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TV's IP fetish is no coincidence. Recognizable titles and stars can guarantee strong initial tune-in off of modest marketing. But long-term results are lackluster. Just look at the past decade's [...]

The urologist's office and the courtroom share one thing in common: If all goes according to plan, you won't be present in either. However, as we all come to learn, [...]

Suited for automotive, test & measurement, aerospace & defense applications where water, moisture and dust may be a concern 1/4-28 4-Socket Plug is designed to be submersible in water and [...]

'I love to observe the city, and whenever you're set apart, you feel less included. Everybody is dealing with the same shit, elbow to elbow. Sometimes somebody will loudly say [...]

The first-time director is in the middle of his own firestorm as his political feature Rosewater is accused by Iran of taking 'Zionist lobby' funding, while his Gaza comments have [...]

NOT TO STEREOTYPE, BUT IT WAS PRETTY INEVITABLE that this year's conversation among six Emmy-contending comedy actors--held May 19 inside the Fox Studios lot's expansive Stage 8--ultimately would turn to [...]

Losing movie gigs to the Brads (Pitt and Cooper, that is). Worrying whether your agency is fighting hard enough for you. And exiting your hit series in a blaze of [...]

A study on single-source, survey based targeting data use to complement ratings data for television (TV) media planning is presented. The study suggests that captured product-media selectivity, in combination with conventionally measured ratings data, could accurately estimate target market ratings. The ratings could then be used for more accurate, cost-efficient TV media planning.

Variations the gap between potential television program audiences and television commercial audience in the United States are examined. Differences in advertisement avoidance and program popularity across genres have been found. The live tuning data has been established as useful in developing television advertising strategies.

It's been nearly a year since Sharp Objects made its summer 2018 debut, but the stars and producers of the HBO miniseries are still reeling from the emotional impact of [...]

With the expansion of digital networks and TV devices and the rapid increase of the number of channels, people are exposed to an information overload, clue to the presence of several hundreds of alternative programs to watch. In this context, personalization is achieved with the employment of algorithms and data collection schemes that predict and recommend to television viewers content that match their interests and/or needs. This paper introduces queveo.tv: a personalized TV program recommendation system. The proposed hybrid approach (combining content-filtering techniques with those based on collaborative filtering) also provides all typical advantages of any social network as comments, tagging, ratings, etc. This web 2.0 application has been devised to enormously simplify the task of selecting what program to watch on TV. Index Terms--Recommender systems, Contents personalization, Collaborative filtering, SVD.

Rural life is portrayed in the television series 'Heartbeat' as a cultural performance invoking lifestyle choices which are to urban life. The effects of 'Heartbeat' tourism were found to involve highly nuanced and complex relations of power. How global consumption transforms spaces of the rural society, and the impacts of film-induced tourism are analyzed.

Applying the categorisation made by Walter Benjamin as regards popular storytelling--stories told by sailors, and stories told by peasants, the former being internationally oriented and the latter locally based--this paper reconsiders the history of Italian police drama as in transition from foreign' or international to 'domestic' or national/local storytelling. This transition follows three phases: the adaptation of foreign classics in the first two decades of the Italian television,' the emergence of the domestic voice in the 1970s and 1980s, when locally based police series were produced, although in the context of a television supply widely internationalised by massive slates of foreign imports; and the establishment and popularity of the now hegemonic formula, all'italiana, from the 1990s onwards. The contemporary police drama is now a fully localised genre, yet this doesn't disguise the footprints of a transnationalisation which is still underway, whereby the sailor's and the peasant's voices converge and merge.

The Dutch police series is a new TV drama genre in the Netherlands. During the last five years, several broadcasters have aired new domestic police series, leading the sub-genre to gain a stable position in the prime-time television schedules. This paper analyses the major transitions that have led to the prevalence of Dutch police series. The shift from a public to a dual system of broadcasting in the Netherlands, the transition from broadcasters each producing their own drama to participation of independent producers; the change from the single play, as the main genre of Dutch TV drama to the expansion of popular drama genres such as soaps, police series and sitcoms; and, most importantly, an alteration in the identities that are represented in the storylines of Dutch TV drama. A close look at these transitions shows how the Dutch police series became a remarkably 'multicultural' drama form.

This paper discusses the evolution of television serial drama in China. It argues that Chinese television drama production has progressed through three periods: industrial (1958-89), market (1990-2002), and most recently interpersonal (2003 onwards). These three stages of development are in turn associated with standardised production according to state-directed formulae, outbreaks of producer autonomy, and celebration of modern lifestyles and consumer culture. The paper provides an overview of the development of drama production during these three periods, and notes a shift from 'socialist reality' towards contemporary popular reality.

Devised to introduce the themed section of this MIA issue and the 'popular' area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries. (1) Interested in the commercial pressures being brought to bear on drama by intensifying primetime competition and increasing audience fragmentation, the paper looks at how the series, in particular, has adapted to these. It assesses the contribution of three pervasive approaches to this area of drama: 'recombination' (Gitlin, 1994), flexi-narrative' (Nelson, 1997) and 'must see-TV' (Jankovich and Lyons, 2003). To foreground some specific challenges for locally produced drama in the emerging era of television 'plenty ', a case study of New Zealand TV drama follows. Although its domestic TV drama has a 40-year tradition, New Zealand's efforts to maintain profile and diversity in this meta-genre have been frustrated by its position as a small, English-speaking country for whom leading American and British imports have been popular, affordable and available. Risky and commercially fragile in comparison with these imports, the position of New Zealand TV drama has never been guaranteed to the extent that it is reliant on the support and supply of public funding. Since the mid-1990s, these problems have combined with the challenges of multi-channel competition in television. While the resulting pressures have left some forms of local TV drama as 'endangered species', it is the popular, long-form genres--the drama series, soaps and sitcoms--that have shown the greatest resilience.

Recent reports in the entertainment media suggest that the ratings for so-called reality television are declining. In fact, a man is suing NBC for $2.5 million, alleging that he threw [...]

ENCORE's production report includes all known features and television drama and non-drama television programs which have a network presale. Projects in the planning stage appear once only and the listing [...]

the audio-post-for-television marketplace has quickly become one of the most competitive for both facilities and professionals faced with servicing creative shows with constricting budgets. It's a struggle that's sure to [...]

As the distribution sector packs its bags for Mip-TV, it's tempting to hope they have packed extra red carpet to woo the bevy of producers who, after the communications act, [...]

Some factual programmes are changing the fundamental nature of programming, blurring the lines and challenging the traditional form. Television Asia Plus speaks to three industry professionals on the gravity of [...]

HORROR HAS BEEN A TELEVISION STAPLE since the medium's dawn. And with zombies, vampires, ghouls, psychopaths and monsters feasting on tasty ratings, a look at the pipeline during this development [...]

Examination of 240 transitions between prime-time programs on the four broadcast networks demonstrated the existence of a modest transition effect and revealed differences in transitions over time, suggesting that a transition effect associates with the new fall network schedules but not with familiar spring schedules. It showed that program endings had a significant impact on duplicated viewers in subsequent programs but that standardization of approaches to program starts had taken place in the early 1990s. As the locus of control shifts between the industry and the viewers, transitional strategies have joined lead-in ratings and competitive factors as significant impacts in models of inherited viewership and audience choice.

This study poses two questions about the portrayals of aggressive behavior on non-fictional television programs. First, to what extent do the patterns of antisocial activity in televised non-fictional programming correspond to patterns in the real world? These patterns were assessed by comparing the patterns of criminal acts, as well as the demographics of the perpetrators and victims. Second, what is the meaning of the antisocial activity? An answer to this question is constructed through an analysis of contextual variables of consequences, reward/punishments, intention, and style. The data base for the analysis contains 2126 antisocial acts found in a composite week of 65.5 hours of non-fiction television programming. The patterns of antisocial activity presented in non-fictional television were not found to correspond well with patterns in the real world. Also, contextual patterns (low rates of punishment, high rates of absence of negative consequences, high prevalence of intentions) would increase the likelihood that viewers would be negatively influenced by this type of content.

Historically, dominance has been operationalized in terms of the frequency of some behavior (talk, gaze). An alternative measure of dominance is based on the asymmetry of predictability in which a 'dominant' individual's preceding behaviors elicit a predictable response from someone else but not the inverse. Various types of communicative influence are examined in order to explain modeling of family interaction on television. The portrayal of family interaction is examined in one of the most popular comedy shows of the 1980's. A time-series analyses of turn-at-talk revealed varying patterns of family interaction as a consequence of familial roles (parents, children, sibling). The results are discussed in terms of socio-egocentric speech in which individuals speak in monologues rather than dialogues.

Prior investigations of television's demography often relied upon programs sampled across varying periods of time to describe character populations. Results are sometimes conflicting and it is difficult to generalize these independent findings to longitudinal trends. This study examines a census of 1,757 major characters added to broadcast network lineups through new season programming from 1966 to 1992. New characters are examined in terms of gender, age, race/ethnicity, and occupational patterns occurring across 27 years of network program activity.

Soap operas mean serious business to thousands of entertainment professionals despite the soapdish tag attached to daytime dramas. Not only are the hours long, the work entails minimal rehearsal and requires a retentive memory. Moreover, there is stiff competition for a contract role, beauty still being a prime prerequisite of casting directors. Currently, the storylines still border on the ludicrous but soap operas have improved due to the network ratings war and the professionalism of actors in the field., The old soap opera joke went something like this: Two characters sit down in October to have a chat. They wrap up their conversation sometime in March. While that may [...]

Television viewing rose 6.4% during the first four months of 2010, compared with 2009, partly due to the wintry weather. BBC1 saw its audience share rise 6%, while ITV1's share dipped 5.6% across viewers in the ABC1 bracket and viewers aged 16 to 34. The ratings of various genres of UK television shows are also analyzed.

How UK television channels and shows faired during the summer 2009 season is discussed. Small terrestrial broadcasters BBC2 and Five both saw their ratings increase during peaktime hours, while ITV1, BBC1 and Channel 4 saw their ratings drop. The top-rating shows in different genres are also discussed.

Michael Eisner became a major player in the entertainment business in the 1970s when, as program director at ABC, he was instrumental in launching such hit shows as Barney Miller [...]

ABC TELEVISION NETWORK (818) 460-7777 ALL MY CHILDREN (ABC) EXP, Julie Harem Carruthers; PROD, Ginger Smith, Karen Johnson, Nadine Aronson, Enza Dolce; DIR, Conal O'Brien, Angela Tessinari, Casey Childs; CASTING, [...]

Cliches are often uttered to describe broadcast designers' solutions--they usually like to 'push the envelope' and try to 'keep clients in the loop.' Designers are happy when they are given [...]