Television Industry Research Articles

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.

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.

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.

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.

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.

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.

Lesbian, gay, bisexual, transgender, and nonbinary representation on Australian scripted television in the 2000s and 2010s

Over the past few decades, there has been significant industry and scholarly interest in diversity, equity, and inclusion in television. Alongside this, attention has been paid to the politics of queer representation in screen and media contexts. Providing much-needed data on these issues, this article catalogues the representation of gay, lesbian, bisexual, transgender, and nonbinary characters in Australian scripted television since 2000. We highlight the inclusion of more queer characters onscreen and situate this in the context of two significant decades of change in the Australian television industry and the broader socio-political context. In teasing out recent trends around gender and sexually diverse representation, we identify shifts toward representing more complex and inclusive queer story worlds on Australian television. We also note significant tensions in these representations, highlighting how Australian television remains quite conservative in depicting queer sex, intersections between sexualities and gender identities, and bisexual identities.

A Brief Analysis of English Film Title Translation from the Perspective of the Strategies of Domestication and Foreignization

The film is a highly influential and popular audio-visual art. The title of a movie is the epitome and essence of its content. Films are both cultural arts and commercial products. An excellent film title translation plays an important role in promoting film transmission, which includes social functions such as conveying film information, showing the beauty of language and promoting box office revenue. As the continuous deepening of globalization and the prosperity of the China's film and television industry, there is an increasing number of foreign films entered the Chinese market and some influential and acclaimed Chinese films also accessed to international market. In this process, it is inevitable to involve the linguistic, cultural and aesthetic differences between the source language and the target language. Faced with the cultural differences in translation, the core issue is how to flexibly use translation strategies to have the translation of film titles to be the best. This paper analyzes the application of domestication and foreignization strategies in the process of translating English film titles, and discusses the interrelationship between these two strategies, the effects they achieved respectively and the development trend of them.

DIGITAL CONVERGENCE AND VALUE CREATION: TVONE’S STRATEGIC ADAPTATION TO THE DIGITAL LANDSCAPE

In the wake of the Analog Switch Off (ASO) in Indonesia since November 2022, the traditional television industry faces significant challenges, including a decline in viewership and a fiercely competitive advertising market. With over 40 digital channels available in Jakarta alone, compared to just 11 national television stations previously, and the growing dominance of digital media, traditional broadcasters are compelled to adapt. This study focuses on tvOne, a conventional television broadcaster, and its strategic responses to these challenges. Our research methodology employs a qualitative approach in order to extract valuable and insightful information from highly knowledgeable sources. To achieve this, we have conducted interviews with seasoned policymakers in tvOne's business strategy, as well as with professionals working in the digital division. By doing so, we aim to obtain a comprehensive understanding of the subject matter at hand. This will enable us to present a comprehensive and accurate report that will benefit the industry as a whole. The analysis reveals how tvOne leverages media convergence to transform digital threats into opportunities for value creation. Specifically, it explores tvOne's use of news broadcast footage and digital platforms like YouTube to carve out new economic niches. This case study contributes to the understanding of how television stations can utilize technology advancements to enhance the value of their offerings. It offers valuable strategies and recommendations for broadcasters navigating the rapid technological evolution in the digital era, underscoring the importance of adaptation and innovation in sustaining relevance and competitiveness

Building and sustaining freelance careers in a small nation: the case of Cardiff’s film and television industries

Building and sustaining freelance careers in a small nation: the case of Cardiff’s film and television industries

The Promotion of Traditional Values through Films and Television Programmes: The Moscow Patriarchate and the Orthodox Encyclopaedia Project (2005–2022)

On 26 May 2011, the Russian People’s World Council issued a document entitled The Basic Values: The Fundaments of National Unity. The document, prepared by the Synodal Department for Church–Society Cooperation, provided a catalogue of 17 traditional values whose general framework was constituted by a combination of freedom, unity, patriotism, family, and devotion. At that time, the Moscow Patriarchate considered religious faith to be the foundation of traditional values and it continues to do so. The defence and promotion of traditional Russian spiritual and moral values were also central in the Russian National Security Strategy (2015); this was the case in the updated version of this document as well, put out in July 2021. Furthermore, they have been the core of the Moscow Patriarchate’s participation in the Council of Europe and of Patriarch Kirill’s speeches about the war in Ukraine. Finally, on 9 November 2022, The Foundations Of State Policy For The Preservation Of Spiritual And Moral Values was approved. This framework permits us to understand the strict interplay between the Church and the State in the Russian Federation and to see why it is important to refer to the concept of post-secularism when talking about the role of religion in post-Soviet Russia. Proceeding from the Abstract, the present paper aims to analyse this interplay in a specific sector of visual culture: the cinema and television industries. Manuel Castells highlighted the relevance of cultural values in the age of information and the connection between the values and social mobilization that follows it. He pointed out that the Internet has become a way to render this connection predominant, inevitably leading to the development of social movements and networks that have a religious basis. This is unquestionably true; surveys conducted by the Russian Public Opinion Research Center (OJSC «VCIOM») and by Nevafilm Research confirm that a high percentage of Russians watch films not only at the cinema or on television (especially the older generations) but also on the Internet (as far as the younger generations are concerned). The importance of this market is also confirmed by the success of the cinema and TV distributor Orthodox Encyclopaedia (2005); in the words of the philosopher Sergei Kravets, who, commenting on it during an interview published in 2006 by the website Sedmits.ru, declared that the expression “orthodox cinema” can be understood as a way to express Russian culture. He asserts that “the fact that today Orthodox films have begun to appear on the central TV channels testifies that Russian film producers and viewers have apparently begun to be aware of themselves as Orthodox, to feel that they are bearers of a special Orthodox culture. [..]”. At the same time, consideration should be given to the importance of the Russian Orthodox Church and the Minister of Culture’s condemnation of films such as Matilda or Monastery. In addition, it is important to consider that, according to a survey conducted in 2022 by the Levada Center, Russian people consider television the most reliable source of information (54%). The long-term implications of this tendency may have very important effects, not only in terms of its objectives but also in terms of the consideration that, after the beginning of the war, many Western film distributors withdrew their licenses from Russia. This paper will analyse “the effect of religion on the institutional system, the regulatory environment of the media and the public sphere” by studying the features of films and TV programs distributed by Orthodox Encyclopaedia, their relations with traditional values promoted both by the Kremlin and the Church, how these have contributed to strengthening the interplay between the Minister of Culture and the Moscow Patriarchate, and the impact this process has had on Russian society and Russia’s relations with the European and Western World in the 2005–2022 period. A list of the films and TV programs being discussed will be provided, and then statements about the project and reviews of the serials and films will be analysed. The analysis will be conducted mainly through the official sites of the Russian Orthodox Church and the Kremlin and by browsing the Integrum database.

The Impact of Brand Awareness, and Product Attributes to Increase Purchase Intention (Study Case: Transvision)

In the dynamic landscape of the Indonesian television industry, the rise of over-the-top (OTT) services poses a major challenge to traditional pay-TV providers such as Transvision. Intense competition from emerging OTT providers in Indonesia requires innovative strategies to secure customer acquisition. Indonesia is one of the fastest growing pay-TV markets, with a predicted CAGR of 5% and revenue projections of $633 million by 2025. The demographic differences between OTT and pay TV users, highlight the need for a customized marketing approach. In detail, Transvision, which offers pay TV services through Android TV box devices, faces hurdles in terms of market penetration and brand recognition. This study aims to propose an effective transvision marketing strategy while considering the complex dynamics of the evolving television landscape in Indonesia. Using a quantitative approach, the research conducted an examination of customers and hypothesis testing, administering surveys to android TV box users in the Jabodetabek area. The data, processed through SEM-PLS, indicated that social media marketing and electronic word of mouth positively impact brand awareness. Furthermore, significant product attributes, including variety of content and additional features, subscription package price, and payment method options, were found to influence purchase intention. The study concludes that both brand awareness and product attributes play pivotal roles in shaping purchase intention.

Director for hire? Negotiating creativity and work in the Irish television sector

The television industry has deep-rooted neoliberal employment structures, and this article explores how the non-fiction television director negotiates this contingent working environment. Research has established that creative workers adapt themselves to the demands of a post-Fordist ‘gig economy’, characterised by casual, non-permanent work, with little security or accountability. However, relatively little is known about how non-fiction television directors respond to that context, especially in the Irish case. In-depth interviews were conducted with a purposeful sample of 12 freelance television directors. Key findings note the layers of control wielded by broadcasters over the working life of the director. Identifying the negative effect of broadcasters’ dominance in the sector, they revealed a three-line whip of control through budget, creative direction, and a risk-averse approach to programming, which effectively constrained the directors and reduced their autonomy. The directors described how broadcasters’ control over budgets means that the sector is run at their command, a situation that is further aggravated by Ireland’s lack of trade union representation, stagnant pay rates and the absence of intellectual property rights accruing to directors’ work. Respondents proposed that their status was reduced from creative auteur to operational functionaries, reporting the negative impact of the industry work culture and practices on their self-esteem, because their creativity and work were undervalued. This article breaks new ground to explore directors’ responses to the conditions of the gig economy and link the alienation of labour to the loss of creativity in content. There was an acceptance by non-fiction directors of the status quo, which was seen as the ‘price’ of a non-routine life, with the freedom to indulge the passion and the pleasure inherent to making television. Moreover, respondents also revealed how they maintained their creative identity despite their circumstances, through the pursuit of their own work and through the support of peers. Crucially, respondents argued for a repositioning of the television director to reflect their status and role in the origination and creation of novel content, and proposed such recognition might better serve the television viewer.