Television Platform Research Articles

Between Fact and Fiction: Elizabeth II’s Funeral and Its Connection to The Crown on X (Twitter)

Television series enhance the social visibility of their content, as is the case with Queen Elizabeth II and The Crown. Netflix is the streaming television platform that has turned Peter Morgan’s successful series (2016) into a television icon where the monarch is the main protagonist, taking us on a biographical journey that mixes the historical and the political with fiction. The main character is made to seem more humane and is brought closer to the general public, all of which leads to a transmedia narrative. This research aims to analyze the content of the messages published on Twitter during the days surrounding the Queen’s State funeral in September 2022 and their connection with the series through the hashtag #TheCrown. The topics that have become trends worldwide are quantitatively analyzed, using different digital tools. The sample collected 1,489,279 tweets published during the days from the announcement of the death of Elizabeth II to the day of her funeral (from 8 to 19 September 2022). The results show nodes of connection between different players and linked communities to #TheCrown while offering the traffic generated by the hashtag with different nodes and edges.

Innovative Educational Broadcasting: UGTV's Influence on Gunadarma Students and the Wider Community

Television remains a medium for delivering information and entertainment, to communities, particularly in areas with unequal access to the internet, so television becomes their primary source. This study aimed to explore how UGTV is utilized to deliver educational content to students of Gunadarma University and the wider community. Using a qualitative method with a constructivist paradigm, this study was grounded in the Media Ecology Theory. Data were collected through observation, in-depth interviews, documentation, and literature studies. The findings revealed that UGTV, as an educational digital television platform, effectively provides academic and innovative content useful for the community, particularly students. The contents are produced and packaged to be informative and appealing to the community.

VISUAL IDENTITY DESIGN IN ANIMATION PRODUCTIONS: EXAMPLE OF THE BATMAN SERIES (1992-1995)

Animated series for television have a long history. The first animation experiments began with short cartoons produced for the cinema in the 1920s and 1930s. However, it took a little longer for animation to become widespread and popular in the television environment. The 1950s and 1960s were the periods when animation became widespread on the television platform as television entered homes. During this period, Walt Disney, Warner Bros. Studios such as Hanna-Barbera and Hanna-Barbera began to present various animated series to television audiences; Especially the series produced by the Hanna-Barbera studio attracted great attention from television viewers, and many classic productions appeared during this period. It is also seen that the first visual identity designs for animation series were produced during this process. Visual identity has the power to leave a lasting impact on popular culture and is thought to play a key role in the success of animated series. From this perspective, research constitutes an important issue. Within the scope of the limitations of the study, only milestone animation series produced in the United States were discussed, and the aim was to analyze samples and convey expert opinions within the framework of the descriptive analysis method. Batman: The Animated Series (1992-1995), which constitutes the sample of the research, was examined in terms of visual identity elements such as logo, typography, episode covers, and color palette. It has been concluded that visual identity elements are also important in the branding process of animation series, in addition to technical details such as story, scenario, fiction and graphics; In addition, it is aimed to create a Turkish resource for relevant stakeholders.

Netflix Movies and Tv Shows Data Analysis

Abstract: Netflix stands as the leading on-demand streaming platform in current times, offering its services across a staggering 190 countries and featuring an extensive library of both movies and TV shows. In our research, we carried out an initial exploratory analysis utilizing data sourced from Flexible, a search engine dedicated to cataloging the content accessible on the Netflix platform. When Netflix made its debut in April, online video streaming was still in its early stages. Fast forward eighteen years, and Netflix has evolved into the world's foremost global Internet television platform. we are diving into Netflix datasets obtained from Kaggle to gain a deeper understanding of the release schedules for movies and TV shows on the platform. Our goals encompass determining the time it takes for content to become accessible, scrutinizing the frequency of releases in specific time intervals, examining releases over the last decade, and identifying the top 10 genres that resonate most with Netflix viewers..The preliminary analysis has revealed fascinating observations regarding the current content trends on Netflix. While the current state of the recommendation system has its limitations, there is potential for improvement when incorporating additional features and variables.

TV and the COVID-19 Pandemic: A Study of the Television Platform Consumption Choices of Millennials in Gauteng during a Pandemic

On 31 December 2019 the first reports of COVID-19 appeared. To control the spread of the disease, countries across the globe implemented social distancing and quarantine measures. In South Africa, a nationwide lockdown was implemented on 26 March 2020 which meant that the majority of the South African population were housebound. Very little research has been conducted to establish the effect of the pandemic on the way South Africans consumed television. This was a mixed-methods study of 385 Millennial television viewers in Gauteng, South Africa, to establish the ways in which the pandemic affected the type of television platforms used and subscribed to, considering the physical and financial ramifications of the nationwide lockdown. The findings indicated that, among Millennials in Gauteng, over-the-top (OTT) streaming services were the preferred television platform, with most participants using Netflix as their main source of TV entertainment. Many participants also indicated an intention to “cut the cord” with pay-TV providers, once live news and sport broadcasts become available on OTT TV platforms. The shift from pay-TV to OTT services was accelerated by financial constraints caused by the pandemic.

Analisis Kepuasan Pengguna Website TVCCTube Menggunakan Metode Webqual 4.0

Citiasia and Sisfo Indonesia introduced a satellite-based television platform, namely TVCC (TV Co-Creation). In its current development, TVCC focuses on developing regional potential through digital channels and already has 2 main websites, namely tvcc.tv and also TVCCtube. TVCCTube is used as a forum for the government, public agencies and content creators to provide information about their respective regions to the public. Therefore it is necessary to evaluate periodically to maintain the quality of this tvcctube website. The data collection method in this study was by making observations at TVCC and also distributing questionnaires to Citiasia's mentors and mentees and the respondents for this study were 13 respondents. The analytical method used is the WebQual 4.0 method by testing the validity and reliability of each variable, namely usability quality, information quality, and interaction quality. Data analysis used in this study is to use SmartPLS 4 because it is very suitable for a limited sample. The results of the analysis that has been processed show that the quality of the TVCCtube website is 76.2% and the WebQual variable that most influences user satisfaction is usability quality with a total of 65.2%.

Algorithms and hegemony in the workplace: Negotiating design and values in an Italian television platform

In recent years, several scholars have highlighted the necessity to scrutinize the practices and material settings in which algorithmic models are designed, in order to unpack the working activities and socio-cultural constructs underlying their production and deployment process. Drawing on a multisited ethnography, this paper investigates the practices of tech workers within the corporate environment of an internet television platform, the hierarchical relationships between different professional figures, and how these individuals frame algorithms and contribute to the enactment of these systems with their activities. Findings highlight the hierarchical organization of tech work and the subordination of operative figures to the goals imposed by business clients and to both internal and external forms of control. Specifically, it emerges how the subalternity of tech workers is materially and discursively constructed and forms of causal, dispositional and facilitative power exerted on them. In this environment, frictions, negotiations as well as concealing strategies by tech workers regarding the design and meaning of algorithms emerge, thus showing their cultural, contingent and multiple composition. Within the framework of Giddens’ structure/agency cycle, it is shown how everyday working activities and relationships contribute to the reproduction of hegemonic arrangements in the workplace, and how these hegemonic arrangements are at the core of algorithmic production, thus playing a key role in the framing, construction and enactment of these systems.

Extension of Television on Social Networks

The article discusses the implications, potential, and ways of using online media in the context of television journalism. Watching TV together is moving to social networks. Relying on the concept of social television viewing, the paper tried to study how television station editors use social networks, as well as to what extent social networks use television as a source of content. These questions were investigated empirically using the method of content analysis on a sample of 10 BH. television stations. The results point to three areas: 1. watching television on social networks as a social activity (Social TV), 2. television as a resource and source of content for social networks, and 3. social networks as a new television platform. The article provides a contribution to a poorly studied area in studies of the adaptation of television to the contemporary convergent environment.

Netflix and Over the Top Politics? The Mechanism TV series and the dynamics of entertainment intervention

Produced and released by Netflix in March 2018, The Mechanism (2018–), a web series, fictionalised the Lava Jato operation, a series of criminal investigations about corruption in the Brazilian political system that led to the imprisonment of leading Brazilian politicians and businessmen. Analysing the series along with the media coverage in the Brazilian mainstream online and printed press, this article examines the complex and troublesome relationship between an ongoing criminal investigation with ramifications for the political system and its fictionalisation on a worldwide internet television platform.

Politeness Strategies vis-à-vis Genders and Exposures to Western Culture: The Case of ‘The Voice of the Philippines’ Coaches

Politeness is one of the key concepts in Speech Act Theory, a major field in pragmatics. In a television platform, a number of studies were done to determine the politeness strategies performed by hosts and judges; however, none so far has focused on comparing them based on gender and cultural background. Using a corpus composed of 30 Blind Auditions video-clips randomly selected from YouTube, the present study aimed at describing the politeness strategies employed by The Voice of the Philippines’ coaches with emphasis on their genders and exposures to Western culture. Coaches’ utterances were classified following Brown and Levinson’s (1987) politeness strategies which include (a) bald on record, (b) perform speech acts using positive politeness, (c) perform speech acts using negative politeness, (d) indirect speech act or off the record.

Kültürlerarası İletişim Bağlamında Ötekileştirme Olgusunun Dijital Taşıyıcılığına Dair Netflix Dijital Televizyonu Üzerinden Bir Bakış:13 Commandments (13 Emir) Dizisi Üzerinden Göstergebilimsel Analizi

Although the concept of the other, which is now becoming a problematic one, and the history of the term identity, with which it is closely related, are similar to human history, the use of the term identity and the phenomenon of the other, which is defined through it, as a popular concept, emerged in the twentieth century. Netflix, based in the United States, which is the most important example of digital television concept in what is considered the age of digitalization, has taken on the mission of playing a decisive role in social relations. Netflix digital television, which reaches the masses with the publications they have edited, can influence the masses with the mizansen and the discourse it creates. Netflix has focused its aims on the Turkish people and Turkey, serving the relevant ideology and nurturing hegemony. The main problem of the study is the negative perception of Netflix, the digital television platform that operates on a global scale, about Turkey and the Turkish people in a strategic and planned way. The preconceived content and negative discourses developed by Netflix and the fact that it has reached the dimensions that could negatively affect Turkish people and Turkey in front of the world public opinion constitute the main starting point of the study. These publications will bring about hate speech and othering. The claim for the existence of relevant discourses and actions was attempted to be evaluated by carrying out indicative scientific analyses through the series 13 Commandments, made in Belgium in 2017.

Fandomization of online video or television in China

In this article, I explain a new media ecology for online television in which the online audience or fans and their participation play a stronger role in swaying the online video content or production. I call it fandomization of online television. Dependent on the number of online users and the viewership, online television platforms have to produce programs that align with the fans’ discourse and emotions to maximize their viewership. This results in a fan-discourse-led production, as in the case of China’s huge online video or television market. Based on my study of the top online television production company, Tencent Video, and its top television program, as well as ethnographic observations of their productions, I illustrate how Tencent Video manages fans by establishing a fan-based platform that works in tandem with its television platform. The dual television and fan-based platform of the television industry forms an interlocking web of the network of fans, their idols, and social media, with the consequences that social and political public discourse are highly synchronized in China’s extremely controlled Internet.

L’apprentissage du FLE par la télévision : des formes télévisuelles à l’exploitation didactique

FFL Learning through Television: TV forms for Educational Exploitation
 The FL teaching / learning requires the exploration of new didactic tracks except those already in place. In our case, and in order to increase the possibilities of improving communication skills in French as a foreign language, it is a question of resorting to the television platform. Methodologically, and nothing but the level of the oral comprehension, for example, the authentic speeches in French are often characterized by such a complexity that even the linguistic competence, on its own, cannot account for all their significant scope. The communicational scope of certain cultural-heavy discourses, as the example we propose in this modest article, requires on the part of the teacher a new refocus on the encyclopedic competence, as a subsidiary form of cultural competence, but how decisive to decipher the messages which shape exolingual communication in French. To do this, the television tool embodied by the fiction- documentary proves to us to be very interesting, since, by its contribution in audiovisual information, it will facilitate access to some hidden forms (but which are both quite obvious and implicit for the native speaker) of the meaning inherent to any authentic production in contemporary French.

Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform

AbstractModern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.

Captions and the Cooking Show

While the television cooking genre has evolved in numerous ways to withstand competition and become a constant feature in television programming (Collins and College), it has been argued that audience demand for televisual cooking has always been high because of the daily importance of cooking (Hamada, “Multimedia Integration”). Early cooking shows were characterised by an instructional discourse, before quickly embracing an entertainment focus; modern cooking shows take on a more competitive, out of the kitchen focus (Collins and College). The genre has continued to evolve, with celebrity chefs and ordinary people embracing transmedia affordances to return to the instructional focus of the early cooking shows. While the television cooking show is recognised for its broad cultural impacts related to gender (Ouellette and Hay), cultural capital (Ibrahim; Oren), television formatting (Oren), and even communication itself (Matwick and Matwick), its role in the widespread adoption of television captions is significantly underexplored. Even the fact that a cooking show was the first ever program captioned on American television is almost completely unremarked within cooking show histories and literature.

The Technology Acceptance of a TV Platform for the Elderly Living Alone or in Public Nursing Homes.

In Mexico, many seniors are alone for most of the day or live in public nursing homes. Simple interaction with computer systems is required for older people. This is why we propose the exploration of a medium well known by seniors, such as the television (TV). The primary objective of this study is to improve the quality of life of seniors through an easier reminder system, using the television set. A technological platform was designed based on interactive television, through which seniors and their caregivers can have a better way to track their daily activities. Finally, an evaluation of the technology adoption was performed with 50 seniors living in two public nursing homes. The evaluation found that the elderly perceived the system as useful, easy to use, and they had a positive attitude and good intention to use it. This helped to generate initial evidence that the system supported them in achieving a better quality of life, by reminding them to take their medications and increasing their rate of attendance to their medical appointments.

Communicating public and social services through iTV: Promoting older adults’ quality of life

As the demographic transition occurs in a global scale, dealing with the consequences of population ageing has emerged as a critical task to modern societies. This has led government entities to pay more and more attention to seniors’ concerns, limitations and needs. A deep understand of old citizens, especially those unfamiliar with Internet and smartphone technologies, is also a challenge in order to enable them to fully benefit of the Information and Communication Technologies (ICTs). In the light of this issue, personalization and user-centred approaches involving older adults in all development stages may be the key for higher levels of user engagement with such ICT solutions as the interactive television (iTV) platform reported in this paper (+TV4E). The +TV4E is an on-going research project conducted at University of Aveiro, Portugal, based on a social inclusion approach, aiming to take benefit from the television viewing dynamics of senior viewers, by interweaving short and personalized adverts related to public and social services alongside regular broadcast contents. The platform is being designed with a user-centred approach featuring the integration of assistive technologies and multiplemultimedia communication channels. In this paper, a system architecture to deliver the informative contents is stated and a discussion of the potential social impacts of providing such platform is presented.

Establishing knowledge gap issues in Kenya: Why information for innovation on digital television is difficult to access among Jua Kali artisans.

The Kenyan engineering artisans a.k.a „ jua kali‟( hot sun) engineering artisans, do not easily and readily find information for innovation in the digital television platform. The researchers, therefore, sought to establish whether engineering content shown in the Kenya digital platform inspires creativity for innovation among this category of engineering artisans who mainly operate from open air spaces and under the hot sun. The study was anchored on the pragmatic research philosophy. The study employed a mixed methods approach and a multiple case study research method. A sample of 60 participants, comprising artisans and media content producers, was studied.The findings showed that 67.9% of the engineering artisans had considered that there is interesting and available innovation content in the digital television platforms. However, there were attitudes that hindered accessibility of useful innovation information from the digital television gadgets. Media producers cited that they had not fully grasped how the digital platform can work. It is hoped that these findings will encourage the production of interesting, innovative content, that will give rise to alternative information sources for engineering artisans.

Radio spectrum battles: Television broadcast vs wireless broadband and the future of PSB

Abstract A principal incentive behind the move to digital television has been the release of radio spectrum in the attractive Ultra-High Frequency (UHF) band, which can be used for other, notably wireless, services. This so-called digital dividend and related spectrum battles have heightened in recent years as evidenced by the negotiations in the World Radiocommunication Conferences (WRCs). Frequencies are a core input to many industries and thus radio spectrum management has acquired high economic and political significance. Historically in Europe, the terrestrial platform has been critical for the delivery of Public Service Broadcasting (PSB). But increasingly since 2007, digital terrestrial network operators have come under enormous pressure to relinquish frequencies in response to the looming spectrum crunch of the wireless broadband (WBB) sector and the projected phenomenal demand for its services. The article argues that limiting spectrum access for the Digital Terrestrial Television (DTT) platform should not be synonymous with a corresponding weakening of PSB. The often dry and technical debate on radio spectrum management cannot obscure what is really at stake. The values that PSB stands for need to be adapted to and guaranteed in a likely post-broadcast environment. The political, economic, social and cultural principles of PSB remain valid irrespective of the underlying delivery platform used. The debate on a platform-neutral PSB is currently not as prominent as the debate on the spectrum demands of the WBB industry. At best, the two debates (future of DTT/WBB spectrum and future of PSB) are conducted in silos. Radio spectrum management should not be used as an(other) excuse to weaken PSB. Debate and action based on a digital commons space and communication rights can provide the way forward.

Effect analysis about using digital TV platform during the course of postnatal health education

Objective Research was performed to test how to improve the effectiveness of health education. Methods 236 patients after cesarean section, during June 1, 2015 to November 31, 2015 from Obstetrics I in our hospital were selected. According to the room number, they were randomly divided into single-number rooms, 119 people in the control group, with the aid of pictures, materials, individual or group concentrated postnatal health education, and double-number rooms, 117 people in the experimental group, based on previous education with the extra use of digital television platform. The effects of the two groups were compared. Results In the experimental group after cesarean section, patients' anal exsufflation time for less than 24 h and more than 36 h was 41 cases and 5 cases respectively, and patients' defectation time for less than 72 h, more than 72 h and less than 96 h, more than 96 h was 45, 66 and 6 cases respectively, while compared with the control group, there was 21, 83, 15 cases respectively. The differences between the two groups were statistically significant (χ2=36.90, P < 0.05). In the experimental group, the breast-sucking times within 24 hours was (9.41±1.35) times, compared with the(7.29±1.02)times in the control group. The difference between the two groups was statistically significant (t=13.76, P < 0.01). In the experimental group, the incidents of newborn adding milk, neonatal jaundice and neonatal erythema was 16, 12, 20 cases respectively, compared with the 33, 25, 47 cases in the control group. The differences between the two groups were statistically significant (χ2=7.08, 5.16, 14.56, P < 0.05). In the experimental group, the numbers of individual behaviors like brushing teeth and combing hair, and family consultation was 110, 110, 42 cases, while in the control group was 92, 85, 75 cases respectively. The differences between the two groups were statistically significant (χ2=13.35, 20.97, 17.36, P < 0.01). Conclusion The use of digital TV platform for postpartum maternal health education is suitable for mothers and their families, with the consideration of individual needs, parturients can watch materials repeatedly and whenever they want. The application will come out with better education results. Key words: Postpartum period; Health education; Digital TV platform.