Instead of Depicting the Media As Severely Circumscribed by Audience
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Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth. -
Putting National Party Convention
CONVENTIONAL WISDOM: PUTTINGNATIONAL PARTY CONVENTION RATINGS IN CONTEXT Jill A. Edy and Miglena Daradanova J&MC This paper places broadcast major party convention ratings in the broad- er context of the changing media environmentfrom 1976 until 2008 in order to explore the decline in audience for the convention. Broadcast convention ratings are contrasted with convention ratingsfor cable news networks, ratings for broadcast entertainment programming, and ratings Q for "event" programming. Relative to audiences for other kinds of pro- gramming, convention audiences remain large, suggesting that profit- making criteria may have distorted representations of the convention audience and views of whether airing the convention remains worth- while. Over 80 percent of households watched the conventions in 1952 and 1960.... During the last two conventions, ratings fell to below 33 percent. The ratings reflect declining involvement in traditional politics.' Oh, come on. At neither convention is any news to be found. The primaries were effectively over several months ago. The public has tuned out the election campaign for a long time now.... Ratings for convention coverage are abysmal. Yet Shales thinks the networks should cover them in the name of good cit- izenship?2 It has become one of the rituals of presidential election years to lament the declining television audience for the major party conven- tions. Scholars like Thomas Patterson have documented year-on-year declines in convention ratings and linked them to declining participation and rising cynicism among citizens, asking what this means for the future of mass dem~cracy.~Journalists, looking at conventions in much the same way, complain that conventions are little more than four-night political infomercials, devoid of news content and therefore boring to audiences and reporters alike.4 Some have suggested that they are no longer worth airing. -
From Broadcast to Broadband: the Effects of Legal Digital Distribution
From Broadcast to Broadband: The Effects of Legal Digital Distribution on a TV Show’s Viewership by Steven D. Rosenberg An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2007 Professor Marti G. Subrahmanyam Professor Jarl G. Kallberg Faculty Adviser Thesis Advisor 1. Introduction ................................................................................................................... 3 2. Legal Digital Distribution............................................................................................. 6 2.1 iTunes ....................................................................................................................... 7 2.2 Streaming ................................................................................................................. 8 2.3 Current thoughts ...................................................................................................... 9 2.4 Financial importance ............................................................................................. 12 3. Data Collection ............................................................................................................ 13 3.1 Ratings data ............................................................................................................ 13 3.2 Repeat data ............................................................................................................ -
Kuac Pbs Kids 24/7 Services
KUAC PBS KIDS 24/7 SERVICES OVERVIEW PBS has launched new free 24/7 multiplatform children’s services. Provided by local stations, the free services include a new TV channel, a live stream on digital platforms and an interactive gaming feature, which will debut later in 2017. Together, these new services support KUAC’s mission to reach all children with high-quality educational content. These new services offer the very best child and parent experience, increasing access to award-winning PBS KIDS content, especially for those who need it the most, when it is most convenient. Starting June 5, 2017 KUAC will broadcast PBS KIDS shows 24 hours a day on KUAC 9.5 and offer a live stream, making it easy for children to watch their favorite series during primetime and other after-school hours when viewing among children is high. Viewers can watch the station-branded live stream through pbskids.org and on the PBS KIDS Video App, which is available on a variety of mobile devices and tablets. On-demand clips and full episodes continue to be available for free on the PBS KIDS Video App and pbskids.org. Streaming on pbskids.org accounts for over a third of all time spent watching kids videos online and the site is #1 in the kids’ category for total views and minutes spent.i Across digital platforms, PBS KIDS averages 363.2 million streams per month.ii Later this year, the live stream experience will expand to offer an integrated games feature, enabling children to toggle between a PBS KIDS show and an activity that extends learning – all in one seamless digital experience. -
47Th Annual New York Emmy® Awards
THE 47th ANNUAL NEW YORK EMMY AWARDS – 2004 WINNERS SINGLE NEWSCAST: Under 35 minutes CBS 2 News at 11: City Hall Shooting. July 23, 2003. (WCBS-TV Channel 2). Kristin Quillinan, Executive Producer; Gerard Andrews, Producer; Ernie Anastos, Dana Tyler, Anchors; Richard Bamberger, Assignment Manager; Paul Zucker, Director. SINGLE NEWSCAST: Over 35 minutes FOX 5 NEWS AT 10 PM. May 20, 2003. (WNYW FOX 5). Michelle Donovan, Producer; Joseph Farrington, Assignment Editor; Peter Pontillo, Director; Rosanna Scotto, Len Cannon, Anchors. SINGLE MORNING NEWS PROGRAM Good Day New York. February 6, 2003. (WNYW FOX 5). David Shenfeld, Executive Producer; Adrienne Paxton, Producer; Tommy Simpson, Director; Rosanna Scotto, Anchor. COVERAGE OF AN INSTANT BREAKING NEWS STORY NYC Blackout. August 14, 2003. (WCBS-TV Channel 2). Philip O’Brien, Assistant News Director; Maura McHugh, Kristin Quillinan, Executive Producers; John Verrilli, Managing Editor; Richard Bamberger, Assignment Manager; Brian Lowder, Andrew Friedman, Wanda Prisanzano, Assignment Editors; Ernie Anastos, Dana Tyler, Anchors; Jeffrey Gesoff, Gerard Andrews, Kelly Drossel, Mindy Bloom, Emad Asghar, Producers; David Diaz, Hazel Sanchez, Andrew Kirtzman, Marcia Kramer, Robert Strang, Brendan Keefe, Lisa Daniels, Jay Dow, Louis Young, Joseph Biermann, John Slattery, Morry Alter, Mary Calvi, Reporters; Susan King, Director. COVERAGE OF AN ANTICIPATED NEWS STORY Air 11 Remembers 9/11. September 11, 2002. (WPIX-TV). Melinda Murphy, Reporter; Jennifer Larned, Chet Wilson, Ray Rivera, Segment Producers. COVERAGE OF A CONTINUING NEWS STORY Journey of Hope. May 19, 20, 2003. (News 12 Long Island). Michael DelGiudice, Photojournalist, Editor, Producer; Elizabeth Hashagen, Producer. SINGLE HARD NEWS STORY Vietnam. October 31, 2002. (WNBC-TV). Chuck Scarborough, Reporter; Steve Narisi, Producer. -
Local Information Programming and the Structure of Television Markets
Local Information Programming and the Structure of Television Markets Federal Communications Commission Media Ownership Study #4 Jack Erb* Office of Strategic Planning and Policy Analysis Federal Communications Commission Email: [email protected] May 20, 2011 Abstract: We analyze the relationship between the ownership structure of television markets and the amount of local news and public affairs programming provided in the market (at both the overall market and individual station levels). We find that commercial television stations that are cross-owned with major newspapers in the same market tend to air more local news programming, but that the station-level increase does not translate into more local news programming at the market level. Television-radio cross-ownership has a moderate (but statistically significant) positive impact on local information programming at the station level, and each additional in-market radio station controlled by the television station owner corresponds to additional local news minutes aired by the television station. However, local news programming at the market level is likely to be lower, as the scale economies enjoyed by the cross-owned stations are outweighed by the crowding out of local news programming on other stations. Multiple ownership (i.e., situations in which a single parent controls two or more stations in the same market) does not appear to impact the amount of local information programming at either the market or station level (though this result appears somewhat dependent upon model specification). But we do find that multiple ownership and broadband subscribership have a positive impact on the relative mix of local vs. -
Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows. -
AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not -
Dayparting in Online Media: the Case of Greece
INTERNATIONAL JOURNAL OF COMPUTERS AND COMMUNICATIONS Volume 8, 2014 Dayparting in Online Media: The case of Greece Andreas Veglis was reasonable to hypothesize that dayparts on the Internet do Abstract— The concept of dayparting has been employed not exist since people can access the Internet from virtually for quite some time in the broadcasting industry. A daypart can anywhere at any time. For example web sites’ content, social be defined as a consecutive block of time on similar days networking posting, blog comments are available 24 hours a during which the size of the audience is homogeneous as is the day, seven days a week [2]. A portal includes news every hour characterization of the group using the medium. Until recently of the day. The headlines may change with time but the genre Internet media planning has been characterized by overall site of the web site remains constant [3]. reach, demographics and content affinity without particular Nevertheless this perspective changed when two surveys regard for how audience dynamics change by time of day. The conducted in 2002 and a third one conducted in 2007 found existence of Internet dayparts can have major implications on that dayparts are also applicable to the Internet use and more media organization that continuously update their content particularly to online media [2]-[4]. offered by internet tools and services. This paper investigates The existence of Internet dayparts can have major the existence of dayparts in the usage of various publishing implications on news web sites that continuously update their channels employed by Greek media web sites. -
SPANISH FORK PAGES 1-20.Indd
November 14 - 20, 2008 SPANISH FORK CABLE GUIDE 9 Friday Prime Time, November 14 4 P.M. 4:30 5 P.M. 5:30 6 P.M. 6:30 7 P.M. 7:30 8 P.M. 8:30 9 P.M. 9:30 10 P.M. 10:30 11 P.M. 11:30 BASIC CABLE Oprah Winfrey b News (N) b CBS Evening News (N) b Entertainment Ghost Whisperer “Threshold” The Price Is Right Salutes the NUMB3RS “Charlie Don’t Surf” News (N) b (10:35) Late Show With David Late Late Show KUTV 2 News-Couric Tonight (N) b Troops (N) b (N) b Letterman (N) KJZZ 3 High School Football The Insider Frasier Friends Friends Fortune Jeopardy! Dr. Phil b News (N) Sports News Scrubs Scrubs Entertain The Insider The Ellen DeGeneres Show Ac- News (N) World News- News (N) Access Holly- Supernanny “Howat Family” (N) Super-Manny (N) b 20/20 b News (N) (10:35) Night- Access Holly- (11:36) Extra KTVX 4 tor Nathan Lane. (N) Gibson wood (N) b line (N) wood (N) (N) b News (N) b News (N) b News (N) b NBC Nightly News (N) b News (N) b Deal or No Deal A teacher returns Crusoe “Hour 6 -- Long Pig” (N) Lipstick Jungle (N) b News (N) b (10:35) The Tonight Show With Late Night KSL 5 News (N) to finish her game. b Jay Leno (N) b TBS 6 Raymond Friends Seinfeld Seinfeld ‘The Wizard of Oz’ (G, ’39) Judy Garland. (8:10) ‘Shrek’ (’01) Voices of Mike Myers. -
Downloading of Movies, Television Shows and Other Video Programming, Some of Which Charge a Nominal Or No Fee for Access
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2011 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE TRANSITION PERIOD FROM TO Commission file number 001-32871 COMCAST CORPORATION (Exact name of registrant as specified in its charter) PENNSYLVANIA 27-0000798 (State or other jurisdiction of (I.R.S. Employer Identification No.) incorporation or organization) One Comcast Center, Philadelphia, PA 19103-2838 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (215) 286-1700 SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT: Title of Each Class Name of Each Exchange on which Registered Class A Common Stock, $0.01 par value NASDAQ Global Select Market Class A Special Common Stock, $0.01 par value NASDAQ Global Select Market 2.0% Exchangeable Subordinated Debentures due 2029 New York Stock Exchange 5.50% Notes due 2029 New York Stock Exchange 6.625% Notes due 2056 New York Stock Exchange 7.00% Notes due 2055 New York Stock Exchange 8.375% Guaranteed Notes due 2013 New York Stock Exchange 9.455% Guaranteed Notes due 2022 New York Stock Exchange SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT: NONE Indicate by check mark if the Registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ No ☐ Indicate by check mark if the Registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. -
Data-Driven Content Strategy Rules for Media Companies Experts on This Topic
Expert Insights Data-driven content strategy rules for media companies Experts on this topic Janet Snowdon Janet Snowdon is director of IBM M&E with more than 25 years’ experience. Throughout her career, Director, IBM Media and En- she has received numerous accolades, including a tertainment (M&E) Industry Technology and Engineering Emmy Award. She is Solutions also a member of IBM’s Industry Academy. https://www.linkedin.com/in/ janet-snowdon-b160769/ [email protected] Peter Guglielmino IBM Distinguished Engineer and member of IBM’s Industry Academy, Peter Guglielmino leads CTO, Global M&E Industry worldwide responsibility for M&E. In this role, he Solutions develops the architectures that serve as the basis https://www.linkedin.com/in/pe- for media offerings relating to media enabled ter-guglielmino-45118220/ micro-services infrastructures, digital media [email protected] archives, secure content distribution networks, and blockchain technology. Steve Canepa Steve Canepa shapes strategy for video services, cloud and cognitive solutions, and network General Manager, IBM Global virtualization. A member of IBM’s Global Communications Sector and Leadership Team and IBM’s Industry Academy, he Global Industry Managing Direc- is the recipient of three Emmy Awards for tor, Telecommunications, M&E innovation and recognized for his insights in digital Industry Solutions transformation. https://www.linkedin.com/in/ steve-canepa-a70840a/ [email protected] The industry is in the midst of a fundamental shift from the many to the individual. Consumers will dictate how, when, and where they consume media. The queen behind Talking points the content throne Media and telecommunication companies Entertainment companies seldom had a huge need for have an opportunity to capture a slice of data.