Ip Video: Putting Control in the Hands of the Consumers
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
H1 2019 Trends and Opportunities What’S Trending in Social TV: H1 2019
What’s Trending In Social TV H1 2019 Trends and Opportunities What’s Trending In Social TV: H1 2019 The state of social media for TV has been strong so far in 2019. Total Fan Growth for TV pages across Facebook, Twitter and Instagram is up 29% in the first half of 2019 compared to the second half of 2018, while social engagement increased 15% during the same time period. For Facebook, that largely means TV pages continue to recover from the algorithm changes in early 2018 that significantly limited organic reach. As TV focuses on strengthening engagement with their fanbase as opposed to just growing it, Facebook response rate and video views were up in the first half of 2019, inching back to pre-algorithm change levels. It’s a similar story for Twitter, where the TV space needed to alter their strategies following a mid-2018 purge of fake and dormant users. While the volume of tweets from TV accounts was down in the first half of 2019, the “less is more” strategy has been paying off. In Q2 2019, the average number of video views for TV hit its highest peak since the beginning of 2017. Meanwhile, the success of Instagram Stories is something TV Pages are taking advantage of in 2019. The volume of Instagram Stories published by TV accounts increased by 176% comparing Q2 2019 to Q1 2018. TV has also seen substantial growth on YouTube halfway through 2019, with fan counts and video views on the platform up 45% and 28% respectively, comparing H1 2019 to H1 2018. -
Alediaccepted 47 C.F.R
.~ . " \'\~'{ '\ In the Matter of: ~ ccttf\tl~-- Great Plains Cable Television, Inc. )S CSR- 7c2/2--Z. Petition for Waiver of ~ ALEDIACCEPTED 47 C.F.R. § 76. 1204(a)(1) ~ MAY 3 12007 To: Chief, Media Bureau ) Federal Communications CommISSion Office of the Secretary PETITION FOR WAIVER OF 47 C.F.R. § 76.1204(a)(1) I. Introduction and Summary Great Plains Cable Television, Inc. ("Great Plains") is a small cable company providing cable services to approximately 10,000 subscribers in rural Nebraska. Pursuant to 47 U.S.C. § 549(c), and 47 C.F.R. §§ 1.3, 76.7 and 76.1207, Great Plains respectfully requests that the Commission grant a limited waiver of 47 C.F.R. § 76.1204(a)(1) for the following set-top boxes: • Motorola DCT-1000 series • Motorola DCT-2000 series • Motorola DSR-410 (collectively, "Low-Cost Set-Top Boxes").Great Plains requests that the waiVer remain effective until the earlier of (i) the commercial availability of non-integrated I set-top boxes compatible with one-way cable plant and Comcast's HITS seryice; 1 or (ii) Great Plains' upgrade of its systems to two-way cable plant. Great Plains can and will comply with 47 C.F.R. § 76.1204(a)(1) for the almost 50% of its subscribers who are currently served by two-way cable plant. No. of Copies rec'duO-,-__ UstABCDE 1 Currently, there are DQ such set-top boxes commercially available. 1 As required by the Commission's Second Report and Order, ~ GreatPlains attaches full specifications for the Low-Cost Set-Top Boxes as Exhibit 1. -
Public Viewing Packages CHANNEL LINEUPS Effective October 2019 3 COMMERCIAL XTRA™ PACK
user guide for bars and restaurants TABLE OF CONTENTS 1 Video 1 Using Your Remote Control 2 Your HD On-Screen Guide 3 Channel Lineups 6 Watch TV Your Way 7 Customized Entertainment 8 Ultimate Video & Sound Experiences 9 Sports 9 Exclusive Sports Programming 10 Popular Sports Packages 11 You're an MVP 12 Understanding Your Bill 13 Auto Bill Pay 14 Troubleshooting 16 DIRECTV for BUSINESSSM Remote App Using Your Remote Control VIDEO 1 TV Input Mode Cycles through the equipment Changes the remote’s MODE connected to your TV. to control other equipment. (Far left selection indicates the DIRECTV® Receiver.) Format Displays current screen FORMAT options and HD resolutions. O n / O ff (Works only with HD Access.) Turns both DIRECTV Receiver and TV ON or OFF at the same time. Stop (Remote must be programmed for TV. DVR still records when off .) STOP playback while viewing recorded program. Power Replay Turns On/Off POWER of whichever equipment is selected. REPLAY previous six seconds. Advance Rewind ADVANCE 30 seconds. REWIND at increasing speeds— press up to four times. Press and hold to jump to previous tick mark. Fast Forward FAST FORWARD at increasing speeds—press up to four times. Play PLAY current program. Exit EXIT the menu and return Pause to previous channel viewed. PAUSE current program. Blue Button Guide Display a one-line Channel Guide Press once for On-Screen GUIDE . while viewing your program. Press TWICE for programming grouped into categories. Yellow Button Red Button Display guide options while viewing Jump back 12 hours while the On-Screen Guide. -
Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000S
SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s By © 2017 Christina H. Hodel M.A., New York University, 2008 B.A., California State University, Long Beach, 2006 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Germaine Halegoua, Ph.D. Joshua Miner, Ph.D. Catherine Preston, Ph.D. Ronald Wilson, Ph.D. Alesha Doan, Ph.D. Date Defended: 18 November 2016 The dissertation committee for Christina H. Hodel certifies that this is the approved version of the following dissertation: SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s Chair: Germaine Halegoua, Ph.D. Date Approved: 25 January 2017 ii ABSTRACT Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls. -
Mac 343 Radio/Tv Programming
MAINCOURSE WORK GUIDE MAC 343 RADIO/TV PROGRAMMING COURSE TEAM Course Developer Chidinma H. Onwubere. PhD, LL.B (NOUN) Course Writers Mr. Myke Esiri Department of Mass Communication Redeemerr’s University, Ogun State [email protected] +2348143092044 Chidinma H. Onwubere , PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos [email protected] +2348023014372 EDITOR Dr. Sunday Olayinka Alawode Department of Mass Communication Lagos State University (LASU) Lagos State +234-8096095589 HEAD OF UNIT Chidinma H. Onwubere. PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos NATIONAL OPEN UNIVERSITY OF NIGERIA 1 National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office National Open University of Nigeria 5, Dar Es Salaam Street, Off Aminu Kano Crescent Wuse II, Abuja Nigeria email: [email protected] URL: www.nou.edu.ng Published by National Open University of Nigeria Printed ISBN: All Rights Reserved 2 Table of Contents Contents Page MODULE 1 INTRODUCTION.................................................................. Unit 1: The nature of radio............................................................................................ Unit 2: The nature of television Unit 3: Station Format Unit 4: Programming the station MODULE 2 SCRIPTING Unit 1 Scripting Unit 2 The scriptwriter Unit 3 Radio TV Script format MODULE 3 WRITING AND PRODUCING TALKS ON RADIO/TV Unit 1 Talk Programmes Unit -
Congressional Record—Senate S13810
S13810 CONGRESSIONAL RECORD — SENATE September 19, 1995 the period of 1992 to 1996, the program The motion to lay on the table was block programming and a rating sys- averaged $54.8 million a year, which is agreed to tem for programming are not nec- 3.5 times what it was in the previous The PRESIDING OFFICER. The Sen- essary. period. ator from North Dakota. Mr. President, the U.S. News & World As we have noted, the program last f Report’s review of fall TV program- year appears to be in the neighborhood ming suggests otherwise. It is regret- PRIME TIME TELEVISION—THE of $120 million. CRS says $119.5 million table that the networks are dem- NEW FALL TV PROGRAM LINEUP is their estimate. That is not a final- onstrating such disregard for the wish- ized figure. Mr. CONRAD. Mr. President, I would es of American families. The UCLA Mr. President, the other point that I like to bring the attention of the Sen- Center for Communications Policy’s think is important, that the real cost ate an article entitled ‘‘Sex and Vio- Network Violence Study released ear- of this program is not what it costs the lence on TV’’ from the most recent lier today confirms some of these con- taxpayers, which is significant and issue of U.S. News & World Report— tinuing concerns regarding violent pro- growing dramatically. It is what it September 11, 1995. The article reviews gramming. The UCLA study points out costs the consumers of America, which television network programming for that while some programming shows CRS indicates may be in the neighbor- the upcoming fall TV season. -
How the Parents Television Council (PTC) Protects American Children: Promoting Social Responsibilities in the Broadcasting Industry
Copyright 2008. No quotation or citation without attribution. IR/PS CSR Case #08-08 How the Parents Television Council (PTC) Protects American Children: Promoting Social Responsibilities in the Broadcasting Industry By: Vici Lihardo GRADUATE SCHOOL OF INTERNATIONAL RELATIONS AND PACIFIC STUDIES UNIVERSITY OF CALIFORNIA, SAN DIEGO Prepared for Professor Peter Gourevitch Edited by Kristen Parks Corporate Social Responsibility Fall 2008 Copyright 2008. No quotation or citation without attribution. 2 Table of Contents I. INTRODUCTION..................................................................................................................... 3 II. OFFICIAL TV PROGRAM RATING SYSTEM (TV-PG)................................................. 5 II.1. FCC and Regulating the Content of TV Programs.............................................................. 5 II.2.The Problems of TV-PG ....................................................................................................... 7 III. THE ORGANIZATION OF PTC......................................................................................... 8 III.1.The Establishment and the Mission of PTC ........................................................................ 8 III.2. Promoting a “Standard” of Family Friendly TV-Program............................................... 9 III.3. Monitoring the Industry: What the PTC has done ........................................................... 10 III.4. Expanded Issues and Market Driven Approach.............................................................. -
The Fourth Annual Annenberg Public Policy Conference on Children and Television: a Summary
NO. 31 THE FOURTH ANNUAL ANNENBERG PUBLIC POLICY CONFERENCE ON CHILDREN AND TELEVISION: A SUMMARY Report prepared by Kimberly Duyck Woolf 28 June 1999 REPORT SERIES THE ANNENBERG PUBLIC POLICY CENTER OF THE UNIVERSITY OF PENNSYLVANIA Publications Services, University of Pennsylvania 79525 / 1.00 / 7500 / RC.JM TABLE OF CONTENTS Abstract . .3 Introduction . .4 The Annenberg Public Policy Center’s Press Conference . .4 Keynote Address . .10 Panel One The Changing Economics of Children’s Television . .12 Panel Two Teaching through Television: Beyond the Preschool Years . .14 Panel Three Children in the Contemporary Media Environment . .17 Luncheon Award Ceremony . .20 Copyright ©1999 Annenberg Public Policy Center All rights reserved F OREWORD The Annenberg Public Policy Center was established by publisher and philanthropist Walter Annenberg in 1994 to create a community of scholars within the University of Pennsylvania which would address public policy issues at the local, state and federal levels. Consistent with the mission of the Annenberg School for Communication, the Center has four ongoing foci: Information and Society; Media and the Developing Mind; Media and the Dialogue of Democracy; and Health Communication. The Center supports research and sponsors lectures and conferences in these areas. This series of publications dissem- inates the work of the Center. Kathleen Hall Jamieson Director Kimberly Duyck Woolf is a doctoral candidate at the Annenberg School for Communication of the University of Pennsylvania. 2 ABSTRACT The Annenberg Public Policy Center (APPC) of the University of Pennsylvania hosted its fourth annual Conference on Children and Television on June 28, 1999, at the National Press Club in Washington, D.C. -
Gender Representation
Children’s Television Worldwide: Gender Representation in USA Analysis and report by: Dr. Maya Götz, Dr. Ole Hofmann, Stefan Dobler MA, Sebastian Scherr BA, Dipl.-Soz. Christine Bulla, Matthias Schreiner MA Project Directors: Midwest: Prof. Norma Pecora Ohio University, Athens West: Prof. Divya C. McMillin, University of Washington, Tacoma East: Prof. JoEllen Fisherkeller, New York University, New York © International Central Institute for Youth and Educational Television (IZI) Children’s Television Worldwide: Gender Representation in US Children’s Television Children’s Television in the USA In the United States most children’s programming is distributed nationally either on the five terrestrial broadcast networks [ABC, CBS, NBC, CW, Fox], three cable or video on-demand channels [ABC Family, ION, TLC], or on nine cable channels that are dedicated to children’s programming with 24 hour programming [Cartoon Network, Discovery Kids, Disney, Nickelodeon, Nicktoons, The N, Noggin, Sprout, ToonDisney]. In addition, there are local public broadcasting stations across the USA that distributed children’s programming non-commercial programming [PBS and PBS Digital]. Sprout, an on-demand channel, offers an interesting partnership between Comcast (a commercial cable company), HIT Entertainment and Sesame Workshop (production companies), and PBS. Programming on Sprout represents much the same found on PBS stations but its distribution reflects commercial systems like Disney and Nickelodeon. For the purposes of this study PBS programming was taped from WLIW/PBS and WNET/PBS in New York City; WOUB/PBS in Athens, Ohio; KBTC/PBS in Tacoma, Washington. There are very few local or regional programs available for children and, in fact, all programming in this sample is distributed nationally. -
NO to Continue Using Early Action
--------------------------------.------ -------------- -- ---- -----------------------------, THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOLUME 41 : ISSUE 25 TUESDAY, SEPTEMBER 26, 2006 N DSMCOBSERVER.COM NO to continue using early action SBPD to Princeton and Harvard eliminate early admissions programs, heighten University encourages students to apply when best prepared presence months of sleepless nights ended, his cur •47% (1.241] of early applicants By ROHAN ANAND rent roommate, Conor Troy, discovered were admitted News Writer his Early Action application was deferred Excise police will focus to the regular decision pool. on Washington and A few days before Christmas 2005, "I was clearly discouraged at first freshman Chris Holland arrived at his because Notre Dame was my first St. Peter's Streets Louisville home to see that his mom had choice," Troy said. "But I also realized it posted a Notre Dame flag in his front was a big application pool and I was yard. Inside was an official acceptance hopeful for the regular decision results, By KAITLYNN RIELY letter granting him admission to the so I focused on working hard senior year News Writer University's Class of 2010 via the Early and keeping my grades up." Action program. Both Holland and Troy's scenarios point A meeting of the Northeast "I was ecstatic," he said. "Not only to the ambiguity involved in the college Neighborhood Council of South •19% were ethnic minorities because Notre Dame was my dream admissions process - and, more specifi Bend (NENC) two weeks ago school, but because the whole college cally, the debate sparked by Princeton prompted Notre Dame's Off •22% were children of alumni admissions process was finally over." Campus Council to send an e Source: Office of Admissions JARRED WAFERfThe Observer Just as Holland's white-knuckled see ACTION/page 4 mail Thursday warning students that police are heightening their presence on Washington and St. -
User Guide for Shops, Services & Private Offices
user guide for shops, services & private offi ces TABLE OF CONTENTS 1 From the Beginning 1 Know Your HD On-Screen Guide 2 Using Your Remote Control 3 Channel Lineups 7 Enjoy Free Interactive Features 8 Find Your Shows 9 Access Helpful Tools 10 Watch TV Your Way 11 All About Sports 11 Exclusive Sports Programming 12 Popular Sports Packages The Best Tools 13 for Your Business 14 Billing Made Simple 14 Understanding Your Monthly Statement 15 Auto Bill Pay Tap into the 16 Ultimate TV 18 Troubleshooting Know Your HD On-Screen Guide FROM THE BEGINNING 1 Channels Timeline TV Window Guide Options Highlight the channel To see what’s on later, Watch your program Press DASH or YELLOW abbreviation to get the navigate forward with the while using the Guide. button to sort programming channel description. RIGHT ARROW . Use the by category, move to a LEFT ARROW to go back. specifi c date and time, change your Favorites list and see On Demand titles. Watch Crime Scene Kitchen on On Demand Highlight Bar Restart Advance Timeline next to a channel name Use the ARROW buttons next to a show means Press FFWD or GREEN indicates that On Demand to highlight a program you can restart the show button to advance content is available. Highlight and view its description. from the beginning. Select 12 hours. Press RWD the channel name and then To tune to a highlighted the show, then press RWD or RED button to go press SELECT to access. program, press SELECT . to watch from the beginning. -
Child's Play: Issues in Australian Children's Television 2013, Broadcaster Programming Strategies: Screen Australia, 2013
Child’s Play Issues in Australian Children’s Television 2013 Contents © Screen Australia 2013 INTRODUCTION 1 ISBN: 978-1-920998-25-7 KEY FINDINGS 3 FOCUS 1: THE AUDIENCE The text in this report is released Child audience attitudes and behaviours: subject to a Creative Commons BY licence (Licence). This means, in What's On survey 4 summary, that you may reproduce, Viewing patterns: transmit and distribute the text, provided that you do not do so for Ratings analysis 6 commercial purposes, and provided that you attribute the text as FOCUS 2: THE BROADCASTERS extracted from Child's play: Issues in Australian children's television 2013, Broadcaster programming strategies: Screen Australia, 2013. You must not Schedule analysis 7 alter, transform or build upon the text in this publication. Your rights under On-air promotion of children’s programs: the Licence are in addition to any fair Program breaks analysis 8 dealing rights which you have under the Copyright Act 1968 (Cwlth). FOCUS 3: THE PRODUCERS For further terms of the Licence, Financing and production of children’s content: please see http://creativecommons. org/licenses/by-nc-nd/3.0/. You are Data from Screen Australia’s Drama Report 11 not licensed to distribute any still Challenges and opportunities for producers: photographs or videos contained in this document without the prior Producers’ survey 11 permission of Screen Australia. Front cover image: CONCLUSION 12 The Adventures of Figaro Pho APPENDICES Appendix A: Children’s Television Standards (CTS) 13 Appendix B: International context 14 This report summarises the findings of three comprehensive briefing papers which can be accessed at www.screenaustralia.gov.au/childsplay Child’s Play draws from a number of sources.