The Adaptation and Use of Nielsen Media Research Commercial
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Gunsmokenet.Com
GUNSMOKE ! By GORDON BUDGE f you had lived in Dodge City in I the 1870’s, Matt Dillon-the fic- tional Marshal of CBS Radio and TV’s Gunsmoke-would have been just the sort of man you would like to have for a friend. The same holds for his sidekick, Chester, and his special pals, Kitty and Doc. They are down-to-earth, ‘good and honest people. That one word “honest” is, to a great extent, responsible for the success of Gunsmoke on both radio and TV. It best describes the sto- ries, characters and detailed his- torical background which go to make up the show. Norman Macdonnell and John Meston, Gunsmoke’s producer and writer, are the two men who created the format and guided the show to its success (the TV version has topped the Nielsen ratings since June, 1957)) and the show is a fair reflection of their own characters: Producer Macdonnell is a straight- forward, clear-thinking young man of forty-two, born in Pasadena and raised in the West, with a passion for pure-bred quarter horses. He joined the CBS Radio network as a page, rose to assistant producer in two years, ultimately commanded such network properties as Sus- pense, Escape, and Philip Marlowe. Writer John Meston’s checkered career began in Colorado some forty-three years ago and grass- hopped through Dartmouth (‘35) to the Left Bank in Paris, school- teaching in Cuba, range-riding in Colorado, and ultimately, the job as Network Editor for CBS Radio in Hollywood. It was here that Meston and Macdonnell met. -
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. -
Market Structure and Media Diversity Scott J. Savage, Donald M
Market Structure and Media Diversity1 Scott J. Savage, Donald M. Waldman, Scott Hiller University of Colorado at Boulder Department of Economics Campus Box 256 Boulder, CO 80309-0256 Abstract We estimate the demand for local news service described by the offerings from newspapers, radio, television, the Internet, and Smartphone. The results show that the representative consumer values diversity in the reporting of news, more coverage of multicultural issues, and more information on community news. About two-thirds of consumers have a distaste for advertising, which likely reflects their consumption of general, all-purpose advertising delivered by traditional media. Demand estimates are used to calculate the impact on consumer welfare from a marginal decrease in the number of independent television stations that lowers the amount of diversity, multiculturalism, community news, and advertising in the market. Welfare decreases, but the losses are smaller in large markets. For example, small-market consumers lose $53 million annually while large-market consumers lose $15 million. If the change in market structure occurs in all markets, total losses nationwide would be about $830 million. September 25, 2012 Key words: market structure, media diversity, mixed logit, news, welfare JEL Classification Number: C9, C25, L13, L82, L96 1 The Federal Communications Commission (FCC) and the Time Warner Cable (TWC) Research Program on Digital Communications provided funding for this research. We are grateful to Jessica Almond, Fernando Laguarda, Jonathan Levy, and Tracy Waldon for their assistance during the completion of this project. Yongmin Chen, Nicholas Flores, Jin-Hyuk Kim, David Layton, Edward Morey, Gregory Rosston, Bradley Wimmer, and seminar participants at the University of California, University of Colorado, SUNY and attendees at the Conference in Honor of Professor Emeritus Lester D. -
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 ............................................................................................................ -
Sliders Nielsen Ratings.Xlsx
"Sliders" Nielsen Ratings Television Universe 95.4 million Share (percentage of sets in use) * denotes a ratings tie Season 1 (1995) Viewers (in millions) Ratings Point 954,000 TV Households Episode Network Airdate Day Time Viewers Rating Share Rank Pilot Fox 3/22/95 Wednesday 8:00 p.m. EST 14.1 9.5 15 51 Fever Fox 3/29/95 Wednesday 9:00 p.m. EST 11.6 7.6 12 *62 Last Days Fox 4/5/95 Wednesday 9:00 p.m. EST 10.1 7.2 12 *58 Prince of Wails Fox 4/12/95 Wednesday 9:00 p.m. EST 10.3 7.2 7.2 *66 Summer of Love Fox 4/19/95 Wednesday 9:00 p.m. EST 9.3 6.7 10 69 Eggheads Fox 4/26/95 Wednesday 9:00 p.m. EST 7.9 5.9 10 *78 The Weaker Sex Fox 5/3/95 Wednesday 9:00 p.m. EST 8.8 6.1 10 *73 The King is Back Fox 5/10/95 Wednesday 9:00 p.m. EST 7.7 5.6 9 80 Luck of the Draw Fox 5/17/95 Wednesday 9:00 p.m. EST 9.9 6.7 11 70 Season Two (1996) Television Universe 95.9 million Ratings Point 959,000 TV Households Episode Network Airdate Day Time Viewers Rating Share Rank Into the Mystic Fox 3/1/96 Friday 8:00 p.m. EST 9.3 6.2 11 76 Love Gods Fox 3/8/96 Friday 8:00 p.m. EST 9.5 6.5 11 83 Gillian of the Spirits Fox 3/15/96 Friday 8:00 p.m. -
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. -
PBS and the Young Adult Viewer Tamara Cherisse John [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-12-2012 PBS and the Young Adult Viewer Tamara Cherisse John [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation John, Tamara Cherisse, "PBS and the Young Adult Viewer" (2012). Research Papers. Paper 218. http://opensiuc.lib.siu.edu/gs_rp/218 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. PBS AND THE YOUNG ADULT VIEWER by Tamara John B.A., Radio-Television, Southern Illinois University, 2010 B.A., Spanish, Southern Illinois University, 2010 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Mass Communication and Media Arts in the Graduate School Southern Illinois University Carbondale May 2012 RESEARCH PAPER APPROVAL PBS AND THE YOUNG ADULT VIEWER By Tamara John A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media and Media Management Approved by: Dr. Paul Torre, Chair Dr. Beverly Love Graduate School Southern Illinois University Carbondale March 28, 2012 AN ABSTRACT OF THE RESEARCH PAPER OF Tamara John, for the Master of Science degree in Professional Media and Media Management, presented on March 28, 2012, at Southern Illinois University Carbondale. TITLE: PBS AND THE YOUNG ADULT VIEWER MAJOR PROFESSOR: Dr. Paul Torre Attracting and retaining teenage and young adult viewers has been a major challenge for most broadcasters. -
5. Study Guide: Ratings & Methodology
5. Study Guide: Ratings & Methodology Active/Passive meters – Nielsen’s most recent metering equipment. The A/P meter identifies what channel/network a television set is tuned to Area Probability (AP) – Nielsen methodology for based on audio codes. Television stations and placing meter samples. The first point of contact is made in person to specific sampling points. cable networks encode their signals to allow Nielsen meters to know what channel the These sampling points are predetermined television is tuned. The new meter also household addresses. determines un-encoded signals via a passive signal matching technology. The A/P meter also allowed Audience Composition – The percentage of the for the measurement of Digital Video Recorders overall audience that is in the target or selected (DVRs) “TiVo”-type devices. demographic. Address Based Sampling – Nielsen’s sampling Average – the average of a series of numbers is methodology to properly include households that calculating by adding all numbers in the series and do not have a land line telephone. These are then dividing by the total number of items in the typically cell phone only households. series. Zero values must be included in the calculation. ADS (Alternative Delivery Systems) – Nielsen’s term referring to television delivery methods like Average minute ratings – Nielsen method for Direct Broadcast Satellite (DBS) and large satellite calculating average ratings in their national or NTI homes. The bulk of ADS homes receive their sample. The ratings for each minute the program television signals via DBS. is on are averaged to calculate the program average rating. Alliance for Audited Media – Collects newspaper and magazine circulation information based on Average quarter-hour ratings – Nielsen method industry supplied circulation data. -
Economic Development Strategy and Implemenation
MEDIA ECONOMIC DEVELOPMENT STRATEGY AND IMPLEMENTATION PLAN October 31, 2017 REPORT SUBMITTED TO: Jeff Smith, Borough Manager Media Borough 301 N. Jackson Street Media, PA 19063 REPORT SUBMITTED BY: Econsult Solutions, Inc. 1435 Walnut Street, 4th Floor Philadelphia, PA 19102 Econsult Solutions, Inc.| 1435 Walnut Street, 4th floor| Philadelphia, PA 19102 | 215-717-2777 | econsultsolutions.com Media, Pennsylvania | Economic Development Strategy and Implementation Plan | i TABLE OF CONTENTS 1.0 Introduction ............................................................................................................................ 1 1.1 Our Charge and Our Approach ................................................................................ 1 1.2 Overview of the Report ............................................................................................... 2 2.0 Economic Vision and Goals ................................................................................................. 4 2.1 Vision Overview ............................................................................................................ 4 2.2 Public Outreach Methodology .................................................................................. 4 2.3 Summary of Public Outreach Findings ...................................................................... 4 2.4 Principles for the Economic Development Vision and Goals ................................ 5 2.5 Vision Statement ......................................................................................................... -
Nickelodeon's Groundbreaking Hit Comedy Icarly Concludes Its Five-Season Run with a Special Hour-Long Series Finale Event, Friday, Nov
Nickelodeon's Groundbreaking Hit Comedy iCarly Concludes Its Five-season Run With A Special Hour-long Series Finale Event, Friday, Nov. 23, At 8 P.M. (ET/PT) Carly Shay's Air Force Colonel Father Appears for First Time in Emotional Culmination of Beloved Series SANTA MONICA, Calif., Nov. 14, 2012 /PRNewswire/ -- Nickelodeon's groundbreaking and beloved hit comedy, iCarly, which has entertained millions of kids and made random dancing and spaghetti tacos pop culture phenomenons, will end its five- season run with an unforgettable hour-long series finale event on Nickelodeon Friday, Nov. 23, at 8 p.m. (ET/PT) . (Photo: http://photos.prnewswire.com/prnh/20121114/NY13645 ) In "iGoodbye," Spencer (Jerry Trainor) offers to take Carly (Miranda Cosgrove) to the Air Force father-daughter dance when their dad, Colonel Shay, isn't able to accompany her because of his overseas deployment. When Spencer gets sick and can't take her, Freddie (Nathan Kress) and Gibby (Noah Munck) try to cheer Carly up by offering to go with her. Colonel Shay surprises everyone when he arrives just in time to take Carly to the dance. When they return from their wonderful evening together, Carly is disappointed to learn her dad must return to Italy that evening and she is faced with a very difficult decision. "iCarly has been a truly definitional show that was the first to connect the web and TV into the fabric of its story-telling, and we are so very proud of it and everyone who worked on it," said Cyma Zarghami, President, Nickelodeon Group. -
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.