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With the number of television series increasing almost daily and resources becoming increasingly sparse, it is more important than ever for companies to determine which series will have market success or not. This paper attempts to identify the characteristics of television fiction series that cause consumers to perceive them as being of high quality. In a nation-wide survey, we isurveyed 874 television viewers about ten series from four genres to investigate which characteristics of television series predict consumers' perception of their quality. Although in most cases the coherence of the plot and the dialogues have a strong and positive effect on perceived quality, overall, we find that different genres have different predictors of perceived quality. We discuss the implications of our findings and provide recommendations for future research and practice. [ABSTRACT FROM AUTHOR]

This article examines the evolution of the attitudes of Spanish viewers to television from 2008 to 2016. This has been a period of time characterised by a substantial increase in the number of television channels. More specifically, the analysis is focused on audience satisfaction, perceptions of content quality and moral and pragmatic concerns. The data used in the empirical analysis come from three rounds of a survey conducted in 2008, 2012 and 2016. The size of the sample is 1,000 respondents for each year. The findings suggest that the attitudes to television have remained very stable in spite of the changes in the growth of the offer and technological upgrading. [ABSTRACT FROM AUTHOR]

This article analyzes what the audience understands by the concept of quality as applied to television channels. This research also examines the influence of the perceived quality of the different programs broadcasted by a channel on the perceived quality of the whole channel. The empirical part is based on the answers provided by a sample of 405 respondents in Spain. The factors found to be associated with the idea of quality television by the audience are somewhat different depending on the method used to assess it, which points to the existence of social desirability bias when asking directly about it. Notwithstanding these differences, entertainment is the characteristic that the audience most consistently associates with the concept of quality in television channels. The results also show that news programs, movies and magazines, and talk shows are the genres with a greatest influence on the assessment of the quality of a television channel by the audience. [ABSTRACT FROM AUTHOR]

The high production costs for most television fiction series means that they must draw a significant audience from the very beginning. It is very important that the audience enjoy the series. However, what factors have a bearing on audience enjoyment? The purpose of this paper is to identify the affective reactions of viewers that may have an impact on their evaluation of a given series. It also examines whether there are differences among viewers depending on their sociodemographic characteristics (sex, age, television consumption habits and genre preferences). The study was conducted for Velvet by conducting personal interviews with 375 viewers of the show. [ABSTRACT FROM AUTHOR]

This article examines perceived television quality by considering the role played by viewers’ concerns about television content. These concerns are classified into two categories: pragmatic and moral. The research question is analysed empirically for Spain. Results show that pragmatic concerns are more important for the audience than moral concerns both in 2008 and 2012. Both types of factors are considered to have worsened their development in this period. However, general perception of television quality in Spain has improved between 2008 and 2012. This is associated to a more positive opinion regarding national public service television, but to a more negative perception of the quality of television channels. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse which production values are more determinant regarding the audience's quality perception with respect to different types of entertainment television genres. In order to develop this study, we have taken into account production values such as the creative and technical quality, the host, the set and the content. The main source of data for this empirical study is an original survey. The target population consisted of the Spanish population and the sample was designed to be representative. The results show that in spite of the emergence of the connected TV -resulting from the convergence of television and the internet-, which is profoundly changing the audiovisual market, the cornerstone of their business remains the same: content quality. [ABSTRACT FROM AUTHOR]

This article analyses perceived television quality in a sample of Spanish consumers by considering the role played by viewers' concerns about television contents. It applies to all kinds of terrestrial television channels in Spain. These concerns are found to be classiffied in two categories: pragmatic and moral. The intensity of these concerns is related to the socio-demographic characteristics of the viewers. Male, older and educated viewers are found to show stronger pragmatic concerns on TV content whereas women and older viewers show stronger moral concerns. Pragmatic concerns have a negative influence on perceived TV quality, but no effect is detected for moral concerns. [ABSTRACT FROM AUTHOR]

This article contributes to the ongoing debate about quality in television programmes. Product quality standards in TV drama are not easily identifiable. Here, values come across with creative talent, audience ratings and the costs-revenues complex equation. Most of studies on quality in TV are either focused on audience's perception or on professional standards. Nevertheless, few of them try to contrast audiences' and producers' perceptions. This article is a first contribution in this regard, focusing on the case of three well-known TV series in Spain: Los Serrano, Cuéntame cómo pasó and La familia Mata. [ABSTRACT FROM AUTHOR]