AIGC in film and television props design. Through deep learning and intelligent algorithms, AIGC technology can quickly generate high-quality film and television prop design schemes, improve design efficiency and accuracy, and save time and labor costs for film and television production. At the same time, AIGC technology can also promote the innovation of film and television props design, stimulate the creative inspiration of designers, and create more diverse design styles. In addition, AIGC technology can intelligently recommend and optimize the design scheme according to the audience 's preferences and needs, enhance the audience 's viewing experience, and enhance the attractiveness of film and television works. All in all, AIGC has important application value in the design of film and television props, and has injected new impetus into the innovation and development of the film and television industry. With the continuous progress of technology and the continuous improvement of application mode, it is believed that the application of AIGC in the design of film and television props will play a more important role and promote the innovation and development of the industry.

Research on Risk Management and Control of Chinese Film and Television Drama Production—The Case of ‘Ruyi’s Royal Love in the Palace’

With the gradual enrichment of material life, people’s spiritual needs are becoming increasingly large, stimulating the development of TV dramas. The Chinese Intellectual Property (IP) film and television industry has recently been enlarging. However, some risks are hiding in this new hit. This thesis analyzes the case of ‘Ruyi’s Royal Love in the Palace’, a famous and typical palace fighting drama that invested a lot of money and eventually became mediocre. This study lists the main risks and corresponding reasons for this failure and separates them into script, finance, policy, and marketing, which includes the problems of the creative environment and producers’ processing methods. This essay puts different suggestions to the official department and producers in these four perspectives to improve the current situation. However, this passage has some limits due to the lack of more convincing and authentic data to get an accurate conclusion. But if recommendations can be implemented, it will greatly improve China’s film and television drama creation environment.

Navigating the New Age: Exploring Operations and Modern Business Models in Film and Television Production

This article explores the dynamic film and television industry’s operational system and diverse business models. The industry has adapted its strategies in response to globalization, technological advancements, and changing consumer behaviors. The operational system encompasses stages from development to exhibition, ensuring creative ideas translate into compelling content. Business models include the product-oriented, market-oriented, and Business Model 2.0. The digital revolution has ushered in the Long Tail, DIY, and 360-degree models, reshaping distribution and engagement. Applying field theory, the article examines the industry as a structured field where actors vie for different capitals. This multidimensional analysis deepens our understanding of how these models drive the industry’s evolution. The article discusses how the relationship between creating content and making money has become more complex due to the growth of streaming platforms and online distribution. This has led to a need for new ways to make money from content, such as subscription services, ads, and pay-per-view. The industry is focused on finding ways to make consistent profits.

An empirical assessment of the use of an algorithm factory for video delivery operations.

Video service providers are moving from focusing on Quality of Service (QoS) to Quality of Experience (QoE) in their video networks since the users' demand for high-quality video content is continually growing. By focusing on QoE, video service providers can provide their subscribers with a more personalized and engaging experience, which can help increase viewer satisfaction and retention. This focus shift requires not only a more sophisticated approach to network management and new tools and technologies to measure and optimize QoE in their networks but also a novel approach to video delivery operations. This paper describes the components, interactions, and relationships of an algorithm factory for video delivery operation that assures high QoE for video streaming services. The paper also showcases the results of gradually implementing an algorithm factory in the video industry. Using a dataset from 2016 to 2022, we present the case of a European PayTV service provider that achieved improved performance measured by both objective and subjective metrics. The use of an algorithm factory significantly improved the PayTV service provider's performance. The study found a fivefold increase in the speed of critical incident resolution and a 59% reduction in the number of critical incidents, all while expanding the customer base and maintaining the same level of labor resources. The case also demonstrates a strong positive relation between the productivity measures of the PayTV operator and their survey-based quality ratings. These results underscore the importance of flawless QoS and operational excellence in delivering QoE to meet the evolving demands of viewers. The paper adds to the existing literature on relationships between operational efficiency, innovation, and subjective quality. The paper further offers empirical evidence from the PayTV industry. The insights provided are expected to benefit both traditional and over-the-top (OTT) video service providers in their quest to stay ahead in the rapidly evolving video industry. It may also translate to other service providers in similar industries committed to supporting high-quality service delivery.

There’s more to life than the monomyth: multiperspectival approaches to teaching narrative and story in university film and media departments

ABSTRACT This article critiques the ongoing dominance of the Hollywood monomyth in the film and television industry, at least in the UK if not more widely. It considers how this is impacting on the teaching of narrative and story in university film and media departments as they move towards stronger collaborations with industry. It argues for the importance of two-way dialogue to help equip students and their future employers for a world facing complex global challenges. Drawing on the author’s extensive experience in teaching and practice-led research, it advocates for a creative problem-solving approach which decentres conflict-driven models of narrative development, such as the Hero’s Journey, placing them alongside alternative models which engage with the relationship between conflict and harmony in a variety of different ways. Considering narrative structures such as Kishōtenketsu, indigenous storytelling methods and the author’s own work with the Polyphonic Documentary project, the need for a genuinely inclusive and expansive approach is brought to the fore. A mixed economy is considered to be essential, with experimental and traditional approaches preparing students for current industry demands whilst also encouraging them to shape future storytelling landscapes. The argument is made that this is crucial to foster a nuanced understanding of narrative and story that can respond creatively and effectively to the demands of a rapidly changing world.

The Influence of The Chinese Documentary A Bite of China Upon Short Videos of Food Scouts on Chinese Media Platform

In today's Internet fragmented information age, short video has become a popular information dissemination medium, and the short video industry also has a place in the category of new media. In short videos, the popularity of food shopping videos has been high. This paper mainly discusses the progress of short food shop video, and studies how it extracts inspiration from traditional documentary A Bite of China, emulates shooting methods, and integrates actual content with audience emotion. This can give people a better understanding of how short videos have improved by exploring the reasons for the popularity of food inspection videos. Through interviews with experienced food shop bloggers, this paper further explores the source of inspiration in the production of food videos and its impact on creators: Food documentaries, such as A Bite of China, help creators take many of the techniques of documentary and storytelling and apply them to their own video production, allowing creators to pay more attention to detail and personal style expression. The conclusion of this paper is that the blogger of food shop draws inspiration from A Bite of China, learns from the aspects of shooting more exquisite food scenes, video content and style, imitating the music, adding more science popularization, and integrating the audience's emotions, and has achieved great success in the short video of food shop.

Television News Broadcasting: Conformance to News Standards and Emotional Expression

With the progress of the era and the development of society, China's broadcast television industry has entered the era of all media. The industry level and technology have achieved a qualitative leap, which has placed higher demands on the professional capabilities of broadcasters and hosts. Language communication ability and emotional expression skills are an important part of the professional capabilities of frontline news broadcasters and hosts. Only by aligning news standards with emotional expression can news broadcasters and hosts convey the connotation and viewpoints of news accurately and vividly to the audience on the basis of standard news reporting, thereby achieving the optimal efficiency of news broadcasting.This study first clarifies the basic principles that television news broadcasting emotional expression should follow and the influencing factors of emotional expression in news television broadcasting language. Then, it explores specific pathways to enhance the ability of emotional expression in television news broadcasting language from aspects such as making good use of language and culture, switching to appropriate rhythms, revealing personal emotions, and enhancing details of life. This aims to provide references for research and practice related to news anchor reporting, discourse expression, and the teaching of broadcasting and hosting disciplines.

Analysis of the Role of Regulations for the Protection of Intellectual Property Rights and Technological Innovation on the Protection of Creativity in the Television Industry in Indonesia

The Indonesian television industry is undergoing significant transformation fueled by technological innovation and evolving regulatory frameworks surrounding intellectual property rights (IPR) protection. This research investigates the regulatory role of IPR protection and technological innovation on creativity within the Indonesian television sector through quantitative analysis. A sample of 150 stakeholders representing various industry segments participated in the study. Descriptive statistics, correlation analysis, and regression analysis were employed to examine the relationships between IPR protection, technological innovation, and creativity. The findings reveal positive correlations between IPR protection, technological innovation, and creativity, with stronger IPR protection and greater technological innovation associated with higher levels of creativity. Regression analysis further demonstrates the predictive power of IPR protection and technological innovation on creative output within the industry. These results underscore the importance of supportive regulatory environments and technological advancement in fostering creativity and innovation within the Indonesian television industry.

The effect of short game videos on consumers' willingness to purchase virtual items in games: A moderating effect based on game experience

With the popularity and development of new media, the short video industry has deeply influenced people's daily shopping behavior and entertainment activities. Similarly, with the development of Internet technology, the game industry is attracting more and more attention from game players and consumers. This study explores the impact of short game videos on gamers' willingness to purchase in-game virtual goods according to the SOR theoretical model and the moderating effect of external stimuli such as consumers' differences in game experience and perceived value on their willingness to buy game virtual products. Through a series of literature research and relevant data analysis and processing, this study confirms that some features of short game videos will not have a significant impact on consumers' purchase behavior, but most features will lead consumers to consume games. Features such as Validity and Serviceability, Interactivity, and Sociability are positively correlated with consumers' willingness on consumption, but Influenceability is not significantly correlated with consumers' willingness to buy. In addition, the game experience of consumers has a significant moderating effect, and the perceived value difference also has an important impact on their purchase behavior. The findings from this study can help the new media industry and the gaming industry to grasp the needs of young consumers, represented by university students, and to adjust their marketing strategies more effectively.

Развитие медиахолдинга в контексте формирования дуального рынка медиауслуг

The study of the national media market is particularly relevant because it is heavily influenced by political, information and production risks. Accumulating significant material, labor and information resources, the media market requires an analysis of the current state, trends and development prospects. The scientific works present the media business theory and its key concepts as well as, a new scientific direction media economics that studies economic laws in relation to the media business. However, there is still no single methodology for assessing the state of the media market, including regional. The markets of individual segments are mainly analyzed, for example, the television industry, online advertising, etc. In 2023 the national media market experienced an upsurge after the crisis of 2022, primarily due to the advertising market; it was influenced by such factors as the development of e-commerce, the emergence of new brands and promotion channels, digitalization, convergence and diversification. In addition to macroeconomic factors, the development of the regional media market is also influenced by regional factors due to the socio-economic development of the region. The analysis of the main socio-economic development trends of the Kemerovo region – Kuzbass uncovered the factors influencing the media market: demographic factor, agglomeration effect (North and South Kuzbass agglomerations), industrial production and its location income of the population. The analysis of the regional media market made it possible to assess organizations working in the field of information and communications, to draw conclusions about the predominant development of the advertising market, including outdoor advertising, and to determine the distribution of radio and the place of the Kuzbass Media Group in the market.

Frontiers: Pirating Foes or Creative Friends? Effects of User-Generated Condensed Clips on Demand for Streaming Services

The proactive removal of condensed clips from TikTok decreased demand for corresponding full-length originals by 3%, revealing their positive impact to TV industry.

Networks revisited: Social media, inequality and network culture in the independent television production sector

This article revisits an earlier investigation of the impact of networking practices on social inequality and creative work in the British independent television production sector. The original study analysed the role of networking as a means of finding work and developing a career, as well as highlighting the exclusion of individuals without high levels of cultural and social capital. The present study updates the earlier research, exploring how the rise of social media platforms has transformed the nature of social interactions and the implications of this for the television industry. The analysis focuses on the experiences of six of the original cohort of interviewees and six people who have entered the industry since 2015. The article examines interviewees’ social class through social origin, utilising the NS-SEC 3 class classification system, to explore the role that social class plays in networking, and whether the largely middle-class and exclusive milieu of TV production culture in the mid-late 2000s has become more or less inclusive in recent years. Through qualitative analysis of interviews, the study explores differences between the two groups in their experiences of networking, the affective costs of labour intensification, their attitudes towards inequality, and their tactics for navigating a highly socially stratified labour market. The article aims to contribute to a better understanding of the complex relationship between social networks, the television industry and wider social inequalities. The study suggests that the rise of social media has been a catalyst for a transformation in how social networking takes place in the television labour market, potentially opening up the industry but also reinforcing existing inequalities.