Ratings Highlights

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RATINGS HIGHLIGHTS Top 5 TVB Dramas Consolidated Ratings Top 5 TVB Non-Dramas Consolidated Ratings Triumph In The Skies II Inbound Troubles Bounty Lady Friendly Fire Sergeant Tabloid TV Awards TVB 46th Anniversary Gala Miss Hong Kong Happy Eric To You! Super Trio Maximus Presentation 2013 Pageant 2013 -Final 36 TVRs 35 TVRs 32 TVRs 31 TVRs 30 TVRs 35 TVRs 30 TVRs 30 TVRs 28 TVRs 28 TVRs Top 10 English Programmes TV Ratings © 2010 Twentieth Century Fox Film Corporation. © Walt Disney Pictures, Spyglass Entertainment, © 2009 Twentieth Century Fox Film Corporation. © 2014 Warner Bros. Ent. © 2014 Warner Bros. Ent. ICE AGE DAWN OF THE DINOSAURS TM & Iron Man, the Movie © 2008 MVL Film Finance LLC. © Warner Bros. Entertainment Inc. and Legendary Pictures © 2010 Columbia Pictures Industries, Inc. All Rights All rights reserved. All Rights Reserved All rights reserved. Harry Potter Publishing Rights © J.K. Rowling Harry Potter Publishing Rights © J.K. Rowling © 2009 Twentieth Century Fox Film Corporation. Iron Man, the Character. ™ & © 2014 Reserved. Harry Potter characters, names and related indicia are Harry Potter characters, names and related indicia are All Rights Reserved. Marvel Entertainment. All Rights Reserved. trademarks of and © Warner Bros. Ent. All Rights Reserved. trademarks of and © Warner Bros. Ent. All Rights Reserved. International Soccer Friendly﹣ Gulliver’s Travels The Pacifier Avatar Harry Potter and the Harry Potter and the Ice Age 3 Dawn of the Iron Man Clash of the Titans The Karate Kid Kitchee VS Manchester United Goblet of Fire TM Prisoner of Azkaban TM Dinosaurs 8.2 TVRs 7.2 TVRs 6.8 TVRs 6.8 TVRs 6.8 TVRs 6.7 TVRs 6.5 TVRs 6.5 TVRs 6.4 TVRs 6.3 TVRs 1 Consolidated rating is dened as the summation of TV rating and online catch-up rating. 3 Online catch-up rating is dened as an aggregate catch-up rating of web and mobile apps platforms. Data are sourced from 2 TV rating (“TVR”) represents the size of the audience expressed as a percentage of the total TV population. For 2013, the total TV population Nielsen SiteCensus and conversion is based on a TV rating formula supported by a certied document issued by Nielsen dated comprises 6,420,000 viewers, and therefore, 1 TVR represents 64,200 viewers (1% of the total TV population). Ratings data source: Nielsen TAM. Since 24 July 2013. One online catch-up rating also represents 64,200 viewers. 1 January 2013, Nielsen has been appointed as the accredited ratings measurement service company for the industry. 44 Television Broadcasts Limited Annual Report 2013 Television Broadcasts Limited Annual Report 2013 45 .

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Fala Chen [email protected]
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive This is the author’s version of a work that was submitted/accepted for pub- lication in the following source: Wang, Wilfred Yang (2015) Remaking Guangzhou: Geo-identity and place-making on Sina Weibo. Media International Australia Incorporating Culture and Policy, 156(Aug), pp. 29-38. This file was downloaded from: http://eprints.qut.edu.au/87500/ c Copyright 2015 inFormat Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source: Remaking Guangzhou Geo-identity and Place-making on Sina Weibo Abstract This study uses the concept of ‘place-making’ to consider the formation of geo-identity on Sina Weibo, one of the most popular microblogging services in China. Besides articulating state- public confrontation during major social controversies, Weibo has been used to recollect and re- narrate the memories of a city, such as Guangzhou, where dramatic social and cultural changes took place during the economic reform era. This study aims to explore how Weibo sustains political engagement through maintaining Guangzhou people’s sense of belonging to their city. By collecting data from a Weibo group over a period of twelve months, I argue that Weibo politics does not only take place during contentious events, but are sustained within the realm of everyday life. This study has the potential to contribute to the limited knowledge of Weibo use during non-contentious period in China, hence, broadening the notion of popular polity in the age of social media.
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