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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.

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.

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.

Social media data has already established itself as an important data source for researchers working in a number of different domains. It has also attracted the attention of archiving institutions, many of which have already extended their crawling processes to capture at least some forms of social media data. However, far too little attention has been paid to providing access to this data, which has generally been collected using application programming interfaces (APIs). There is a growing need to contextualize the data gathered from APIs, so that researchers can make informed decisions about how to analyse it, and to develop efficient ways of providing access to it. This chapter will discuss one possible means of providing enhanced access: a new interface developed at the Institut national de l’audiovisuel (INA) that links Twitter and television archives to recreate the phenomenon of the “second screen”, or more precisely the experience of “social television”. The phrase “second screen” describes the increasingly ubiquitous activity of using a second computing device (commonly a mobile phone or tablet) while watching television. If the second device is used to comment on, like or retweet television-related content via social media, this results in the so-called social television. The analysis of this activity, and this data, offers a promising new avenue of research for scholars, especially those based on digital humanities. To the best of our knowledge, the work that will be discussed here is the first attempt at considering how best to recreate the experience of “social television” using archived data.

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.

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 examines the audiences’ discussions on the local adaptations of The Voice of China and The Voice of Germany through a content analysis of 128 microblogging posts. Specifically, this research explores the content, language and tone of the sampled posts on Sina Weibo and Twitter, respectively. The study found that while German audiences take notice of various topics relating to the show, Chinese audiences mainly focus on talents. The Chinese audiences have also paid attention to the talents’ age in accordance with their respect to the elderly in the society. Compared to the German audiences, the Chinese audiences post in their mother tongue exclusively and they are more critical. The findings suggest marked differences of the audiences’ responses to the shows on microblogging websites in different national contexts, but also partly challenge the traditional cultural values proposed by Hall and Hofstede based on researches of offline behaviors.

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.

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.

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.

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.

Millions of people nowadays share their television (TV) experience with other people through social media like Twitter or Facebook with mobile devices. It is generally believed that TV has been repurposed for social networks, called as social television. A key functionality of social television is that it allows the viewers to interchange their comments through mobile devices, thus creating the impression of watching TV like alongside a group of friends. To do so, mobile devices have to be aware of the current media context (identifier and progress) of what the TV is playing, known as synchronizing context from TVs to mobile devices. Unfortunately, most legacy systems are not able to track the playing progresses or need to upgrade TV devices. To address the issue, we design a purely software-based solution, called as TagScreen, which inserts a series of hidden sound markers into the audio of the content. TagScreen supports longrange or multipath-resistant synchronization at second-level, being independent of device diversity over severely frequency-selective acoustic channels. We implement TagScreen by using COTS TVs and mobile devices. The system has been extensively tested on 150 movies and 150 TV series across five different environments. Results show that TagScreen has a mean recognition accuracy of 98% up to 35m, and a mean tracking accuracy of 97%.

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.

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.

Tez (Yüksek Lisans) -- İstanbul Ticaret Üniversitesi -- Kaynakça var. Sayısallaşma ile birlikte telekomünikasyon ve bilgisayar teknolojilerinin televizyon yayın sistemleri ve televizyon setleri ile yakınsaması, internet bant genişliğinin artması sonucu internet üzerinden televizyon yayınlarının iletilebilmesi olanaklı hale gelmiştir. Geleneksel yayın sistemleri; uydu, karasal ve kablolu yayın sistemlerine üzerine yoğunlaşırken internet tabanlı televizyon sistemleri daha çok etkileşimli medya, IP TV, İnternet TV, Over-The-Top içerikleri, On-demand veya streaming gibi yayın türleri üzerine odaklanmaktadır. İnternet tabanlı yayın sistemleri ve internet bağlantılı televizyon setlerin sunmuş olduğu teknolojik olanaklar doğrultusunda yayıncılık anlayışı ve televizyon izleme alışkanlıklarının dönüşmesinde anahtar rol oynamıştır. Günümüzde programı yapımcıları internet tabanlı yayın sistemleri aracılığı ile izleyicilerine diğer yayın sistemlerinden farklı olarak içerik ve yayın üzerinde daha fazla etkileşim, kontrol ve kişiselleştirebilme olanağı sunabilmektedir. Bunun yanı sıra program yapımcıları internet ortamının kendine özgü özelliklerinden ve sosyal medyanın olanaklarından yararlanarak kullanıcılara etkileşimli ve katılımcı bir televizyon izleme deneyimi sunabilmektedirler. Bu bağlamda Sosyal TV kavramını ele almak gerekmektedir. ‘‘Sosyal TV’’ sosyal medya ile televizyonun yakınsaması sonucunda ortaya çıkan bir kavramdır. Sosyal TV’ yayıncı ve izleyiciye sunduğu olanaklar bakımından son derece önemlidir. Araştırmada Sosyal TV ve ikinci ekran kavramlarının neleri kapsadığı ve bu uygulamaların kullanım teknikleri ve piyasadaki bazı sosyal TV uygulamalarının kullanım alanları ve özellikleri araştırmada incelenmiştir. With the digitization, telecommunication and computer technology converged with television broadcasting systems and television sets, it became possible to transmit television broadcasts over the internet as the result of increase of internet bandwidth. Traditional broadcasting systems; Satellite, and terrestrial and cable broadcasting systems, Internet-based TV systems focus on more interactive media such as media, IP TV, Internet TV, Over-The-Top content, On-demand or streaming. Internet-based broadcasting systems and internet-connected TV sets have played a key role in the transformation of broadcasting habits and the understanding of broadcasting in the direction of the technological possibilities offered. Nowadays, program producers can offer their audience the opportunity to interact, control and personalize content and broadcasting differently from other broadcasting systems through internet based broadcasting systems. In addition, program producers can offer an interactive and participatory television viewing experience for users by taking advantage of the unique features of the internet environment and the possibilities of social media. In this context, it is necessary to consider the concept of Social TV. '' Social TV '' is a concept that emerges as a result of social media and television convergence. Social TV 'is extremely important in terms of the opportunities that the publisher and the viewer offer. In our research, what the social TV and second screen concepts cover and how these applications are used and the usage areas and features of some social TV applications on the market have been examined through literature review of qualitative research methods. Özet, iii -- Tablolar Listesi, vi -- Şekiller Listesi, vii -- Kısaltmalar Listesi, ii -- GİRİŞ, 9 -- 1. TELEVİZYONUN GELİŞİMİ, 11 -- 1.1 Televizyon Yayın Teknolojilerinin Gelişimi, 12 -- 1.1.1 Televizyon Yayın Türleri, 14 -- 1.1.2 Analog Yayın, 14 -- 1.1.3 Sayısal (Dijital)Yayın, 15 -- 1.1.4 Sayısal Yayıncılık Türleri, 19 -- 1.2. Etkileşimli Televizyon, 25 -- 2. TV İLE İNTERNETİN YAKINSAMASI VE DÖNÜŞEN İZLEYİCİ, 32 -- 2.1 İnternet, 32 -- 2.2 İnternet Bağlantılı Televizyon, 38 -- 2.3 İnternet Üzerinden Televizyon Yayıncılığı Türleri, 53 -- 2.3.1 İnternet TV, 59 -- 2.3.2 IP TV, 63 -- 2.3.3 OTT TV, 69 -- 2.4 Değişen İzleme Alışkanlıkları ve Deneyimleri, 73 -- 3. SOSYAL TV, 79 -- 3.1 Sosyal Ağların Nitelikleri ve Özellikleri, 84 -- 3.2. İkinci Ekran Uygulamaları ve Fonksiyonel Özellikleri, 87 -- SONUÇ VE ÖNERİLER, 95 -- KAYNAKÇA, 102

Recognizing the multiplatform and individualized video viewing environment, this study conducted focus groups to delve into reasons behind the choice and use of television over other types of video platforms, and the motives for using social television. The results suggest that the focus group participants feel affection for television as a medium itself — a feeling that is independent of the content available on television. The motives for seeking social television include a sense of community, social bonding with existing networks, reinforcement of an online persona, entertainment, information sharing, social movement, self-documentation, and incentives.

[Resumen] La introducción de nuevas formas de consumo televisivo lleva consigo cambios en las audiencias. En un contexto de televisión líquida se hace cada vez más necesario analizar nuevos tipos de consumo como el que se realiza en las redes sociales (audiencia social) o el visionado de productos televisivos fuera del horario de programación (audiencia en diferido). En este artículo, a través del estudio de caso, se analizan tres tipos de audiencia (lineal, social y en diferido) de tres productos de ficción emitidos en las televisiones generalistas españolas durante el último trimestre de 2015. De la investigación se concluye que el éxito en la audiencia lineal no asegura la superioridad en la audiencia social, si bien los datos de las tres se complementan y nos acerca al nuevo televidente. [Abstract] The introduction of new forms of television consumption leads to changes in the audiences. In a context of liquid television it becomes increasingly necessary to analyze new types of consumption as it is done on social media (social audience) or viewing television products after hours of programming (time shifted). This article analyzes three types of audience (linear, social and time shifted) of three fictions cast in the Spanish mainstream television during the last quarter of 2015. The investigation concluded that success in linear audience does not ensure superiority of the social audience, although the data of three complement each other.

Katlanarak gelişen web teknolojilerinin sürekli bir evrim içerisinde olan mobil cihazlar ile entegrasyonu son yıllarda televizyon yayıncılığı ve izleyicilerin televizyona dair alışkanlıkları üzerinde önemli değişimlere yol açtı. Yayınlanan içeriğin dijital hale gelip zaman ve mekanın getirdiği kısıtlamalardan kurtulmasına paralel olarak, toplumun kendini ifade biçimleri de sosyal medya sayesinde benzer bağımsız bir forma kavuştu. Bu entegrasyon ve bu entegrasyonun izleyiciler ve yapımcılar arasında gerçekleşen diyaloglar, sosyal medya tabanlı reyting ölçümleri, ekranla etkileşimler, kullanıcılar tarafından yaratılan içeriklerin istatistiksel ve bağlamsal anlamda incelenmesi gibi günden güne artan sonuçları sadece Türkiye'de değil, dünyada Sosyal TV olarak adlandırılmıştır. Öte yandan, akademik tanımların Sosyal TV'nin işleyişini anlatmada yetersiz kaldığı görülmektedir. Bu sebeple, bu tezin önemli bir kısmı bu yeni ortaya çıkan etkileşim yumağına kapsamlı bir tanım önerisinde bulunmak için ayrılmıştır. Ayrıca bu tez, her ne kadar erken bir safhada olsa da, Sosyal TV reytinglerinin geleneksel reytingleri tamamlayıcı bir pozisyonda olduğu ve hatta gelecekte geleneksel reytinglerin yerini alabilecek potansiyeli taşıdığı savını ortaya atmaktadır. Bu savı desteklemek için, Türkiye'de Sosyal TV'nin güncel durumu, geleneksel ve Sosyal TV reytinglerinin avantaj ve dezavantajlarının detaylı bir karşılaştırması ile birlikte sunulmaktadır. Anahtar Kelimeler: Büyük Veri, Sosyal TV, Televizyon Reytingleri, Twitter Reytingleri In recent years, viewing habits of TV viewers and television itself have changed significantly thanks to the integration of exponentially developing web technologies to continuously evolving mobile devices. Televised content became digitized and freed from time and space, while public expression became available in a time and space unbound form via social media. This integration and its ever growing outcomes started to be called Social TV, which includes dialogues among viewers and/or producers, social media based ratings, screen interactions, analyses over user created content both in numbers and in relation to contexts etc. Academic definitions seem to be insufficient in defining the general scheme of Social TV. Thus, an important part of this thesis aims to offer a comprehensive definition to this newly developed interaction cluster. Moreover, this thesis argues that Social TV ratings are complementary to the traditional set-top- box rating systems with even a potential to replace them in the future. To support this argument, historical background of Turkish Social TV is provided including its current state, as well as a detailed discussion of the pros and cons of Social TV ratings against traditional rating systems. Keywords: Big Data, Social TV, Television Ratings, Twitter Ratings 139

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.

IPTV (Internet Protocol Television) geniş bant üzerinden IP kullanılarak yapılan televizyon yayınlarının son kullanıcıya ulaşmasını sağlayan ve izleyici televizyon etkileşimini artıran yayın teknolojisidir. Son yıllarda adını sıkça duyduğumuz IPTV internet teknolojilerindeki gelişmelerin yayıncılık alanına yansımasıdır.Türkiye'de analog yayıncılıktan sayısal yayıncılığa geçiş sürecinde TV izleyicisinin yayınlara olan etkileşimi de artmıştır. İnternetin 2000'li yıllarda kitle iletişim araçlarında kullanımın artmasıyla TV yayıncılığının da şekli değiştirmiştir. IPTV beraberinde kullanıcılarına birçok hizmet ve uygulama sunmuştur. Video on demand (isteğe bağlı video), kişisel video kaydı, elektronik program rehberi, görüntülü konuşma, uzaktan eğitimi sosyal TV… gibi bir çok hizmet ve uygulama televizyon izleyicisinin alışkanlıklarını değiştirmiştir. Sosyal TV ile televizyonumuzdan sosyal ağlara bağlanarak TV izleyicisinin televizyonla olan etkileşimi son derece artmış ve TV'lerimiz sosyal birer ağa dönüşmüştür. Bütün bunlara ek olarak bu tez çalışmasında sektörün ileri gelenleri ve akademisyenlerle yapılan derinlemesine mülakat ile Türkiye'de IPTV'nin mevcut durumu, IPTV ve sosyal TV arasındaki farklar, internet TV üzerinden yapılan ticaret, internet TV ve TV arasındaki ilişki ve TV yayıncılığının ve sosyal TV'nin geleceği gibi başlıklar incelenmiştir.Anahtar Kelimeler: IPTV, Sosyal TV, Yeni Medya IPTV (Internet Protocol Television) is a broadcasting technology that enable the end-user of broadband via cable television broadcasting and is to increase broadcast television audience interaction. We often hear the name of IPTV in recent years because of reflection of the advances in internet technology publishing.The interaction with the broadcast of the TV audience in the transition from analogue broadcasting to digital broadcasting in Turkey has increased. The Internet has changed the shape of the TV broadcasting with the increasing use of mass media in the 2000s. IPTV has offered many services and applications to users. a lot of services and applications such as video on demand, personal video recording, electronic program guide, video conferencing, distance learning, social TV has changed the habits of the audience. Connecting to social networks on our TV Social TV, the interactions of TV viewers with a television has greatly increased, and the TV has become one of our social network.In this thesis, in addition to all these, the industry forward with in-depth interviews with those coming and academics IPTV current situation in Turkey, IPTV and social differences between TVs, the internet via TV commercial, internet TV and the relationship between TV and TV broadcasting and social titles, TV's future has been investigated.Keywords: IPTV, Social TV, New Media 196

ÖZETTelevizyon kitle iletişim araçlarının içinde bireylerin hayatına en derin şekilde temas eden medyum olarak kamusal kullanıma açıldığı dönemden bu yana birçok teknolojik değişim geçirmiştir. Bu gelişmelere rağmen izleyici ile arasında kurulan ilişki bağlamında marjinal bir değişim yaşanmamıştır. Sosyal hayatların dokusuna bir arka fon müziği gibi yerleşen televizyon içerik olarak belirli merkezlerde üretilen biçimleri evlere taşıma işleviyle sınırlıdır.Medya araçları arasındaki sınırların kalkması olarak nitelenen yöndeşme süreçlerinin etkisiyle ortaya çıkan yeni medya, televizyonun toplumsal hayattaki kadim rolünü de etkilemektedir. Yeni medya araçlarının etkileşimlilik özelliği sayesinde iki yönlü iletişim bireylerin hayatında daha sık yer bulmaktadır. Televizyonun izleyicilere kendi aralarında ve içerikle etkileşim kurmasına izin vermeyen yapısı günümüzün koşullarında değişmeye mahkumdur.Bu değişimin öncüsü 1990’lı yılların ikinci yarısından itibaren dillendirilen etkileşimli televizyon sistemleri olmuştur. Gelişen teknolojilerle birlikte televizyon yayıncılığının dijitalleşmesi ve IPTV gibi sistemler de bu değişime katkı sunmuştur. Sosyal televizyon böyle bir zeminde doğan yeni bir konsepti ifade etmektedir. İzleyicilerin zaman ve mekan kısıtlaması olmadan içerik üzerinden birbirleriyle etkileşime girmelerine yönelik yapılan çalışmalar bu konseptin gelişmesine önayak olmuşlardır. İkinci ekran teknolojileri de sosyal televizyon konseptinin doğal bir uzantısı olarak görülmektedir.Bu tez çalışması görece yeni bir kavram olan sosyal televizyon üzerine yapılan çalışmaları geleneksel ve yeni medya bağlamında irdeleyerek kavrama yönelik bir çerçeve oluşturmayı amaçlamaktadır.Anahtar Kavramlar: Etkileşimli Televizyon, Sosyal Televizyon, Kitle Medyası, Yeni Medya, IPTV, İkinci EkranABSTRACTTelevision, the most powerful tool of mass media, had ben evolved as technologically in different ways after its invention. However, its relationship with its audience is not changed despite these evolvements. As a theme soundtrack of social lives, television is restricted to allocate media content that has been produced in certain institutions to houses for years.The rise of new media by convergence between media tools is threatening essential role of television on the public. Two way communication is now a part of social life in the context of interactive functions of new media. The solid structure of television that does not allow users to interact with either other users or the medium itself is destined to change under new circumstances of the new media era.The pioneer of this alteration was interactive television systems in second half of 90’s. The digitalization of television broadcasting and developed systems like IPTV has also contributed to the process. The concept of social television is a result of mentioned alterations. The extraordinary works on interactivity of media are responsible for this concept that allow users to interact with each others through content without limitations of timewise and spatial conditions. The second screens are also seen as inherent extensions of social television concept.This work will try to attempt to bring a framework for social television phenomenon by probing past researchs in the context of old and new media comparison.Keywords: Interactive Television, Social Television, Mass Media, New Media, IPTV, Second Screen

La combinación de redes sociales, segundas pantallas y televisión ha propiciado la aparición de una nueva relación de los espectadores con la televisión en la que los habituales roles del paradigma de la comunicación se han alterado. La televisión social ha dado pie al nacimiento de la audiencia social entendida como una fragmentación de la audiencia real en función de su interactividad en las redes sociales. Este trabajo pretende estudiar los elementos que contribuyen al éxito o fracaso de programas con un mismo formato en relación a la audiencia social. Para ello se han tomado como objeto de estudio los tres talent show que lanzaron las principales cadenas generalistas españolas en septiembre del año 2013. Se ha procedido a la observación del impacto de dichos programas en la red social Twitter empleando una ficha de elaboración propia y se ha desarrollado un sistema de categorías de análisis y códigos con el fin de recopilar toda la información recogida. Los resultados obtenidos indican que en el éxito de los programas analizados en audiencia social influye la actividad de la cuentas de los presentadores y del jurado. Las conclusiones alcanzadas tras este análisis de la experiencia española pueden servir como modelo de desarrollo de la audiencia social para otros países en los que esta no se encuentre tan extendida., The combination of social networks, second screens and TV has given rise to a new relationship between viewers and their televisions, and the traditional roles in the communication paradigm have been altered irrevocably. Social television has spawned the social audience, a fragmentation of the real audience based on how they interact with social networks. This study is an attempt to analyze the factors which contribute to the success or failure of programs with a similar format in relation to their social audience. To do so, the study took as its subject three talent shows launched on the principal mainstream TV channels in Spain in September 2013. The study looked at the impact of these shows on the Twitter network, employing a control form [and developing a categorization and coding system for the analysis with the aim of collating all the data collected]. The results showed that the success of the shows was influenced by the activity in the social network accounts of the presenters and the judges. The conclusions reached in this analysis of the Spanish audience could be used as a development model for social audiences in other countries where social television is not so widespread

In the past years, people have started to use social media to interact actively about TV content. However, despite of over a decade of active research and product development, Social TV has not been adopted by large populations. This paper aims to support designing interaction for Social TV services and, more specifically, designing for the presence and togetherness between viewers. Our constructive research consisted of a series of user studies and iterative prototyping. We conducted user studies with altogether 51 participants both in laboratory and in real-life contexts. To support the presence, the final prototype includes three different modalities of communication -- voice and text-based chat, and animated gestures with avatars. The qualitative findings imply that gestures with avatars in virtual space support Social TV and the experience of presence. Finally, we present an analysis of Social TV heuristics and their validity in the context of our designs.

People on the Web talk about television. TV users' social activities implicitly connect the concepts referred to by videos, news, comments, and posts. The strength of such connections may change as the perception of users on the Web changes over time. With the goal of leveraging users' social activities to better understand how TV programs are perceived by the TV public and how the users' interests evolve in time, we introduce a knowledge graph to model the integration of the heterogeneous and dynamic data coming from different information sources, including broadcasters' archives, online newspapers, blogs, web encyclopedias, social media platforms, and social networks, which play a role in what we call the "extended life" of TV content. We show how our graph model captures multiple aspects of the television domain, from the semantic characterization of the TV content, to the temporal evolution of its social characterization and of its social perception. Through a real use-case analysis, based on the instance of our knowledge graph extracted from (the analysis of) a set of episodes of an Italian TV talk show, we discuss the involvement of the public of the considered program.

The way in which online users employ social media to enhance their television viewing experience is a phenomenon known as social television. The following study focuses on the possibility of embedding social television into the creative process of television production.

Starting from a set of empirical qualitative researches (i.e. multi-situated and virtual ethnographies) on TV consumption and social media use among young Italians, the paper aims to investigate audience performances in downloading, sharing and archiving TV content in contemporary scenario. In addition to a phenomenological approach, the paper proposes to theoretically investigate the TV and social media users from the perspective of social definitions and uses of TV, promoting a (re)consideration both of how TV content grassroots distribution is relevant in personal everyday routines and sociability, and of how these practices shape personal, group and collective identities and belongings.

Through content analysis of messages posted on Twitter, we categorize the types of content into a matrix — attention, emotion, information, and opinion. We use this matrix to analyze televised political and entertainment programs, finding that different types of messages are salient for different types of programs, and that the frequencies of the types correspond with program content. Our analyses suggest that Twitter picks up where formal social television systems failed: people are using the tool to selectively seek others who have similar interests and communicate their thoughts synchronous with television viewing.

Online social video applications, combining video watching with social media, are gaining in popularity. However, evaluation tools that focus on optimally supporting social interaction (i.e. sociability) when designing social video applications are still lacking. We have created a list of sociability heuristics for social interactive television applications, but it is unsure if these can be applied to similar applications but on a different platform, the web. In this position paper, we discuss the possibilities and limitations of applying sociability heuristics in a new – but related – domain, and we highlight opportunities for future work in this area.