DOCSLIB.ORG

HULU and the FUTURE of TELEVISION: a CASE STUDY An

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HULU and the FUTURE of TELEVISION: a CASE STUDY An HULU AND THE FUTURE OF TELEVISION: A CASE STUDY An Honors Thesis (HONRS 499) by Matthew Rodgers Thesis Advisor Michael Hanley Associate Professor of Journalism Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Understanding current media trends and adapting to ever-changing consumer desires is essential to success in advertising. Hulu is one of several new Internet-based services that deliver television content to consumers without using the traditional broadcast or cable channels used in the recent past. This document compiles information concerning this new service and presents it as a case study for the evolving television market, especially as it concerns advertisers. 2 Acknowledgements I would like to thank the following people for their patience, understanding, guidance and encouragement throughout the duration of this project: Michael Hanley Kevin and Karen Rodgers Katie Mathieu Nathan Holmes and Noah Judd microPR: Joey Lynn Foster, Kenzie Grob, Kati Ingerson, Ben Luttrull and Adam Merkel 3 Table of Contents I. Abstract ..............................................................,........................... " ...... 2 II. Acknowledgements ... '" ........... .. .. ........... ... ................. .... ....... .................... 3 III. Table of Contents ............................. ................ .... ...................................... 4 IV. Statement of Problem ...... ...... ............ .. ...................................................... 5 V. Methodology ............ '" .......... .......................... .. ...................... ....... , ... , ..... 6 VI. Brief History of Television and Consumer Viewing Habits ... ... ............ ............. .. 7 a. The Early Days and Rapid Growth of the Television Industry ................ ... ...... 7 b. The 1970s, Cable and the VCR ................................................................... 8 c. The Expansion of On-Demand Content and Streaming Services ..... ............ .... ... 9 VII. Hulu and the Competition ............... ...... .. ................................................... 11 a. Hulu ....... .... .. ... ... ........ .................... ... .... .... ..... .. ... .......................... .. 11 b. Primary Competitors ... ... .... ....... ............ .. ..... .. ... .... ................. .... ......... 14 i. Netflix .... ... ..... ...... ....... ... ..... ...... ... .... .. ........ .... .. .... .. .. ... ............ 14 ii. Apple's iTunes and iTunes Store ........... .. ......................................... 15 c. Up-and-Coming Competitors ........ ........... ...... .. .............................. .... .. .. 17 i. YouTube ..... .. .. .. .... .... .. ... ........................ ......... ........................ 17 ii. Amazon Instant Video .... ... ......... .. ... ................... ..... .................. 18 d. Potential Competitors ..................................................... ... .... .. ............ 18 VIII. Analysis of Current Trends and Issues .. ............................ ... .. ..................... 20 a. External Pressures ................. .... .. ..... ........ ........ .......... .. ....... .. ............ 20 b. Internal Pressures ... .. ................ .. ......................... .... ..... ... .................. 21 IX. Concluding Thoughts ......... ..................... ... ... ...... .. ....... ... .................. ........ 24 X. Works Cited ........................... ................ ..... .. .. .......... ............... .. ............ 26 4 Statement of Problem Television advertising has remained a main pillar of the advertising business ever since the widespread adoption of broadcast television in the 1950s. Despite changes both inside the world of television-the invention and expansion of cable and satellite, for example-and among the many new mediums available-social media like Facebook and Twitter-advertisers have relied upon the medium to relay messages and advertisements to a wide variety of target markets. Recent innovations on the Internet, however, have begun a shift in consumer viewing habits away from television - a change that has the potential to drastically alter the way businesses advertise. Services that deliver video content to television screens through the Internet challenge the traditional television model by providing consumers with alternative methods of accessing their content. This document analyzes Hulu.com, one of these new Web-based services, in an effort to better understand both the current media atmosphere and the impending changes to television advertising. 5 Methodology As this issue is being approached from the perspective of a retrospective case study, all sources cited herein are secondary by nature. They were discovered in major news outlets and databases, and were only used if they were deemed reputable academic or industry media sources. This method of media monitoring gleaned considerable information, both within and outside this particular subject. It is worth mentioning, however, that the field of Internet television is evolving constantly. Netflix and YouTube, Hulu's major Internet competitors, are mentioned in the mainstream media and on Internet blogs and social media nearly daily. Because of this, readers are urged to consult reputable media outlets for the latest news on this subject. 6 Brief History of Television and Consumer Viewing Habits The Early Days and Rapid Growth of the Television Industry The changes currently underway in the television industry must be analyzed in the context of television history in order to reach any beneficial conclusions. Although the history of television truly began back in the 1880s with Paul Gottlieb Nipkow's invention of the elecromechanical television system, the television industry in the United States began in 1939 at the New York World's Fair, where many Americans first viewed the relatively new technology (Shiers and Shiers 13). About a thousand people gathered around about 200 television sets distributed throughout New York City and watched President Franklin Roosevelt and Albert Einstein give speeches, then light the official fair lights. Although the first television advertisement-a twenty second spot bought by Bulova Watches for $9-ran in 1941, World War" delayed the widespread adoption of the television a bit further (Bulova). Despite the war, the latter half of the 1940s saw an explosion of TV developments (Shiers and Shiers 22). The American Broadcasting Company formed in 1944, and the National Broadcasting Company (an organization that grew out of the radio market in the 1920s) began the United States' "first scheduled commercial network a year later. The earliest popular television programs began airing shortly thereafter, with Howdy Doody, Meet the Press, The Ed Sullivan Show and I Love Lucy all premiering before 1952. In this brief eight-year period, the number of televisions available in the United States grew from less than 10,000 to nearly 6 million (''Television'' 119). That number would increase tenfold by 1960. 7 In the 1940s and 1950s, rather than have advertisers show their products and services in brief blocks of time, entire programs were sponsored by corporations (''Television'' 119). These sponsorships were too expensive for small businesses, but attracted large corporations. Midway through the 1950s, the so-called "quiz show scandals" caused both a decline in that sponsorship programming and a shift to 60- and 30- second commercials, the type of advertising seen today. These scandals were the result of sponsoring advertisers dictating the results of certain game shows. Once the public became aware of this practice, people quit watching shows in the genre and became wary of sponsorship advertising. Cable television also began in the 1940s, albeit as a method of transmitting channels available through over-the-air broadcasts to individuals located outside of the broadcast area rather than the source of original programming as seen today. That did not widely exist until government regulation shifted in 1972 ("Television" 119). The 1970s, Cable and the VCR The introduction of subscription cable and its cousin, satellite television, marked the next big shift in how people consumed television, forcing a change in advertising as well. Both cable and satellite television continued the trend of expanding the number of offered channels that had started in over-the-air television, but to a much greater degree. For example, in 1985, the average number of channels receivable was 18.8 (Mandese). By 2007 that number had risen to 118.6, according to the Nielsen Company (Marketing Charts). Each of those channels offers content that attracts different types of 8 consumers, giving advertisers the ability to more effectively target the segments they are interested in reaching. The 1970s also saw the introduction of home video recording, or taping as it was frequently called at the time. Both Sony and JVC produced Beta and VHS analog signal data videocassette recorder formats that allowed consumers to purchase videotapes and record and store content locally ("Television" 119). This VCR technology generated two trends that are still prevalent today. First, consumers were able to purchase content previously only available in movie theaters and watch it from the comfort of their own homes. Second, consumers could time shift live television programming by purchasing blank videotapes, recording live television content, and then watching it at a later date.
Load more

Recommended publications
  • Omega Speedmaster - a TIME CAPSULE WORLD MOOK MONO Special Edition Edited & Written by Kesaharu Imai Published by WORLD PHOTO PRESS
    Omega Speedmaster - A TIME CAPSULE WORLD MOOK MONO Special Edition Edited & Written by Kesaharu Imai Published by WORLD PHOTO PRESS A TIME CAPSULE—Omega Speedr~raster Front Cover: A TIME CAPSULE—Omega Speedmaster The story of the first watch in outer space. Edited & written by Kesaharu Imai. P2 As we make the transition into the twenty-first century, the Omega Speedmaster, small enough to fit in the palm of the hand, is in itself a time capsule of the twentieth century. P3 Foreword, The setting sun on a late autumn afternoon set scene for a visit from Mr Imai when he came to my office at the Van Nuys airport located in a suburb of Los Angeles. The creaking of the ffont stair5, as he entered the building, was reminicient of the erie awakening cry of a space craft preparing for laumch. I began my first Space Flight aboard Mercury-Atlas 9 thirty-three years ago! In looking back to those days, Mr Imai and I talked enthusiastically about the Omega Speedmaster, which served as a reliable personal tool throughout my mission duration completing 22 5 orbits around the earth! An impression of the universe was beyond my expectation and imagination. As a glimpse of limitdessness followed by an awe-inspiring view of the eatth are indeed indescribable. Being overwhelmed by an unprecedented experience I was not myself for some time till I noted the positive movement of ht e second hand on the Speedmaster, which in fact recorded such data as elapsed flight time and fuel consumption. "The development of science and technology today is undoubtedly the result of human wisdom which I believe stemmed from the passionate but romantic pursuit of scientists and engineers, said Me Imai.
    [Show full text]
  • Horologicaltm TIMES February 2003
    HoROLOGICALTM TIMES February 2003 American Watchmakers-Clockmakers Institute ~ DOUBLE FLANGE Plastic Envelope MASTER ASSORTMEN't~"""""'==... Holder '*Esfuger &CO ;;;;;;;;;;;;;;;;;;;;;;?~t;;OI~;IJI~ DoubleMaster Flange ~~ Assortment ~::; #82.2006 This new envelope • 36 different sizes holder keeps your repair and • Includes 1.3, 1.5, 1.8 dia. storage envelopes organized and ready for quick retrieval and identification. Made of clear acrylic with Combines a full range of sizes, three dividers to hold envelopes in order. Measures 6mm to 24mm, in three thickness- 105/s" X 33/s" X 3'h". 0 1.30mm, 1.50mm, 1.80mm. In a hinged plastic box. Refills available. (Reg. Price $65.00) PLAIN Job Envelopes Heavy Duty • Helps Protect Jobs' SHORT-END 3-1/8" X 5-1/2" Buckle Spring Bars Very handy to have and can be rubber stamped with your name & address. Identifies your work when you send ~ Es<;l lJ ~r &Co. sample orders to your supplier SHORT-END BuCKlE SPRING BAR and helps prevent misdirected orders. All have gummed flaps. ASSORTMENT 0 82.100 Brown #61.114 • White #61.116 SJ35o SJJOOO s24oo Box of 500 Lots of 5000 2 Boxes (1 000) • Contains 100 pieces • 10 different sizes (Reg. Price $22.50) A very popular selection of spring bars Watch & designed to fit foldover buckles on Seiko, Citizen and others. The BESTFIT Supplied in a handy, ten bottle assortment box. Jewelry Repair Watch and Jewelry Repair Record Book Record Book SUPER-THIN Stainless Steel * Complete Information: • Name & address of owner • Tag & record number Spring Bar Assorbnent • Dates: received -repaired- delivered ·-:~~~~~11 450 Pieces- ONLY 1.2JDJD THICK! • Received by- Delivered to • Complete description: Case- Case#, Movement# -Markings • Repairs made -Charges - Special information '* E.'i'ilir~'t'r & c:c .>.
    [Show full text]
  • What Can Apple TV™ Teach Us About Digital Signage?
    What can Apple TV™ teach us about Digital Signage? Mark Hemphill | @ScreenScape July 2016 Executive Summary As a savvy communicator, you could be increasing revenue by building dynamic media channels into every one of your business locations via digital signage, yet something is holding you back. The cost and complexity associated with such technology is still too high for the average business owner to tackle. Or is it? Some of the traditional vendors in the digital signage industry make the task of connecting and controlling a few screens out to be a momentous challenge, a task for high paid experts. On the other hand, a new class of technologies has arrived in the home entertainment world that strips the exercise down to basics. And it’s surging in popularity. Apple TV™, and other similar streaming Internet devices, have managed to successfully eliminate the need for complicated hardware and complex installation processes to allow average non-technical homeowners to bring the Internet to their television screens. This trend in consumer entertainment offers insights we can adapt to the commercial world, lessons for digital signage vendors and their customers, which lead towards to simpler, more cost-effective, more user-friendly, and more scalable solutions. This article explores some of the following lessons in detail: • Simple appliances outperform PCs and Macs as digital media players • Sourcing and mounting a TV is not the critical challenge • In order to scale, digital signage networks must be designed for average non-technical users to operate • Creating an epic viewing experience isn’t as important as enabling a large and diverse network • Simplicity and cost-effectiveness go hand in hand By making it easier to connect and control screens, tomorrow’s digital signage solutions will help more businesses to reap the benefits of place-based media.
    [Show full text]
  • ZOOM- Press Kit.Docx
    PRESENTS ZOOM PRODUCTION NOTES A film by Pedro Morelli Starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar Tyler Labine, Jennifer Irwin and Jason Priestley Theatrical Release Date: September 2, 2016 Run Time: 96 Minutes Rating: Not Rated Official Website: www.zoomthefilm.com Facebook: www.facebook.com/screenmediafilm Twitter: @screenmediafilm Instagram: @screenmediafilms Theater List: http://screenmediafilms.net/productions/details/1782/Zoom Trailer: www.youtube.com/watch?v=M80fAF0IU3o Publicity Contact: Prodigy PR, 310-857-2020 Alex Klenert, [email protected] Rob Fleming, [email protected] Screen Media Films, Elevation Pictures, Paris Filmes,and WTFilms present a Rhombus Media and O2 Filmes production, directed by Pedro Morelli and starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar, Tyler Labine, Jennifer Irwin and Jason Priestley in the feature film ZOOM. ZOOM is a fast-paced, pop-art inspired, multi-plot contemporary comedy. The film consists of three seemingly separate but ultimately interlinked storylines about a comic book artist, a novelist, and a film director. Each character lives in a separate world but authors a story about the life of another. The comic book artist, Emma, works by day at an artificial love doll factory, and is hoping to undergo a secret cosmetic procedure. Emma’s comic tells the story of Edward, a cocky film director with a debilitating secret about his anatomy. The director, Edward, creates a film that features Michelle, an aspiring novelist who escapes to Brazil and abandons her former life as a model. Michelle, pens a novel that tells the tale of Emma, who works at an artificial love doll factory… And so it goes..
    [Show full text]
  • Introducing Windows Azure for IT Professionals
    Introducing Windows ServerIntroducing Release 2012 R2 Preview Introducing Windows Azure For IT Professionals Mitch Tulloch with the Windows Azure Team PUBLISHED BY Microsoft Press A Division of Microsoft Corporation One Microsoft Way Redmond, Washington 98052-6399 Copyright © 2013 Microsoft Corporation All rights reserved. No part of the contents of this book may be reproduced or transmitted in any form or by any means without the written permission of the publisher. Library of Congress Control Number: 2013949894 ISBN: 978-0-7356-8288-7 Microsoft Press books are available through booksellers and distributors worldwide. If you need support related to this book, email Microsoft Press Book Support at [email protected]. Please tell us what you think of this book at http://www.microsoft.com/learning/booksurvey. Microsoft and the trademarks listed at http://www.microsoft.com/about/legal/en/us/IntellectualProperty/ Trademarks/EN-US.aspx are trademarks of the Microsoft group of companies. All other marks are property of their respective owners. The example companies, organizations, products, domain names, email addresses, logos, people, places, and events depicted herein are fictitious. No association with any real company, organization, product, domain name, email address, logo, person, place, or event is intended or should be inferred. This book expresses the author’s views and opinions. The information contained in this book is provided without any express, statutory, or implied warranties. Neither the authors, Microsoft Corporation, nor
    [Show full text]
  • Microsoft TV Test by John Williams
    Application Note Microsoft TV Test by John Williams Microsoft has developed a TV middleware platform called Mediaroom that focuses upon Internet Protocol (IP) video services offering significant enhancements in delivered quality compared to networks that do not use their middleware. These enhancements include content control through embedded digital rights management (DRM) and encrypted content, reduced channel change times, and robust error recovery mechanisms. JDSU has developed specific test support for service providers using Mediaroom-based networks. While Mediaroom has now been extended to work with and through other devices, including Windows computers, compatible smart phones, and the Xbox 360, this application note deals only with IPTV service delivered to typical residential subscribers using set top boxes (STBs) and a TV display device. Technology Background The JDSU Microsoft TV (MSTV) Test Suite analyzes two significant portions of Mediaroom: instant channel change (ICC) and Reliable User Datagram Protocol (R-UDP), the error recovery mechanism. Both of these elements involve a software client in a STB that can communicate with Distribution Servers (D-Servers) located in the network, typically in video serving offices at the network edge. In order to analyze the unicast flows that make up the ICC and R-UDP elements of Mediaroom, the tester must be in a Monitor mode so that it can “observe” the unicast flows as well as the associated signaling. However, the tester can work in a Terminate mode and join multicast video programming in a Mediaroom network conducting the normal broadcast IP video analysis. ICC Technology While the Microsoft system uses the basic Internet Group Management Protocol (IGMP) leave/join protocol to change channels, an additional operation has been added so that a D-Server specifically paired with an STB client becomes part of the process and can burst a unicast stream to the STB carrying a segment of the target channel’s data flow, thus filling the STB decode buffer more quickly.
    [Show full text]
  • Thank You for Purchasing Your New Bulova Timepiece
    Thank you for purchasing your new Bulova timepiece. Since 1875, Bulova has been committed to providing the right quality and style for a rapidly changing world, delivering exceptional design enhanced by superior technology. Your new Bulova has been precision-engineered and crafted of the finest materials. The following pages provide instructions on how to set and care for your new watch to ensure years of trouble-free timekeeping. Gracias por la compra de su nuevo reloj de Bulova. Desde 1875, Bulova se ha dedicado a proporcionar la calidad y el estilo apropiados para el mundo que tan rápidamente se cambia, brindándole un diseño excepcional mejorado por una tecnología superior. Su nuevo reloj Bulova se ha creado por ingeniería de gran precisión y fabricado con los materiales más finos. Las páginas a continuación proporcionan instrucciones sobre cómo ajustar y cuidar a su nuevo reloj para gozar años de uso de su reloj sin problemas. Nous vous remercions d’avoir acheté votre nouvelle montre Bulova. Depuis 1875, Bulova s’engage à fournir la qualité et le style corrects pour un monde en évolution rapide et procure une conception exceptionnelle rehaussée d’une technologie irréprochable. Votre nouvelle montre Bulova a été conçue avec précision et fabriquée avec les matériaux les plus fins. Les pages qui suivent vous donnent des instructions sur la façon de régler et d’entretenir votre nouvelle montre pour assurer les années d’utilisation sans problème. Wir danken Ihnen, dass Sie sich für einen Bulova-Zeitmesser entschieden haben. Seit 1875 schon liegt Bulovas Anliegen darin, die richtige Qualität und den richtigen Stil für eine sich rasch wandelnde Welt zu bieten.
    [Show full text]
  • ABBREVIATIONS EBU Technical Review
    ABBREVIATIONS EBU Technical Review AbbreviationsLast updated: January 2012 720i 720 lines, interlaced scan ACATS Advisory Committee on Advanced Television 720p/50 High-definition progressively-scanned TV format Systems (USA) of 1280 x 720 pixels at 50 frames per second ACELP (MPEG-4) A Code-Excited Linear Prediction 1080i/25 High-definition interlaced TV format of ACK ACKnowledgement 1920 x 1080 pixels at 25 frames per second, i.e. ACLR Adjacent Channel Leakage Ratio 50 fields (half frames) every second ACM Adaptive Coding and Modulation 1080p/25 High-definition progressively-scanned TV format ACS Adjacent Channel Selectivity of 1920 x 1080 pixels at 25 frames per second ACT Association of Commercial Television in 1080p/50 High-definition progressively-scanned TV format Europe of 1920 x 1080 pixels at 50 frames per second http://www.acte.be 1080p/60 High-definition progressively-scanned TV format ACTS Advanced Communications Technologies and of 1920 x 1080 pixels at 60 frames per second Services AD Analogue-to-Digital AD Anno Domini (after the birth of Jesus of Nazareth) 21CN BT’s 21st Century Network AD Approved Document 2k COFDM transmission mode with around 2000 AD Audio Description carriers ADC Analogue-to-Digital Converter 3DTV 3-Dimension Television ADIP ADress In Pre-groove 3G 3rd Generation mobile communications ADM (ATM) Add/Drop Multiplexer 4G 4th Generation mobile communications ADPCM Adaptive Differential Pulse Code Modulation 3GPP 3rd Generation Partnership Project ADR Automatic Dialogue Replacement 3GPP2 3rd Generation Partnership
    [Show full text]
  • The Case of Switzerland and the World Watch Industry *
    469 Technological discontinuities and flexible production networks: The case of Switzerland and the world watch industry * Amy Glasmeier tain and augment their competitiveness in a global Unrr~rs~t~of Texas at Austin, Texas, USA economy. On the eve of the electronics revolution, the Swiss watch production system, centered in the mountainous Jura region, was flexible, cost The twentieth-century history of the Swiss watch industry effective, and extremely profitable. Both horizon- illustrates how cultures and industrial production systems ex- tally and vertically disintegrated, the Swiss system perience great difficulty adapting to external change at differ- offered enormous variety while maintaining qual- ent points in time. The current emphasis on production net- ity and timeliness of delivery. “The multiplicity of works - unique reservoirs of potential technological innovation realized through cooperation rather than competition among enterprises, and the competition and emulation firms - lacks a detailed appreciation of historic networks, and that characterized the industry, yielded a product in particular their fragile character in times of economic of superior quality known the world over for high turmoil. While networks can and do promote innovation within fashion, design, and precision” [21, p. 481. an existing technological framework, historical experience sug- Beginning in the 1970s when foreign competi- gests their fragmented, atomistic structure is subject to dis- organization and disintegration during periods of technological tion hurdled technological frontiers in watch change. An exclusive focus on “production” ignores other movements, advancing from mechanical to elec- constraints that are powerful forces governing the reaction tric, electronic, digital and finally quartz technol- abilities of regions. Previous research has largely relied on a ogy, the Jura’s undisputed dominance ended.
    [Show full text]
  • Technology Ties: Getting Real After Microsoft
    i c a r u s Winter/Spring 2005 Technology Ties: Getting Real after Microsoft The D.C. Circuit’s 2001 decision in United States v. Microsoft opened the door for high-tech monopolists to tie products Scott Sher together if they can demonstrate that the procompetitive Wilson Sonsini Goodrich & Rosati justification for their practice outweighs the competitive harm. Reston, VA Although not yet endorsed by the Supreme Court, the [email protected] Microsoft decision poses a significant threat to stand-alone application providers selling products in dominant operating environments where the operating systems (“OS”) provider also sells competitive stand-alone applications. In the recently-filed private lawsuit—Real Networks v. Microsoft1— Real Networks included in its complaint tying allegations against Microsoft, a dominant OS provider, claiming that the defendant tied the sale of its OS to the purchase of (allegedly less desirable) applications for its operating system. The fate of lawsuits such as Real is almost assuredly contingent upon whether courts follow the Microsoft holding and resulting legal standard or adhere to a more traditional tying analysis, which requires per se condemnation of such practices. These cases and the development of the law of technology ties are likely to have a profound effect on the development of future operating systems and the long-term viability of many independent application providers who offer products that function in such OS’s. With dominant OS providers like Microsoft reaching further into the application world— through the development and/or acquisition of applications that function on their dominant OS environments—OS providers increasingly are becoming competitors to independent application providers, while at the same time providing the industry-standard OS on which these applications run.
    [Show full text]
  • Review: a Digital Video Player to Support Music Practice and Learning Emond, Bruno; Vinson, Norman; Singer, Janice; Barfurth, M
    NRC Publications Archive Archives des publications du CNRC ReView: a digital video player to support music practice and learning Emond, Bruno; Vinson, Norman; Singer, Janice; Barfurth, M. A.; Brooks, Martin This publication could be one of several versions: author’s original, accepted manuscript or the publisher’s version. / La version de cette publication peut être l’une des suivantes : la version prépublication de l’auteur, la version acceptée du manuscrit ou la version de l’éditeur. Publisher’s version / Version de l'éditeur: Journal of Technology in Music Learning, 4, 1, 2007 NRC Publications Record / Notice d'Archives des publications de CNRC: https://nrc-publications.canada.ca/eng/view/object/?id=2573dfda-4fa0-4a7f-b8e0-4014b537e486 https://publications-cnrc.canada.ca/fra/voir/objet/?id=2573dfda-4fa0-4a7f-b8e0-4014b537e486 Access and use of this website and the material on it are subject to the Terms and Conditions set forth at https://nrc-publications.canada.ca/eng/copyright READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS WEBSITE. L’accès à ce site Web et l’utilisation de son contenu sont assujettis aux conditions présentées dans le site https://publications-cnrc.canada.ca/fra/droits LISEZ CES CONDITIONS ATTENTIVEMENT AVANT D’UTILISER CE SITE WEB. Questions? Contact the NRC Publications Archive team at [email protected]. If you wish to email the authors directly, please see the first page of the publication for their contact information. Vous avez des questions? Nous pouvons vous aider. Pour communiquer directement avec un auteur, consultez la première page de la revue dans laquelle son article a été publié afin de trouver ses coordonnées.
    [Show full text]
  • Cutting the Cable Cord
    3/11/2021 The views, opinions, and information expressed during this • March 11, 6:30-7:30 PM webinar are those of the presenter and are not the views or opinions of the Newton Public Library. The Newton Public Library • FREE! NO REGISTRATION REQUIRED makes no representation or warranty with respect to the webinar or any information or materials presented therein. Users of webinar materials should not rely upon or construe the Thinking of cutting the cord? What are your options? ChromeCast information or resource materials contained in this webinar as Why and why not do it, Apple TV, Roku alternatives and more sources of entertainment. Sling, Hulu, Netflix legal or other professional advice and should not act or fail to act To log in live from home go to: based on the information in these materials without seeking the services of a competent legal or other specifically specialized https://kslib.zoom.us/j/561178181 professional. Watch the recorded presentation anytime after the 15th or Recorded https://kslib.info/1180/Digital-Literacy---Tech-Talks Presenter: Nathan, IT Supervisor, at the Newton Public Library 1. Protect your computer • A computer should always have the most recent updates installed for spam filters, anti-virus and anti-spyware software and http://www.districtdispatch.org/wp-content/uploads/2012/03/triple_play_web.png a secure firewall. http://cdn.greenprophet.com/wp-content/uploads/2012/04/frying-pan-kolbotek-neoflam-560x475.jpg What is “Cutting the Cord” Cable TV Cord Cutting (verb): The act of canceling your cable or Cable is the immediate answer satellite subscription in favor of a more affordable and obvious choice with the most television viewing option.
    [Show full text]