Measuring the Audience: Why It Matters to Independent News Media and How It Can Contribute to Media Development
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Hybrid Online Audience Measurement Calculations Are Only As Good As the Input Data Quality
People First: A User-Centric Hybrid Online Audience by John Brauer, Manager, Product Leadership, Measurement Model Nielsen Overview As with any media measurement methodology, hybrid online audience measurement calculations are only as good as the input data quality. Hybrid online audience measurement goes beyond a single metric to forecast online audiences more accurately by drawing on multiple data sources. The open question for online publishers and advertisers is, ‘Which hybrid audience measurement model provides the most accurate measure?’ • User-centric online hybrid models rely exclusively on high quality panel data for audience measurement calculations, then project activity to all sites informed by consumer behavior patterns on tagged sites • Site-centric online hybrid models depend on cookies for audience calculations, subject to the inherent weaknesses of cookie data that cannot tie directly to unique individuals and their valuable demographic information • Both hybrid models assume that panel members are representative of the universe being measured and comprise a base large enough to provide statistical reliability, measured in a way that accurately captures behavior • The site-centric hybrid model suffers from the issue of inaccurately capturing unique users as a result of cookie deletion and related activities that can result in audience measurement estimates different than the actual number • Rapid uptake of new online access devices further exacerbates site-centric cookie data tracking issues (in some cases overstating unique browsers by a factor of five) by increasing the likelihood of one individual representing multiple cookies Only the user-centric hybrid model enables a fair comparison of audiences across all web sites, avoids the pitfall of counting multiple cookies versus unique users, and employs a framework that anticipates future changes such as additional data sets and access devices. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
EFAMRO / ESOMAR Position Statement on the Proposal for an Eprivacy Regulation —
EFAMRO / ESOMAR Position Statement on the Proposal for an ePrivacy Regulation — April 2017 EFAMRO/ESOMAR Position Statement on the Proposal for an ePrivacy Regulation April 2017 00. Table of contents P3 1. About EFAMRO and ESOMAR 2. Key recommendations P3 P4 3. Overview P5 4. Audience measurement research P7 5. Telephone and online research P10 6. GDPR framework for research purposes 7. List of proposed amendments P11 a. Recitals P11 b. Articles P13 2 EFAMRO/ESOMAR Position Statement on the Proposal for an ePrivacy Regulation April 2017 01. About EFAMRO and ESOMAR This position statement is submitted In particular our sector produces research on behalf of EFAMRO, the European outcomes that guide decisions of public authorities (e.g. the Eurobarometer), the non- Research Federation, and ESOMAR, profit sector including charities (e.g. political the World Association for Data, opinion polling), and business (e.g. satisfaction Research and Insights. In Europe, we surveys, product improvement research). represent the market, opinion and In a society increasingly driven by data, our profession ensures the application of appropriate social research and data analytics methodologies, rigour and provenance controls sectors, accounting for an annual thus safeguarding access to quality, relevant, turnover of €15.51 billion1. reliable, and aggregated data sets. These data sets lead to better decision making, inform targeted and cost-effective public policy, and 1 support economic development - leading to ESOMAR Global Market Research 2016 growth and jobs. 02. Key Recommendations We support the proposal for an ePrivacy Amendment of Article 8 and Recital 21 to enable Regulation to replace the ePrivacy Directive as research organisations that comply with Article this will help to create a level playing field in a true 89 of the General Data Protection Regulation European Digital Single Market whilst increasing (GDPR) to continue conducting independent the legal certainty for organisations operating in audience measurement research activities for different EU member states. -
A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often
What is a genre? A genre is a conventional response to a rhetorical situation that occurs fairly often. Conventional does not necessarily mean boring. Instead, it means a recognizable pattern for providing specific kinds of information for an identifiable audience demanded by circumstances that come up again and again. For example, new movies open almost every week. Movie makers pay for advertising to entice viewers to see their movies. Genres have a purpose. While consumers may learn about a movie from the ads, they know they are getting a sales pitch with that information, so they look for an outside source of information before they spend their money. Movie reviews provide viewers with enough information about the content and quality of a film to help them make a decision, without ruining it for them by giving away the ending. Movie reviews are the conventional response to the rhetorical situation of a new film opening. Genres have a pattern. The movie review is conventional because it follows certain conventions, or recognized and accepted ways of giving readers information. This is called a move pattern. Here are the moves associated with that genre: 1. Name of the movie, director, leading actors, Sometimes, the opening also includes the names of people and companies associated with the film if that information seems important to the reader: screenwriter, animators, special effects, or other important aspects of the film. This information is always included in the opening lines or at the top of the review. 2. Graphic design elements---usually, movie reviews include some kind of art or graphic taken from the film itself to call attention to the review and draw readers into it. -
Rating the Audience: the Business of Media
Balnaves, Mark, Tom O'Regan, and Ben Goldsmith. "Bibliography." Rating the Audience: The Business of Media. London: Bloomsbury Academic, 2011. 256–267. Bloomsbury Collections. Web. 2 Oct. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 14:23 UTC. Copyright © Mark Balnaves, Tom O'Regan and Ben Goldsmith 2011. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Bibliography Adams, W.J. (1994), ‘Changes in ratings patterns for prime time before, during, and after the introduction of the people meter’, Journal of Media Economics , 7: 15–28. Advertising Research Foundation (2009), ‘On the road to a new effectiveness model: Measuring emotional responses to television advertising’, Advertising Research Foundation, http://www.thearf.org [accessed 5 July 2011]. Andrejevic, M. (2002), ‘The work of being watched: Interactive media and the exploitation of self-disclosure’, Critical Studies in Media Communication , 19(2): 230–48. Andrejevic, M. (2003), ‘Tracing space: Monitored mobility in the era of mass customization’, Space and Culture , 6(2): 132–50. Andrejevic, M. (2005), ‘The work of watching one another: Lateral surveillance, risk, and governance’, Surveillance and Society , 2(4): 479–97. Andrejevic, M. (2006), ‘The discipline of watching: Detection, risk, and lateral surveillance’, Critical Studies in Media Communication , 23(5): 392–407. Andrejevic, M. (2007), iSpy: Surveillance and Power in the Interactive Era , Lawrence, KS: University Press of Kansas. Andrews, K. and Napoli, P.M. (2006), ‘Changing market information regimes: a case study of the transition to the BookScan audience measurement system in the US book publishing industry’, Journal of Media Economics , 19(1): 33–54. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Big Data and Audience Measurement: a Marriage of Convenience? Lorie Dudoignon*, Fabienne Le Sager* Et Aurélie Vanheuverzwyn*
Big Data and Audience Measurement: A Marriage of Convenience? Lorie Dudoignon*, Fabienne Le Sager* et Aurélie Vanheuverzwyn* Abstract – Digital convergence has gradually altered both the data and media worlds. The lines that separated media have become blurred, a phenomenon that is being amplified daily by the spread of new devices and new usages. At the same time, digital convergence has highlighted the power of big data, which is defined in terms of two connected parameters: volume and the frequency of acquisition. Big Data can be as voluminous as exhaustive and its acquisition can be as frequent as to occur in real time. Even though Big Data may be seen as risking a return to the paradigm of census that prevailed until the end of the 19th century – whereas the 20th century belonged to sampling and surveys. Médiamétrie has chosen to consider this digital revolution as a tremendous opportunity for progression in its audience measurement systems. JEL Classification : C18, C32, C33, C55, C80 Keywords: hybrid methods, Big Data, sample surveys, hidden Markov model Reminder: The opinions and analyses in this article are those of the author(s) and do not necessarily reflect * Médiamétrie ([email protected]; [email protected]; [email protected]) their institution’s or Insee’s views. Receveid on 10 July 2017, accepted on 10 February 2019 Translation by the authors from their original version: “Big Data et mesure d’audience : un mariage de raison ?” To cite this article: Dudoignon, L., Le Sager, F. & Vanheuverzwyn, A. (2018). Big Data and Audience Measurement: A Marriage of Convenience? Economie et Statistique / Economics and Statistics, 505‑506, 133–146. -
Independent Study on Indicators for Media Pluralism in the Member States – Towards a Risk-Based
Independent Study on Indicators for Media Pluralism in the Member States – Towards a Risk-Based Approach Prepared for the European Commission Directorate-General Information Society and Media SMART 007A 2007-0002 by K.U.Leuven – ICRI (lead contractor) Jönköping International Business School - MMTC Central European University - CMCS Ernst & Young Consultancy Belgium Preliminary Final Report Contract No.: 30-CE-0154276/00-76 Leuven, April 2009 Editorial Note: The findings reported here provide the basis for a public hearing to be held in Brussels in the spring of 2009. The Final Report will take account of comments and suggestions made by stakeholders at that meeting, or subsequently submitted in writing. The deadline for the submission of written comments will be announced at the hearing as well as on the website of the European Commission from where this preliminary report is available. Prof. Dr. Peggy Valcke Project leader Independent Study on “Indicators for Media Pluralism in the Member States – Towards a Risk-Based Approach” AUTHORS OF THE REPORT This study is carried out by a consortium of three academic institutes, K.U. Leuven – ICRI, Central European University – CMCS and Jönköping International Business School – MMTC, and a consultancy firm, Ernst & Young Consultancy Belgium. The consortium is supported by three categories of subcontractors: non-affiliated members of the research team, members of the Quality Control Team and members of the network of local media experts (‘Country Correspondents’). The following persons have contributed to the Second Interim Report: For K.U.Leuven – ICRI: Prof. Dr. Peggy Valcke (project leader; senior legal expert) Katrien Lefever Robin Kerremans Aleksandra Kuczerawy Michael Dunstan and Jago Chanter (linguistic revision) For Central European University – CMCS: Prof. -
Under the Influence of Satire Introduction
DeMattio 1 Under the Influence of Satire By: Ashley DeMattio Introduction This thesis compares and contrasts the two plays, Lysistrata by Aristophanes and Mrs. Warren’s Profession by George Bernard Shaw, based on their political agendas through the literary form of satire; they are greatly influenced by the time period in which they lived, and express themselves through the female characters in their plays. Insight and further understanding of each play will be provided, and it will be demonstrated how the authors had a goal of starting specific conversations amongst their audiences. Though these conversations differ, Aristophanes and Shaw demonstrate the ability to politically and intellectually enlighten their audiences through pleasure. Aristophanes was a native of Greece during the first century B.C.E., and witnessed the cruel occurrences of the Peloponnesian War and the challenge to Greece’s political stability. In his play Lysistrata he took the idea of war and molded it into a battle of the sexes. The main idea of the play is that the women of Greece, both Athenians and Spartans, are seeking to end the war, and in order to do so they hold a sex strike. The sex strike is used as a way to intrigue the audience through humor and risqué references; the use of satire is amplified when he uses women as the dominant characters. The women hold the power in the play, and this makes the Athenian audience uneasy. This uneasiness is what Aristophanes wants to accomplish, and he puts the audience in a vulnerable state. Lysistrata is meant to warn the people of Greece; what he is warning against and how he goes about it will be further understood when the play is examined. -
Willing Suspension of Disbelief? a Study of the Role of Volition in the Experience of Delving Into a Story
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/298068504 Willing Suspension of Disbelief? A study of the role of volition in the experience of delving into a story Research · March 2016 DOI: 10.13140/RG.2.1.1046.1843 CITATIONS READS 0 4,182 1 author: Itai Leigh Hebrew University of Jerusalem 1 PUBLICATION 0 CITATIONS SEE PROFILE All content following this page was uploaded by Itai Leigh on 13 March 2016. The user has requested enhancement of the downloaded file. 30/09/2015 Contextualizing Paper for MA Practical Project module MA Acting (International) (EA606-G-SU) East15 Acting School Itai Leigh (PG 145747) Monologue Tutor: Zois Pigadas University of Essex Head of Course: Robin Sneller Willing Suspension of Disbelief? A study of the role of volition in the experience of delving into a story “The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled.” — The Prestige, Director Christopher Nolan, 2006 In this paper I present several angles, trying to understand the degree and the nature of will that takes place in the suspension of disbelief, or in immersion into a narrative we receive. I believe an understanding of the nature of the phenomenon can be, apart from intellectually interesting, doubly beneficial for actors. On one hand it is clearly desirable to have the power to modify the extent to which an audience would tend to get rapt or lost in a project we are creating (whether to elevate it for a more emotional reaction, or reduce it to allow more intellectual deliberation about its themes). -
Audience Measurement Tagging Benefits Guide 2013 Audience Measurement: Guide Audience Measurement: Guide
AUDIENCE MEASUREMENT TAGGING BENEFITS GUIDE 2013 AUDIENCE MEASUREMENT: GUIDE AUDIENCE MEASUREMENT: GUIDE TAGGING BENEFITS This document provides the benefits EASY IMPLEMENTATION of implementing Nielsen’s audience Nielsen’s audience measurement tag is light, measurement tag. flexible and effective, allowing a very quick implementation. Since the Nielsen audience CONSISTENT MARKET measurement tag is not used for web analytics reporting, which can have more than 30 different REPORTING variables for customization for clients’ KPIs, it Nielsen has developed the most advanced tag makes the implementation and instrumentation for audience measurement, based on years of very easy. Nielsen requires clients to use only experience, research and development. This tag is three simple variables for audience reporting. light, flexible and effective, allowing a very quick Most publisher clients are up and running in implementation, using the same normalized tag for less than an hour. Nielsen provides dedicated all sites. Nielsen applies the same and consistent technical account managers who ensure that business rules for processing census-based traffic the on boarding, instrumentation and ongoing counting across all publishers in a market. This support processes are simple and hassle-free. level of consistency ensures a level playing field for online publishers and trustworthy, comparable data for advertisers. COMPLETE DATA COLLECTION CROSS-MEDIA REPORTING Implementing Nielsen’s audience measurement Nielsen is the only audience data provider uniquely tag ensures that Nielsen is collecting the most positioned to help clients understand cross-media complete data from the universe of visitors on behavior by their audiences. Nielsen’s panel collects your site. A direct Nielsen tag implementation both TV viewing and PC usage behavior from eliminates any data loss that occurs due to thousands of people who have been selected into a third party redirects or outages within the representative sample. -
Writing and Genres
1chapter Writing and Genres In this chapter, you will learn how to— 1.1 describe what genres are and how they help writers and readers communicate. 1.2 use genres to communicate with readers. 1.3 develop a writing process that will help you write efficiently and effectively. 1.4 use “genre know-how” to become a versatile writer in college and in the workplace. riting gives you the power to get things done with words and images. It allows W you to respond successfully to the people and events around you, whether you are trying to strengthen your community, pitch a new idea at work, or just text with your friends. The emergence of new writing situations—new places for writing, new readers, and new media—means writing today involves more than just getting words and images onto a page or screen. Writers need to handle a wide variety of situations with diverse groups of people and rapidly changing technologies. Learning to navigate among these complex situations is the real challenge of writing in today’s world. What Are Genres? In this book, you will learn how to use genres to interpret complex situations and 1.1 describe respond to them successfully. Defining the word genre is difficult. Sometimes, genres what genres are are defined by their structure alone (e.g., “A report has five parts: introduction, meth- and how they help writers ods, results, discussion, and conclusion”). But this understanding of genre is too sim- and readers plistic. Genres are not fixed or rigid patterns to be followed mechanically.