Transnationalization of Television in West Europe. Working Paper No. 13
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The World on Television Market-Driven, Public Service News
10.1515/nor-2017-0128 Nordicom Review 31 (2010) 2, pp. 31-45 The World on Television Market-driven, Public Service News Øyvind Ihlen, Sigurd Allern, Kjersti Thorbjørnsrud, & Ragnar Waldahl Abstract How does television cover foreign news? What is covered and how? The present article reports on a comparative study of a license-financed public broadcaster and an advertising- financed channel in Norway – the NRK and TV2, respectively. Both channels give priority to international news. While the NRK devotes more time to foreign news (both in absolute and relative numbers) than TV2 does, other aspects of the coverage are strikingly similar: The news is event oriented, there is heavy use of eyewitness footage, and certain regions are hardly visible. At least three explanations can be used to understand these findings: the technological platform (what footage is available, etc.) and the existence of a common news culture that is based on ratings and similar views on what is considered “good television”. A third factor is that both channels still have public service obligations. Keywords: foreign news, television news, public service Introduction The media direct attention toward events and occurrences in the world, and help to shape our thinking as well as our understanding of these events. The potentially greatest influ- ence can be expected to occur with regard to matters of which we have little or no direct experience. Foreign news is a prime example of an area where most of us are reliant on what the media report. Studies of foreign news have a long tradition (i.e., Galtung & Ruge 1965) and there is a vast body of literature focusing on the criteria for what becomes news (e.g., Harcup & O’Neill 2001; Hjarvard 1995, 1999; Shoemaker & Cohen 2006). -
Kollektivavtal Film TV Video 2017-2020
FILM, TELEVISION AND VIDEO FILMING AGREEMENT 2021–2023 Valid: 2021-01-01 – 2023-05-31 CONTENTS GENERAL PROVISIONS 5 1 Employment 5 2 General obligations 6 3 Cancelled production and breach of contract 7 4 Interruption of service 8 5 Payment of fee and other remuneration 8 6 Travel and subsistence allowances 9 7 Income from employment and annual leave 9 8 Collective agreement occupational pension and insurance 9 9 Working hours 10 10 Special employment provisions 10 SPECIAL PROVISIONS FOR ARTISTS 10 11 Period of employment and fees 10 12 Performance day and performance day remuneration 11 13 Working hours 12 14 Overtime pay 14 15 Work outside the period of employment and special work 15 16 Clothing, wigs and makeup 16 17 General obligations 16 SPECIAL PROVISIONS FOR DIRECTORS 16 18 17 19 17 20 17 21 17 22 18 23 18 24 19 SPECIAL PROVISIONS FOR CHOREOGRAPHERS, SET DESIGNERS AND COSTUME DESIGNERS 19 25 19 26 19 SPECIFIC PROVISIONS FOR THE FOLLOWING PROFESSIONAL CATEGORIES: 19 27 Working hours 20 28 Scheduling working hours 21 29 Unsocial working hours 22 30 Overtime 23 Tnr 690 31 Exceptions to the rules on remuneration for unsocial working hours and overtime under Clauses 29 and 30 23 32 Calculation bases for overtime pay, etc. 24 33 Notice of overtime 24 34 Travel time allowance 24 35 Supplementary duties after the end of the period of employment 25 PAY/FEES/REMUNERATION 26 36 Minimum pay for artists 26 37 Directors 28 § 38 Choreographers, set designers, costume designers and chief photographer (A-photo) 29 39 Minimum pay for technical employees 30 RIGHTS OF USE, ETC. -
The Business Model Innovation Process Henrik Jensen
The Business Model Innovation Process Three studies on advertisers, media agencies, and TV broadcasters Industrial PhD dissertation submitted by Henrik Jensen Department of Social Sciences and Business Academic supervisor: associate professor Kristian Sund Business supervisor: commercial director Kasper Kryger ISSN no. 0909-9174 Foreword This dissertation is about business model innovation and the business model innovation process. After an English and Danish abstract of the findings, the dissertation is divided into two separate parts: synopsis and papers. The latter consist of three academic studies or scientific articles, of which two have been published as of November 2018. The synopsis is a summary of the relationship between the three studies and their contribution to the entire PhD dissertation. Furthermore, it provides additional information about and discussions of the background, methods, and results that are not presented in the scientific articles. The journey for this dissertation started in April 2013, when I, a former executive from the media industry, read an article in a Danish business newspaper in which a professor in media management claimed that media organizations were facing significant business challenges and would benefit from applying industrial PhD candidates. Several actors deserve thanks for making this journey happen: Discovery Networks, undertaking a PhD project for the first time ever globally, and, from Roskilde University, my supervisor, Kristian Sund, and, for his initial support, Søren Jagd. However, my biggest thanks are due to my fantastic wife, Lone, who supported the journey all the way! After more than three years of studies, I am confident that the phenomenon of business model innovation provides some key answers to the question of how firms can survive in both the short and the long term. -
Must-Carry Rules, and Access to Free-DTT
Access to TV platforms: must-carry rules, and access to free-DTT European Audiovisual Observatory for the European Commission - DG COMM Deirdre Kevin and Agnes Schneeberger European Audiovisual Observatory December 2015 1 | Page Table of Contents Introduction and context of study 7 Executive Summary 9 1 Must-carry 14 1.1 Universal Services Directive 14 1.2 Platforms referred to in must-carry rules 16 1.3 Must-carry channels and services 19 1.4 Other content access rules 28 1.5 Issues of cost in relation to must-carry 30 2 Digital Terrestrial Television 34 2.1 DTT licensing and obstacles to access 34 2.2 Public service broadcasters MUXs 37 2.3 Must-carry rules and digital terrestrial television 37 2.4 DTT across Europe 38 2.5 Channels on Free DTT services 45 Recent legal developments 50 Country Reports 52 3 AL - ALBANIA 53 3.1 Must-carry rules 53 3.2 Other access rules 54 3.3 DTT networks and platform operators 54 3.4 Summary and conclusion 54 4 AT – AUSTRIA 55 4.1 Must-carry rules 55 4.2 Other access rules 58 4.3 Access to free DTT 59 4.4 Conclusion and summary 60 5 BA – BOSNIA AND HERZEGOVINA 61 5.1 Must-carry rules 61 5.2 Other access rules 62 5.3 DTT development 62 5.4 Summary and conclusion 62 6 BE – BELGIUM 63 6.1 Must-carry rules 63 6.2 Other access rules 70 6.3 Access to free DTT 72 6.4 Conclusion and summary 73 7 BG – BULGARIA 75 2 | Page 7.1 Must-carry rules 75 7.2 Must offer 75 7.3 Access to free DTT 76 7.4 Summary and conclusion 76 8 CH – SWITZERLAND 77 8.1 Must-carry rules 77 8.2 Other access rules 79 8.3 Access to free DTT -
Ownership Concentration in the TV Industry a Case Study on the Limitations of Media Policy
Nordicom Review 28 (2007) 1, pp. 77-93 Ownership Concentration in the TV Industry A Case Study on the Limitations of Media Policy SUNE TJERNSTRÖM Abstract The wish to limit ownership concentration in the media industry has been common in the newspaper sector, but hardly very successful. As commercial television was more exten- sively introduced, governments saw possibilities of limiting ownership concentration in this sector. One such case is the Swedish TV4, owned at the start in 1991 by a consortium of financial and smaller publishing groups, but now controlled by the biggest player in the national media business. What happened on the way and what were the obstacles to media policy in this field? Some would argue that this is an area in which media policy failed. Alternatively, this development can be understood as a case in which the nature of cor- porate policy is revealed. A third option would be to observe the interaction between cor- porate interests and the government as an example of so-called political management. This article examines these scenarios in the context of commercial television in Sweden. The case study provides a deeper understanding of the nature of ‘institutional competitiveness’, politics vs. business, nationally based media firms vs. other Scandinavian players. Key Words: media policy, corporate strategy, political management, hybrid media firms, TV4 Sweden Introduction Fearing that private broadcasters could overrun the monopoly of the Swedish public service broadcaster in the late 1980s, the government decided to organize a new national ‘commercial public service’ channel.1 An agreement was made between the government and a private consortium on TV broadcasting over the terrestrial net.2 This new public service firm – or hybrid organization as they are often called – was given a virtual monopoly on TV advertising reaching the whole country. -
Making TELEVISION ACCESSIBLE REPORT NOVEMBER 2011 Making a TELEV CCESS DIGITAL INCLUSION Telecommunication Developmentsector NOVEMBER 2011 Report I
DIGITAL INCLUSION International Telecommunication Union Telecommunication Development Bureau OVEMBER 2011 N Place des Nations CH-1211 Geneva 20 Making Switzerland www.itu.int TELEVISION ACCESSIBLE Report REPORT BLE I CCESS A N O I S I NOVEMBER 2011 Printed in Switzerland MAKING TELEV Telecommunication Development Sector Geneva, 2011 11/2011 Making Television Accessible November 2011 This report is published in cooperation with G3ict – The Global Initiative for Inclusive Information and Communication Technologies, whose mission is to promote the ICT accessibility dispositions of the Convention on the Rights of Persons with Disabilities www.g3ict.org. ITU and G3ict also co-produce the e-accessibility Policy Toolkit for Persons with Disabilities www.e-accessibilitytoolkit.org and jointly organize awareness raising and capacity building programmes for policy makers and stakeholders involved in accessibility issues around the world. This report has been prepared by Peter Olaf Looms, Chairman ITU-T Focus Group on Audiovisual Media Accessibility. ITU 2011 All rights reserved. No part of this publication may be reproduced, by any means whatsoever, without the prior written permission of ITU. Making Television Accessible Foreword Ensuring that all of the world’s population has access to television services is one of the targets set by world leaders in the World Summit on the Information Society. Television is important for enhancing national identity, providing an outlet for domestic media content and getting news and information to the public, which is especially critical in times of emergencies. Television programmes are also a principal source of news and information for illiterate segments of the population, some of whom are persons with disabilities. -
Cultural Policy in the Swedish Welfare State
http://www.diva-portal.org This is the published version of a paper presented at The Asan Conference: Understanding the Swedisch Welfare Model, Seoul, South Korea, 30–31 Aug. 2012. Citation for the original published paper: Lindberg, B. (2012) Cultural Policy in the Swedish Welfarestate. Paper presented at the Asan Conference Understanding the Swedisch Welfare Model, Seoul, South Korea, 30–31 Aug. 2012. In: (pp. 1-14). Seoul, Korea: Asan Institute N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-30530 Professor em. Boel Lindberg, 2012-08-20 [email protected] Cultural Policy in the Swedish Welfare State Historical Background Serious efforts to define the concept “Cultural Policy” were not made in Sweden until the 1970s. The efforts evolved in the process to create a new cultural policy, which after several years of inquiry, was decided on by the Swedish Parliament in 1974. Before that “cultural policy” as a rather vague term had now and then occurred in practice when public support of traditional artistic activities, popular education and libraries were being discussed. When the concept “Cultural Policy” then finally was defined in the bill of 1974 it definitely was regarded as a policy area within the Swedish Welfare Model similar to the policy areas that had been developed for education, social affairs, and for housing by the Social Democrats during the four decades that they by then had been in office. Cultural policy now was defined as a policy area that was concerned with: measures relating to cultural activities and works in written, theatrical, visual, and musical form, as well as media of communication such as the press, radio, and television. -
Review of the Communication from the Commission on the Application of State Aid Rules to Public Service Broadcasting
REVIEW OF THE COMMUNICATION FROM THE COMMISSION ON THE APPLICATION OF STATE AID RULES TO PUBLIC SERVICE BROADCASTING. THE REPLY OF THE DANISH BROADCASTING CORPORATION (DR) 1. GENERAL 1.1. A number of significant legal developments have taken place in the public broadcasting area since 2001, namely the adoption of the Audiovisual Media Services Directive, the adoption of the Decision and Framework on compensation payments as well as Commission decision-making practice. Do you think that the Broadcasting Communication should be up-dated in light of these developments? Alternatively, do you consider that these developments do not justify the adoption of a new text? The Danish Broadcasting Corporation (DR) welcomes the opportunity to comment on the issues regarding the application of state aid rules to public service broadcasting – as it can be fundamental to the future existence of public service broadcasting. In this regard, it is essential for DR to stress the importance of every Member States right to preserve the sovereignty to define the national public service remit and provide for the funding. Otherwise, it can be impossible to carry out the obligation to promote the cultural, democratic and social activities which is at heart of public service broadcasting. We emphasize the importance of the cultural, democratic and social nature of public service broadcasting Considering the changes in the broadcasting sector which are increasingly relevant as well as the political statements for example in the Lisbon conclusions, DR finds a revision of the current communication relevant if it takes into account and acknowledges the particular aspects of public service broadcasters (PSB). -
Public Service Media, Old and New: Vitalizing a Civic Culture?1
Public Service Media, Old and New: Vitalizing a Civic Culture?1 Peter Dahlgren Lund University, Sweden Abstract: By the mid-1990s, the crisis in public service broadcasting in Sweden had passed and a new stability had emerged. In this situation, the two non-com- mercial television channels share the airwaves—and the public—chiefly with the new commercial terrestrial channel, TV4. This channel manifests a form of “popular public service.” Yet the new stability is being challenged by social and cultural developments in Sweden, especially various forms of social fragmenta- tion. The main argument is that a key role of public service broadcasting must be to enhance the democratic character of society. This can best be achieved by pro- moting what is called a civic culture, and the text discusses what this entails. The discussion concludes with some reflections on the emergence of digital televi- sion and how it could best further the public service project. Résumé: Au milieu des années 90, la crise dans la radiodiffusion de service public en Suède prend fin et une nouvelle stabilité s’instaure. À ce moment-là, les deux chaînes de télévision non-commerciales partagent les ondes—et le public—principalement avec TV4, une nouvelle chaîne terrestre commerciale. Cette dernière offre une forme de «service public populaire». Aujourd’hui, cependant, certains développements sociaux et culturels, surtout sous diverses formes de fragmentation sociale, sont en train de bouleverser cette nouvelle sta- bilité. L’idée principale est qu’un rôle clé de la radiodiffusion de service publique doit être de mettre en valeur la nature démocratique de la société. -
Desarrollo De Un Modelo Estadístico Para El Estudio De Los Sectores
LOS RETOS DE LA TELEVISIÓN PÚBLICA EN ESPAÑA ANTE EL MERCADO ÚNICO DIGITAL EUROPEO: ESTRATEGIAS MULTIPANTALLA, INNOVACIÓN Y RENOVACIÓN DE LOS MANDATOS DEL SERVICIO PÚBLICO* Objetivo 1. Comparativa europea. Caso DR (Dinamarca) Autora: Lola López-Muñoz, doctoranda del proyecto CSO2017-82277-R, Los retos de la televisión pública en España ante el Mercado Único Digital europeo: estrategias multipantalla, innovación y renovación de los mandatos del servicio público, LOCALCOM-UAB, [email protected] Supervisado por Dra. Carmina Crusafon. Noviembre, 2020 http://centresderecerca.uab.cat/oic https://ddd.uab.cat/collection/localcom http://www.ciencia.gob.es/ *Proyecto CSO2017-82277-R, Los retos de la televisión pública en España ante el Mercado Único Digital europeo: estrategias multipantalla, innovación y renovación de los mandatos del servicio público (IP Carmina Crusafon), financiado por el Ministerio de Ciencia, Innovación y Universidades. LOS RETOS DE LA TELEVISIÓN PÚBLICA EN ESPAÑA ANTE EL MERCADO ÚNICO DIGITAL EUROPEO CONTENIDO 1. Las corporaciones audiovisuales de servicio público en el nuevo escenario digital: el caso DR (Dinamarca) ................................................................................................................................................ 3 a) Cuadro resumen ................................................................................................................................. 4 Datos contextuales mercado audiovisual danés ................................................................................ -
Danish Public Service Broadcasting in Transition
Danish Public Service Broadcasting in transition: From monopoly to a digital media environment – a shift in paradigms Poul Erik Nielsen UNIVERSITY OF AARHUS, DENMARK ABSTRACT: Danish Public Service Broadcasting has gone through two consecutive transitions. Th e fi rst in the late 1980s and early 1990s was a transition from a paternalistic public service monopoly, Danmarks Radio, to a so-called Danish model with two dominating non-profi t public service stations in a competitive television system. Th e second is an ongoing transition from public service broadcast- ing in an increasingly politicised and competitive television system to public service media in a com- plex digital media environment. Th e article analyses the transition processes in a media system and media policy approach with focus on political, juridical, economic, and institutional perspectives. Th e article presents two main arguments. Firstly, the institution Danmarks Radio, the politicians, and most of the national cultural elite experienced the fi rst transition as revolutionary, and in respect to agenda setting, mode of address, and institutional changes the transition was revolutionary, but the ‘real’ revolutionary transition is the current transition to a digital media environment where the original idea of broadcasting is challenged by fundamental changes in the relation between media institutions and media users. Hence the whole concept of public service has to be reconsidered, and the public service institutions will have to reinvent new positions for themselves. Secondly, Danish media policy in general and public service broadcasting in particular has historically been dominated by a national cultural and political paradigm, but in the current situation are (national) cultural issues marginalised and the media policy is governed within international economic and legal paradigms. -
Journalism Journalism
CULTURAL JOURNALISM CULTURAL In an era when culture itself has become central to political debates, when boundaries between hard news and soft news, facts and opinion are dissolving, cultural journalism contributes to democratic discourse on vital issues of our time. Cultural journalism is furthermore indicative of journalistic autonomy and specialisation within media organisations, and of the intertwined relationship between the cultural and political public spheres. Nordic cultural journalism in Countries in the Nordic the mainstream media covers more subjects today than ever before, from fine arts to gam- ing, media industries, and lifestyle issues. At the same time, it harbours debates and reflec- tion on freedom of expression, ethnicity and national identity. This book contributes to an emerging international research agenda on cultural journalism at a time when digitalisation, convergence and globalisation are influencing the character of journalism in multiple ways. | “Cultural journalism matters, and it matters differently by location. This nuanced and (eds.) & Kristina Riegert Kristensen Nørgaard Nete CULTURAL thoughtful portrayal of cultural journalism in the Nordic countries performs a double elevation CULTURAL of what has been missing for too long from journalism’s discussion: its stylistic and geographic variety. This book offers a strong set of studies that highlight what cultural journalism in the JOURNALISMJOURNALISM Nordic countries forces us to consider about all journalism everywhere.” BARBIE ZELIZER Raymond Williams Professor of Communication, inin thethe NordicNordic CountriesCountries Annenberg School for Communication, University of Pennsylvania NORDICOM University of Gothenburg Box 713, SE 405 30 Göteborg, Sweden Telephone +46 31 786 00 00 • Fax + 46 31 786 46 55 Nete Nørgaard Kristensen 4 7 E-mail [email protected] & Kristina Riegert (eds.) NORDICOM 5 7 5 www.nordicom.gu.se 9 7 Nørgaard Kristensen, Nete & Riegert, Kristina (2017).