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'Audience Participation' volume 03 issue 06/2014 CONVERGENT TELEVISION AND ‘ AUDIENCE PARTICIPATION’ THE EARLY DAYS OF INTERACTIVE DIGITAL TELEVISION IN THE UK Vivi Theodoropoulou Department of Communication & Internet Studies Cyprus University of Technology, 94 Anexartisias Str., 3603 Limassol, Cyprus [email protected] Abstract: The paper focuses on the introduction of interactive digital television (DTV) in the UK at the turn of the millennium, and its take-up and use by early audiences. It discusses whether the processes of television technological convergence went together with ‘consumer behaviour convergence,’1 enhanced audience engagement with the interactive TV services offered, and participation. Based on findings from a UK-wide survey and in-depth interviews with early Sky digital subscribers conducted during the early days of the service, the article shows that early interactive DTV was taken up because of its multichannel offering and thematic orientation and, interestingly, was approached and appreciated mostly as a television content provider. It thus notes a divergence on industry’s attempts to promote convergence in broadcasting and on the level and pace with which users adopt and adapt to such change. In so doing it highlights the evolutionary nature and slow rate of change of cultural habits and forms. Keywords: Interactivity, use habits, customisation and individualisation of viewing, complementarity, TV programmes, screen entertainment medium 1 Convergent DTV: Early Assets and Affordances 1.1 Digital UK In the late 90s and early years of 2000s, DTV was introduced in the UK given the planned switch-off of analogue television and Europe-wide policies for a total transition to digital broadcasting.2 It was also launched as an attempt to 1 See: Horst Stipp, ‘Convergence now?’, The International Journal of Media Management, 1, 1, 1999, 10–13, p. 11 2 In the early years of the digital switchover, the UK was one of the leaders of the EU transition to digital broadcasting in terms of the high adoption rates, the existence of different platforms (satellite, cable, terrestrial), the launch of interactive services and the launch of Freeview (in 2002) as the subscription-free national terrestrial platform that would allow switchover completion. Despite setting the pace, the commitment to a voluntary transition meant that, in the end, the UK took quite some time to fully switch to digital (in 2012) as other countries took over (such as the Netherlands, Finland, Sweden and others) see: Michael Starks, Switching to Digital Television: UK Public Policy and the Market, Intellect, 2007. For a more in-depth analysis of the EU DTV transition and history, one needs to look at EU countries individually -and perform a comparative analysis- given the cultural, political and technological/broadcasting particularities of each and since, despite the common EU goal towards DTV, each country set its own transition plan and policy. See, for example: Michael Starks, 2007; Wendy Van den Broeck and Jo Pierson, eds, Digital Television in Europe, Brussels, Vubpress, 2008; Petros Iosifidis ‘Digital Switchover in Europe’, The International Communication Gazette, 68, 3, 2006, 249–258. 69 Vivi Theodoropoulou, CONVERGENT TELEVISION AND ‘AUDIENCE PARTICIPATION’ converge the functions of television with those of the computer, and to potentially bridge digital divides and offer internet-like services and access across the population. In the early days of DTV services, the UK was considered the most developed market in the world. In late 1998 it was the first country with both a satellite and a terrestrial digital broadcasting service, as BSkyB launched Sky digital, the satellite service, in October 1998 and ONdigital launched the world’s first digital terrestrial service in November of the same year.3 With cable operators Telewest and NTL launching their digital services in 1999, DTV in the UK became available on a subscription basis on all three platforms. By the end of 2001, the UK was recording the fastest DTV penetration in the world with an overall take-up of 37%.4 But, what was new about this new medium and how did audiences react to it through use? This paper attempts to answer such questions based on a multiple method research -so as to achieve both breadth and depth of responses- conducted with Sky digital early adopters between late 2000 and 2002.5 In particular, a UK-wide postal survey using a simple random sample of 1986 early Sky digital subscribers was conducted and achieved a response rate of 35.25%. This was complemented by 15 in-depth interviews with a sub-sample of the original survey sample.6 1.2 Digital Satellite TV Digital satellite television that this paper focuses on, offered an unprecedented choice of television channels of digital quality image and sound, along with the public service broadcasting channels, bundled in a variety of channel packages (and prices) from which the subscriber could choose.7 Pay-per-view (PPV) and (near) video-on-demand services enabling users to record/retrieve television programmes and watch them at a time convenient to them, radio channels, enhanced or ‘contextual’ interactive features within the television programmes, and the on-line or ‘non-contextual’ interactive services of ‘Open….,’ launched in October 1999, were also available. The ‘Open….’ platform allowed access to shopping, banking, e-mails, electronic games and other interactive elements.8 The term non-contextual9 is used to describe such services because, as opposed to the contextual interactive programmes/features which did not interrupt TV viewing, these operated outside the TV flow and context, and their use was taking place in a ‘new environment’ resembling an unsophisticated web interface. In the early days, these online internet-like services accessed on television were a novel feature indeed. Yet, compared to the internet they were rather slow to download and use, and the technology, graphic design and choice available could be described as rather basic and limited. Enhanced contextual interactive services could be accessed by pressing the red button on the remote control. At the time, such services were Sky Sports Active (SSA), allowing access to match statistics, replays and highlights as well as alternative camera angles in football and other sports games and events, and Sky News Active (SNA) providing background and updated information on certain key news items, weather news etc. These features are still accessible and while using them the viewer can still watch the TV programme on a smaller ‘window.’ Numerous multi-stream enhanced interactive services attached to programmes have been developed through the years, turning television into participation television and allowing viewers to vote or participate in quizzes, communicate with the programme producers, find background information on the programme and use camera angles of their choice. These features are always thematically related to the programme watched and may have an entertainment or informative character depending on the nature of the television show they are linked to.10 From its early days 3 For more details see: William Cooper and Mark Springett, ‘DTV in the United Kingdom’ in Wendy Van den Broeck and Jo Pierson, eds, Digital Television in Europe, Vubpress, 2008, pp. 221–231. 4 Independent Television Commission, ‘Progress toward Digital Switchover – An ITC Consultation’, October 2002. 5 For more details see: Vivi Theodoropoulou, ‘The Introduction of Digital Television in the UK: A Study of its Early Audience’, PhD thesis, the London School of Economics and Political Science, London, 2012 6 In the interview quotes form this research that follow, the gender initial (Male or Female) and age of the interviewee is used as an identification mark. 7 The subscriber could select from a variety of channels focusing on general entertainment or single-genre (thematic) channels such as movie, sports, news, documentaries, music, children’s channels as well as adult channels and specialist channels. 8 To use this service, the digibox had to be connected to the telephone line. In May 2001 the service was shut and only few of its features were integrated in Sky Active, the newly found service that incorporated all of Sky digital’s functioning interactive features. 9 See: Vivi Theodoropoulou, ‘Consumer convergence: digital television and the early interactive audience in the UK’, in Gregory Ferrell Lowe and Taisto Hujanen, eds., Broadcasting and Convergence. New Articulations of the Public Service Remit, Nordicom, 2003, pp. 285–297. 10 Enhanced features of programmes, such as Big Brother and BBC’s Wimbledon Tennis Tournament, Walking with Dinosaurs, Football World Cup and Test the Nation delivered via Sky channel packages, were amongst the most popular in the first years of enhanced interactive DTV. 70 Vivi Theodoropoulou, CONVERGENT TELEVISION AND ‘AUDIENCE PARTICIPATION’ Sky digital was accessible through, what was then, the new service of the on-screen electronic program guide (EPG), a feature that has been further developed since. The EPG helped users ‘navigate’ in the new multichannel environment, also providing additional hyperlinks for on-demand information like cinema reviews, sports, quizzes, voting etc. 2(DON’ T) Believe the Hype… ? Since before the launch of DTV, the UK government had been supportive of initiatives that encouraged the development of DTV, advancing regulation and policy plans that would help accommodate the transition to digital broadcasting. Behind the UK’s
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