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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.

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 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.

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. El contenido compartido en las redes sociales se focalizacada vez más en las imágenes y las conversaciones sobre televisión en las plataformas digitales también se han vistoinfluenciadas por esta tendencia. Este artículo examina los datos visuales publicados por los espectadores mientras ven la edición de 2019 de las adaptaciones española y británica del reality show internacional 'The Voice'. Con la muestra de imágenes publicadas por los espectadores en Twitter durante la emisión de los episodios, se han analizado los formatos de producción, el tipo de contenido, la finalidad de las imágenes y la conexión entre los datos visuales y el texto del tuit. Los resultados destacan tres tendencias diferentes: la narrativa visual paralela creada por los espectadores en Twitter a través del uso de la cultura digital, la exhibición de su esfera privada y la apropiación de imágenes de los episodios televisivos alterando el discurso presentado por los canales de televisión

The convergence of television and cyberspace is the final stage of traditional media and Internet integration. In connection with this, the social role of television is changing. The culture of consumption of television products is becoming different, and the transformation of the television audience is noticeable. Inevitably the question arises of new functions and a new strategy for the development of television in a post-global information individualized society. The authors consider such aspects of television transformation as a transition from the public sphere type to the filter bubble and echo chamber types. An alternative to traditional television on the Internet is stream- ing services and YouTube, the integration of which into the information space of the post-globalist nation-state remains controversial. Convergence of the Internet and television takes place both in the form of social television and in the form of representation of cyberspace in traditional television formats. Researchers focus on the Russian specifics of convergence of television and the Internet. The study examined the case of the use of Twitter microblogging materials in the TV program Time will tell on the Russian First Channel. An empirical analysis of tweets was made and the main patterns of communication were revealed in the program Time will tell.

La tecnología digital proporciona posibilidades narrativas y de interacción con la audiencia que han comenzado ya a ser aprovechadas por las televisiones. Una de las más recientes es Facebook Live, por la que a través de Facebook se pueden realizar emisiones en directo o streaming desde un dispositivo móvil. El grupo Atresmedia adoptó esta herramienta a finales de 2016, tanto en Antena 3 como en laSexta, incorporándola a determinados perfiles de estas cadenas en la mencionada red social. Estos directos buscan un contacto estrecho con los seguidores de los distintos espacios televisivos y forman parte de una estrategia digital más amplia, en la que la audiencia social y la tradicional aparecen relacionadas. La presente investigación se centra en analizar cómo utiliza Atresmedia estas conexiones en directo y si existe una estrategia con unas pautas y objetivos definidos en las cuentas de Facebook analizadas, tanto en Antena 3 como en laSexta.

This study investigates the causal relationship between antecedents and consequences of social television viewing combining the television screen and concurrent use of a mobile, “second screen” media platform. The results indicate that social television viewing is a complex process driven by the viewers’ program affinity, motives, interpersonal interaction, and the perceived media characteristics of alternative platforms. The social television viewing behavior also has a positive influence on loyalty to television programs, time-shifted viewing, and product purchase intention. The implications of these findings and recommendations for future research are discussed.

This study focuses on understanding what affects a viewer’s participation in Social Television in Portuguese Generation Z. Consequently, three research questions were formulated: how does series engagement, series’ genre, and the reason why a viewer starts watching a show affect social television engagement. Subsequently, a mixed-methods simple sequential technique was adopted, consisting of a qualitative phase in which 13 online interviews were conducted followed by a quantitative questionnaire which gathered 475 responses. The findings from this data allowed to conclude that higher levels of engagement, the series’ genre, and the viewer’s trigger all result in different social media usage behaviours.

Mención Internacional en el título de doctor El objetivo de esta investigación es analizar si influye y cuánto, la Ley Orgánica de Comunicación Ecuatoriana, LOC, en los contenidos de la programación televisiva. La misma que fue creada en el gobierno de Rafael Correa, en junio de 2013, en un intento por mejorar la calidad de los contenidos, tanto en los medios privados, así como públicos; evitar programas con contenido discriminatorio y violento; y, fomentar la calidad de la televisión ecuatoriana mediante la implementación en las parrillas de programación, de un porcentaje de contenidos educativos, informativos y culturales. Así como, incrementar la producción nacional en un 60%. A lo largo del estudio se devela que este órgano lejos de lograr su cometido de una manera sostenible, también se convirtió en un instrumento de control mediático que sancionó a aquellos que criticaban al régimen de turno, razón por la cual se elimina a la Superintendencia de Comunicación, Supercom. Para estudiar el cumplimiento de lo estipulado en la LOC y su influencia en la programación de la televisión ecuatoriana, se ha aplicado un análisis de contenido a las parrillas de programación de cuatro canales de la televisión ecuatoriana. Tres de ellos, privados y con mayor porcentaje de rating. El otro canal, de carácter público, con poco nivel de rating, seleccionado precisamente para comparar el apego a la LOC, que tienen los medios privados vs los públicos. El análisis de contenido se realizó en tres períodos, en principio se analiza las parrillas de los cuatro canales seleccionados para el estudio, en febrero de 2013, antes de aprobarse y entrar en vigor la LOC. En el segundo período se analiza a los mismos canales a los dos años de vigencia de la LOC (febrero 2015), considerando además que el 2014 fue el año que más sanciones a los medios de comunicación se registró. De modo que se parte de la consideración de que para el 2015 los canales de televisión ajustarían su programación para regirse a la LOC. Finalmente, el tercer período del análisis se realiza en marzo de 2019, a seis años de funcionamiento de la LOC y un mes después de su reforma en febrero 2019. Dicha reforma ya se venía proponiendo varios meses atrás, en varias sesiones en donde participaron, entre otras organizaciones, representantes de los medios de comunicación. Los resultados demuestran que antes de la LOC, los canales tenían un alto porcentaje de programación importada, con programas considerados “enlatados”. Los pocos programas nacionales, construían prejuicios raciales y de género, así como, impulsaban el morbo y realzaban lo burdo. A los dos años de aplicarse la LOC, se encuentra todavía un alto porcentaje de entretenimiento sin mayor aporte a las audiencias. También se visualiza un incremento en la producción nacional, aunque esta no necesariamente responde a parámetros de calidad internacionales ni a los establecidos por la misma LOC. Si bien, en el 2015 se encontró más porcentaje de contenidos informativos, educativos y culturales, la mayor parte de los programas educativos provienen de instituciones gubernamentales. Finalmente, se observa en el 2019, que los canales privados mantienen un buen porcentaje de programas informativos, pero se reduce la transmisión de contenidos nacionales y hay un descenso de contenidos educativos y culturales. Cabe recalcar que el canal público analizado, es el que más y mejor cumple con lo que estipula la LOC, aunque no cuenta con un significativo nivel de audiencia, además, sus propagandas están orientadas a ensalzar las obras y gestión de las distintas organizaciones gubernamentales. Al recibir financiamiento estatal, resulta obvio y tendencioso el cumplimiento de la LOC por parte de este medio. En consecuencia, este estudio se proyecta como una crítica a los usos y abusos que se le ha dado a la LOC ecuatoriana desde el poder, así como, a ciertos contenidos de los medios audiovisuales que priorizan sus intereses comerciales por sobre su compromiso social con las audiencias. The objective of this thesis is to analyze if and how much, the Organic Law of Ecuadorian Communication (LOC), influences the content of television programming. The LOC was created in the government of Rafael Correa, in June 2013, in an attempt for improving the quality of content in both private and public media; avoiding programs with discriminatory and violent content; and promote the quality of Ecuadorian television by implementing a portion of airtime to educational, informative and cultural content on the programming grids, as well as increasing national production by 60%. This study has revealed that this Law, far from achieving its mission in a sustainable way, became an instrument of media control that sanctioned those who criticized the current regime, which is why the Superintendency of Communication, Supercom was eliminated. In order to study compliance with the provisions of the LOC and its influence on Ecuadorian television programming, a content analysis has been applied to the programming grids of four Ecuadorian television channels. Three of them, private and with the highest rating percentage. The other channel, of a public nature, with a low level of rating, selected precisely to compare the public vs private adherence to the LOC. The content analysis was carried out in three periods. In the first periods the grids of the four channels selected for the study were analyzed before the LOC was approved and entered into force (February 2013). In the second period, all four channels are analyzed after two years of validity of the LOC (February 2015), also considering that 2014 was the year that more sanctions to the media were registered. So, this study is based on the assumption that by 2015 television channels would adjust their programming to comply with LOC guidelines. Finally, the third period of the analysis is carried out in March 2019, six years after the LOC has been in operation and one month after its reform in February 2019. Said reform had already been proposed several months before in several sessions with different organizations and media representatives. Results shows that before the LOC, TV channels had a high proportion of imported programming, with programs considered “canned”. The few national programs were built on racial and gender prejudices, as well as promoted the morbid and highlighted the gross. Two years after applying the LOC, there is still a high percentage of entertainment without a major contribution to audiences. An increase in national production is also seen, although this does not necessarily respond to international quality parameters or those established by the LOC itself. Although in 2015 a higher percentage of informative, educational and cultural content was found, most of the educational programs came from government institutions. Finally, it is observed in 2019 that private channels maintain a good percentage of informative programs, but the transmission of national content is reduced and there is a decrease in educational and cultural content. It should be noted that the public channel analyzed is the one that most and best complies with the LOC, although it does not have a significant audience level. In addition, its advertisements are aimed at praising the works and management of the different government organizations. Upon receiving state funding, compliance with the LOC by this media is obvious and biased. Consequently, this study is projected as a criticism of the uses and abuses that have been given to the Ecuadorian LOC from power, as well as to certain contents of the audiovisual media that prioritize their commercial interests over their social commitment to the hearings. Programa de Doctorado en Investigación en Medios de Comunicación por la Universidad Carlos III de Madrid Presidente: Jairo Lugo Ocando.- Secretario: Juan Pedro Molina Cañabate.- Vocal: Carmen Rodríguez-Wangüemert

Si te preguntan por alguna película sobre la radio tu respuesta dependerá de la edad que tengas. Los 80´s tal vez hayan sido marcados por Solos en la madrugada. Quienes fueron jóvenes en los 90 tal vez recuerden mejor Días de Radio o Good Morning Vietnam. O por qué no la rebelde Suban el Volumen. Un poco más acá en el tiempo tal vez puede parecer que la única película sobre la radio fue The Boat That Rocked. En fin, películas sobre la radio hay muchas y hubo en todos los tiempos. Pero también hay otras que sin ser específicamente sobre la radio la muestran en sus aspectos más atractivos y reveladores. Acá un repaso de algunas., Facultad de Periodismo y Comunicación Social

Este artigo apresenta uma investigação de dois episódios do quadro “Vai fazer o quê?”, um experimento social televisivo apresentado no dominical Fantástico (TV Globo). Realizamos uma análise de enquadramento para compreender os diferentes sentidos sobre as injustiças representadas e encenadas no “Especial de Natal 2013” e “Especial de Natal 2016” do programa. Buscamos, por fim, refletir sobre a proposta do experimento social televisivo em questão e o que ele revela sobre o jeito que nossa televisão e sociedade lidam com o Outro.

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. peerReviewed

This study investigated social television viewing behavior by introducing the social engagement construct and validating its measurement scale. A total of 655 social media users in 2 online consumer panels were sampled to complete the 3-stage research strategy. Through conceptualization and operationalization of social engagement, this study identified 4 underlying dimensions in social engagement, i.e., vertical involvement, diagonal interaction, horizontal intimacy, and horizontal influence. These 4 dimensions represent a continuum in which audiences’ social engagement behaviors range from a lower level (vertical involvement) to a higher level (horizontal influence). The theoretical and practical implications of the social engagement construct were also discussed.

This study employed an online survey (N = 310) to explore how viewers’ motivations for social TV participation influence their involvement in social TV activities, their program commitment, and net...

Social Media platform such as Twitter has altered the way people approach to television broadcast. Through this tribune, audiences can comment, retweet on programs , reply, contribute and reach sum of followers. Tweets are public and contain a timestamp where Twitter can provide forums to participants to view others’ opinions, sensationalize their beliefs with humorous on events and posts. It is identified by their hashtag , hashtag seems to represent an ideal applicability criterion as they enable the easy identification of relevant tweets. The following study aims at examining the engagement of Twitter’s users with television programs to gather between new media and traditional media emerging the phenomenon of “Social TV”. The phenomenon of using a second screen while following a television program is quickly becoming a widespread practice. In August of 2013, Nielsen Media Research released data that there was a two-way casual influence between Twitter activity and television ratings (Finn,2013) . This study will focus on the phenomenon of Social TV and test users’activities on social media while watching television program.

Can the comments of a few viewers on social media affect viewers’ perceptions of audience sentiment or their own program enjoyment? If so, do the effects of comments vary based on their valence or placement during programming? We conducted a 2 (positive vs. negative tweets) x 2 (beginning vs. end of program) factorial experiment with an additional control condition (N = 196) to answer these questions. Negative comments undermined perceived bandwagon support for the program and reduced enjoyment, regardless of contextual or trait moderators. Findings suggest that the effects of social television may be attributable to systematic processing of bandwagon cues.

This dissertation presents the phenomenon of social television by focusing on the interplay between the traditional broadcast media and the newer social media in the context of the FIFA World Cup. The aim of the study is to shed light on interactional practices that are generated in the intersection of television and Twitter. Through the lens of digital discourse and conversation analysis the study examines how the participation in a media event is constructed in live tweeting practices. The dissertation shows that social media have offered new ways of participating and enjoying television content but have not replaced the role of traditional television as a central medium for experiencing massive media events such as the FIFA World Cup.

Mediante un método mixto se analiza la oferta lineal (en directo), social (redes sociales) y de participación de la audiencia (live-tweeting) durante el especial informativo de la noche electoral del 26 de mayo de 2019 (comicios europeos, autonómicos y municipales) en La 1 de TVE y La sexta. Se parte de la hipótesis de que el consumo de televisión ha cambiado con la competencia de las plataformas de visionado a la carta. El objetivo de este trabajo empírico es determinar la estrategia informativa multicanal llevada a cabo por las citadas emisoras y conocer la respuesta de la audiencia. Eventos políticos como los procesos electorales mantienen a la audiencia conectada con la televisión tradicional y la social, y generan altos volúmenes de conversación 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 tradi-tional and social television, and generate high volumes of conversation Este artículo se ha elaborado en el marco del proyecto Cibermedios nativos digitales en España: formatos narrativos y estrategia móvil (RTI2018-093346-B-C33), del Ministerio de Ciencia, Innovación y Universidades, cofinancia-do por el Fondo Europeo de Desarrollo Regional (Feder). La autora Sabela Direito-Rebollal es beneficiaria del programa para la Formación del Profesorado Universitario del Ministerio de Universidades (Gobierno de España) SI

This study aimed to identify factors that influence intention to engage in social TV. To that end, this study developed and tested a conceptual model that integrates content–, interpersonal–, and medium–relational factors. A survey of 275 college students in the United States suggests that individuals’ relationships with their contacts on an SNS, relationships with the SNS, affinity for viewing television programs, and preferences for certain types of television program genres predict engagement in social TV.

Bu araştırmanın amacı; ilköğretim birinci sınıf öğrencilerinin televizyon izleme alışkanlıklarıyla sosyal duygusal uyum süreçlerinin etkisini incelemektir. Bu araştırma da her iki değişken arasındaki ilişkinin belirlenmesi amaçlanmıştır. Araştırma nicel bir araştırmadır. İlköğretim birinci sınıf öğrencilerinin televizyon izleme alışkanlıkları ile sosyal duygusal uyum düzeyleri arasındaki ilişkiyi betimlemeyi amaçlayan bu araştırma, tarama modelindedir. Araştırma önerisinin örneklemini, İstanbul İlinin Anadolu yakasındaki Kadıköy, Pendik, Maltepe ilçelerindeki üç devlet okulu ve bir özel okulun birinci sınıflarında toplam 12 okulda eğitim gören B ve C şubelerindeki öğrencilerden oluşturmaktadır. Araştırmanın amacına uygun olarak oluşturulmuş kişisel bilgileri içeren bir kişisel bilgi formu, veli onay yazısı, toplam 21 sorudan oluşan velilerin birinci sınıfa giden çocuklarını düşünerek doldurdukları televizyon izleme alışkanlıkları anketi, ilköğretim birinci sınıf öğretmenleri tarafından doldurulan sosyal ve duygusal uyum düzeylerini araştırmak üzere Marmara Sosyal Duygusal Uyum Ölçeği kullanılmıştır. Toplanan verilerin tümü, SPSS for Windows 17.0 paket programı ile çözümlemeye tabi tutulmuştur. Yapılan istatiksel değerlendirme ve analizler sonucunda, öğrencilerin televizyon izleme alışkanlıkları ve sosyal-duygusal uyum düzeyleri arasındaki ilişkinin cinsiyet, okul türü, okul öncesi eğitim alıp almama, anne-baba eğitim durumu alt gruplarıyla karşılaştırması yapılmıştır. Bu genel amaç çerçevesinde ilköğretim birinci sınıf öğrencilerinin televizyon izleme alışkanlıklarına yaklaşımlarının ne olduğu ile öğrencilerin ebeveynlerinin çocuklarına, televizyon izleme alışkanlıklarına yaklaşımlarının nasıl olduğu ve son olarak ilköğretim birinci sınıf öğrencilerinin sosyal duygusal uyum düzeyleri, televizyon izleme alışkanlıklarına göre farklılaşıp farklılaşmadığına ilişkin durumları belirtilmiştir., The purpose of this study is examining the effect of social emotional adaptations processes and watching television habits of primary school students. In this study, it is aim to determine the relationship between the two variables. This research is a quantitative research. This research is a screening model that is aim at describing the relationship between watching television habits and social emotional adaptations levels of primary school students. The sample of the research proposal consists of the students from B and C branches who are studying in 12 schools in the first grade of three state schools and one private school in Kadıköy, Pendik and Maltepe districts of Anatolian side of Istanbul Province. Marmara’s Social & Emotional adjustment scale had used to research personal information form, parent letter of approval, survey that filled by parents and consisting of 21 questions about primary school student’s habits on watching television and survey that filled by primary school teachers about social & emotional adaptation levels. All of the collected data were subjected to analysis by SPSS for Windows 17.0 package program. As a result of the statistical evaluations and analyzes, it was found that the relationship between watching television habits and social-emotional adjustment levels of the students was determined by gender, getting pre- school educating or not, education background of parents and it this make compression with sub- groups. Within this general objective, it pointed out what are the attitudes of first grade primary school students about watching television habits, how is parents acting their children about their habits on watching television and stated if the children’ social-emotional adjustment levels changes depend on their watching television’ habits.

Bu çalışmada bireyin tarih içinde geçirdiği yolculuk geniş bir literatür bilgisiyle arz edilerek, modern birey temsilinin yeni medya platformlarındaki görünümüne odaklanılmıştır. Modernlikle koşut olarak gelişen birey kavramını anlamak için Batı'da ve Türkiye'de gerçekleşen modernleşme süreci özellikle toplumsal ve kültürel yapıdaki değişikliklerle birlikte değerlendirilmiştir. Türkiye'de modernlik deneyimi kendi içinden türemediği için içselleştirilmede zorluk yaşanarak birtakım bünyevi açmazlarla tezahür etmiştir. Bu bağlamda modernliğin Türk toplumu üzerindeki etkileri birey kavramı çerçevesinde eleştirel bir perspektifle ele alınmıştır. Çalışmada birey ve bireycilik olgusunun günümüzde nasıl bir görünüm kazandığı, kültürel anlamların dolaşımı açısından önemli bir mecra durumuna gelen internet ve internet üzerinden yayınlanan bir dizi aracılığıyla araştırılmıştır. Bu anlamda çalışmanın kuramsal kısmında anlatılan modernleşme tartışmalarına bağlı olarak Fi'de birey temsilleri aile travmaları, bireycilik olgusu, kişilerarası ilişkiler, narsisizm, nevrotik kişilik, modern kent görünümleri gibi kategoriler üzerinden niteliksel analize tabi tutulmuştur., In this study, the journey of the individual in history is presented with a wide literature and the representation of modern individual in new media platforms has been investigated. To understand the concept of individual which evolved in parallel with modernity, the modernization process took place in the West and Turkey are evaluated especially with changes in social and cultural structures. Since the experience of modernity has not been derived from it's own ranks in Turkey, it is experienced with difficulties in internalization and lived through number of constraints. In this context, the effects of modernity on Turkish society have been handled with a critical perspective within the framework of the individual concept. The appearance of individual and individualism phenomenon has been investigated through a series of internet and a drama series broadcasted on the internet. In this sense, depending on the debates discussed in the theoretical part of the study, individual representations of individuals in Fi were subjected to qualitative analysis over categories such as family trauma, individualism phenomenon, interpersonal relations, narcissism, neurotic personality, and modern city views.

International audience; 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.; Il est observable depuis quelques années des diffusions en streaming de parties de jeu de rôle sur table. Le streaming, tel que nous l’entendons en tant qu’activité culturelle, se distingue des autres formes de diffusion de contenus vidéo en ligne par son haut niveau d’interaction qui en fait un canal communicationnel plus complet. Ce dispositif permet notamment aux spectateurs d’interagir entre eux mais aussi parfois avec les créateurs de contenus, et ce, souvent en temps réel. Ce faisant, le streaming étend à une audience les cadres de participation ainsi que les plans de présence du jeu de rôle papier. En intégrant le spectateur dans l’action ludique de manière toujours plus interactive, le streaming redéfinit l’espace de jeu dont les frontières peuvent parfois devenir ténues et poreuses avec le hors-jeu. Finalement, les logiques du jeu de rôle sur table se voient fréquemment repensées pour répondre aux nouveaux enjeux médiatiques.

Television, which is one of the important medium of traditional media, still maintains its importance and popularity today. It is a medium with various functions such as informing, reporting, and entertainment. The developments in new communication technologies in the world and Turkey and television broadcasting convergence with internet has led to changes in television broadcasting.TV producers, in new media era, make direct contact with the audience through social media platforms led to social television (social TV) broadcasting. With social television broadcasting, a new viewing experience has emerged as a second screen practice. The use of a second screen supports social television to allow an online chat with a mass group around specific content. The use of the second screen, an extension of social TV, is encouraged by the television industry, placing viewers in a productive position. The viewers contribute to the social rating by using social media to follows the produced content by television industry, and at the same time generate user-generated contents on social media platforms. In this thesis, television broadcasting changes caused in the new media environment in Turkey and the transformation process is analyzed with the social TV broadcasting. The television industry's approach of the viewer with new media environments and social TV broadcasting are being discussed with interviews with authorities from the television industry in Turkey. The immaterial labor and emotional economy that arise from the television industry's directing of the viewers to the second screen are examined by the economic-political approach. For the sample of the thesis, İçerde and Çukur television series which is broadcast in Show TV belonging to Ay Yapım is selected. These two series, which TV producers are intensely engaged with audience, are examined descriptively in the new broadcasting ecosystem, with audience management strategies listed in the hashtags. At the same time, interviews with officials of Kimola and Somera, who made social ratings for social TV broadcasting, have been conducted and the position of the social rating in the process of television broadcasting transformation has been examined. 1.BÖLÜM: YENİ MEDYA DÖNEMİNDE TELEVİZYON YAYINCILIĞI: SOSYAL TV 1.1. Sosyal TV’nin Gelişmesine Zemin Hazırlayan Teknolojik Süreç 1.1.1. Web Ortamlarının Gelişim Evreleri ve Ağ Mimarileri: Web 1.0, Web 2.0, Web 3.0 1.1.2. Bilgi ve İletişim Teknolojilerinin Gelişimi ve Yeni Medya Dönemi 1.1.2.1. Etkileşimlilik 1.1.2.2. Yakınsama 1.1.2.3. Katılımcı Kültür 1.2. Televizyon Yayıncılığı ve Sosyal Medya Kullanımı: Sosyal TV 1.2.1. Sosyal Televizyon 1.2.2. Sosyal Televizyon ve Sosyal Medyanın Entegrasyonu 1.3. Sosyal Televizyonda Yeni Nesil Reyting Ölçümü: Sosyal Reyting 1.3.1. Sosyal Reyting, Büyük Veri ve Gözetim 1.4. Türkiye’de Yeni Medya Döneminde Yeni Yayıncılık Ekosistemini Oluşturan Platformlar 1.4.1. Televizyon ve İnternet Alt Yapısı: IPTV ve OTT 1.4.1.1. Televizyon Kanallarının İnternet Siteleri: Web TV 1.4.1.2. Video Akışı (Streaming) Platformları 1.4.1.3. Televizyon Sağlayıcılarının OTT Platformları 1.4.1.4. Sosyal Medya Platformları 1.4.1.5. Video Paylaşım Platformları 1.5. Ara Değerlendirme 2. BÖLÜM: İKİNCİ EKRAN OLGUSU VE İZLEYİCİNİN KONUMU 2.1. İkinci Ekran Olgusu ve Bağlantılı İzleme 2.2. İkinci Ekran ve Yeni İzleyicilik 2.3.2. Yeni İzleyicilikte Hayran Kültürünün Dönüşümü 2.3. İkinci Ekran Uygulamaları 2.3.1. İkinci Ekranın Türkiye’de Kullanım Oranları 2.3.2. Türkiye’de İkinci Ekran Uygulamaları 2.3.3. Türkiye’de İkinci Ekran Uygulamalarındaki Sorunlar 2.4. Televizyon Endüstrisinin İkinci Ekranda Uyguladığı İzleyici Yönetimi ve Dijital Emek Tartışmaları 2.4.1. İkinci Ekranda Katılımcı Kültür ve Kullanıcı Türevli İçerik 2.4.2. İkinci Ekranda İzleyicinin Oluşturduğu Duygusal Ekonomi ve Hayran Emeği 2.4.3. Kullanıcı Türevli İçerik ve Ekonomi- Politik Yaklaşım 2.4.3.1. İzleyici Metalaşması 2.4.3.2. Gayri Maddi Emek ve Duygulanımsal Emek 2.5. Ara Değerlendirme 3. BÖLÜM: YENİ YAYINCILIK EKOSİSTEMİNİN İÇERDE VE ÇUKUR DİZİSİ ÖRNEĞİNDE İNCELENMESİ 3.1. Araştırma Yöntemi ve Amacı 3.2. Televizyonda Yayınlanan Dizilerde Kullanılan Sosyal Medya Platformları 3.3. Televizyon Kanallarında Sosyal Medya Birimleri, Sosyal Medya Yönetimi ve Tasarımı 3.4. Türkiye’de Televizyon Yayıncılığındaki Dizilerde Hashtag Kullanımı ve Sosyal Medyanın Entegrasyonu 3.5. Yeni İzleyicilik ve İzleyici Katılımının Yarattığı Değişimin Boyutu 3.6. Dizi İzlemede İkinci Ekran Kullanımı ve İkinci Ekran Uygulamaları 3.7. Dizilerde Sosyal Medyada İzleyici Yönetimi, Hayranlaşma ve Duygusal Ekonomi 3.8. Dizi Oyuncularının Sosyal Medya Kullanımı 3.9. Dizilerin Yayınlandığı Yeni Dijital Platformlar ve Klasik Televizyon Yayıncılığına Olan Etkileri 3.10. Dizilerin Yayınlandığı Farklı Dijital Platformlar 3.11. Dizilerde Sosyal Reytingin Etkisi ve Sosyal Reytingin Geleneksel Reytinge Göre Farklılığı 3.12. Sosyal Reyting Firmaları: Somera ve Kimola 3.13. Yeni Yayıncılık Ekosisteminin İçerde ve Çukur Dizisi Örneğinde İncelenmesi 3.13.1. İçerde ve Çukur Dizisinin Yayıncılık Ekosisteminin Bileşenleri 3.13.1.1. Web TV 3.13.1.2. Video Paylaşım Siteleri 3.13.1.3. Video Akışı (Streaming) Platformları 3.13.1.3. Sosyal Medya Platformları 3.13.2. İçerde ve Çukur Dizisinin İzleyici Katılım Stratejileri 3.13.2.1. Hashtag Listelemesi 3.13.2.2. İçerde Dizisi ve İkinci Ekran Örneği 3.13.2.3. Çukur Dizisi ve İkinci Ekran Örneği 3.13.2.4. İçerde Dizisinde Emoji Kullanımı 3.13.2.5. Çukur Dizisinde Kullanılan Yakınsama Örneği ve Mahalle Aidiyetinin Yaratılması 3.13.3. İçerde ve Çukur Dizisinin Instagram Paylaşımları 3.13.3.1. Sneakpeek (Ön İzleme) 3.13.3.2. Yeni Bölüm için Yapılan Geri Sayım Örneği 3.13.3.3. Sahne Arkası İçerik Paylaşım Örneği 3.13.3.4. Dizide Önemli Günlerin Hatırlatılması 3.13.3.5. Markaları Hikâyeye Dâhil Etme Örneği 3.13.3.6. Sosyal Sorumluluk Projelerinde Yer Alınması ve Farkındalık Yaratılması 3.13.3.7. Reyting Paylaşım Örneği 3.13.4. İçerde ve Çukur Dizisinin İzleyici Yönetimindeki Etkileşim Örnekleri ve Dijital Emek Tartışmaları 3.13.4.1. Ödüllendirme 3.13.4.2. İçerik Belirleme 3.13.4.3. Sorular Yöneltme 3.13.4.4. İzleyici Gönderilerini Paylaşma Geleneksel medyanın önemli mecralarından olan televizyon günümüzde hala önemini ve popülerliğini koruyan; bilgilendirme, haber verme, eğlendirme gibi çeşitli işlevleri olan bir medyumdur. Dünyada ve Türkiye’de yeni iletişim teknolojilerinde yaşanan gelişmeler ve televizyon yayıncılığında internetle yakınsaması değişimi beraberinde getirmiştir. Televizyon yapımcılarının sosyal medya platformları üzerinden izleyicilerle direkt etkileşim kurması yeni medya döneminde sosyal televizyon (sosyal TV) yayıncılığını ortaya çıkarmıştır. Sosyal TV yayıncılığıyla birlikte ikinci ekran pratiği oluşarak yeni bir izleme deneyimi ortaya çıkmıştır. İkinci bir ekranın kullanılması, sosyal televizyonu destekleyerek belirli içerik çevresinde bir kitleyle birlikte çevrimiçi bir sohbetin gerçekleşmesini sağlamaktadır. Sosyal TV’nin uzantısı olan ikinci ekran kullanımı televizyon endüstrisi tarafından teşvik edilerek izleyiciler üretken bir konuma yerleştirilmektedir. Televizyon endüstrisi tarafından izleyici, üretilen içeriği tüketen ama aynı zamanda sosyal medya platformlarında kullanıcı türevli içerik oluşturarak reytinge katkı sağlayan da bir konumdadır. Bu tez çalışmasında, Türkiye’de yeni medya ortamlarının televizyona yayıncılığında yarattığı değişim ve dönüşüm, sosyal TV yayıncılığı üzerinden ele alınmaktadır. Televizyon endüstrisinin yeni medya ortamlarıyla birlikte izleyiciye bakışı ve sosyal TV yayıncılığı, Türkiye’de televizyon endüstrisindeki yetkililerle yapılan saha görüşmeleriyle tartışılmaktadır. Televizyon endüstrisi tarafından izleyicilerin ikinci ekrana yönlendirilmesiyle ortaya çıkan gayri maddi emek ve duygusal ekonomi yönü ise ekonomi-politik yaklaşımla ortaya konulmaktadır. Tezin örneklemi için Ay Yapım’a ait Show TV’de yayınlanan İçerde ve Çukur dizisi belirlenmiştir. Televizyon endüstrisinin izleyiciyle kurduğu etkileşimin yoğun olduğu bu iki dizinin yeni yayıncılık ekosistemi dâhilinde betimsel olarak izleyici yönetim stratejileri hashtag listelenmesiyle incelenmektedir. Aynı zamanda, sosyal TV yayıncılığıyla birlikte ortaya çıkan sosyal reyting için sosyal reyting ölçümü yapan Kimola ve Somera firmasının yetkilileriyle görüşmeler yapılarak, sosyal reytingin dönüşüm sürecindeki yeri irdelenmektedir.

US television network ABC developed their "Thank God It's Thursday" (TGIT) programming block in 2014 as a prime-time schedule composed of three back-to-back dramas produced by well-known TV showrunner Shonda Rhimes. From its initial development, ABC intended TGIT to be a three-hour live viewing event, encouraged by a multipronged #TGIT Twitter campaign. I consider the industrial and cultural significance of marketing the TGIT block of programming together as a cohesive block of social TV in order to encourage and structure audience participation in live television viewing. #TGIT's form of social television developed as a result of the rise of multicultural market research. The reemergence of serialized melodrama on network television functions culturally to commodify Black femininity in order to appeal to a transracial upscale female audience.

Sosyal medyanın, televizyon izleme deneyimine eklemlenmesi ile oluşan sosyal televizyon izleme deneyimi geleneksel televizyon izleyicisini televizyonda sunulan içeriğin edilgen tüketicisi konumundan çıkararak izleyiciye içerik hakkında söz söyleme ve içerik üzerinde belirleyici olma rollerini vermiştir. Bu yeni izleme deneyimi gittikçe yaygınlaşmakta ve geleneksel izleyiciden oldukça farklılaşan hem sektörel olarak hem akademik olarak irdelenmesi gereken yeni bir izleyici topluluğu yaratmaktadır. Bu çalışmanın amacı henüz yaygınlaşmakta olan sosyal televizyon ekosisteminin, aktörleri ve içeriği ile birlikte ortaya konmasıdır. Bu doğrultuda çalışma izleyici, konuşmalar ve reklamdan oluşan bir üçgende tasarlanmıştır. Çalışmanın yürütüldüğü zaman diliminde en yüksek sosyal televizyon izlenme oranına sahip Ufak Tefek Cinayetler adlı yerli dizi temsil kabiliyeti bakımından örneklem olarak alınmıştır. Diziye ilişkin konuşmalar ve etkileşimler çevrimiçi gözlem tekniği ile analiz edilmiş, izleyici boyutunda ise Ufak Tefek Cinayetler'in sosyal televizyon izleyicisi olduğu bilinen 836 katılımcı ile çevrimiçi anket tekniğinden faydalanılarak bir saha araştırması yürütülmüş tüm soruların tam yanıtlandığı 718 gözlem çalışma kapsamında analize tabi tutulmuştur. Anket çalışmasından elde edilen veriler ile sosyal televizyon izleyicilerinin izleme sıklığı, kullandıkları araç ve izleme zamanlarını içeren genel olarak dizi izleme ve özel olarak Ufak Tefek Cinayetler'in izlenme örüntüleri; dizi seçimlerine etki eden faktörler; izleyicilerin bağlantılılık durumları; sosyal televizyon izleme düzeyleri ve sosyal televizyon izleme motivasyonları; sosyal televizyona özgü geliştirilen mobil uygulamaların bilinirlik ve kullanım düzeyleri; ve son olarak izleyicilere ilişkin demografi ortaya konmuştur. Bu sayede sosyal televizyon izleyicisine ilişkin tanımlayıcı bir çerçeve çizilmiştir. Çevrimiçi gözlem tekniği ile elde edilen veriler ile sosyal televizyon ekosisteminin dilini anlamaya yönelik bir sosyal televizyon sözlüğü oluşturulmuş; sosyal televizyon ekosisteminin aktörleri tanıtılmış, çevrimiçi konuşmalar Ufak Tefek Cinayetler özelinde ele alınarak tematik kategorilere ayrılmış ve tweetlerin zamana göre dağılımı ortaya konarak have-to-tweet moments olarak adlandırılan ve izleyiciyi tweet atmaya yönlendiren anların neler olduğu açıklanmıştır. Son olarak sosyal televizyona özgü reklam formları, Ufak Tefek Cinayetler özelinde, 'konuşmalarda yer alan reklamlar' ve 'konuşma yaratma amacı taşıyan reklamlar' olmak üzere iki ayrı kategoride ele alınmıştır. Çalışmaın neticesinde televizyonun birinci ekran olarak üstünlüğünü koruduğu, sosyal televizyon izlemenin ardındaki motivasyonların cinsiyete göre farklılaştığı, izleyicilerin bağlantılılık düzeylerinin sosyal televizyon izleme düzeylerine etki ettiği ve sosyal televizyonun reklamları izlemeyi teşvik ettiği görülmektedir., Social television viewing experience is created by the articulation of the social media with the experience of television viewing and it has allowed the traditional television viewer to shed its role as a passive content consumer and become an actor that effects and determines the contents of the show. This new viewing experience is becoming more and more widespread and it is creating a new type of audience that is becoming very distinct from the traditional viewers that must be examined from sectoral and academic points of view. The aim of this study is to shed light on this social television ecosystem including its actors and its content. To this end, the study was designed as a triangle formed between the viewers, conversations and advertisements. A Turkish television series called Ufak Tefek Cinayetler had the highest rating during the time frame when the study was being conducted and it was taken as the sample due to this representative capability. Conversations and interactions regarding the series were analyzed using the online observation technique and on the aspect of viewers, a field study using the online survey technique was conducted with 836 participants who are known to be social television viewers of Ufak Tefek Cinayetler. Then, 718 of 837 questionnaire forms were fully answered so they were analyzed within the scope of the study. Viewing frequency of social television viewers, the patterns of their viewing of series in general and Ufak Tefek Cinayetler in particular which includes used devices and viewing duration, the factors that influence on selection of series to view, the connectedness status of the viewers, their levels of participating in social television watching and their motivation for doing so, usage and awareness levels regarding mobile applications designed for social television and the demographics regarding the viewers were determined using the data gathered from the survey study. Thanks to this, a descriptive framework for social television viewers was created. By using the data obtained through the online observation technique, a social television dictionary that allows everyone to understand the ecosystem of the social television was created; actors of the social television ecosystem were introduced; online conversations were considered specifically for Ufak Tefek Cinayetler to create thematic categories and what the moments that motivate the viewer to post tweets called have-to-tweet moments are was established by determining the distribution of tweets by time. Finally, social television-specific advertising forms were handled in two separate categories for Ufak Tefek Cinayetler and these are "advertisements within dialogues" and "advertisements which aim to create dialogues". As a result of the study, it is seen that motivations of social television viewing differentiate by gender; connectedness levels of participants have influence on their social television viewing levels; and social television encourages audiences to view tv commercials

Medya ve Televizyon kültürü bakış açımızı, geleneklerimizi ve hayatımızı önemli derecede etkilemektedir. Televizyon ile ilgili yapılan birçok araştırmada verilen mesajlar ve imgelerle, insanların görüşlerini biçimlendirdiği, hayatın birçok yönünde etkisini ortaya koymaktadır. Yerli dizilerde kadın karakterler belli tiplere, standartlara sokulmakta ve bu döngü halinde devam etmektedir. Bu idealleştirilen kadın modeli bireylerin algılarını şekillendirip kendileriyle izledikleri karakterleri karşılaştırmasına yol açmaktadır. Kadın bedeni medya tarafından baskı ve dayatmaya maruz kalmaktadır. Araştırmanın konusunu oluşturan 1901 yılında basılan Aşk-ı Memnu romanının 1975 uyarlaması esere sadık kalınarak TRT‟de yayınlanmıştır. 2008‟de Kanal D‟de yayınlanan Aşk-ı Memnu ise konusu aynı olmakla birlikte yan olayların ve karakterlerin eklenmesiyle günümüze uyarlanmıştır. Çalışmada içerik çözümlemesi ile iki uyarlama arasındaki farklılıklar, karakterler ve toplumsal cinsiyet algısı üzerinden ve idealleştirilen kadın karakterler incelenmiştir. Sonuç olarak insan yaşadığımız zaman ve topluma göre şekillenmektedir. Değişmeyen erkek egemen toplum yapısında kadının geçmişte ve günümüzde farklılık gösterdiği unsurlar olsa da temel toplumsal cinsiyet rollerinde ve kadının beden erkeğin ise ruh kavramları üzerinden tanımlanmasında büyük değişiklikler görülmemektedir., Media and Television culture effects our point of view, customs and lifes dramatically. The messages and imagery given in many researches about television reveal the effect of many aspects of life that people shape their opinions. Female characters in the domestic series are interested into certain standarts and continue in this cycled. This idealized model of women leads individuals to shape their perceptions and compare the characters they follow. The female body is subjected to pressure and oppression by the media. The 1975 adaptation of Aşk-ı Memnu novel, which was published in 1901, constituted the subject of the research, and was published in TRT. In 2008, Aşk-ı Memnu was broadcast on the Channel D, but the subject was the same, with the addition of side events and characters have adapted present-day. Differences between content analysis and two adaptations in the study, character and gender perception and idealized female characters were examined. As a result, human beings are shaped by the time and community we live. There is no significant chande in the definition of women in the basic social gender roles and in women‟s body masters in terms of soul concepts, even though the elements of the unchanging male dominated society differ in the past and present.

The purpose of this paper is to explore the relationship between the application of various perception management techniques and the success of the 2017 Greek version of the reality TV show ‘Survivor’, which repeatedly achieved the unprecedented viewership of 80%. Utilising a theory-driven content analysis of audio-visual data (32 episodes and a total of 86,5 hours) it is demonstrated that all perception management techniques identified in the literature were employed in the show and the frequency and intensity of their use was directly correlated with viewership.

International audience; This article addresses the emerging phenomenon of “social television” in France through the study of the identities of Twilépectateurs, authors of television tweets, of the French political program DPDA “Des Paroles et des Acts”. This research is based on a pragmatic analysis of digital communications and a continuation of studies dealing with online participation. We analyze the DPDA program in order to grasp the stakes of its system in terms of interactivity, presence, roles and the paradoxical digital identity of "ordinary" citizens. This paradox results from the discrepancy between the television identity (displayed for the viewer) and the twitted identity (declared on twitter). It is basically the invisibility for the viewers, at the time of the display of the tweets at the bottom of the television screen, of the identity information present on the twitter page of each user. Curiously, viewers are informed of the identities of all those allowed to speak during the show (guests, opponents, journalists, experts and journalists) but not of the identities of Twilight viewers who comment on the show. Thus hybrid identities are emerging with citizens occupying three essential roles of judge, activist, and analyst.; Cet article aborde le phénomène émergent de la « télévision sociale » en France à travers l’étude des identités des Twiléspectateurs1, auteurs de tweets télévisés, de l’émission politique française DPDA « Des Paroles et des Actes ». Cette recherche s’inscrit dans le champ de l’analyse pragmatique des communications numériques, dans le prolongement des études portant sur les médias numériques et la participation en ligne. Nous analysons l’émission DPDA afin de saisir les enjeux de son dispositif en termes d’interactivité, de présence, de rôle et d’identité numérique paradoxale des citoyens « ordinaires ». Ce paradoxe résulte du décalage entre l’identité télévisée (affichée pour le téléspectateur) et l’identité twittée (déclarée sur twitter). Il s’agit essentiellement de l’invisibilité pour les téléspectateurs, au moment de la diffusion des tweets en bas de l’écran de télévision, des informations identitaires présentes sur la page twitter de chaque utilisateur. Curieusement, les téléspectateurs sont informés des identités de toutes les personnes autorisées à prendre la parole durant l’émission (invités, opposants, journalistes, experts et journalistes) mais aucunement des identités des Twiléspectateurs qui commentent l’émission. On voit ainsi émerger des identités plurielles hybrides avec des citoyens occupant trois rôles essentiels de juge, d’activiste et d’analyste.

In recent years, the Italian television scenario has become fully convergent, and social TV is an activity – and a hip buzzword – indicating both a rich set of possibilities for the audience to engage with TV shows, and an important asset developed by the television industry to provide such engagement, with promotional and economic goals. Mainly adopting the perspective of the production cultures of Italian broadcasters, the essay will explore the “Italian way to social television”, highlighting the strategies adopted by networks and production companies to encourage online television discourse and to exploit it as a content, a marketing device or a source of supplementary income.

En esta contribución se presentan las mediciones sobre la repercusión en Twitter del programa Operación Palace: la verdadera historia del 23f’ emitido en La Sexta el pasado 23 de febrero. Se pretende conocer la actividad de varios perfiles, etiquetas y usuarios. Para realizar el seguimiento se ha utilizado la herramienta creada por la empresa Pirendo. España es uno de los países que registra mayor índice de comentarios en Twitter sobre programas de televisión durante el prime time y Salvados, programa vinculado a este ‘especial’ documental es uno de las emisiones que más impacto consigue en las redes. Así podremos conocer su estrategia, presencia e interacciones en la red Twitter. Abstract Measurements on the impact on Twitter of the Operation Palace: the true story of 23f' program broadcast in the Sixth February 23 are presented in this contribution. It aims to determine the activity of various profiles, tags, and users. To track the activity a tool created by a company called Pirendo has been used. Spain is one of the countries with highest rate of comments on Twitter during the prime time on TV, and Salvados, program linked to this 'special' documentary, is one of the times with most impact achieved in networks. Therefore, we can know their strategy, presence and interactions in the Twitter network.

[Resumen]: La interacción de redes sociales y productos televisivos ha dado pie al nacimiento de la televisión social en la que el espectador participa activamente en el desarrollo de los espacios. Este fenómeno emergente está siendo objeto de múltiples investigaciones en el campo de las audiencias por las posibilidades y el potencial que supone para el medio a la hora de conocer e interactuar con los espectadores. El objetivo de este trabajo es realizar una comparación entre la audiencia real y la audiencia social (o impacto social) de los programas emitidos en prime-time durante varias semanas de los meses de abril y mayo de 2013. Esta investigación se centra en Twitter por ser la red social que concentra gran parte de los debates sobre televisión (Gallego, 2013). Para ello se plantean las siguientes hipótesis de partida: 1- No existe paralelismo entre los cinco programas más vistos en televisión con aquellos que se sitúan entre los cinco con mayor audiencia social del mismo día. 2- El éxito de un programa en audiencia social no depende exclusivamente de su formato. Para alcanzar los objetivos de la investigación se estudian los datos de audiencia real procedentes de Kantar Media, así como los de impacto social facilitados Tuitele y Global-In-Media. [Abstract]: The interaction of social networks and television products has led to the birth of social television in which the viewer actively participates in the development of space. This emerging phenomenon is the subject of many investigations in the field of Audiences due the possibilities and potential to meet and interact with viewers. The aim of this work is to make a comparison between the real audience and the social audience (or social impact) of the programs broadcast in prime-time for several weeks in the months of April and May 2013. This research focuses on Twitter to be the social network that concentrates much of the debate on television (Gallego, 2013). In this study we develop the following hypothesis: 1 - There is no parallel relationship between the five most watched programs on television with those who are among the five best social audience the same day. 2 - The success of a program in social audience not depends exclusively on its format. To achieve this objective we analyze real audience data from Kantar Media, as well as the social impact that we have provided Tuitele and Global -In -Media

Marketers everywhere are paying close attention to radical changes in consumer behavior and engagement provoked by the rise of digital technology. In today's household, it is a common occurrence to share viewing experience across at least two screens: the television and secondary Internet-enabled devices. The current study used Steady State Topography (SST), a brain-activity recording methodology to explore this relationship. Participants' neural responses were recorded while they watched a live television broadcast and were allowed to freely interact on social-media platforms Twitter and Fango. The results indicate that engaging in social media while viewing television can significantly enhance neural indicators of viewer engagement in the television program.