DOCSLIB.ORG

Television Reform Ir Broadcasting Blues Nem Zealand

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Television Reform Ir Broadcasting Blues Nem Zealand Television Reform ir Nem Zealand - l The underlying dilemma is the small j size o f the New Zealand market, which, Broadcasting Blues or Blue Sky? I with a population o f four million, j limits the profitability o f multiple The New Zealand television industry has a charter which requires it to fulfil various | television operators, and means been the subject o f various reforms since cultural objectives. Questions remain about \ funding o f local content and public 1999 dealing with local content, diversity of how the new charter obligations will be funded \ service broadcasting is an ongoing and programming, digital broadcasting, the role over the long term and whether TVNZ will be i difficult issue. of the public broadcaster and funding. Marion successful in balancing a public service role \ Jacka examines these developments, remarking with a commercial imperative. The government broadcasting between two organisations - TVNZ on the distinctive features of the New Zealand has declined to introduce mandatory local and NZ On Air - which would pursue each market and the commitment to social and content quotas and has opted instead for a self- of these objectives independently (Spicer et cultural objectives. regulatory scheme similar to the approach being a I 1996, p. 15). The public funding previously taken to New Zealand music on commercial allocated to BCNZ and collected in the form of Overview radio. a public broadcasting fee was transferred to NZ Many New Zealanders have the While there has been some dissatisfaction with On Air. The role of this agency was to promote broadcasting blues. They want TV and radio the pace of reform from the film and television universal access, 'minority programming', and of a higher calibre (Christchurch Press, 2 production industry and various commentators, programs which reflect New Zealand identity February 2000, p. 8). the government argues that progress is and culture. In place of direct funding of the It is clear to us that the market model reasonable given budgetary constraints and publicly owned broadcaster, support for public is part, but not all of the broadcasting other factors. The underlying dilemma is the service programming was to occur through a equation; that it leaves many needs unmet small size of the New Zealand market, which, system of competitive contracts between public ... The government therefore resolved to with a population of four million, limits the and private broadcasters as part of the overall redress the imbalance by becoming actively profitability of multiple television operators, aim of creating 'a level playing field'.4 involved in broadcasting ... We recognised and means funding of local content and public The role of the publicly owned broadcaster that broadcasting, arts and heritage service broadcasting is an ongoing and difficult was thus changed in 1989 and is key to activities play a key role in defining in an issue. This and other distinctive features of the understanding the broadcasting environment increasingly globalised environment, what New Zealand broadcasting environment, such as and the policy options available to government. it means to be New Zealanders (Hon. Steve the structure of the industry, and nature of the TVNZ, which dominates the market, has over Maharey, Minister of Broadcasting 2003a). regulatory framework, mean that no template the last 13 years operated on a fully commercial from other countries such as Australia can be Broadcasting reform was a key element of the basis.5 As a State Owned Enterprise, funded readily applied and a distinctly New Zealand New Zealand Labour Party's policy platform primarily by advertising, it was expected to approach needs to be developed. in the lead up to the 1999 election. The return a dividend to government, with social platform promised to increase the amount The paper falls into the following sections: objectives taking very much a secondary role. of New Zealand content on television and • an outline of the television broadcasting return the highly commercialised publicly landscape including an overview of digital Current structure owned broadcaster, Television New Zealand developments; The period following deregulation saw Limited (TVNZ), to a public service broadcasting • a discussion of the deficiencies the an increase in television services with the role. It represented a commitment to a more government is seeking to address; commencement of pay TV in 1990, and interventionist approach to broadcasting an expansion in free-to-air broadcasters. • progress with implementation of the reform policy in order to achieve social and cultural In the free-to-air space there are three agenda. objectives, in marked contrast to the policy national channels - TVNZ's TVOne and TV2, direction pursued since 1989 when broadcasting and CanWest'sTV3 - and two limited reach was substantially deregulated. The Labour The television landscape commercial channels TV4 (also owned by policy reflected widespread concern that the Since 1989 New Zealand television has been CanWest) and Prime, each of which reach deregulated environment had not delivered marked by an open competitive market, the around 70-75 per cent of the free-to-air adequately on quality and a New Zealand relative absence of regulation, and considerable audience. In addition there are 17 small regional identity in broadcasting content. dissatisfaction with the low levels of local and community broadcasters operating under Since 1999 the Labour government has set content and the overall quality of television commercial or non-commercial licences, and about the task of implementing its broadcasting services, particularly those provided by TVNZ. funded through a mix of local sponsorship, agenda. At the same time digital TV issues have The deficiencies in New Zealand television donations and limited advertising. come to the fore and, along with the distinctive broadcasting are usually traced back to the Despite the proliferation of services, a few features of the New Zealand broadcasting substantial changes that occurred in New broadcasters predominate: the main free-to- landscape, are adding to the complexity of Zealand in the late eighties at the height of 'the air broadcaster is TVNZ followed by CanWest; the task facing policy makers. New Zealand New Zealand experiment'- the program of wide Sky TV dominates the pay TV sector with provides a case study relevant to the broader ranging deregulation of the economy and of telecommunications company TelstraClear issue of how to support local content and a public institutions instituted ironically by a Labour (wholly owned by Telstra Corporation public broadcasting mandate in a changing government. Up to the late eighties, the publicly (Australia)), offering cable services in a limited broadcasting environment.1 The New Zealand owned Broadcasting Corporation of New Zealand geographical area, and, as set out below, now experience is also of interest in Australia given (BCNZ) was the only provider of television services. reliant on Sky TV for programming. the links tnat exist at many levels between The first major shift towards a deregulated TVNZ operates two national channels, TVOne the broadcasting and audiovisual sectors in environment occurred in 1987 when a licence for and TV2, with a combined audience share in both countries. This paper examines these a commercial service, TV3, was offered. This was 2001 of 66 per cent of the total television developments focusing mainly on the reform followed by the 1989 deregulation which involved audience (including pay TV), and around 70 of TVNZ and local content developments.2 The a major restructure of the public broadcaster per cent of the free-to-air audience. The two major outcomes to date are the establishment (renamed as Television New Zealand) and the channels are complementary with TVOne having of a long sought Maori television channel, removal of barriers to market entry.1 the larger audience share and targeting an older and chances in the role of TVNZ which is At the heart of the reforms was the separation demographic, and TV2 aiming at the under now operating under a new structure and of the commercial and social objectives of 39 audience. TVOne carries more recognisably Communications Update June 2004 - Issue 166 - page 3 public service broadcast content, such as revenue, and losses in 2000-01 of $13.19 to the Ministry for Culture and Heritage (MCH), news and current affairs (which are entirely million. At the end of 2001 Prime announced with MED retaining responsibility for spectrum lacking on 7V2), some British drama, but also a five year agreement with Publishing and allocation and management and other areas a deal of delayed broadcast or non-premium Broadcasting Limited (PBL) under which of broadcasting policy. MCH also monitors and sport events such as Rugby Sevens, and reality the Nine Network in Australia will supply funds NZ On Air and the Broadcasting Standards programs, local and imported, for example The programming to Prime NZ and also handle Authority. The Crown Company Monitoring Great Outdoors and What Not to Wear.T\/2 advertising sales for the station (Marriner 2001). Advisory Unit and the Treasury advise the carries more popular drama and entertainment, In return PBL has been granted an option to 'shareholding' Ministers on the performance including the now well established local stripped acquire 50 per cent of Prime NZ over the next of the public broadcasters in 'maintaining their soap, Shortland Street, New Zealand Idol, five years. The agreement will also see the delivery of goods and services' while the new movies and US comedy and drama such as The station's coverage expanded from 75 per cent of charter responsibilities for TVNZ are monitored Simpsons, Stargateznd The Drew Carey Show. the population to 90 per cent. This development by the MCH. Te Puni Kokiri (Ministry of Maori Affairs) monitors Te Mangai Pa ho and the new Until recently the TVNZ group also operated has led to a shift in Prime NZ's programming Maori Television Service (MCH 2003., p.
Load more

Recommended publications
  • 1 COPYRIGHT STATEMENT This Copy of the Thesis Has Been
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2012 Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman Vita-More, Natasha http://hdl.handle.net/10026.1/1182 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 1 Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman by NATASHA VITA-MORE A thesis submitted to the University of Plymouth in partial fulfillment for the degree of DOCTOR OF PHILOSOPHY School of Art & Media Faculty of Arts April 2012 2 Natasha Vita-More Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman The thesis’ study of life expansion proposes a framework for artistic, design-based approaches concerned with prolonging human life and sustaining personal identity. To delineate the topic: life expansion means increasing the length of time a person is alive and diversifying the matter in which a person exists.
    [Show full text]
  • KANG-THESIS.Pdf (614.4Kb)
    Copyright by Jennifer Minsoo Kang 2012 The Thesis Committee for Jennifer Minsoo Kang Certifies that this is the approved version of the following thesis: From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 APPROVED BY SUPERVISING COMMITTEE: Supervisor: Joseph D. Straubhaar Karin G. Wilkins From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 by Jennifer Minsoo Kang, B.A.; M.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2012 Dedication To my family; my parents, sister and brother Abstract From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 Jennifer Minsoo Kang, M.A. The University of Texas at Austin, 2012 Supervisor: Joseph D. Straubhaar The format program trade has grown rapidly in the past decade and has become an important part of the global television market. This study aimed to give an understanding of this phenomenon by examining how global formats enter and become incorporated into the national media market through a case study analysis on the Korean format market. Analyses were done to see how the historical background influenced the imported format flows, how the format flows changed after the media liberalization period, and how the format uses changed from illegal copying to partial formats to whole licensed formats. Overall, the results of this study suggest that the global format program flows are different from the whole ‘canned’ program flows because of the adaptation processes, which is a form of hybridity, the formats go through.
    [Show full text]
  • Birth and Evolution of Korean Reality Show Formats
    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
    [Show full text]
  • Mapping the Information Environment in the Pacific Island Countries: Disruptors, Deficits, and Decisions
    December 2019 Mapping the Information Environment in the Pacific Island Countries: Disruptors, Deficits, and Decisions Lauren Dickey, Erica Downs, Andrew Taffer, and Heidi Holz with Drew Thompson, S. Bilal Hyder, Ryan Loomis, and Anthony Miller Maps and graphics created by Sue N. Mercer, Sharay Bennett, and Michele Deisbeck Approved for Public Release: distribution unlimited. IRM-2019-U-019755-Final Abstract This report provides a general map of the information environment of the Pacific Island Countries (PICs). The focus of the report is on the information environment—that is, the aggregate of individuals, organizations, and systems that shape public opinion through the dissemination of news and information—in the PICs. In this report, we provide a current understanding of how these countries and their respective populaces consume information. We map the general characteristics of the information environment in the region, highlighting trends that make the dissemination and consumption of information in the PICs particularly dynamic. We identify three factors that contribute to the dynamism of the regional information environment: disruptors, deficits, and domestic decisions. Collectively, these factors also create new opportunities for foreign actors to influence or shape the domestic information space in the PICs. This report concludes with recommendations for traditional partners and the PICs to support the positive evolution of the information environment. This document contains the best opinion of CNA at the time of issue. It does not necessarily represent the opinion of the sponsor or client. Distribution Approved for public release: distribution unlimited. 12/10/2019 Cooperative Agreement/Grant Award Number: SGECPD18CA0027. This project has been supported by funding from the U.S.
    [Show full text]
  • SAANZ-Conference-Booklet-2016.Pdf
    Conference of the Sociological Association of Aotearoa New Zealand conference 22 to 24 November 2016 Hosted by Massey University Venue: East Pier Hotel, Napier, New Zealand (Cover art work: Fiona Clark, Massey University student) Welcome Dear conference attendee Welcome to the 2016 conference of the Sociological Association of Aotearoa New Zealand (SAANZ), hosted by Massey University. We sincerely hope that you enjoy this conference, and all that the conference venue – this year in Ahuriri, Napier - has to offer. If this is your first time attending a SAANZ conference then we would like to extend a particularly warm welcome to you. The conference this year has a very heartening number of students in attendance, making up around one third of the numbers overall. We also have a number of individuals that are not based in tertiary institutions; it is great to see interest in this conference stretching beyond academia. It is great to see all the familiar faces as well. We hope that everyone’s time here is interesting, pleasurable, motivating and productive. Finally, we would like to thank our sponsors: The Royal Society of New Zealand, the Sociology Association of New Zealand, and the School of People, Environment and Planning at Massey University. Yours sincerely, Conference organising committee If you have any urgent queries, please contact Corrina on 0278488659. Conference Theme Imagined futures: sociology, science and the arts Utopian hopes and dystopian fears surrounding scientific and technological solutions to human problems run deep. These are not new impulses and neither is their critique, by either sociological or other activist communities.
    [Show full text]
  • Tvnz Teletext
    TVNZ TELETEXT YOUR GUIDE TO TVNZ TELETEXT INFORMATION CONTENTS WELCOME TO TVNZ TELETEXT 3 TVNZ Teletext Has imProved 4 New PAGE GUIDE 5 NEW FUNCTIONS AND FEATURES 6 CAPTIONING 7 ABOUT TVNZ TELETEXT 8 HOW TO USE TVNZ TELETEXT 9-10 HISTORY OF TVNZ TELETEXT 11 FAQ 12-13 Contact detailS 14 WELCOME TO TVNZ TELETEXT It’s all available Your free service for up-to-the-minute news and information whenever you on your television need it – 24 hours a day, all year round. at the push of From news and sport to weather, a button travel, finance, TV listings and lifestyle information – it’s all available on your television, at the push of a button. 3 TVNZ Teletext Has imProved If you’ve looked at TVNZ Teletext recently and couldn’t find what you expected, don’t worry. To make the service easier and more logical to use we’ve reorganised a little. Your favourite content is still there – but in a different place. The reason is simple. We have a limited number of pages available, but need to show more information than ever. Previously, TVNZ Teletext had similar information spread across many pages unnecessarily. We’ve reorganised to keep similar pages together. For example, all news content is now grouped together, as is all sport content. You may also notice that the branding has changed slightly. Teletext is still owned and run by TVNZ, just as it always has been, we are now just reflecting this through the name - TVNZ Teletext. Now more than ever it will be a service that represents the integrity, neutrality and editorial independence you expect from New Zealand’s leading broadcaster.
    [Show full text]
  • Broadcasting Standards in New Zealand
    APRIL 2016 BROADCASTING STANDARDS IN NEW ZEALAND FOR RADIO, FREE-TO-AIR-TELEVISION & PAY TELEVISION DEVELOPED BY BROADCASTERS AND THE BSA AND ISSUED TO TAKE EFFECT FROM 1 APRIL 2016 In the case of any inconsistency between this Codebook and any predating BSA material such as codes, practice notes and advisory opinions, this Codebook will prevail. BROADCASTING STANDARDS IN NEW ZEALAND BROADCASTING STANDARDS AUTHORITY - TE MANA WHANONGA KAIPAHO LEVEL 2 | 119 GHUZNEE STREET PO BOX 9213 | WELLINGTON 6141 | NEW ZEALAND (04) 382 9508 | FREEPHONE: 0800 366 996 WWW.BSA.GOVT.NZ 1 / Broadcasting Standards Authority CONTENTS INTRODUCTION 03 THE FREE-TO-AIR The Broadcasting Standards Authority 04 TELEVISION CODE 32 Broadcasters 05 Standard 1 – Good Taste and Decency 35 Freedom of Expression 06 Standard 2 – Programme Information 35 Choice and Control 07 Standard 3 – Children’s Interests 36 Standards, Guidelines and Commentary 08 Standard 4 – Violence 36 Definitions 09 Standard 5 – Law and Order 36 Standard 6 – Discrimination and Denigration 37 COMMENTARY ON Standard 7 – Alcohol 37 Standard 8 – Balance 39 THE STANDARDS 10 Standard 9 – Accuracy 39 Standard 10 – Privacy 41 THE RADIO CODE 22 Standard 11 – Fairness 41 Standard 1 – Good Taste and Decency 25 Standard 2 – Programme Information 25 THE PAY Standard 3 – Children’s Interests 25 TELEVISION CODE 42 Standard 4 – Violence 26 Standard 1 – Good Taste and Decency 45 Standard 5 – Law and Order 26 Standard 2 – Programme Information 45 Standard 6 – Discrimination and Denigration 26 Standard 3 – Children’s
    [Show full text]
  • TV Formats Worldwide Localizing Global Programs
    TV Formats Worldwide Localizing Global Programs Edited by Albert Moran intellect Bristol, UK / Chicago, USA Contents PARTI: INTRODUCTION 7 Chapter 1: Introduction: 'Descent and Modification' 9 Albert Moran PARTII: MODELLINGAND THEORY-BUILDING 25 Chapter 2: Rethinking the Local-Global Nexus Through Multiple Modernities: The Case of Arab Reality Television 27 Marwan M. Kraidy Chapter 3: When TV Formats are Translated 39 Albert Moran Chapter 4: Imagining the National: Gatekeepers and the Adaptation of Global Franchises in Argentina 55 Silvio Waisbord and Sonia Jalfin PARTIII: INSTITUTIONALAPPROACHES 75 Chapter 5: Trading in TV Entertainment: An Analysis 77 Katja Lantzsch, Klaus-Dieter Altmeppen and Andreas Will Chapter 6: The Rise of the Business Entertainment Format on British Television 97 Raymond Boyle Chapter 7: Collaborative Reproduction of Attraction and Performance: The Case of the Reality Show Idol 113 Yngver Njus Chapter 8: Auditioning for Idol: The Audience Dimension of Format Franchising 129 Doris Baltruschat TV Formats Worldwide PART IV: COMPARATIVECROSS-BORDERSTUDIES 147 Chapter 9: Adapting Global Television to Regional Realities: Traversing the Middle East Experience 149 Amos Owen Thomas Chapter 10: How National Media Systems Shape the Localization of Formats: A Transnational Case Study of The Block and Nerds Fe in Australia and Denmark 163 Pia Majbrit Jensen Chapter 11: Transcultural Localization Strategies of Global TV Formats: The Office and Stromberg 187 Edward Larkey Chapter 12: Tearing Up Television News Across Borders:
    [Show full text]
  • Enemy Or Ally? Senior Officials’ Perceptions of Ministerial Advisers Before and After MMP
    Enemy or ally? Senior officials’ perceptions of ministerial advisers before and after MMP (Eichbaum, C. and Shaw, R. 2006. ‘Enemy of Ally? Senior Officials’ Perceptions of Ministerial Advisers before and after MMP’, Political Science, 58(1): 3-23. Abstract There is now a well-established literature on the various second-order effects of the adoption of proportional representation in New Zealand. One feature of the contemporary executive landscape, however, remains substantially under- researched. This article reports on research regarding ministerial advisers in New Zealand Cabinet ministers’ offices. More specifically, it compares senior public servants’ current attitudes towards ministerial advisers with pre-MMP speculation regarding the possible future influence of such advisers. The article concludes that, while there are concerns about the possible long-term influence of political advisers, for the majority of senior officials, working relationships with ministerial advisers are positive and productive. Keywords ministerial advisers, MMP, politicisation, Cabinet, public service. Dr Chris Eichbaum, School of Government, Victoria University, Wellington ([email protected]). Chris Eichbaum is a Senior Lecturer in Public Policy at Victoria University’s School of Government. He has worked as a union official, a policy analyst in Canberra and Wellington, and a ministerial adviser in two New Zealand governments, most recently as Senior Adviser to the Hon. Steve Maharey (1999-2002) and as a Senior Policy Adviser in the Prime Minister’s Office (2002-2003). His research interests include the institutions of central banking, public sector governance, the roles and responsibilities of ministerial advisers, and contemporary social democratic politics and theory. Dr Richard Shaw, School of Sociology and Social Policy, Massey University, Palmerston North ([email protected]).
    [Show full text]
  • Multiple Documents
    Alex Morgan et al v. United States Soccer Federation, Inc., Docket No. 2_19-cv-01717 (C.D. Cal. Mar 08, 2019), Court Docket Multiple Documents Part Description 1 3 pages 2 Memorandum Defendant's Memorandum of Points and Authorities in Support of i 3 Exhibit Defendant's Statement of Uncontroverted Facts and Conclusions of La 4 Declaration Gulati Declaration 5 Exhibit 1 to Gulati Declaration - Britanica World Cup 6 Exhibit 2 - to Gulati Declaration - 2010 MWC Television Audience Report 7 Exhibit 3 to Gulati Declaration - 2014 MWC Television Audience Report Alex Morgan et al v. United States Soccer Federation, Inc., Docket No. 2_19-cv-01717 (C.D. Cal. Mar 08, 2019), Court Docket 8 Exhibit 4 to Gulati Declaration - 2018 MWC Television Audience Report 9 Exhibit 5 to Gulati Declaration - 2011 WWC TElevision Audience Report 10 Exhibit 6 to Gulati Declaration - 2015 WWC Television Audience Report 11 Exhibit 7 to Gulati Declaration - 2019 WWC Television Audience Report 12 Exhibit 8 to Gulati Declaration - 2010 Prize Money Memorandum 13 Exhibit 9 to Gulati Declaration - 2011 Prize Money Memorandum 14 Exhibit 10 to Gulati Declaration - 2014 Prize Money Memorandum 15 Exhibit 11 to Gulati Declaration - 2015 Prize Money Memorandum 16 Exhibit 12 to Gulati Declaration - 2019 Prize Money Memorandum 17 Exhibit 13 to Gulati Declaration - 3-19-13 MOU 18 Exhibit 14 to Gulati Declaration - 11-1-12 WNTPA Proposal 19 Exhibit 15 to Gulati Declaration - 12-4-12 Gleason Email Financial Proposal 20 Exhibit 15a to Gulati Declaration - 12-3-12 USSF Proposed financial Terms 21 Exhibit 16 to Gulati Declaration - Gleason 2005-2011 Revenue 22 Declaration Tom King Declaration 23 Exhibit 1 to King Declaration - Men's CBA 24 Exhibit 2 to King Declaration - Stolzenbach to Levinstein Email 25 Exhibit 3 to King Declaration - 2005 WNT CBA Alex Morgan et al v.
    [Show full text]
  • The Future of Personalised TV Advertising Is Here
    The future of personalised TV advertising is here: TVNZ D namic Ad Insertion TVNZ Dynamicy Ad Insertion More and more people are live streaming TVNZ broadcast TV through TVNZ OnDemand. 14.9 million streams between Jan and April, up 133% YOY! Source: TVNZ/Google Analytics, AP, Live Streams Jan – Apr 2020 vs. Jan – Apr 2019. ©2020 TVNZ Approx. Audience: 16% 37k TVNZ live of TVNZ viewers using streaming OnDemand streams TVNZ OnDemand viewing occasions are live streams. weekly for live are in sync streaming only. with broadcast Up 47% YoY. trends. This is a great opportunity for you to extend the reach of your TVNZ campaign. Source: TVNZ/Google Analytics, AP, Live Streams, 29 Dec 2019 – 2 May 2020 vs. 31 Dec 2018 – 27 Apr 2019. ©2020 TVNZ At the moment, if you’re live streaming through TVNZ OnDemand, you see the same ad break Why? as everyone else in New Zealand who’s watching. ©2020 TVNZ That’s about to change. You can now book your ads to be placed dynamically into a TVNZ OnDemand live stream based on viewer attributes. Advertisers can use DAI to target the viewers most important to them by applying data sets onto the live stream, with the same targeting capability as TVNZ OnDemand. ©2020 TVNZ The benefit? Viewers will see ads targeted to them, giving them a more relevant experience and making them more likely to connect with your brand. > Age > Gender > Region > Time of day ©2020 TVNZ Plus! Results for your brand can be measured and reported. TVNZ can measure: > Completed impressions When you combine Dynamic Ad > City and region Insertion on TVNZ OnDemand with > Age and gender demographics from the mass reach of TVNZ broadcast TVNZ OnDemand logged-in profiles TV you can increase your reach with a layer of audience targeting to drive > Device endpoints consideration for your brand.
    [Show full text]
  • Statement of Intent for 4 Years Ending 30 June 2021
    F.20 Television New Zealand Limited and subsidiaries Statement of Intent For 4 Years Ending 30 June 2021 Table of Contents 1. Introduction 1 2. Who we are and what we do 1 3. Challenges within the operating environment 2 4. TVNZ’s strategic objectives 3 5. Statement of service performance 4 6. Capability 4 APPENDIX – Consultation, subsidiary and associated companies Introduction This Statement of Intent outlines TVNZ’s strategy for the forthcoming four years. It should be read in conjunction with each year’s Statement of Performance Expectations. Who we are and what we do TVNZ is a Crown Owned Entity and has a Board of Directors appointed by the Minister for Communications and the Minister of Finance. The Chief Executive has day to day management of the company. The Television New Zealand Act 2003 provides the company editorial independence of which freedom from political influence is a fundamental principle. TVNZ’s operations are governed by: Television New Zealand Act 2003. Broadcasting Act 1989. Companies Act 1993. Crown Entities Act 2004. Owner’s Expectations Manual as published by the Crown Ownership Monitoring Unit. Business Planning ‘Outlook Letter’ sent to TVNZ in advance of the 1 July start to the financial year. Memorandum of Understanding between TVNZ and the Minister of Broadcasting (for the Pacific Service). Compliance with the current Free-to-Air Code of Broadcasting Practice regulated by the Broadcasting Standards Authority. Compliance with advertising codes promulgated through the Advertising Standards Authority.
    [Show full text]