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The integration of media literacy within interactive health communication via social television presents a transformative potential for enhancing health outcomes globally, particularly in Africa. By harnessing the capabilities of social media and interactive broadcasting, health campaigns can disseminate information more broadly, engage audiences more effectively and ultimately contribute to improved public health across the continent. In contemporary society, the significance of interactive health communication is paramount. The advent of digital technologies has revolutionised the dissemination of health information, facilitating immediate, bidirectional communication between healthcare providers and the public. This paper explores the role of social television in health communication, analysing its potential to enhance the effectiveness of health campaigns through interactive and participatory methods with implications for media literacy. Anchored in the Diffusion of Innovations Theory and Social Cognitive Theory, this study offers an in-depth examination of how social television can shape health behaviours and outcomes. The results indicate that social television's features such as real-time feedback, personalised messaging and increased audience engagement, make it an invaluable asset for future health campaigns. Nonetheless, the study also identifies critical challenges, including the risks of misinformation, privacy issues and the need to balance entertainment with educational content. The paper concludes with strategic recommendations for stakeholders on leveraging social television’s potential, emphasising the importance of audience engagement, content accuracy, privacy protection and ongoing research. [ABSTRACT FROM AUTHOR]

This paper presents preliminary results from a study investigating the usage patterns and dynamics of social television (TV) among university students in northern Nigeria. Grounded within the positivist research paradigm and adopting a quantitative approach, the study examines the frequency and manner in which university students engage with social TV content, focusing on the prevalence of smartphone usage and the activities carried out while watching TV. A survey methodology employing a questionnaire was used to collect data from a sample of 774 respondents drawn from six universities in northern Nigeria. The preliminary findings reveal a significant reliance on smartphones for TV viewing, with the majority of respondents reporting frequent engagement with social TV content. Activities such as chatting on social media platforms, browsing the internet and online shopping were prevalent among participants, highlighting the evolving nature of media consumption habits among digitally savvy audiences. The study underscores the transformative impact of social TV engagement on media consumption patterns and provides actionable recommendations for stakeholders in the media industry to enhance the social TV experience for audiences. [ABSTRACT FROM AUTHOR]

Content shared on social media platforms is increasingly centred on images and conversations discussing television on digital platforms are also influenced by this trend. This article examines the visual data posted by viewers while watching the 2019 edition of the Spanish and British adaptations of the international Reality Show ‘The Voice’. With the sample including images posted by viewers on Twitter during the broadcast of the episodes, the production formats, the type of content, the purpose of the images and the connection between the visual data and the text in the tweet have been analysed. The results highlight three different trends: the parallel visual narrative created by viewers on Twitter through the use of digital culture, the showcasing of their private sphere and the appropriation of images from the television episodes altering the discourse presented by the broadcasters. [ABSTRACT FROM AUTHOR]

Social-media influences people's lives including organizational activity. At the organizational level, social-media has changed the way employees communicate, multinational companies developing social-media platforms especially for their employees. The influence of social-media on mass media is a widely researched subject, and, we focused our attention on the way in which the activity on social-media of different TV stations in Romania influences their audiences. This study examines the influence of social-media on the audiences of ten TV stations in Romania. Through a questionnaire, we determined the rating of the TV stations without the influence of social-media and these audiences were compared to the official ones. The results of the study showed that there is an economic effect of the social-media influence in the case of the analysed TV stations.

This article discusses online media's contribution to the youthification of television through the case study of DRUCK (tr. Pressure, 2018–), the German format adaptation of SKAM (tr. Shame, 2015–17). Youthification is understood as the television industry's attempts to reach and win back teen and tween viewers with strategies in production, representations, aesthetics and distribution. In DRUCK, online media are integral to the youthification in all these strategies. Our multifaceted analysis of this serial combines perspectives from media industry studies to investigate production strategies, sociological analysis of film and television to examine the thematic and narrative choices and theories of transmedia storytelling to make sense of the specific distribution choices. [ABSTRACT FROM AUTHOR]

The current interrelation between social media and the audio-visual industry has required traditional broadcasters to extend their programming strategies outside the box. TV fiction is a suitable genre to test new forms of audience loyalty, which is essential in a highly competitive environment. In this article, we present results regarding the actions of the industry through a content analysis of the official Twitter profiles of the most-watched series in Spain and the United Kingdom. We conclude that both market strategies revolve around the linear broadcast. However, Spanish channels are more aggressive in their actions to stimulate social conversation. [ABSTRACT FROM AUTHOR]

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through a mixed method, the linear (live), social (social media) and audience participation (live-tweeting) offer during the special information program of March, 26th 2019 electoral night in La 1 of TVE and La sexta is analysed. We had the hypothesis that television consumption has changed with the competition of VoD-OTT platforms. The objective of this empirical work is to determine the multichannel information strategy carried out by the mentioned stations, and to know the response of the audience. Political events such as electoral processes keep the audience connected to traditional and social television, and generate high volumes of conversation. [ABSTRACT FROM AUTHOR]

In recent years, changes have taken place in television viewing patterns during live broadcasts of major events. One of the most striking changes is the introduction of "second screens" that accompany viewing. The current study adds to the existing research literature by examining viewing patterns and socialization during the live broadcast of major sports games. Specifically, it examines the use of smartphones and WhatsApp among Israeli viewers of the 2018 World Cup games' televised broadcasts, from the quarterfinals onward. In total, 454 respondents were filtered through a screening question, in a representative panel of Israeli population. Findings show that most viewers prefer to watch the broadcast of a major soccer game together, though co-viewing is not necessarily done in the physical presence of others. Findings also reveal a connection between the viewer's engagement with the game and the enjoyment of watching the broadcast. Further, this relationship is mediated through the use of a smartphone as a second screen, especially the use of WhatsApp. This study contributes to existing research literature by showing the extent to which game-related communication using WhatsApp contributes to a meaningful collaborative viewing experience, the degree of engagement with the game, and the extent to which it is enjoyed. [ABSTRACT FROM AUTHOR]

This paper analyses the activity of fans who shipped two fictional lesbian couples from recent Rede Globo’s telenovelas. It proposes a reflection over the concept of fan activism (Bennet, 2012) by identifying the practices of LGBTQ communities who acted in order to defend lesbian representativeness in television. The research has a qualitative approach and made use of methodological procedures from Grounded Theory and netnography to process a data basis of 52 515 tweets. [ABSTRACT FROM AUTHOR]

Copyright of Fonseca: Journal of Communication is the property of Revista Fonseca Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research on social television has primarily emerged based upon regularly scheduled broadcasts that fans could discuss more or less simultaneously in real time over the course of emergent narratives. The advent of fullseason releases on streaming services has disrupted those patterns and prompts a re-examination of audience behaviors and the theoretical models that seek to describe and explain them. The present article proposes an "atomized engagement model" as an alternative to the linear model of social television for today's nonlinear television environment. [ABSTRACT FROM AUTHOR]

One can observe since a few years diffusions in streaming of tabletop role-playing games. Streaming, as a cultural activity, stands out from the other types of online video diffusions by its high level of interaction which makes it a more complete channel of communication. Streaming particularly allows viewers to interact between them and with the content creators also, and this, frequently in real time. In doing so, streaming extends to an audience the frameworks of participation and the planes of presence of pen-and-paper role-playing games. By integrating the viewer in the play in a more and more interactive way, streaming redefines the area of the game whose boundaries can sometimes become thin and porous with the "offgame". Finally, some tabletop role-playing game logics are frequently rethought to match with the new mediatic issues.

Highlights • Live tweeting during the FIFA World Cup is analyzed with digital conversation analysis. • Television publicity changes the direction of interaction between live tweeters. • Publicity is appreciated through noticings, congratulations and compliments. • Responses to these actions show a dilemma between agreeing and displaying modesty. • Tweeting during the media event can be seen as a middle-space performance. Abstract Social television has transformed the traditional role of the television viewers by providing ‘ordinary people’ access to the public stage. This article describes how public access to television affected the dialogues of Finnish tweeters on Twitter during the massive media event of the FIFA World Cup. Through the lens of digital conversation analysis, the study shows how the media publicity of tweets changed the direction of the interaction between tweeters and transformed their roles vis-à-vis the television show, making one of them into a ‘media flasher’ and the others viewers of his or her performance. The publicity was constructed as important through noticings, congratulations, and compliments, and in their responses to these actions the participants oriented to dilemmatic expectations of agreeing with the previous speaker and displaying modesty and authenticity. The activities of live tweeters can be seen as middle-space performances where ordinariness and celebrity are intertwined. [ABSTRACT FROM AUTHOR]

In the current participatory television environment, social media serves both a social backchannel for interactions between audience members and a direct line of communication between audiences and production. Because audience activity on social media becomes part of the media brand, it is a priority for the industry to achieve some level of control/influence on that activity. In this article, I discuss writers’ room Twitter accounts as a space used to model and reinforce fan behavior that serves industry interests, arguing that these accounts serve industry needs through the behaviors they promote and recognize. Through analysis of three writers’ room Twitter accounts—for Jane the Virgin, Faking It, and Orange Is the New Black—I show how this process works, as well as the ways in which a show’s individual industrial context shapes the type of fan that is hailed. [ABSTRACT FROM AUTHOR]

Digital technologies allow new actors' participation into to the massive diffusion of contents that struggle with the traditional mass media to gain space in the framing that citizens use to understand the reality. However, far from being two antagonistic forces, there is certain complementarity. This work studies the relationship between the contents generated in a political television debate and the conversations that circulate around it by Twitter. The scope of the hashtag #L6Nrajoyrivera used in the program La Sexta Noche in its edition of August 20, 2016 is analyzed. The result highlights Twitter is relevance as a second screen and as a channel to expand content television, especially when the main actors of the program participate directly in the social conversation. Nevertheless, this greater activity in the digital environment does not suppose a higher quality in the debate. [ABSTRACT FROM AUTHOR]

This paper focuses on ‘political social TV’. Social TV corresponds to two phenomena: TV viewers have the opportunity to react to a program by posting tweets, SMS or Facebook messages, and these digital messages are integrated into the TV program. Thus, social TV is intended to allow users to contribute to public discussions and to facilitate the constitution of a transmedia and digital agora. This paper proposes an analysis of the tweets produced by TV viewers, selected by the program director and displayed on screen during the French political TV program Des Paroles et Des Actes , broadcast by France 2 on 6 February 2014. Through the interactional and pragmatic analysis of these messages, several questions will be addressed: what are the addressee and the reception format of these tweets? Who are the authors of these messages? What are the main functions of these tweets? From a more general perspective, this analysis raises questions about the participatory and dialogical dimensions of social TV and the digital agora. [ABSTRACT FROM AUTHOR]

With increasing visibility in both fictional and nonfictional media, transgender individuals have become a staple of the media landscape. Nonetheless, the general public has been slow to warm to transgender individuals and the rights of this community of people. The present study explored the audience reception to Caitlyn Jenner's coming out interview with Diane Sawyer. Examining Twitter conversations as part of a social television experience, this paper focuses on the types of words and phrases used in response to the interview, the themes that were present in the conversation, and the opinion leaders who helped to shape the discussion. Co-occurrence of themes was also explored. Results indicated an overwhelmingly positive response from live tweeters watching Jenner's coming out interview, led by a small but influential group of celebrities and media personalities such as Oprah Winfrey and Perez Hilton. Top themes included support, gender, journey to truth, family drama, and bravery. The results are positioned within an exploration of the social nature of television viewing and reception of transgenderism by mainstream audiences. [ABSTRACT FROM PUBLISHER]

As a television series, the Fox procedural crime drama Bones is exceptional. Having completed its twelfth and final season (2017), it is the longest running drama in the studio’s history. It is also a pioneer in its interactions with social media, offering a precedent-setting early example of online potential for organizing, commercializing and weaponizing social media platforms. During its sixth season (2010–2011) interactions between fans on social media and showrunners erupted into an internet war which when organized into an analytical model demonstrates the potential damage such conflict can cause not only to a specific television production but by extension to its showrunners as well. This transformative moment in the history of television illustrates the point at which fans who had once communicated individually now had means to connect as active online aggregates and express their views across multiple public forums. This case study illustrates the convergence of social and broadcast media and demonstrates an elemental shift in the interpersonal dynamic employed by viewers and showrunners. Considered in this article are the showrunners’ initial narrative intentions, how those intentions changed, and how they ran into conflict with the expectations of social media fans. Using this analysis and the resulting metrics of ratings, DVD sales and advertising costs, a construct can be formed that suggests the ways in which such a conflict can affect overall audience viewing patterns, impact future projects, and how social media, itself, has become a recognized and increasingly powerful entertainment tool.

As a television series, the Fox procedural crime drama Bones is exceptional. Having completed its twelfth and final season (2017), it is the longest running drama in the studio's history. It is also a pioneer in its interactions with social media, offering a precedent-setting early example of online potential for organizing, commercializing and weaponizing social media platforms. During its sixth season (2010–2011) interactions between fans on social media and showrunners erupted into an internet war which when organized into an analytical model demonstrates the potential damage such conflict can cause not only to a specific television production but by extension to its showrunners as well. This transformative moment in the history of television illustrates the point at which fans who had once communicated individually now had means to connect as active online aggregates and express their views across multiple public forums. This case study illustrates the convergence of social and broadcast media and demonstrates an elemental shift in the interpersonal dynamic employed by viewers and showrunners. Considered in this article are the showrunners' initial narrative intentions, how those intentions changed, and how they ran into conflict with the expectations of social media fans. Using this analysis and the resulting metrics of ratings, DVD sales and advertising costs, a construct can be formed that suggests the ways in which such a conflict can affect overall audience viewing patterns, impact future projects, and how social media, itself, has become a recognized and increasingly powerful entertainment tool. [ABSTRACT FROM AUTHOR]

We examined the effects on users’ cognition and behavior of an interface cue for level of interactivity that is presented on secondary screens in a social television environment. Our primary focus was on the social role of television watching, the effects of an interactivity cue on user perception, and user behavior outcomes. In addition, we examined how locus of control, as an individual characteristic, influenced these aspects. Participants (52 undergraduate students in Korea) communicated with other viewers through a secondary device while watching a television show. We found that the presence of an interface cue for interactivity was positively related to users’ perceptions, such as sense of presence and sense of community. Additionally, the relationship differed based on personal characteristics. Overall, the effect of an interface cue on social television users’ attitude and behavior is mediated by sense of community. [ABSTRACT FROM AUTHOR]

Today's TV context is defined by new services like view-on-demand, "extra" content, and conversations with the audience. The public has more power to decide what to view and can influence the programming with their comments. Because of this, TV channels have created strategies to improve the online products and encourage public participation. Success also depends on social TV and VoD. The objective of this study was to analyze how Spanish prime time has adapted to new media and how programs are managing interactions with the audience. In order to do the analysis, the three main TV groups -RTVE, Atresmedia, Mediaset- were chosen and all the programs were categorized into three genres. The results revealed a weakness in the interactivity strategy of television programs, especially in the informative genres. [ABSTRACT FROM AUTHOR]

This article is the result of a comparative survey focusing on television consumption among Italian and American university students. The research aimed to investigate their media habits mostly in relation to the experiences, practices and meanings associated with the consumption of television content. Our results show that next to traditional television broadcasting, the multiplication of screens and its hybridization with the web contribute to the enhancement and expansion of the television-viewing experience. Television consumption - and the meanings associated with it - depends on a set of interdependent variables: availability and access to technology, contexts and settings, practices and habits, and symbolic forms (content and genre). By focusing on television drama consumption, we attempt to demonstrate that watching television today is a complex experience encompassing a variety of activities, devices and content, as well as various forms of television. Consequently, watching television takes on different meanings according to the technological and cultural contexts of viewing. [ABSTRACT FROM AUTHOR]

The hypothesis of this work is that social TV can add to traditional TV audiencehood a sense of collective belonging—“we the public”—that is fundamental for any political action. After a quantitative account of users’ patterns of activity during half a TV season, a qualitative methodology is adopted to understand the variety of social TV logics. Thus, a model of four different kinds and meanings of using social TV is developed: from the most engaged (civic-informative use of social TV) to the most recreational (the game use), from the outburst of emotions (emotional use) to the identity-building and awareness use. Each of those represents various forms of relationships among individuals in a social medium environment, and between them and other actors of the wider contemporary mediated public space, such as civic and political groups, and political news media professionals. [ABSTRACT FROM AUTHOR]

One of the most important trends in current television research has to do with the increasing impact of social media on viewing and consumption. This article reviews the literature on social media and television included in the Web of Science database from 2005 to 2013 in order to find the main research questions guiding academic research within media studies. The topics investigated included the theoretical approach and definition of social television, the central role of Twitter as the main social tool for second-screen activities, the prominence of "reality TV" as the most social genre on television, and new mainstream forms of television fandom. The conclusion of this article reflects on possible limitations of these studies and new paths of research. [ABSTRACT FROM AUTHOR]

The article discusses the bloom of social media and web-based series. citing example of popularity of video broadcasting site You Tube's web series "The Lizzie Bennet Diaries" (LBD). The series, developed by Hank Green and Bernie Su, is modern day adaptation of Jane Austen's nineteenth-century Pride and Prejudice. Topics include reviews the LBD series, fan base and audience of the series, and reflection of the narrative on social media pages such as Twitter.

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)