"The GeoPoll Afghanistan Media Audience Landscape Establishment Survey comprised of 2,000 Computer Assisted Telephone Interviews (CATI) with respondents across the country, conducted in from December 2023 to January 2024. Based on the survey data, approximately 67% of the adult Afghan population wat
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ch television at least once a month." (Page 2)
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"Après environ quarante ans d'existence au Cameroun, la télévision est l'objet d'un ouvrage qui la présente en faisant émerger les interrogations qu'elle suscite sur ses représentations politique, juridique, économique, culturelle et esthétique. Elle a pris une importance substantielle dans
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les vies quotidiennes au point que les citoyens, les entreprises, les pouvoirs publics, les organisations sociales et politiques ainsi que les ménages en font un usage qui, depuis 1985, s'est considérablement accru. Avec la télévision, les perceptions du temps comme de l'espace ont changé, de même que les pratiques relationnelles, politiques, culturelles et territoriales. Il en résulte des enjeux inédits qui se traduisent par de nouveaux défis pour les autorités, à tous les niveaux institutionnels : régulation du paysage audiovisuel, réorganisation de l'économie du secteur, remodelage de la citoyenneté et mutation de la vie démocratique, adaptation technologique aux normes internationales et aux TIC, encadrement esthétique en vue de la préservation du patrimoine culturel, etc. Avec cet ouvrage à la fois pédagogique et réflexif, les auteurs, par une approche pluridisciplinaire, soulignent combien la télévision s'est imposée comme un acteur social majeur et comme un objet de recherche en sciences sociales." (Description de la maison d'édition)
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"This article applies the concept of cult TV to Brazilian telenovelas. The term cult TV is used to refer to products that were perceived to be different from mainstream popular culture. However, theoretical contexts have started to embrace the notion of a mainstream cult. With the concept of a mains
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tream cult in mind, I will argue that some telenovelas are responsible for occasioning a ritual which forms a national community, and could thus be considered cult for three main reasons: they can acquire nostalgic appeal; they can present aesthetic innovation even within a classic format; and they sometimes engender a type of audience engagement that stands out from other productions. This third reason will be addressed closely from the perspective of the audience, arguing that their opinion on what is a cult should be considered in relation to the academic debate around the concept. Amongst the main results, I highlight the identification of telenovelas as popular productions that may be considered cult TV, and the growing importance of common sense understandings for our consideration of concepts in the field of Communications." (Abstract)
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"Television has a prime role to play in the formation of discursive domains in the everyday life of South Asian publics. This book explores various television media practices, social processes, mediated political experiences and everyday cultural compositions from Bangladesh, India, Nepal, Pakistan
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and Sri Lanka. With the help of country-specific case studies, it captures a broad range of themes which foreground the publics and their real-life experiences of television in the region. The chapters in this book discuss gendered television spaces, women seeking solace from television in pandemic, the taboo in digital TV dramas, television viewership and localizing publics, changing viewership from television to OTT, news and public perception of death, redefining ‘the national’, theatrical television and post-truth television news, among other key issues." (Publisher description)
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"Am 29. Oktober 1923 nahm der erste deutsche Radio sender einen regelmäßigen Programmbetrieb auf. Dies gilt vielen als Geburtsstunde des öffentlichen Rundfunks in Deutschland. Das 100-jährige Jubiläum im Jahr 2023 bietet dem Technoseum den Anlass, der Geschichte von Radio und Fernsehen eine eig
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ene Ausstellung zu widmen, die in fünf chronologisch aufeinander folgen den Themenbereichen die Geschichte von Radio und Fernsehen von den Funkanfängen um 1900 bis zu den digitalen Medien der Gegenwart erzählt. Vorangestellt ist ein Prolog zum Jubiläum. Drei „Perspektiven“ ziehen sich durch die gesamte Schau: Die Perspektive der Pro grammproduktion zeichnet Entwicklungslinien der Pro grammgeschichte nach und gibt Einblicke in Methoden und Berufsbilder der Radio- und Fernsehprogramm produktion. Bei der Perspektive der Geräteproduktion stehen die Herstellung von und der Handel mit Radio und Fernsehgeräten im Mittelpunkt. Schließlich fragt die Perspektive der Nutzerinnen und Nutzer danach, wie die Technik das Leben der Menschen prägt und wie sich Nutzungsgewohnheiten verändert haben. Erst mals können in diesem Rahmen zwei Objektbestände in größerem Umfang gezeigt werden, die das Museum im Jahr 2014 übernommen hat: Die Sammlung des ehemaligen Deutschen Rundfunk-Museums in Berlin sowie die historisch-technische Sammlung des Südwestrundfunks (SWR). Die eigenen Objekte werden durch zahlreiche Leihgaben von Museen, Radio- und Fernsehsendern sowie Produktionsfirmen und Privatpersonen ergänzt. Zusammen zeichnen sie ein buntes Bild der Radio- und Fernsehgeschichte von den Anfängen bis heute." (Vorwort)
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"This paper relates to my introduction to Brian Shoesmith and my involvement in his research project on satellite television and the audience reception of the Australian Television International channel in Surabaya, Indonesia in 1993 and 1995. It also discusses the impact of Brian and his research o
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n the development of the Department of Communication in Airlangga University in Surabaya and to the transformation of television audience studies in the Indonesian context. I will examine Brian’s publications on satellite television in Asia and the account of the Australian Television International channel’s failure in Asia in the early 1990s. Taking my cue from Brian’s writings about the challenge of the Australian Television International channel in Asia, I will discuss the situation of national audiences in Indonesia and their attitude towards the persistence of imported/foreign programmes, including Australian television programmes. In fact, the consumption of Australian cultural productions in Indonesia continues to be problematic and less widespread compared to the more dominant Western (US) and Asian (Korean) productions." (Abstract)
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"This book places television in Africa in the digital context. It addresses the onslaught of multimedia platforms, digital migration and implication of this technology for society. The discussions in the chapters contained in this book encompass a wide range of issues such as digital disruption of t
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elevision news, internet television and video on demand platforms, adaptations, digital migration, business strategies and management approaches, PBS, consumption patterns, scheduling and programming, evangelical television, and many others." (Publisher description)
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"This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streamin
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g TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries global regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience." (Publisher description)
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"In this article, I explore how Syrian refugees and internally displaced people are using social media to reshape interpretations of their own status through their engagement with quality TV texts that tackle the refugee crisis. I focus on the discourse surrounding the Syrian Television Drama series
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Ghadan Naltaqi (GN) [We'll Meet Tomorrow] which is particularly interesting because of the dialogue that has developed between the forcibly displaced segment of its audience and the writer/creator of the show, Iyad Abou Chamat. Methodologically, this research is based on 26 semi-structured interviews conducted in Arabic language: one interview with Chamat, and 25 interviews with members of his audience who friended Chamat on Facebook after GN aired. I demonstrate that Facebook serves as an outlet for interactivity between displaced drama producers and audiences in a way that imitates the dynamics of live theater. While such interactivity is facilitated by technology, the emergence of this interactive relationship is owned to the desires for (re-)connection of both drama creators and audiences stemming from the alienation of war, violence and displacement." (Abstract)
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"This book examines the role of 24/7 television news channels in Bangladesh. By using a multisited ethnography of television news media, it showcases the sociopolitical undercurrents of media practices and the everydayness of TV news in Bangladesh. It discusses a wide gamut of issues such as news ma
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king, the localized public sphere, audience reaction and viewing culture, the impact of rumours and fake news, sociopolitical conditions, protest mobilization, newsroom politics and perspectives from the ground." (Publisher description)
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"La primera vez que CPI midió la presencia de Netflix en los hogares, fue en el 2017, logrando una penetración de 17,4% en Lima metropolitana. Al año siguiente, 2018, Netflix experimentó un crecimiento de 62% con una penetración de 28,2%. Durante el presente año, según nuestra última mediciÃ
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³n de agosto, el crecimiento mantiene su ritmo exponencial alcanzando un 34% más respecto al 2018, y casi 120% respecto al 2017. Actualmente, la penetración es de 37,7%; sin embargo, el analisis según niveles socioeconómicos (NSE), es interesante ver que el A/B alcanzar una alta penetración con 75,8%, lo que representa un crecimiento del 91% respecto al 2017; mientras que el NSE C ha crecido crecido un 134% y el NSE D/E un 267% respecto al mismo año. Se estima para los próximos años un crecimiento mayor, no solo del servicio de Netflix, sino del servicio de streaming en general en cualquiera de sus plataformas. Este crecimiento, creemos, deberÃa reflejarse en segmentos de menores recursos, los cuales ya han ido presentando incrementos importantes." (Página 1-2)
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"The European Video Measurement Matrix provides a unique reference tool on different audience and verification measurement providers’ capabilities and methodologies. Through this overview, the FreeWheel Council for Premium Video, Europe (FWCE) aims to shed light on similarities and differences acr
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oss the region and open up a dialogue on how metrics should evolve over time to serve the interests of brands and premium video providers alike." (Page 2)
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"Pretty Liar" explores the rise of language and gender politics on Lebanese television to tell the untold story of the co-evolution of Lebanese television and its audiences and how the civil war of 1975-1991 affected that co-evolution. The shift in public interest in television has been widely ackno
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wledged and interpreted within an institutional context as a victory of the neo-liberal entrepreneurship of a new, agile brand over the government inefficiency of Lebanon's national station, Télé Liban. Yet, the role of the Lebanese Civil War in reshaping national television and broadcasting in Arab media following the emergence of the Lebanese Broadcasting Company in 1985 has been unexplored. Based on empirical data and grounded in theory by Arab and global researchers, "Pretty Liar" offers textual analyses of five Lebanese fictional series, three major and several additional periodicals, and nine literary works, and provides context from unscripted interviews with television administrators, anchors, actors, and freelance contributors, print journalists, and audience members. Khazaal seeks to offer new insight into how entertainment television became a site for politics and political resistance, feminism, and the cradle for post-war Lebanon due to the shift in practices and standards of legitimacy." (Publisher description)
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"The television broadcasting culture of Pakistan was changed dramatically in 2002. The President, General Pervez Musharraf, introduced a policy of liberalisation that enabled controversial issues such as honour killings, adultery, stoning to death, domestic violence, marriage after divorce and homos
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exuality to be increasingly depicted on screen. Women and TV Culture in Pakistan is the first in-depth analysis of this change in television content. Munira Cheema focuses on how 'gender issues' are dealt with on TV and examines the impact this has on female viewers. In Pakistan, television is often the only way in which women can access the public sphere (except through male guardians) and this book evaluates how TV content allows them to navigate their intersecting identities as Muslims, women and Pakistanis. At a time when religious conservatism is on the rise in the country, this book investigates why producers choose to focus on gender-based issues and the extent to which religion dictates social behaviour and broadcasting choices. Based on interviews with women viewers in Karachi as well as industry professionals including writers, directors and ratings experts, the research is a much-needed and original contribution to global television studies and gender studies." (Publisher description)
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"KANA TV is the most popular station with over 30% share and an average audience of almost 3 million while EBS comes second reaching half the audience KANA TV reaches. EBC1, JTV, and Nahoo close out the top 5 stations which comprise 81% of total share." (Slide 9)
"Die MedienNutzerTypologie fasst Menschen mit ähnlichen soziodemografischen Merkmalen, Interessen und einer vergleichbaren Alltagsgestaltung zu homogenen Gruppen zusammen. Die Fernsehnutzung der Typen wird davon beeinflusst, wie sie sich in den Tagesablauf einbetten lässt - außerdem spielen persÃ
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¶nliche Einstellungen und damit verbundene Programminteressen eine bedeutende Rolle. Auch das Kulturangebot vor Ort und die finanziellen Mittel zur Freizeitgestaltung bestimmen das Zeitbudget für das Fernsehen. Der Umfang der Fernsehnutzung liegt im Durchschnitt aller MedienNutzerTypen bei knappen vier Stunden täglich. Je nach Typ gibt es stärkere Abweichungen von diesem Wert: Spaßorientierte (143 Min. Sehdauer) nutzen vermehrt das Internet bzw. auch Medienangebote lieber online, zu den Wenigsehern zählen auch Hochkulturorientierte (216 Min.), die eher aktiv kulturellen Interessen nachgehen und ihre Freizeit stärker auch außerhalb der eigenen vier Wände gestalten. Ältere Typen wie Eskapisten (285 Min.) und Häusliche (345 Min.) sind zu großen Teilen nicht mehr berufstätig und ziehen sich eher ins Private zurück, ihr Fernsehkonsum ist stark ritualisiert und der höchste aller MedienNutzerTypen." (Zusammenfassung)
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