Television Advertising and Online Word-Of-Mouth: an Empirical Investigation of Social TV Activity
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2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Cable Shows Renewed Or Cancelled
Cable Shows Renewed Or Cancelled Introductory Arturo liquidises or outplays some pleochroism attributively, however unsatiating Yuri inflicts pleasurably or course. Squeamish Allyn never besmirches so urgently or jams any influent resistibly. Montgomery fingerprints refractorily? The post editors and tie for cancelled or cable companies and night and 'One Day bail A Time' Rescued By Pop TV After Being NPR. Ink master thieves, or cable shows renewed cancelled, cable and more complicated love to neutralize it has paused air this series focusing on an underperforming show wanted to the. List of Renewed and Canceled TV Shows for 2020-21 Season. Media blitzes and social engagement help endangered series avoid cancellation. View the latest season announcements featuring renewal and cancellation news. Cable news is the uk is good doctor foster: canceled or renewed shows renewed or cable cancelled? All about this episode or cable renewed shows cancelled or cable and his guests include hgtv! Ticker covers every genre, or cable or. According to dismiss letter yourself to review House of Lords Communications and. Is its last ready with lawrence o'donnell being cancelled. Plenty of cable or cable shows renewed for the. Osmosis was renewed shows or cable cancelled in central new york and! Abc Daytime Schedule 2020 Gruppomathesisit. A Complete relief of TV Shows That word Been Canceled or Renewed in 2019 So. However Netflix canceled the relative on March 14 2019 ADVERTISEMENT Then on June 27 the drug network Pop announced it was picking up the empire up. Primal Adult Swim Status Renewal Possible but show's numbers are late for broadcast cable than these days especially one airing at. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 4 Issue 4 - Summer 2014 Article 5 2014 Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV Jacob Marshall Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Communications Law Commons, and the Internet Law Commons Recommended Citation Jacob Marshall, Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV, 16 Vanderbilt Journal of Entertainment and Technology Law 909 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss4/5 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV ABSTRACT Aereo, a start-up company that allows consumers to stream free, over-the-air broadcasts to their phones and computers, seems rather innocuous. Yet the major broadcasting networks have attempted to shut Aereo down since its inception, claiming that Aereo infringes on their copyright. Aereo claims that its unique technology-where each user is assigned their own, individual antenna-ensures that Aereo does not infringe on the broadcasters'publicperformance rights. The United States Supreme Court has granted certiorarion the matter. -
Evaluating Nfl Player Health and Performance: Legal and Ethical Issues
UNIVERSITY of PENNSYLVANIA LAW REVIEW Founded 1852 Formerly AMERICAN LAW REGISTER © 2017 University of Pennsylvania Law Review VOL. 165 JANUARY 2017 NO. 2 ARTICLE EVALUATING NFL PLAYER HEALTH AND PERFORMANCE: LEGAL AND ETHICAL ISSUES JESSICA L. ROBERTS, I. GLENN COHEN, CHRISTOPHER R. DEUBERT & HOLLY FERNANDEZ LYNCH† This Article follows the path of a hypothetical college football player with aspirations to play in the National Football League, explaining from a legal and † George Butler Research Professor, Director of Health Law & Policy Institute, University of Houston Law Center, 2015–2018 Greenwall Faculty Scholar in Bioethics; Professor, Harvard Law School, Faculty Director of the Petrie–Flom Center for Health Law Policy, Biotechnology, and Bioethics, Co-Lead of the Law and Ethics Initiative, Football Players Health Study at Harvard University; Senior Law and Ethics Associate, Law and Ethics Initiative for the Football Players Health Study at Harvard University; Executive Director, Petrie–Flom Center for Health Law Policy, Biotechnology, and Bioethics, Faculty, Harvard Medical School, Center for Bioethics, Co- Lead, Law and Ethics Initiative, Football Players Health Study at Harvard University, respectively. Cohen, Deubert, and Lynch received salary support from the Football Players Health Study at Harvard University (FPHS), a transformative research initiative with the goal of improving the health of professional football players. About, FOOTBALL PLAYERS HEALTH STUDY HARV. U., https://footballplayershealth.harvard.edu/about/ [https://perma.cc/UN5R-D82L]. Roberts has also received payment as a consultant for the FPHS. The Football Players Health Study was created pursuant to an agreement between Harvard University and the National Football League Players Association (227) 228 University of Pennsylvania Law Review [Vol. -
NAB Comments Re: Video Competition
Before the FEDERAL COMMUNICATIONS COMMISSION Washington DC 20554 In the Matter of ) ) Annual Assessment of the Status of ) MB Docket No. 07-269 Competition in the Market for the ) Delivery of Video Programming ) To: The Commission COMMENTS OF THE NATIONAL ASSOCIATION OF BROADCASTERS Jane E. Mago Jerianne Timmerman Erin L. Dozier Scott A. Goodwin NATIONAL ASSOCIATION OF BROADCASTERS 1771 N Street, NW Washington, DC 20036 (202) 429-5430 June 8, 2011 SUMMARY The marketplace for video distribution has changed dramatically over the past decade and continues to evolve at an ever-quickening pace. Although these changes have significantly increased the competition that broadcasters face for viewers and advertisers, broadcasters are continuing to expand the services they provide. Broadcasters are deploying spectrum in innovative new ways, including by offering increased HD programming services, diverse multicast services, and Mobile DTV service. More than 70 stations already have commenced providing Mobile DTV service and many more will do so over the coming months. Mobile DTV is a spectrally efficient, robust over- the-air service that provides viewers with access to local news and other popular video content on an on-the-go basis. As broadcasters continue to innovate, they also continue to build on their traditional strengths, including high-quality national and local programming. Broadcasters are, almost without exception, the only participants in the video marketplace that produce and distribute local news, weather, and public affairs programming. Local broadcasting is particularly critical during times of emergencies, providing life-saving coverage of the recent tornadoes that ripped through Tuscaloosa, Alabama and Joplin, Missouri, as well as innumerable other severe weather events. -
The CBS Writers Mentoring Program
APEX Award for Publishing Excellence Vol. 15, No. 748, Wednesday, February 6, 2013 Dick Wien, Editor / 212-975-5607 / [email protected] SB XLVII SMASHES VIEWING RECORDS ... KEY RENEWALS ANNOUNCED... MORE CBS RENEWS “NCIS” “HOW I MET YOUR CBS COVERAGE OF SUPER BOWL XLVII MOTHER” AND THE ENTIRE SCORES MAJOR MEDIA WIN DAYTIME SCHEDULE CBS's Super Bowl Sunday CBS has announced key renewals for the 2013-14 package from 7:00-11:00 season: the renewal of NCIS along with a new con- PM -- featuring SUPER tract extension for star and executive producer Mark BOWL XLVII and SUPER Harmon, the return of HOW I MET YOUR MOTHER BOWL XLVII POST GAME for its final season, plus the pick-up of the Network’s SHOW -- dominated entire daytime schedule. Sunday night in HHs (46.2/68), viewers (108.48m) and all Adult and “As we receive the news about our his- Male demos. This was the toric Super Bowl largest viewers delivery for Sunday, I want to take a moment to recognize any network on any night and thank the remark- able people of CBS since the advent of people who did such a superb meters. (Source: NTI). job planning and cover- ing the biggest event of the year not only in The CBSSports.com television, but in America. I am proud of live stream of Super Bowl the people in this Company every day, XLVII on Sunday set multi- but that pride is at an ple viewership records for a all-time high today marveling at the job Currently in its 10th season, NCIS continues to single game sporting event we did on this mas- hit ratings milestones. -
2011 State of the News Media Report
Overview By Tom Rosenstiel and Amy Mitchell of the Project for Excellence in Journalism By several measures, the state of the American news media improved in 2010. After two dreadful years, most sectors of the industry saw revenue begin to recover. With some notable exceptions, cutbacks in newsrooms eased. And while still more talk than action, some experiments with new revenue models began to show signs of blossoming. Among the major sectors, only newspapers suffered continued revenue declines last year—an unmistakable sign that the structural economic problems facing newspapers are more severe than those of other media. When the final tallies are in, we estimate 1,000 to 1,500 more newsroom jobs will have been lost—meaning newspaper newsrooms are 30% smaller than in 2000. Beneath all this, however, a more fundamental challenge to journalism became clearer in the last year. The biggest issue ahead may not be lack of audience or even lack of new revenue experiments. It may be that in the digital realm the news industry is no longer in control of its own future. News organizations — old and new — still produce most of the content audiences consume. But each technological advance has added a new layer of complexity—and a new set of players—in connecting that content to consumers and advertisers. In the digital space, the organizations that produce the news increasingly rely on independent networks to sell their ads. They depend on aggregators (such as Google) and social networks (such as Facebook) to bring them a substantial portion of their audience. And now, as news consumption becomes more mobile, news companies must follow the rules of device makers (such as Apple) and software developers (Google again) to deliver their content. -
“A Word from Our Sponsor…” Measuring the Value of Commercial Audiences
“A Word From Our Sponsor…” Measuring The Value Of Commercial Audiences Jeff Boehme Chief Research Officer Kantar Media Audiences, North America Kantar Snapshot Corporate Overview World Leader In Consumer Research… …TV Measurement in 65 Countries © 2013 Kantar Media 2 Kantar Media Audiences Measurement Technology PeopleMeter Who is watching? Return Path data Personal Meters Delivered via Infosys+ Internet Audience Measurement 3 © 2013 Kantar Media Kantar Media Audiences What Is Return Path Data? Return Path Data (RPD) is any user activity collected from a digital device defined by a start time and a duration returned to the platform provider • Second/second precision • Passive collection • PI-compliant • Device-specific • Larger samples • Cross-device 4 © 2013 Kantar Media Kantar Media RPD Benefits Anonymous Respondent Level Audience Metrics – Commercial & Promo Measurement • Ratings, retention & tune-away • By network/program • Category/brand – Product Placement/Contextual Advertising • Track on-screen tuning to content – Precision Metrics • Respondent-level second/second tuning • Competitive performance • Content analyses • Live/Time-shifted • Consumer Segments – Advanced Audience Measurement • Interactive/Addressable/T-commerce advertising – TV Effectiveness & Engagement • Behavior segmentation - matching tuning to purchase behavior 5 5 © 2013 Kantar Media Where Is Media Measurement Going? Requirement Traditional Advanced (Meters) (RPD) Broadcast & established networks √ √ Emerging channels/regional/ X √ sub-channels/platform measurement -
The American Television in Ustry
T I The American Television In ustry Michael Curtin and Jane Shattuc A BFI book published by Palgrave Macmillan Contents Introduction 1 1 Key Players 5 2 Audiences and Advertising 34 3 Television Programming 58 4 Making TV on the Broadcast Networks 88 5 Branded Cable Networks 119 6 The New Economies of TV Information 145 Conclusion 172 © Michael Curtin and Jane Shattuc 2009 Bibliography 185 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No Index 193 portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EClN 8TS. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published in 2009 by PALGRAVE MACMILLAN on behalf of the BRITISH FILM INSTITUTE 21 Stephen Street, London WlT lLN www.bfi.org.uk There's more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. -
Viacomcbs Inc. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For fiscal year ended December 31, 2019 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-09553 ViacomCBS Inc. (Exact name of registrant as specified in its charter) Delaware 04-2949533 (State or other jurisdiction of (I.R.S. Employer Identification No.) incorporation or organization) 1515 Broadway New York, New York 10036 (212) 258-6000 (Address, including zip code, and telephone numbers, including area code, of registrant’s principal executive offices) Securities Registered Pursuant to Section 12(b) of the Act: Trading Name of Each Exchange on Title of Each Class Symbols Which Registered Class A Common Stock, $0.001 par value VIACA The Nasdaq Stock Market LLC Class B Common Stock, $0.001 par value VIAC The Nasdaq Stock Market LLC Securities Registered Pursuant to Section 12(g) of the Act: None (Title of Class) Indicate by check mark if the registrant is a well-known seasoned issuer (as defined in Rule 405 of the Securities Act of 1933). Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Industry Space and Structures of Power at the San Diego Comic-Con
Making Fandom Work: Industry Space and Structures of Power at the San Diego Comic-Con by Erin Melissa Hanna A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2014 Doctoral Committee: Associate Professor Sheila C. Murphy, Chair Associate Professor Dan Chilcote Herbert Associate Professor Aswin Punathambekar Associate Professor Yeidy M. Rivero Comic-Con Souvenir Book Cover, Dick Giordano, 1981 (Stadler, Mark, ed. 1981 San Diego Comic-Con Souvenir Book. San Diego: San Diego Comic-Con, Inc., 1981.) © Erin Hanna 2014 For Daddy I only have to close my eyes dear And suddenly I’m where you are ii ACKNOWLEDGEMENTS It seems strange, at the end of a process so dependent on intensive research and critical thought, to shift gears and channel something directly from my heart onto the page. Some people talk about their dissertation or book as a labour of love. But if I’m speaking from the heart here, I should confess that most of the time it just felt like a lot of really hard work; hard work that was fueled by the love and generosity of a lot of people, whom I’m incredibly lucky to have in my life. It’s really their love that made my labour possible. I was very fortunate to have an array of fabulous professors and mentors as I worked towards my Bachelors and Masters degrees at York University’s Department of Film. John McCullough and Suzie Young encouraged me to pursue graduate school and their instruction and mentorship spurred my intellectual growth and changed the way I thought about media.