Television Market Research Articles

Communication Policy to Reduce Health Disparities: A Cross-Language Content Analysis of YouTube Television Advertising

IntroductionThis study aimed to identify disparate health-related marketing across English- and Spanish-language television networks in New York City (NYC), ultimately to inform policy that can counteract disproportionate health-related marketing that provides harmful content to, and withholds beneficial information from, Latinx populations. MethodsA two-week composite sample of primetime English-language (NBC and CBS) and Spanish-language (Telemundo and Univision) television networks from YouTube TV was randomly drawn from September 7-27, 2022 in NYC. A total of 9,314 health-related television advertisements were identified for systematic media content analysis and coded into categories: alcohol, core or noncore foods/beverages, mental health/tobacco prevention, health insurance, medical centers, and pharmaceuticals. Analyses conducted in 2022-2024 included intercoder reliability, and descriptive and rate difference estimates using total advertisement broadcasting time in the full sample and sub-samples by language networks on YouTube TV. ResultsCompared to NYC primetime English-television networks, Spanish-television networks broadcasted greater health-adverse advertisements per hour for alcohol (Rate Difference [RD]=4.91; 95%CI=3.96,5.85) and noncore foods/beverages (RD=13.43; 95%CI=11.52,15.34), and fewer health-beneficial advertisements per hour for mental health/tobacco prevention (RD=-0.99; 95%CI=-1.45,-0.54), health insurance (RD=-1.00; 95%CI=-1.44,-0.57), medical centers (RD=-0.55; 95%CI=-1.23, 0.12), and pharmaceuticals (RD=-5.72; 95%CI=-7.32,-4.11). ConclusionsMulti-level policy innovation and implementation is required to mitigate primetime television marketing strategies that contribute to health inequities.

Algorithmic orientalism? Netflix’s representation of China in Brazil

For decades, the geopolitical domination of the United States remained almost unquestioned. However, other countries have emerged as poles of influence in recent years, including China and Brazil. Despite this, cultural and media interaction between the two countries is still limited and often mediated by the United States. This paper explores the algorithmic representation of China by the video streaming platform Netflix and argues that the company acts imperialistically by seeking to establish monopolistic control of the global Internet television market and promoting biases that we call ‘algorithmic orientalism’. By presenting China to the Brazilian public through this lens, Netflix plays the role of cultural gatekeeper that continues to promote hegemonically American worldviews.

Virtual Production: Real-Time Rendering Pipelines for Indie Studios and the Potential in Different Scenarios

This work aims to identify and propose a functional pipeline for indie live-action films using Virtual Production with photorealistic real-time rendering game engines. The new production landscape is radically changing how movies and shows are made. Those were made in a linear pipeline, and now filmmakers can execute multiple tasks in a parallel mode using real-time renderers with high potential for different types of productions. Four interviews of professionals in the Spanish film and television market were conducted to obtain the whole perspective of the new paradigm. Following those examples, a virtual production set was implemented with an Antilatency tracking system, Unreal Engine (version 5.3), and Aximmetry (version 2023.3.2) as the leading software applications. Results are commented on, presenting how all the work is currently closely connected between pre-production, shooting, and post-production and analyzing its potential in different fields.

Research on the Strategic Positioning of the Korean Mainstream Film and Television Market based on Netflix Platform

Researching the strategic position of the mainstream Korean film and television market based on Netflix will greatly impact the development direction of the mainstream Korean film and television market in the next decade. At the same time, it has also planned and broadened the possibilities and development potential of Asian film, television, and Netflix in the Asian market to a certain extent. This paper chose this topic because the cultural output of Korean movies and TV dramas has had a wide range of influence and appeal in recent years, and the quality of movies and TV dramas has improved dramatically. It has a rich storyline, excellent visual effects, music, costumes, and stylistic designs that reflect Korean culture’s unique ideas and values. It deeply reflects the unique ideas and values of Korean culture. The research methods used are questionnaires and comparative analysis. The results are analyzed from data analysis and commons characteristic. Discussion is discussed reasonably from the creative stage and propagation stage. The value of this paper can be reflected in helping Korean film and television enterprises formulate strategies. Studying the strategic position of the Korean film and television market can help Korean film and television enterprises fully understand and analyze market trends. It can also promote the development of the film and television industry. Studying the film and television market’s strategic position in Korea can promote film development.

Культурная деятельность Европейского Союза: программный подход

The European Union was created primarily on an economic basis, not on the principles of cultural cooperation. Cultural policy has been developed in the EU gradually, for quite a long time. As the emphasis in the activities of the European Union shifted from purely economic interests to political and socio-cultural spheres, the need for the formation of a European identity began to increase. In this regard, there is a need for the formation of a single cultural space, and hence a cultural policy that contributes to the achievement of pan-European goals. Culture should have become one of the factors contributing to the unification of people not only at the political and economic level, but also at the level of consciousness: citizens of different EU member states should, in theory, perceive themselves as a whole, as representatives of one territory with common cultural values. The first Cultural Activity Plan was adopted by the European Commission in early 1977. By the mid-1980s, when satellite radio broadcasting became widespread, conditions were created for a «common market for television broadcasting», and after a series of political and public debates, the directive «Television without Borders» was adopted in 1989. The European Commission was also engaged in the protection of cultural and historical heritage, the provision of creative scholarships, support for literary translation, and individual cultural events. All this was financed by the European Social Fund, the European Regional Development Fund, etc.

Estimation of the indirect network effect: On the example of television advertising

The platform is an intermediary between groups of users whose direct interaction without the platform would be complicated or unachievable. A distinctive feature of platform markets is the presence of indirect network effects (or cross‐platform effects), which consist of the fact that the demand of one group of users for platform services affects the demand of another group of users. In the presence of multidirectional network effects, an important platform’s business decision is to determine the optimal volume of services that create negative network effects, since after a certain amount of effects the company starts to lose users on the other side of the platform. For the business model to be successful and profitable, the platform should take this relationship into account. This study makes a quantitative assessment of cross‐ platform network effects using data from the Russian television market. The author of the study obtained statistically significant positive audience effect and negative advertising effect.

Managing Competition Between Legacy Television Services and Video Streaming Platforms in Hungary in the Early 2020s – a Case Study

ABSTRACT The year 2022 was a turbulent one for the audiovisual industry worldwide. In Hungary, two global streaming platforms, HBO Max and Disney+, launched their services, joining Netflix and some less popular streamers already on the scene. The content offered by these global streaming platforms has a lot in common compared to legacy television’s supply in large markets. However, few studies have focused on small markets or “digital peripheries” where the inevitable global reach of new technologies and service providers mixes with more complicated local market realities. Our study aims to extend this body of knowledge to another small, “odd market,” namely Hungary. It investigates how professionals perceive the television market in the wake of the advent of streaming in their current practice and from a strategic perspective on a small and specific national market such as Hungary. Using in-depth interviews (n = 9) with managers across organizations in the Hungarian audiovisual industry complemented by an analysis of publicly available secondary sources, our findings reveal three main clash areas in the market: established market presence, power within the supply chain, and content offering adding a potential framework for competitive analysis to studies of small media markets and the dynamics between legacy and streaming players.

Television market size and political accountability in the U.S. House of Representatives

This paper examines the role of local TV market structure in U.S. congressional politics, exploiting variation in the overlaps of political markets and TV markets. Local TV stations are hypothesized to report relatively more per U.S. House representative in less populous markets (where the number of House districts covered is smaller), leading to better-informed voters and more accountable representatives. We find that smaller markets are indeed associated with (i) higher coverage of representatives and (ii) a higher level of voters’ knowledge about their representatives. However, (iii) representatives of smaller and more congruent markets are only more likely to decide aligned with their constituents’ policy preferences in highly competitive districts. This evidence suggests that local political news coverage on TV serves as a complement rather than a substitute in holding members of the U.S. Congress accountable.

Broadcaster video-on-demand in Australia: Platforms, policy and local content

Over the last decade Australia's free-to-air commercial networks Seven, Nine and Ten have undergone a protracted digital transformation with the development of their online, ad-supported broadcaster video-on-demand (BVOD) platforms 7Plus, 9Now, and 10Play. The present article considers some of the questions these commercial BVODs raise for television policy in Australia, with specific reference to local content regulation. Through content audits of 7Plus, 9Now and 10Play, we assess the localism of the BVODs’ catalogues in terms of the availability and discoverability of Australian titles. We find that these BVOD services – which are not presently regulated for local content – are less local in their programming than the networks’ free-to-air linear channels, but are more local than competing subscription video-on-demand services such as Netflix and Prime Video. We also reflect on how the networks position themselves in the newly expanded Australian television market, and how they reconcile their historical status as protected national broadcast institutions with their newer status as ‘just another app’ in the streaming ecosystem.

Institutionalization of Media Market in Greek Political System

The article points to the process of the institutionalization of the Greek media market. This process began to take shape after the country’s accession to the European structures, i.e. after 1981. Successively since the late 1980s, it has been shaped based on new initiatives, forms and activities. However, this process is not yet completed due to the changes that have taken place over the last decade. At that time, the members of the National Broadcasting Council, for procedural reasons related to the mode of appointment to this Council, were unable to grant or renew broadcasting licences, which led to a media crisis. In addition, the Greek state was on the brink of solvency due to the condition of its finances. The new government created another media related institution, this time the General Secretariat for Information and Communication, which reported directly to the Prime Minister, and its aim was to control the press, radio and television market. Apart from the leading institutions, supporting bodies are also responsible for the Greek media market. To a large extent, they (such as ministries or central offices like the Telecommunications and Postal Commission) existed much earlier and some media powers were handed over to them to assist the leading institutions in fulfilling their functions. Outside of this area, there was content disseminated on the Internet, which came under the control of a special unit established within the police structures.

The Role and Development of Popular Science TV Programs During Times of MilitaryActions

The article explores the presence of popular science programs in the Ukrainian television media market, specifically on the television broadcasting of nationwide TV channels in Ukraine. Popular science content is an important aspect of social life, particularly as a means of distraction from news about military actions. Additionally, projects of this content indicate the country's prospects in technological development on the global stage. Television should serve as one of the propagators of scientific ideas. The goal of this research is to characterize the presence of popular science programs on nationwide TV channels. The method used is content analysis of the programming grids of 32 nationwide TV channels. Their television programs, as well as websites and YouTube pages, were examined. Results: Out of the 32 channels, only 5 transmit popular science programs. Among them, 4 channels produce their own content (Ми-Україна, Enter фільм, Піксель TV, 5 канал), while one, Мега, broadcasts mainly foreign-produced programs with a focus on natural sciences. Among the 4 channels with their own popular science content, 3 broadcasting programs of historical nature, and Піксель TV produces a project for children about chemical experiments. Conclusions: These results indicate an under-representation in this niche; the Ukrainian television media market lacks popular science programs. UA:Перший, as a public broadcaster, which should actively develop popular science television in Ukraine according to its status and mandate, has ceased the production of such content. Some channels are developing historical content; however, other scientific fields are almost absent from Ukrainian television. Considering the results of the content analysis, there is a need to create a market for popular science television in Ukraine in line with societal demands.

ТЕНДЕНЦІЇ РОЗВИТКУ ВІТЧИЗНЯНОЇ МЕДІАІНДУСТРІЇ

The media industry is an important element of the information society and an integral part of the national economic system, which provides the public need for communication services and, in particular, such a resource as current information. As a component of the business environment, it ensures the production and distribution of media products and advertising. The media industry is characterized by the rapid pace of transformation of its structural components and the uneven dynamics of this process. The article considers the factors that will influence the development of both the global and domestic media industry. The main ones are: changes in the structure of consumption towards an increase in the share of digital media products, the appearance on the global market of new producers of media products, the development of media corporations, an increase in the advertising budgets of the share of Internet sources and online commerce, Internet security and legal regulation of relations with digital platforms, changing the speed of content creation due to the rapid development of technologies and artificial intelligence programs. The article notes that the adoption of the Law of Ukraine "On Media", in which the regulation of this sphere is coordinated with the relevant EU directives, should streamline organizational and legal relations in the media sphere and will contribute to updating its structure. The changes that took place in certain segments of the media market are highlighted. The television market of Ukraine was characterized by the concentration of TV channels in media holdings, and its structural and technical changes are related to the transition of television to digital broadcasting, the coding of satellite signals of TV channels, and the banning of a number of TV channels. The radio market saw a decline in the popularity of over-the-air radio and an increase in online consumption, with three quarters of the market divided between four radio groups. The publishing market is characterized by a reduction in the range of printed publications and their circulations, and the segment of periodicals is characterized by an accelerated transition to their electronic versions. The study of the changes that have taken place in the media sphere since the full-scale military invasion revealed their main factors, including: changes in infrastructure and reduction in coverage of the territory of Ukraine, reduction of the audience, changes in consumer preferences of target audiences, deterioration of the financial situation, etc. The further transformation of the media industry will be its reaction to the appearance of new challenges in the external environment.

The Materialization of Television Formats

The materialization of television formats (e.g., The Masked Singer formats) has become a popular commodity in the global television trade. A television format is an idea, concept, or formula. How can buyers and sellers exchange intangible things such as formats? In this article, I examine the materialization process of formats, which enables the orderly exchange between buyers and sellers in marketplaces. By examining MIPFormats, the only global format conference held prior to Marché International des Programmes de Télévision, I argue that the format conference serves the distinct function of managing the format materialization process. I specifically highlight two aspects of the materialization process: objectification and singularization. Through three strategies—visualizing formats, educating format producers and creators, and establishing a normative framework—MIPFormats holds formats together as tradable items in the global television market.

Regulation of baby food marketing in Thailand: a NetCode analysis.

To report on the prevalence of different types of breast-milk substitutes (BMS) marketing and the compliance of such marketing with the 'Control of Marketing of Infant and Young Child Food Act 2017' (The Act) and the 'International Code of Marketing of Breast-milk Substitutes (WHO Code)' in Thailand. Cross-sectional quantitative study, guided by the WHO/UNICEF NetCode Periodic Assessment Protocol. Health facilities and retail outlets in Bangkok, Thai media. Mothers of 0-2-year-old children, health professionals, promotions at retail outlets and health facilities, product labels, marketing on television and the internet. Marketing to mothers was highly prevalent, mostly from electronic or digital media, while BMS companies provided items to health professionals to distribute to mothers. Promotional materials in health facilities displayed company brands or logos. At retail outlets, most promotions were price-related. Approximately two-fifths of labels contained nutrition or health claims. Television marketing was growing-up-milk (GUM) advertisements, while internet promotions were varied from price-related materials to product reviews. Most instances of non-compliant BMS marketing with the Act were advertisements to mothers, and most were infant formula. Most non-compliant BMS marketing with the WHO Code was mainly concerned GUM, which are not covered by the Act and appeared in the media. BMS marketing does not fully comply with the Act or the WHO Code. The Thai government should conduct regular monitoring and enforcement activities, educate health professionals, and strengthen the Act's provisions on the media and GUM to fully align with the WHO Code.

Health Insurance Ad Messages Targeted to English- and Spanish-Speaking Populations in a Period of Limited Federal Investment in Marketplace Outreach.

Federal funding cuts to enrollment outreach and marketing of the Affordable Care Act (ACA) marketplace options in 2017 has raised questions about the adequacy of the information the public has received, especially among populations vulnerable to uninsurance. Using health insurance ads aired from January 1, 2018, through December 21, 2018, we conducted a content analysis focused on (a) the messaging differences by ad language (English vs. Spanish) and (b) the messaging appeals used by nonfederally sponsored health insurance ads in 2018. The results reveal that privately sponsored ads focused on benefit appeals (e.g., prescription drugs), while publicly sponsored ads emphasized financial assistance subsidies. Few ads, regardless of language, referenced the ACA explicitly and privately sponsored Spanish-language ads emphasized benefits (e.g., choice of doctor) over enrollment-relevant details. This study emphasizes that private-sponsored television marketing may not provide specific and actionable health insurance information to the public, especially for the Spanish-speaking populations.

Production values as program quality signals in Spanish linear TV: A comparison of two periods

Technology disruption, digitalization and media convergence have triggered a profound crisis in the television industry. In this context, quality is an essential strategic element for success, especially when consumers have learned through their experience with VOD, becoming more demanding and less loyal customers. Then, has the importance of quality signals changed with the emergence of new online alternatives? And the quality perception among viewers? Our research explores four production values (the host, content, the set, and technical quality) as TV program quality signals and their effect on the quality perception of entertainment programs of Spanish broadcasters. We compare two years: 2012 and 2016, a period during which the Spanish television market changed due to appearance of OTT services. Using t-tests and regression models, we establish that the importance of quality signals varied over this period, with content proving more important and the set less so in 2016 as compared with 2012. Additionally, in 2016, the results show that the quality perception of linear TV entertainment programs depended more on subjective elements such as liking and satisfaction than on objective elements, as it was in 2012. Finally, our findings are discussed, and some managerial implications and future research are suggested.

Strategies for New Media Documentary Creation Based on the Psychology of the Audience

In the new media era today, all kinds of film and television works are being rapidly updated and iterated. In the film and television market, the recognition of audience is the motivation to move forward. This article finds the needs of the audience through documentary changes in the new media environment, sees its essential problems and opportunities in the highly commercialized mass culture phenomenon of new media, and explores strategies for new media documentary creation.

Television Market Size and Political Accountability in the Us House of Representatives

Television Market Size and Political Accountability in the Us House of Representatives

Телесериал в Китае: генезис и развитие жанра (50–90-е гг. ХХ в.)

In this article, I analyze Chinese TV series as a phenomenon of mass culture; a market product created on the basis of a specific national cultural code under conditions of strict ideological control. The chronological framework of this study is the second half of the 20th century: from the late 1950s, when television appeared and the production of TV drama began in China, to the late 1990s, marked by the creation of a system of supervision and control of the television industry, the transformation of TV drama into a modern format television series, the formation of the major serial genres, and the growth of production and consumption of TV series. Since then, the trend that persists in the 2000s—watching a series as a widespread form of leisure—is becoming noticeable. I examine TV dramas as a product shaped by multidirectional influences. On the one hand, the television market demands that the product be spectacular and entertaining, while on the other hand, TV series are subject to close state control and regulation. The government issues licenses for TV series production, determines priority themes for new series annually, approves a brief synopsis prior to filming, censors the finished series; and establishes national television awards to stimulate the production of “correct content.” The most popular genres in the last quarter of the twentieth century are historical, moral, family, and martial arts dramas. Considering that a series is a formulaic narrative (J. Cawelti), it is these genres that seem to have the maximum number of techniques and possibilities for combining an engaging plot and broadcasting the right message. For example, family, moral series demonstrate socially approved norms of behavior. The wuxia genre represents the uniqueness of Chinese culture and creates a sense of Chineseness. Given the general attitude to history in the Chinese tradition, it is not surprising that historical series occupy a special position, being one of the most important means for the state propagation of the “etatist and paternalistic worldview.” The analyzed historical and cultural material leads me to the conclusion that whatever the viewer watches—a series about the portal travelers or a screen version of the Chinese classics—their attention is offered ideologically safe product, checked by various authorities and spreading meanings that are useful for society and the state.

The Problems of Media Strategy Transformation of Russian Regional Television Broadcasting Companies in the Context of the Crisis of Traditional Media

The article deals with the problems faced by the regional television market in the context of the growing popularity of new media and the transition of Russia to a digital broadcasting format. Regional and municipal television broadcasting, having lost traditional platforms for promoting their content, faced the necessity to develop new platforms in a short time. The new media environment required regional TV companies to review the promotion concepts. The author of the article is the developer of one of such concepts of rebranding and relaunching a regional television studio in a new format, and, based on practical experience, analyzes the factors and difficulties of transformation of media strategies of regional TV companies. Five blocks of problems were identified as a result of testing of the concept of a new regional broadcasting. They include: project management, its staffing and financial support, analysis and interpretation of modern media measurements, transition to new video content formats adapted to digital platforms.