QR Code and Chinese Satellite Competition: Fad or Useful Tool?

A Thesis

Submitted to the Faculty

of

Drexel University

by

Wanyu Wang

in partial fulfillment of the

requirements for the degree

of

Master of Science

August 2015

© Copyright 2012 Yifeng Xie. All Rights Reserved.

ii

ACKNOWLEDGMENT

This thesis would not have been possible without the great guidance and support of my principal advisor professor Terry Maher and professor Albert Tedesco. The nice environment they provided and their patience from the start to the final made the whole process easier and interesting. As an international student, I would also like to acknowledge the Writing Center of Drexel University for their help to improve my writing skills. I would like to thank all my classmates in Westphal College of Media Arts & Design for their encouragement and friendship during the two years of study. Thanks to Rashon Clark for helping me edit the thesis. Finally, I am grateful to my parents for their trust and love. iii

Table of Contents

CHAPTER1：INTRODUCTION ...... 1 Introduction ...... 1 Background and need ...... 3 Statement Of the Problem ...... 7 Purpose of the study ...... 9 Research Questions ...... 10 Significance to the field ...... 10 Limitations and future study ...... 10 CHAPTER2：LITERATURE REVIEW ...... 12 Introduction ...... 12 Body of the Review ...... 12 CHAPTER3：METHODOLOGY ...... 27 Introduction ...... 27 Setting ...... 28 Sample...... 28 Measurement Instrument ...... 29 CHAPTER4：RESULTS ...... 31

CHAPTER5：DISCUSSION ...... 35 Introduction ...... 35 Discussion ...... 35 Limitations ...... 55 Recommendations for Future Research ...... 55 Conclusion ...... 56 REFERENCE ...... 58

DEFINITION ...... 63 1

CHAPTER1：INTRODUCTION

Introduction

The traditional television industry is facing challenges from new forms of media, especially mobile devices. In , with societal changes and the development of new technology, TV audiences no longer solely use television to watch TV programs. Consequently, traditional

Chinese satellite television is beginning to face the challenge of maintaining their television ratings. In the United States, traditional broadcast television faces many challenges. This was especially true for the first decade of the twenty-first century, when the “Big Four” networks had to adjust their programming, scheduling, , promotion, and distribution strategies in relation to the evolution of media technologies and viewer practices (Gillian, 2011).

In China, online video websites and companies have developed and expanded rapidly. One example is iQIYI, ’s second most popular online video website in 2014 according to number of video hours played. In 2010, it launched its web platform as well as an application for mobile devices, with total revenue reaching 710 million Yuan (the conversion to USD is around 115 million US dollars). By then, most parts of its revenue stream were advertising and program sponsorship (China Mobile Limited. 2014). Within one year’s development, revenue reached 2.4 billion Yuan (388 million USD) (Jinxi, 2014). By the end of

2014, iQIYI and PPS (a subsidiary online video website of iQIYI) had a total of 308.17 million mobile viewers, who watched content for a total of 1.176 billion hours on all platforms.

Waters (2012) has noted three important “screens” in the current media industry: the television screen, the computer monitor, and the mobile device screen. As mobile devices become increasingly commonplace on the street as well as in the workplace, the traditional 2 television industry faces severe challenges from the online video industry.

The television industry is currently experiencing integration with mobile media technology

(Breyer, Decker, Kim, 2009). Audiences are no longer the same audiences of ten years ago -- coach potatoes with remote controls in their hands. With rapid developments in science and technology, , used as the second screen in people’s lives, are threatening the television industry. Under these circumstances, the television industry is trying its best to maintain its leading position. Additionally, television managers are trying to seize every part of the Long Tail of television.

Mobile devices represent a rewarding avenue for advertisers as well as consumers. For television account executives, mobile devices offer another way to reach potential audiences with interactive, persuasive programs. For audiences, mobile devices can empower viewers by giving them greater access to on-demand programming in a more convenient and cheaper environment. This potential is even more promising as audiences adopt technologically more advanced mobile phones, such as smartphones and other mobile devices with large screens.

Faced with the challenge from mobile devices, and with no way to block its development, traditional Chinese satellite television should find out a proper approach for connecting these two mediums (People.cn, 2015). This paper will clarify the competition and corporations involved with these two industries by exploring a specific technology’s application. Under these circumstances, a tiny square, the QR code, came into the view of Chinese television managers.

QR codes were used as a bridge in the Chinese television industry to connect television audiences with programming. This thesis will be completed through the use of the Uses and

Gratification Theory (UGT) as a framework. It will focus on three audience orientations – trust, 3 involvement, and market magnetism – to explore how Chinese satellite TV can use QR Codes to attract a larger audience. This paper will also predict whether the use of this technology in the television industry is a passing fad or a permanent development.

Background and need

What is QR Code?

The QR code (abbreviated from Quick Response Code) is essentially a 2D that was originally designed to track auto parts in Japan.(Naumann, 2011). They are used to take a piece of information from transitory media and relay it to a person’s cell phone or mobile device.

Very quickly, the use of QR codes spread around the world because of their speed and accuracy. Once it is in your cell phone, it may give you details about a business or item (such as a t-shirt worn by someone), show you the URL which you can click to see a trailer for a movie, or it may even give you a coupon which you can use at a local outlet .(Naumann, 2011).

Below is a QR Code with my information. People can scan it with a QR reader in their mobile devices, and the result will be a display of my name and address. 4

Figure 1. A QR Code with my information

It is very easy to generate a QR Code. 1．Select a QR code generator. When you search “QR Code generators” online, you will find a variety of generators out there, such as Kaywa, GOQR.me, Visualead, and QR Stuff. 2．Design and link it. After you chose a generator, you should select what type of content you want your QR code to send to consumers. Then type or insert the content in the box. In the “Scanme” QR Code generator, for example, I inserted my email information (see Figure 2). 3．The last step is to examine the preview of the QR Code, customize as you desire, then download it or send it to yourself through email. You can embed it where needed. 5

Figure 2. How to insert information for generating a QR Code

The importance of mobile devices and QR codes

With competition from online streaming services like Netflix, Hulu, , IQIYI and , the traditional television industry has already become aware of the importance of Multi-screens.

According to the study of The New Multi-screen World (, Inc., 2011), television no longer commands audiences’ full attention, as it has become one of the devices most commonly used simultaneously with other screens. Today most of consumers’ media time is spent in front of a screen – smartphones, tablets, computers and televisions. In another study conducted in the same year as “The New Multi-screen World (Google, Inc., 2011)”, it found that Americans watched on average 22 minutes more television per month over the past year. Television viewing has increased across all platforms, with viewing over the Internet up by 34.5 percent, viewership on mobile devices up 20.0 percent, and TV set viewing up 0.2 percent, as compared to last year

(Rice, 2011). 6

A Comparison of QR Code application in China and America

Although the QR Code was originally designed in Japan, it has quickly spread around the world. It is becoming more and more popular in both China and America. The QR code is used for selling products and promoting brands in both countries. However, in terms of the application of QR Codes in television, there are major differences.

Austin & Williams, a branding, advertising and direct marketing agency, released a report

(2013) about people’s awareness of QR Codes. 52% of people have seen a code and 28% have scanned one with a mobile device or . Figure 3 below is a summary of the answer to the survey question: Where have you seen QR Codes?

Figure 3 Statistics from www.austin-williams.com

As we can see from the graph, 48% have seen a QR Code in printed advertising, and 45% have seen a code on a brochure however, few people have seen one on television.

What we could learn from this figure is that the television industry of The Weather Channel,

QVC, HBO, and ABC have already experimented with this technology for the promotion of 7 television programming. The Weather Channel, for example, used a QR code to allow audiences get connected to more detailed local weather data via an application for Android phones. QVC has also used QR codes to help sell products. Through the scanning of QR codes on the television screen, audiences are able to obtain more detailed information about products.

However, the application of QR codes on television obviously was not intended to increase viewership or gain higher ratings.

By comparison, currently in China almost every program has its own QR code. Some are for promoting the program, with audiences being able to get additional information after scanning the code. Others are for promoting APPs. Take Hunan TV as an example, it is one of the most popular channels in China. It has top rated shows like I Am a , and Dad!

Where are We going? among others. Hunan TV uses its own television programming to promote the APP “Hula”, which was designed and developed by the channel itself (Li, 2013). The QR code for the “Hula” app will appear with many programs on Hunan TV. If the audience has already downloaded “Hula”, after scanning the code with a smartphone, the APP will open automatically, allowing the audience to interact with the program, such as answering questions about the program. They are then able to earn points on the APP. With a certain number of points the audience is entered for a chance to win a prize. Only after one month of the launch of the

QR code for “Hula”, they elicited more than 1 million subscribers of the APP (Li, 2013).

Statement Of the Problem

QR codes have benefited from the growing popularity of smartphones and handheld devices 8 with built-in cameras, which can be used to read such images (Maurice, 2011). The tiny square contains much information important to Chinese television managers.

In Chinese television industry, QR codes are used in television advertising in a new way: mobile advertising. Mobile marketing has grown rapidly, in part because of its ability to offer highly personalized, interactive communication that is more specific to a consumer’s location or consumption context than traditional advertising messages (Rohm and Sultan, 2006).

However, mobile advertising may actually be more effective. The key criteria for successful mobile advertising are thought to be unobtrusiveness, relevance and added value (Barnes, 2002).

Until recently, however, consumers have had little motivation to engage in mobile advertising.

Smartphone keyboards are small and can be a challenge to type in a website URL or search term

(Dou and Li, 2008). The introduction of QR codes has streamlined and simplified that process for consumers, making it much more appealing (Okazaki and Barwise, 2011).

Television and social media

Originally, analysts predicted that the rise in Internet usage would decrease the amount of time people spent watching TV. The second screen and the Internet did not decrease viewership.

The Internet and social media have actually enhanced TV viewing in many ways, without negatively affecting its popularity as a pastime. The Internet and social media have also influenced TV ratings. Additionally, consumers are now taking advantage of their portable devices to watch videos, access news and information, check sports, engage in social networking, and shop (Chmielewski, 2013).

However, the most important thing is to find the connections and the bridges that make television cooperate with the Internet and the second screen. Many Chinese managers thought 9

QR codes are one of the bridges. And we can see most Chinese programming has QR codes, some are for promoting the program, some are for the advertising products, and some are for interacting with audiences. This study is going to discuss the QR codes’ function in Chinese television industry.

Purpose of the study

The purpose of this study is to explore whether the QR code is a suitable technology for traditional Chinese satellite television to make full use of mobile devices.

According to Google’s report, people now are living in a multi-screen world. TV no longer garners the full attention of its audience, as it has become one of the most common devices that are used simultaneously with other screens (Google, Inc., 2011). Facing challenges from mobile devices, and with no way to block its development, traditional Chinese satellite television should find a proper approach for connecting these two mediums.

To explore the penetration of QR codes in the Chinese satellite television industry, the researcher conducted a question survey of Chinese audiences and people in the media industry.

The researcher also conducted content analysis, library research and expert interviews to measure the importance of QR codes in the television industry.

The results of this study confirm and also extend previous findings. QR codes can be seen as a useful tool connecting traditional Chinese satellite television with mobile devices, enhancing its leading position in a multi-screen society. However, QR codes have some weakness concerning their application in the television industry. It is not a matter of the television industry, but a weakness of the QR code itself. Even so, QR codes have a direct effect on increasing audience awareness about television programming as well as the promotion of programs. 10

Research Questions

RQA. What is the penetration of QR Code technology in the Chinese television industry?

RQB. How does the Chinese television industry utilize QR Codes in programming? (CCTV-

1, Hunan TV, Beijing TV, Dragon TV)

RQC: Are QR codes a useful, and enduring technology for the television industry? Or are they a fad?

Significance to the field

This study benefits not only the Chinese television industry, but also the QR code industry.

The traditional television industry faces numerous challenges from new media, especially mobile devices. Mobile devices represent a rewarding avenue for advertisers and consumers. In regards to the television industry, this study will show the penetration of QR codes in China, and will analyze how QR codes help television programming. In regards to the QR code industry, the study will give them a perspective to improve the code for its applications on television.

As regards QR codes, this study would help it to expand its application. By acknowledging the weaknesses of QR codes, managers and experts in the QR industry could improve this technology and explore more areas where QR codes could be useful.

Limitations and future study

This study has some limitations. First, the researcher considered only Chinese television programs with embedded QR codes. Therefore, future research should consider a wider range, including advertising embedded with QR codes.

Secondly, previous studies on the application of QR codes in the television industry have generally focused on Western countries and Korea. However the researcher conducted this study 11 on only the Chinese television industry, whose results were more likely to be different from previous works. In this regard, future research should consider a wider range of countries for generalizing the results of research. In addition, the participants in this study were not necessarily representative of all Chinese audiences. 12

CHAPTER 2：LITERATURE REVIEW

Introduction

Due to advances in technology, the use of smartphones has become a common phenomenon in China. For years there have been discussions on how to best integrate multiple screens into the audience’s viewing experience (People.cn, 2015). As the Chinese television industry definitely cannot abandon its primary screen (the television screen), it is only left with the option of developing a synergetic use of mobile screens. Consequently, the Chinese television industry is angling itself to make full use of new technologies to persuade more audiences to sit still and watch its primary screen. The QR code is one of these new technologies that is used to motivate audiences to interact with programming, stimulating their interest in watching television.

This literature review will principally address three areas that relate to the statement of the problem. The first area is the history and development of the QR code. The second section is the history of the use of the QR code in the Chinese television industry. Lastly, the third section will discuss the weaknesses of the QR code, both its intrinsic shortcomings and those of its application on television.

Body of the Review

In recent years, the number of smartphone subscribers has increased rapidly. The latest

(November, 11st, 2013) Ericsson (NASDAQ:ERIC) Mobility Report (2013) revealed that global mobile subscriptions were 0.9 billion in 2011. In the Q3 of 2013 the number had increased to

1.9 billion. Ericsson Inc. predicts that subscriptions will reach 9.3 billion by year 2019, with more than 60 percent of these - 5.6 billion - being for smartphones. With the increasing popularity of smartphones, more and more people are aware of the QR code (Ericsson, 2013). 13

Austin & Williams (2012), a branding, advertising, social media and direct marketing agency reported in 2012 that 52% of people who have smartphones have seen or heard of QR Codes, while 28% of American smartphone owners say they had an experience scanning a QR code. 2% do so at least once a day. The total number of times American smartphone owners scanned a

QR Code in 2012 is 45.49 times as many as the number in 2011 (Printrobot, 2012).

China possesses by far the most mobile phone subscribers in the world. According to statistics from Mobiforge.com (2014), in October 2013 there were 1.28 billion mobile subscribers in

China, of which 47% use smartphones. When examining the usage of QR Codes in the country, there was a much more rapid increase than in the U.S. data from comScore (2013) shows that smartphone penetration in the US (as a percentage of the mobile market) grew by 30% between

Q1 2012 and Q1 2013. China saw 9 million QR codes scanned every month up in 2013 from two million per month a year before, according to a local QR code study Meeker cited (Culter,

2013).

The QR Code is a technology that can only be used by mobile devices. Since its introduction in 1994, the QR Code has gained wide acceptance in such diverse industries as manufacturing, warehousing and logistics, retailing, healthcare, life sciences, transportation and office automation (Denso ADC, 2011).

With the explosive growth of smartphones, now the QR Code is also being used in mobile marketing and advertising campaigns, as a fast and effective way to connect with customers through end-user content, including web links, mobile coupons, and airline boarding passes.

(Denso ADC, 2011).

The QR code is a kind of 2-D Code. Two-dimensional are graphical images that 14 store information, up to 7,089 characters. It is a development on the 1-D Code. It can hold a larger amount of data in a smaller space. Compared to other 2-D codes (such as Tag barcodes),

QR Codes can hold even more data. Additionally, an advanced error-correction method and other unique characteristics allow QR Codes to be read more reliably and at higher speeds than other codes.

Figure 5 shows the differences between traditional barcodes, which are 1-D Codes, and QR

Codes and the Tag barcodes.

As the use of QR Codes has spread globally, new types of QR Codes have been created one after another to meet more and more sophisticated needs. A micro QR Code was created to meet the need for smaller codes. This type of QR Code is very small and can be printed in a small space. It was made a JIS standard in 2004. In 2008, the iQR Code was released. It has a small footprint despite its large coding capacity, allowing for the use of rectangular code modules.

The code also evolved into several varieties, including those with high-level design features and enhanced user-friendliness. A case in point is LogoQ, which uses colors instead of the traditional black and white scheme. It also allows for pictures to be embedded in codes. A type of QR Code that implements reading restrictions was developed to meet user demands for an enhanced level of privacy, as desires change with the times (Denso Wave Inc.). 15

Figure 5 The traditional Barcode (1D Barcode), The QR code and the Tag barcode

The application and the history of the QR Code in television

In the 21st century, people find themselves swimming in a mighty sea of information. With the rapid development of information technology, there has been a trend of integration between various old and new forms of media. Television, newspapers, the Internet, cellphones and more have been integrated into new multi-media platforms with customer orientations.

As the form of traditional media with the broadest coverage, television still holds the strongest position among mainstream media forms; however, with the arrival of the information era, an individual-directed media environment called “we-media” is fast approaching. Audience requests to the media have developed into a new form of individual information oriented media.

Furthermore, audiences have altered their roles in the interplay of communication, from passive information receivers to active creators. With the “node to group” collective messaging model, 16 television held absolute control over content. However, one-way communication with time constraints can hardly keep up with needs of people (Guangming Daily News, 2013).

Cellphones, emerging after newspapers, radio, television and the Internet, revealed this weakness of television. The old interactions via texts and phone calls were flat and complicated

(Wang, 2014). The thoughts from television managers of how to innovatively connect television with the Internet through cellphones has led to the rise of the QR code. The QR code is graph- recorded and data-charactered information, consisting of certain black and white geometric figures allocated on a plane (dimensionally) with specific patterns (Guangming Daily News,

2013). The QR code is “scanned to connect”, making it possible for simultaneous interactions between cellphones, television and the Internet.

Television Advertising Interaction via the QR code

QR Codes are attached with various pieces of product information and displayed at a corner of the television screen, along with the advertisement.

Advertising content focuses more on how to catch people’s attention rather than introducing the application and function of the product itself. Once audiences become interested in a product or service, they will scan the code with their cellphones to get additional information.

The use of QR codes improves the instant interaction of television advertisements, exchanging one-way traditional messaging with potential time lags for instant two-way communication. People can interact and consult with sellers by going on the Internet with their cellphone. At the same time, sellers are able to advertise various promotions through the codes.

For instance, a QR code can be uploaded with an e-voucher. When a certain number of e- vouchers are collected they can be used to redeem gift cards and attached with different kinds 17 of images and music as gifts (Guo, 2014).

There are a couple of advantages to bringing QR Codes to television advertising. First, the

QR code actually becomes an extension of television advertising. It eliminates the limits of brief advertising time slots, as well as the length of ads. It also enriches the informational content of television ads. Moreover, the traditional model of passive message reception has been updated, to the new trend of actively seeking information. The whole process advances the influence of advertisements and allows for easier feedback (Tao, 2014).

The history of the QR code in Chinese television programming

The use of QR codes was first introduced by CCTV, , which is the largest television station in China, controlled by Chinese government. It was used in CCTV’s featured program, Extravaganza (in Chinese: Hao Men Sheng Yan) at the Europe Cup in 2012.

It was also utilized in CCTV’s broadcast of the Olympics (Bu, Jin, 2013). By then, the integration of television and QR codes had already started to increasingly develop.

The nature of the QR code is to solve the informational problem as an information carrier as well as the entrance to direct information from online to offline (Wang, 2007). For audiences, the code is the most convenient way to connect with the Internet. For the television industry, the code is a bridge to connect with the information on television and the information on the internet.

Consequently, the QR code has become an important tool for people to access information.

Television, cellphones and the Internet have “merged” through use of the code. In the years of research on the integration of television and the Internet, it has been difficult to find a way to maximize the advantages of television industry in an Internet environment. However, the arrival of the QR code has created a hopeful avenue for television media. Moreover, it has become the 18 most trendy lifestyle development among the young generation. As far as is observable in television media, the QR code has engendered in the television industry new ideas and strategies for attracting viewers, keeping audiences, and serving audiences, alongside developments in advertising.

In 2013 a new puzzle game, Open the Door (in Chinese: Kia Men Da Ji), was broadcast on

CCTV Entertainment at 19:30 on January 1st. As the first new program of CCTV of the New

Year, its first episode had been warmly welcomed among national audiences. The national monitor CSM showed that viewer ratings of the first episode that aired on the first day of 2013 reached 1.92%, while its share of viewship reached 4.80%. The reason behind its popularity was that the program was introduced with a new application to allow for instant interaction with audiences. The medium for this was the QR code (Wang, 2007).

During the Open the Door’s broadcast, a specific code was displayed on the television screen a number of times, with audiences being able to scan the code with their smartphones or tablets to enter a specialized interaction page and answer questions along with the live audience. As long as they chose the right answer before it was revealed on TV, they would be rewarded with points that they could accumulate (Li, 2013). The point tally would be ranked afterwards so audiences could get a chance to win awards through a lottery. It was this innovative, interactive program that first utilized the QR code to invite audiences to participate, and which realized an interactive double screen paradigm. It also brought more attention to the program itself

(according to the data recorded that day). The number of online participants reached 160,000 while the program was being broadcasted live, and the official website of Open the Door was visited by more than 1,800,000 people in a month (Live China, 2013). 19

The use of QR codes allows for television programs and audiences to interact in a closer and more convenient manner. The novel and playful characters of the program not only attract people in front of the television to participate in games, but also draw back to the television those more attracted to computers and cellphones (Xiong, 2013). In this way, the interaction between multiple screens of game playing via television and cellphone has been realized.

In early 2013, Hunan TV unveiled its first social mobile app, “Hu La”. More than 100,000 users registered and downloaded it as soon as it was available online. Mobile phone users and television audiences have displayed more interest than expected in this application: as of midnight of January 5th, there were more than 5,000,000 interactions between TV audiences. As more and more programming of Hunan TV had Hula’s QR code, there were more and more people in front of the television scanning the code and the corner maker via the application “Hu

La”. Since people need to stand up and move close to the television to scan the QR Code, a lot of people amusedly refer to “Hu La” as the new century’s “magic exercising way” (Xiong, 2013).

Taking advantage of the viewers of Hunan TV, “Hu La” has explored a new television- oriented social space for users, disrupting the “flat behavior” of solely watching television or playing on one’s mobile phone. The traditional media functions of television have been expanded through mobile phones and the Internet (Xiong, 2013).

Users play different characters in the world of “Hu La”. A role needs to complete a series of online assignments by scanning the code at the bottom of the screen. In this way, users become more attached to traditional television. Although offline assignments do not require scanning a

QR code and assignments themselves are not strongly connected to programming, users still need to follow Hunan TV to ensure completion (163 Mobile, 2013). As a result, user loyalty as 20 well as their engagement with TV is highly enhanced.

Hu La has satisfied people’s need to be social and communicate with others while watching television, accentuating television’s capacity for mass communication and sharing (Xiong,

2013). It extends the depth and range of communication between users and their television by eliminating the limits of time and space. In this way the QR code has become the connecting point between the real and the virtual world. With the improvement of applications, QR codes are going to be increasingly integrated into various facets of social and daily life (Zhao, 2013).

The summer of 2012 was a festive time for sports fans as there were a variety of significant sporting events to be broadcast. The Europe Cup and the Olympic Games, held every fourth year, began to utilize QR codes, providing audiences excellent matches in more perspectives. In

June, with the QR code introduced by CCTV into the program The Europe Cup Extravaganza

(in Chinese: Hao Men Sheng Yan), football fans were able to see every aspect of this significant game (Zhou, 2012). While watching matches or advertisements, audiences could quickly open the scan function and successfully receive a download link by clicking the icon and holding it in front of the screen. By clicking the link, fans were able to easily access more comprehensive

Europe Cup content, including stories on players, highlights of matches, information on the history and culture of the cities where the matches were taking place, specialty of the stadiums, weather updates and other pieces of information. The rebroadcast of the London Olympics was an advanced practice of the 2-dimensional bar code’s new technology method (Bu, Jin, 2013).

By attaching the code onto television screens and taking advantage of the Internet and mobile devices, the information was retransferred. To some extent, it solved issues connected to geographic time differences as well as offset its own lack of effectiveness. The broad utilization 21 of QR codes during the London Olympics provided traditional television news media a new avenue for maintaining its position in the industry, especially when faced with strong challenges from new media that provide instantaneous communication and interaction.

Although the physical form of QR codes is quite small, theoretically, the information encoded into it is unlimited as long as there is enough serving space. It powerfully breaks the constraints of time and the television medium. Similarly, its function as a “time controller” is significant in eliminating the time “bottom line” of television media. Audiences are able to watch completed football games, entertainment festivals, and even news that happened after the rebroadcasting time slot (Bu, Jin, 2013).

QR codes provide alternative, open-ended content from which audiences are free to choose based on their different needs. Moreover, relevant information for any program, such as information on characters, and songs, as well as introductions of programming can all be encoded into QR codes, for audiences to save what interests them (Jiang, Li, 2013).

Problems Faced in the Development of 2-dimensional Barcodes

It is unresolved whether the code has a bright future or is just a transitional phenomenon, and if it’s just popular for a certain time or will last for long. It is also questionable that print media used to fell short of its initial expectation for the QR code, however, with the new co-operation between the television media and the QR code, it will allow new prospects to help determine if it will remain a shot or long term phenomenon.

Standardization of the QR code（the 2 dimensional bar code）is the first issue (Bu, Jin, 2013).

Currently, there are more than 250 kinds of one- and two-dimensional barcodes around the world, with only 20 of them seeing frequent use. So far most two- dimensional barcode products are 22 made with technology from foreign countries. For instance, the PDF471 code is from America and the QR code is from Japan. There are no barcodes optimally designed for Chinese characters, with the effectiveness of Chinese character encoding being comparatively low. In China, the key technology for barcodes in devices is controlled by foreign manufacturers. Additionally, even the products found in the domestic market are mostly assembled and represented by such foreign manufacturers(Xu, 2014). Consequently, not only are manufacturing costs high, but the

2-dimensional barcode decoder in the domestic market is also very expensive due to the strict protection of patents. Lastly, information security cannot be fully guaranteed (Xu, 2014).

Security issues play an essential role in user decisions on paying via code, influencing the business value of codes.

Then the terminal is considered as the second issue (Bu, Jin, 2013). The use of QR codes ultimately relies on the full support of the mobile phone industry (Xu, 2014). The code business model in Japan is open code and open platform operations, allowing such codes to be basic functions in mobile phones there. The reason behind this openness is that smartphone owners in Japan have enough sway to order personalized phones with code applications attached. In

2006, the market penetration rate of mobile devices with QR code recognition systems was 71.4%

(Bu, Jin, 2013). China also has a model of open code and platform operations; however, due to the variety of cellphone brands in the Chinese market, smartphone owners have less control over such features. This makes it difficult to attach QR code applications onto personalized mobile devices on a broad scale (Zhao, 2012). Although currently there are various kinds of code scanner applications for cell phones to download, the compatibility of each one, as well as their convenience largely depend on user experience and preference. 23

Another significant issue is the habits of users (Bu, Jin, 2013). The first problem encountered when QR codes were utilized for television was how to make audiences willing to take out their phones and scan codes while watching television. The lack of such a user habit has a direct effect on the use of QR codes. Siegel Gale, a consultant agency, revealed in its investigation at an automobile show that among the audiences who were interested in getting additional information on particular cars, 57% chose to search the information onsite, 45% chose to look for it on the internet back home, and only 13% chose to scan codes (Guo, 2012). It was reported that a 2-dimensional barcode company cooperated with a free subway newspaper in Shanghai in order to promote code scan shopping; however, there were less than two thousand people who scanned in a month and only a dozen of them actually purchased items (Guo, 2012).

Therefore, the development of people’s habits is a great challenge that the television industry needs to confront.

There are some other weaknesses for the QR code . 1) Firstly and most importantly, users must have smartphones. Then they have to download a (normally free) QR reader app before they can even begin to scan codes. This limits usership (Kim, Lee, 2013).

2) It is a time-consuming process to scan a QR code. Users have to get out their phone, unlock it, find the code reader app, open it, scan it, and finally wait for the landing page. With a fast

Internet connection this may work fine, but on variable 3G signals, many users may lose patience (Graham Charlton, 2011).

3) If users want to scan a QR code successfully, there are two things that they need to be conscious of, one is QR code data density and another is distance. The density of a code is described by a version number that is based on the number of rows and columns of dots. A 24

Version 1 QR code (see the figure 6) will have 21 rows and 21 columns of dots. The version number will then increase by 1 for every 4 extra rows. As the size of the dots decrease they become harder for the scanners in smartphones to “see”, so the QR codes themselves need to be made larger in order for them to be reliably scanned. Most QR codes containing just a website address end up being Version 2 QR codes with 25 rows and columns of data dots. It is better if a scan has a code with 25 rows (like Version 2) in the viewport of the scanning to 1cm (0.4in) or better, with 25 rows and columns of dots in a “normal” QR code this would make each of the dots 0.4mm (0.016in) across as a minimum, and this is actually the “magic number” that makes a QR code reliably scannable (QRstuff, 2011). Figure 6 is about different densities of the QR code.

25

Version 1 21 Rows x 21 Columns

Figure 6 Different densities of the QR code.

The QR codes of Version 2 just contain a web address, while those of Version 6 contain long

URL’s (like Google Maps address URL’s). Version 10 contains vCard contact details that have notoriously high data densities (QRstuff, 2011).

To effectively scan a QR code it should be at least 1cm (0.4 inches) across in the viewport of the scanning device, and as the distance between the camera and QR code increases, the size of the QR code will need to increase to compensate. There is a simple formula for calculating the relationship between a QR’s size and the distance to scan it: Minimum QR Code Size = Scanning

Distance / 10. The size of the QR code is closely related to its density, which decides the distance needed for scan ability. For instance, a QR code image with 72 characters of data would end up with 35 rows and columns of modules, and would need to be 42mm (1.7″) wide to be 26 successfully scanned from 300mm (12″) away,; however, it would only need to be 21mm

(0.8″) wide if the scanning device was only 150mm (6″) away (QRstuff, 2011).

Figure 7 The summary of the distance to scan different densities of QR codes

(QRstuff, 2011)

4) Some users think that the QR Code is unattractive or even ugly . Although this is a subjective opinion of QR codes, it is still a complaint of many users (Xiong, 2013). 27

CHAPTER3：METHODOLOGY

Introduction

With the development of the Internet and mobile devices, television has lost its role as the sole avenue for Chinese people to obtain entertainment (Li, 2007). With the rapid development of online and alternative forms of media, as well as the continuous acceleration of media integration, synthesis between traditional media and new, emerging media has become a trend in content delivery (Niu, Zhang, 2014). With traditional television challenged by the rise of new media, and with its emphasis on audience ratings and audience influence, cross-platform communication has become the first approach to confronting the new challenge. Since 2009 the

Chinese television industry has been continuously experimenting, innovating, and reforming its practices and strategies, enacting new methods for integrating the TV screen with the screens of other devices. In this vein it has sought to augment television programming through social media

( Meng, Zhang, 2000).

Within this process of experimentation, the emergence of the QR code seems to have had an impact on Chinese television (Tao, 2012). The impact is not the small square pictures that appear on the TV sets of audiences, but rather the connection and interaction that has been fostered between audiences and TV programming, in broader, more intangible ways.

However, what is the actual penetration of the QR code in China? How do Chinese television stations utilize QR codes? Can QR codes become a patented technology for the Chinese television industry, or will the technology disappear?

In the following section, the above questions will be analyzed through several research questions. 28

Research questions that were included in this study:

a) What is the penetration of QR Code technology in the Chinese television industry?

b) How does the Chinese television industry utilize the QR Code in its programming?

c) Are QR codes a useful, and enduring technology for the television industry? Or it is it a fad?

Setting

There were several methodologies used for the research questions.

For Research Question A, a survey was conducted online. The survey was completed through

Qualtrics, an online data collection and analysis website (Qualtrics.com). People who have access to the Internet were able to participate in the survey. Universities and businesses are the main users of this website.

For Research Question B, a content analysis methodology was used. After completing the survey, I chose the most mentioned television program as the subject for content analysis.

Analysis how were Chinese programming using QR codes

For the Research Question C, I have interviewed a famous American QR code company

“Scan Me”. We discussed what did they think about the QR code application in Chinese television industry from the QR code specialist perspective.

Sample

For Research Question A, a random sampling was applied in the application of this survey.

There were no limitations on demographic characteristics. Most people who took part in the survey were young people who use the Internet regularly, and who are interested in the Spring

Festival Evening Gala. 29

For Research Question B, I chose the most mentioned program of my first survey. Since there are so many different Chinese programs that use QR codes, it was necessary to analyze every program.

Measurement Instrument

For Research Question A, a researcher-generated instrument was used to collect data. In order to draw conclusions for Research Question A, a questionnaire on the QR code was sent out to better understand the gala program from the perspective of viewers. Eight questions were asked in the survey, regarding audience satisfaction and their thoughts on QR codes.

For Research Question B, four television programs were analyzed. They were the “Morning

Beijing!”, from Beijing TV, the “2014 Chinese Spring Festival Gala”, from China Central

Television, “I am a Singer”, from , and “Sisters over Flowers” from Dragon

Television.

For the Research Question C, an interview has been conducted. For this discussion, I interviewed Ryan Hornberger, Vice President of the well-known American QR code company

“Scan me” and discussed with him his views on the use of the QR code in the Chinese television industry, as well as his attitudes toward the TV QR code.

Validity and Reliability

The survey was pretested within a small group of different kinds of people before being sent out, to ensure that it measured all of the designated aspects. The same group of people completed the survey multiple times with consistent results, with clear answers to each question.

The content analysis was conducted carefully. Some of the programming reviewed for analysis was recorded by DVR and was analyzed two times. 30

The interview was done with a professional QR code company. They had years of experience researching and developing the QR code. However, this company is an American QR code company, and lacked a connection with the Chinese television market. 31

CHAPTER 4：RESULTS

In this chapter, we will discuss the results of Research Question A and B. In Chapter 5, we will discuss the interview results of Research Question C.

Research Question A: The penetration of QR codes with Chinese television audiences

According to the data from Qualtrics, 369 people participated in the questionnaire and survey, but due to some question setting and the accessible issue of Chinese internet, not all of them answered all of the questions.

Out of the 369 respondents, 31% were male, 66% were female, and 3% of answerers were unwilling to reveal their gender. 69% of the respondents were between the ages of 18 and 25, while 31% were 25 or above. Among the 369 respondents, 358 had smartphones, accounting for 97% of the total, with only 3% of the respondents having no smartphone. From these results it can be deduced that in China, the smartphone maintains a very high share of the youth market.

When answering the question "Have you seen QR codes on TV?", 350 of the 369 respondents

(95%) expressed that they had seen them, while 5% had never seen a QR code on television.

317 people answered the question "Which TV channel did you see the QR code on?", 50% expressed that they did not remember which channel, while the remaining 50% noted a particular network. 42.4% expressed that they had seen QR codes in the programming of Hunan

TV, 33.6% in the programming of CCTV, 8% on Dragon TV, and the remaining 16% on other

Chinese TV stations, such as Zhejiang TV, Jiangsu TV and Beijing TV.

Within the 317 people who have seen a QR code on TV, 31% had used the QR Reader in their smartphone to scan a QR code on TV. 63% of respondents expressed that they only saw a QR code, but did not scan it, while the remaining 6% expressed that they could not remember clearly. 32

When asked why they were willing to scan the QR code, 32% expressed that scanning the

QR code of programs could help them visit the official websites of programs. They then would have opportunities to win prizes or money. 29% of them scanned the QR code just out of curiosity and wanted to know what would appear on their phone after scanning the code. In addition, 29% expressed that they loved the programs they watched very much and wanted to track the programs for further interaction. Lastly, 15% wanted to know more information about the programs.

In total, 78 people answered the question of which program’s QR code did they scan. 44% of people saw and scanned the QR codes that appeared on CCTV’s 2014 broadcast of the “Chinese

Spring Festival Gala”. 20% scanned the QR codes appearing in the program “I am a singer”, and 3% of people scanned the QR codes of news programs. The average rating of the QR codes from the group of 78 people was 3.79, when people were asked to rate their experience from 0 to 5, with 5 meaning that the content retrieved via the code was very interesting, obtained a lot of information, and will prompt future scanning and 0 meaning that the QR code was irritating and pointless to scan, and that the respondent will not scan it again.

Research Question B: How does Chinese television utilize QR Codes in its programming?

By analyzing the Survey Question A, I selected several TV programs with the most mentions and picked the programs with representative QR codes. These programs are the Morning

Beijing!, from Beijing TV, CCTV’s 2014 Chinese Spring Festival Gala; Ding Ge Long Dong

Qiang, and I am a singer on Hunan TV; and Sisters over Flowers on Dragon TV. I watched the programs and recorded the time of appearance, and ending time of the QR codes in the programs, as well as the role of the respective QR code. The analysis results are as follows: 33

Table 1 CCTV-2014 Chinese Spring Festival Gala（4 hrs 19 mins）

Function of the QR QR code appearance time QR code ending time Duration Code 14:52 16:25 1:33 20:51 21:27 0:36 40:16 43:08 2:52 56:16 57:21 1:05 1:12:17 1:13:05 0:48 1:16:06 1:16:57 0:51 1:21:34 1:22:49 1:15 1:26:27 1:28:37 2:10 Connecting to the social 1:31:47 1:32:20 0:33 media website “Weibo” 1:34:30 1:35:10 0:40 with the hash tag “2014 1:57:03 1:57:53 0:50 Chinese Spring Festival 1:59:56 2:01:48 0:42 Gala” 2:02:31 2:12:23 9:42 2:15:22 2:16:11 1:11 2:24:04 2:26:22 2:18 2:39:13 2:40:07 0:54 2:48:55 2:51:16 2:21 2:58:36 2:59:33 0:57 3:20:28 3:21:13 0:45 4:05:11 4:05:27 0:16

2. Table 2 CCTV “Ding ge long dong qiang”

Function of the QR QR code appearance time QR code ending time Duration Code 3:16 3:34 0:18 Connecting to “Ding ge 10:34 10:45 0:11 long dong qiang” social media’s account, viewers who make 42:03 42:33 0:30 comments at this account will get a chance to win prizes. 20:36 21:06 0:30 Connecting to the social media account of an 1:07:42 1:08:02 0:20 advertised product.

Table 3 Hunan TV “I am a singer” Season 3, the final round 34

QR code appearance time QR code ending time Duration Function of QR 13:24 14:24 1:00 35:47 36:47 1:00 Connecting to the APP 49:45 50:45 1:00 store to download 1:03:45 1:04:45 1:00 “Hula” (An app 1:20:45 1:21:45 1:00 designed and developed 1:35:25 1:35:35 1:00 by Hunan TV for 1:51:58 1:52:58 1:00 discussion and 2:06:40 2:07:40 1:00 interaction among 2:21:34 2:22:34 1:00 viewers) 2:36:22 2:37:22 1:00 2:51:22 2:52:22 1:00 (All QR codes on Hunan TV are used to download the “Hula” app)

Table 4 Dragon TV “Sisters over Flowers” on April 5, 2015 (1 hr 21 mins 23 secs)

QR code appearance time QR code ending time Duration Function of QR 27:20 27:32 0:12

1:17:21 1:17:33 0:12

35

CHAPTER 5：DISCUSSION

Introduction

When the QR code was created there seems to have been little or no thought about its application in the television industry. Additionally, across the globe, not many countries implement QR codes in a great deal of programming. China is one of the exceptions. Indeed, not only in television, but also in a number of other fields QR codes have become more and more popular in recent years, whether in print media, or social media.

Through Research Question A in Chapter 3, I investigated the penetration of TV QR codes with Chinese viewers. Regardless of their ownership of a smartphone to scan QR codes, at least

95% of respondents had witnessed a QR code on television.

In Research Question B, I analyzed 5 representative TV programs as well as the QR codes used in the programs. The findings were that QR codes have a diversified set of purposes on television programming: to publicize apps developed by TV stations, to prompt viewers to discuss programs on social media, to promote and publicize program information, and to carry out effective advertising for program sponsors.

However, the application of QR codes on TV is still a new phenomenon, and in many places it is still not mature. In Research Question C, I interviewed the founder of a QR code company, and discussed the advantages, disadvantages and development future of the QR code in the television industry.

Discussion

In the survey, 369 people answered the question "Have you seen a QR code on television?”, in which 350 (95%) expressed that they had witnessed a QR code on TV. This data indicates 36 that QR codes are frequently utilized in Chinese television programming, that most viewers know that the small box at the corner of the TV screen is a QR code, and that there is a general awareness that its appearance is a cue for viewers to scan it with their mobile devices.

Within the group of 369 people, 69% of the respondents were young people between the ages of 18 to 25 years old. Therefore, it can be seen that TV QR codes have a high penetration among young Chinese viewers, and that young Chinese viewers have a certain awareness of TV QR codes.

The group most influenced by the rapid development and integration of new media is young viewers between the ages of 15 and 25 years old. In this group, the consumption based on the internet was becoming the trend. With the big influence by the new media and the internet, this young group was changing their habits while watching televisions. This group could be the big

QR code scanning group, and could help traditional television to face the challenge by the new media (Tao, 2012)

For the question of “How many people have used mobile devices to scan QR codes on TV?”,

317 people answered, with only 31% expressing that they have scanned a QR code. In contrast,

63% of respondents expressed that although they had seen QR codes, they never have scanned one. It can be seen that most of Chinese viewers only have a shallow and rudimentary understanding of QR codes, and are not interested in the role of the QR code. Although much of the Chinese television audience has noticed the emergence of the QR code, they take it as a small pattern unrelated to them, or perhaps too troublesome and time-consuming to use. This is because before they use the QR code they have to unlock their phone, open a QR reader, and then finally scan it, a fairly laborious process for the leisure activity of television viewing. 37

Summarizing the penetration of TV QR codes, most Chinese viewers have a certain understanding of QR codes, noting the emergence of QR codes on TV, and knowing what it is and how to use it; however, only 31% are willing to actively scan it. This indicates that the understanding of Chinese audiences of the QR code is at the most superficial stage, with viewers still largely unwilling to alter their experience of TV watching. Additionally, viewers still maintain a relatively passive posture to interaction with TV programming.

As a new technology, the application of QR codes in the Chinese television industry is also an experiment. Each new change in the television industry needs time and a course. Particularly, audiences need a long period of time to cultivate new habits and to accept new technology.

How television programming uses QR codes

1. Television Advertising Interaction via QR codes (Example: CCTV’s “Ding ge long dong qiang”)

The QR code was attached with various product information and displayed at a corner of the television screen along with it respective advertisement.

Advertising content focuses more on how to catch people’s attention rather than introducing the application and function of the product itself. Once audiences become interested in the products or services, they will scan the QR code with their smartphone to obtain additional information.

The use of QR codes on mobile devices improves the real-time interaction of television advertisements, exchanging one-way traditional messaging, with its potential time-lags, for instant two-way communication. For instance, people can interact with sellers by going online with their smartphones. Similarly, sellers are able to advertise various promotions through QR codes. QR codes can be uploaded with an e-voucher, which can be collected to a certain number 38 to earn gift cards. They also can be attached with different kinds of images and music as gifts, among other things.

Take for example the program “Ding ge long dong qiang” on CCTV, due to its huge production costs its producers required the titled sponsorship of sponsors. In order to help advertisers effectively promote and support their brand while maximizing screen time and space, producers decided to use QR codes for advertisements in the program. Advertisements with names and logos were interspersed in the program many times; however, interspersed advertisements that last for dozens of seconds are unable to make audiences better understand brands, relative to advertisement length. Therefore, a QR code for the advertised brands was placed beside the logo, allowing those that were interested in the brand to scan it, and learn more information about the product.

Figure x. QR codes for television advertising

Example: “Ding ge long dong qiang” in CCTV-3

39

2. QR codes in news programming

QR codes are a bridge for connecting television news and print media news.

Television news is characterized by its effective presentation style, consisting of its rich audio and visual experience (Qi, 2013). However, the difficulty to keep its relatively superficial content have been identified as weaknesses in its format. With the bridge of the QR code, television news and print media news are able to take advantage of the benefits of their respective formats while offsetting their weaknesses. Through this process of media integration, the final achievement is a result that is greater than the sum of its parts.

Important information is often missed if audiences only catch the second half of a news segment (Meng, Zhang, 2014). Additionally, sometimes the context of certain pieces of news is lost when editors fail to find suitable images. However, a QR code is able to carry related media from a piece of news, as well as background information. Consequently, audiences can review pieces of news anytime as long as the QR code is scanned while it is being broadcasted. In this way, television news can interact with print media, integrating the effectiveness of television and the depth of print media into one little code.

QR codes also serve as a link between television news and their audience (Qi, 2013). It is a weakness of television news that the interaction between the two is comparatively sparse. QR codes displayed on the screen can be coded into different kinds of data, including surveys, quizzes, and voucher contests. Due to the characteristics of smartphone media, certain user data, such as phone model, visit time, location, access mode, and visit volume can be accurately recorded and measured. In this way, it is possible to identify the age, interests, and income of audiences in order to tailor news for their particular sub-group during certain time slots.

The QR code is a new technology that functions as a “time controller”. For instance, through 40 this technology people can watch football matches and entertainment festivals that have already finished. It can also broadcast and communicate news which occurred after on-air broadcasting times. The code itself is just a website URL without any video information, meaning that it can be changed at any time.

The news program that I analyzed was the Morning News “Morning Beijing!” on BTV. It utilizes QR codes to encourage viewers to report the daily news around them to the newsroom.

Viewers can then follow the newsroom’s social media account by scanning the code, creating an interactive relationship.

Figure x. QR codes in news programming

Example: “Morning Beijing!” in BTV

3. Using QR codes to promote discussion on social media 41

This can be said to be the most important use of TV QR codes. One of the most effective means for publicizing TV programs is the use of viewer discussions on social media. When more and more people discuss TV programs on the Internet, an increasing number of people will learn of their existence. Regardless of whether or not audience comments are positive or negative, discussions can effectively increase the ratings of programs (Zhong, 2014).

The most authoritative TV and radio audience rating company in China, CSM, works with the most popular social media site in China, Sina, to produce statistical analyses on the discussion of TV programs. CSM has launched a study, which was the “Microblog Discussion and TV Audience Rating Analysis”. This analysis presented the feedback and discussion of TV programs on the microblog, and it became a reference for the evaluation of TV program quality, alongside feedback and audience ratings (Zhong, 2014).

One program that has been analyzed by CSM is CCTV’s “2014 Chinese Spring Festival Gala”, which is annually the highest rated TV program in the country. Statistics of CSM show that between 2001 and 2014, the number of viewers of the Spring Festival Gala increased by 189 million. In 2001, 715 million viewers watched the Spring Festival Gala during the 7-day holiday, and by 2014, this figure had increased to 904 million, increasing by 189 million (Li, 2015). 71% of viewers watched the Spring Festival Gala. The live television audience ratings of the Spring

Festival Gala in 2014 was 30.94%. Its time-shifted audience rating was 0.04%. Its online streaming audience rating was 2.17%, and its multi-screen accumulative audience rating was

33.15% (NetEase, 2015). TV was the main platform used to watch the Spring Festival Gala, with an audience rating of more than 94%. In 2014, the Spring Festival Gala accounted for 72% of the TV audience cumulative rating share on Spring Festival Eve, with the average watching 42 time being 149 minutes. 56% of viewers watched the Spring Festival Gala in its entirety (Li,

2015).

During the 4-hour program, TV QR codes appeared 20 times, with an accumulated time of

30 minutes and 16 seconds. According to CSM’s statistics, during the “2014 Chinese Spring

Festival Gala”, the discussion of viewers prompted by the scanning of TV QR codes or directly visiting Sina for discussion was the highest in years (NetEase, 2015). Sina became an important platform for viewers to share program information and opinions on the program.

During the live broadcast of the Spring Festival Gala, 34.47 million Sina users participated in Spring Festival Gala related interaction, with the number of posts about the Spring Festival

Gala reaching 45.41 million . Posts have increased by 1.39 times year-to-year (NetEase, 2015).

In the first minute of the program’s broadcast, discussions on Sina were very active. In total

863,408 posts were issued, 55,110 more than the first minute of the New Year of 2014 (Li, 2015).

Although the Spring Festival Gala ended before the dawn of Spring Festival Day (the Lunar

New Year), the active discussion triggered by the Spring Festival Gala had always been extended in the Microblog. Statistics show that from the live broadcast of the program to four days afterwards, there were more than 166 million posts about the Spring Festival Gala on Sina

(Li, 2015). On the second day after the original broadcast there were already 50 million. The official microblog of the Spring Festival Gala also increased from 3.5 million on January 29

(before the program) to 6.7 million on February 4 (NetEase, 2015). 43

Figure x. QR codes for connecting to social media

Example: “2014 Chinese Spring Festival Gala” in CCTV-1

In terms of the Chinese market, the audience ratings of TV programs are “positively correlated” with active microblog discussion. For instance, the statistics on Sina showed that the “Competitive Verity Show’s Season” of last summer attracted 77 programs for participation.

There was about 500 million posts on Sina, of which the discussion of “The Voice of China” was the most active. The show also lead in audience ratings. “Dad, Where We Are Going” on

Hunan TV also made a deep impression on viewers and netizens, with 40 million “notes” during the broadcasting period. After the broadcast, the number of posts went up to 60 million, with a ratio of 2:3 (NetEase, 2015). It can be seen from this ratio that although TV programs are only broadcasted during a set, fixed period, viewers use the time after broadcasts to discuss topics 44 related to the programs on microblogs. Consequently, viewers are able to participate in a discussion about programs or brands at any time, extending the lifecycle of programs and their related advertisements. The importance of microblogs’ relationship with TV programs is becoming increasingly evident.

China was one year later than America doing the research about “Social Media And the

Television”, and half a year later than Europe. China is essentially up-to-date with the latest developments of the global television audience rating analysis industry (Cheng, 2014). Chinese

TV stations are actively searching for ways to connect TV programs and social media, using

QR codes to prompt audiences to interaction. This has led the social media world to actively discuss program content and to draw the attention of the masses to programs, to increase television ratings.

For example, CCTV’s “Ding ge long dong qiang” placed TV QR codes when an interesting plot came out with the hashtag. After viewers scan the QR code, their phone will automatically connect to its microblog’s discussion page. There a hash tag will automatically appear with the discussion point.

Many viewers have expressed that the QR code found in CCTV’s “Ding ge long dong qiang” for connecting to the Sina microblog discussion page is too small to successfully scan within its time of appearance. Therefore, when producers insert a QR code, they should not only consider the role of QR codes in relation to program ratings, but also be aware of its use within TV programs. It is also very important that QR codes are clear, large enough, and on the screen long enough for viewers to scan it successfully.

4. Using QR codes to obtain program information 45

QR codes are also a useful method for deepening and extending program content and information (Zhao, 2013). When watching a program, viewers may not be able to obtain all the information they want to know, such as specific broadcasting and rebroadcasting times, background information on content or guests, and even title and ending theme songs. This is because in the television industry every second in programming is literally quite valuable.

Consequently, television programs cannot provide all the information they want to audiences within their limited broadcasting time. As it is relatively inconvenient for viewers to visit official websites (for example, by entering a website URL or by searching for it on a search engine), the use of a QR code that can obtain program information can both save program time and allow viewers to understand program information better.

Figure x. QR codes for getting more programming information

Example: “Sisters over Flowers” in Dragon TV 46

5. Downloading a TV station APP through a QR code

In order to better incorporate new media into its programming, many TV stations have independently designed and developed smartphone applications, hoping that viewers will publicize TV programming more by downloading and interacting through the application, so as to build a social platform belonging to the TV station. By answering questions, playing games, and conversing, viewers can even make friends. This in turns builds audience “loyalty” to TV programs, thus attracting viewers to watch TV programs at fixed times (Xu, 2014).

The social media mobile application “Hula”, which fosters interactive television, was launched in the beginning of 2013 (Geek.com, 2013). The “Hula” app utilizes a “public meeting” and friend chatting system, which provides viewers with a platform for online exchange and interaction with many people simultaneously. Through downloading and registering with the app, viewers can obtain a “Hula”, a virtual world avatar, and add friends for chatting. The biggest distinction for the chatting application is that the content in the “Hula” app is solely related to exclusive Hunan TV television programs. The most prominent quality of the app is use of phone cameras to scan the QR code found on Hunan TV programming to achieve interaction between programming and audiences (Geek.com, 2013). In addition, by earning points through task completion in this application it is possible to earn various material awards provided by Hunan TV, such as tickets, vouchers and electronic products. The strategic objective of the “Hula” app is to be closer to users, to gather fans, and to attract television viewers through social media. All of this is to improve the television ratings of Hunan TV and to raise the brand 47 value of the TV channel and its programs.

After opening the “Hula” app interface, the first thing that meets the eye are popular recommendations, where there are the most popular programs recently launched by Hunan TV, such as “I am a singer”, “Happy Camp”, “”, and “”. When one clicks on the link to any program, they will find an exclusive discussion page for the program.

After entering the page via click, you will see program information, your friends in the program discussion group and small games. You are also able to have a conversation, via group chatting with friends, as well as view the statuses of friends. There are also many topic conversations on the official pages of such programs. It is by inserting the “Hula” QR code into Hunan TV programming that viewers are prompted to download the app. In this way they are able to gather those who love or are interested in a particular TV program into a group, via the “Hula” app.

This increases audience loyalty to TV programs and also increases the share of TV programs, so as to achieve the effect of influencing the TV screen via mobile screen. The goal of closely binding the “Hula” app to the programming of Hunan TV is to achieve program promotion and to publicize Hunan TV (NetEase, 2013). 48

Figure x. QR codes for downloading an APP

Example: “I am a singer” on Hunan TV

The reason why Chinese television stations heavily utilize QR codes is because competition in the Chinese television market is becoming progressively intense, with the frequency of new programs premiering continuously accelerating. Under the double pressure of the traditional TV market transversely and TV station longitudinally, a new term “station-internet linkage” has appeared in the Chinese TV field (Bu, Jin, 2013).

Station-internet linkage is a modern cross-media cooperation form integrating TV and the playing, publicity, interaction and effect of TV. In short, it is to do the service of TV station, open the network edition of TV programs and activity on the internet, and the TV stations can bind the website advertisement for sales in the appropriate condition, and help websites and TV 49 to expand the popularity and increase the survival rate. In terms of media operations and production, this new integration model not only brings TV opportunities and considerable income to television stations, but also improves the operation method of cross-media collaboration (Zhong, 2014). Moreover, for television stations, such innovation allows for increases in the reputation, discussion, and popularity of TV programs.

As the driver of this trend of “station-internet linkage”, QR codes are utilized to change the watching habits of audiences. The QR code anticipates a future where the remote controller has gradually disappeared, replaced by smartphones that are able to scan and interact with televisions. The viewing habits of audiences are already gradually changing. In addition to the

TV programs mentioned above, many other Chinese TV programs also utilize QR codes (Niu,

2014). For example, the weather forecast program of Xi’an TV just incorporated QR code scanning this year. Through this service viewers can now see the latest updates on weather and travel just by scanning. Another example is the 2014 World Cup in . By scanning the QR code of the CCTV Sports Channel it was possible to directly obtain information about the venues and times of matches as well, introduction to play features, competition comment, competition condition and the building and weather of the city of competition. The producers of television programs can make any program or segment into a QR code, allowing viewers to obtain relevant information just by scanning. Audiences can also interact with onsite TV guests through the QR code. By virtue of QR code, traditional TV media has solved the problem of matches’ geographic-time difference, and also make up the short slab in timeliness. The audience receives relevant information while watching programs, which is helpful to viewers trying to understand difficult points while appreciating programming. This allows them to have a deeper 50 understanding and connection to programs. Confronted by the challenge of new media, traditional media should utilize the advantages of new media for their purposes. Facts have proven that the emergence of new media such as the QR code can and does advance the marketing strategies of traditional television to a new stage.

Despite these advantages, when analyzing the use of QR codes in television programs, many problems can also be discerned.

1. The retaining time of TV QR codes is one significant problem. The retaining time of the

QR codes of some programs is only 10 seconds, while others are about 1 minute. The short retaining time of QR codes can cause viewers to be unwilling or unable to scan QR codes in a timely manner.

1）The size of QR codes in TV programs is too small, with a resolution that is not clear enough. In order for QR codes to not disrupt program content or images, some television programs adjust the size of QR codes to be very small. Because the camera in the smartphone of a lot of viewers does not have a very high pixel resolution, or because some viewers are unwilling to stand up in front of the TV to scan the QR code, QR code scanning is sometimes unsuccessful. TV programs should carefully consider the importance of their QR code relative to their programming. If it is thought that the QR code is more important than program imagery, producers should enlarge the QR code so that more viewers can and will scan it successfully. If they are unable to place a large-size QR code on the screen, then TV stations might be better served removing the QR code and moving it to a more unimportant, inconspicuous position.

Otherwise, a QR code that is visible, but that cannot be scanned will be useless, and perhaps even detrimental to its original intent. 51

2）QR codes should be positioned according to the characteristics and habits of viewers.

Currently, smartphones are present in almost every household, with QR code functionality becoming essential in every kind of smartphone. However, acclimated to traditional media for a long time, many viewers have not yet formed a habit of scanning QR codes with their smartphones. For example, it is useless to place a QR code in programming directed towards seniors or children as the elderly and children are groups who rarely use smartphones. It is the young audiences (age18-30) who are most likely to use these new media technologies.

Additionally, the design after QR code scanning should also be simple and convenient. Many young people want to know the truth by “scanning”, but if it is found that there are many steps to the process, that the operation procedures are too complicated, or that the user experience is not good after scanning, viewers will gradually lose interest in such an endeavor. Actually, like the phone value-added service, QR code should be experienced and deeply recognized by users, so as to form consumption on this basis. QR codes can deliver users convenience, however, it must be convenient for the users to get to such an experience. How to cultivate the habits of users is an important problem to be solved in the further expansion of QR codes.

3）Most importantly, whether or not a TV station is successful does not lie in the appearance frequency of QR codes, but rather in program quality and innovation. QR codes are just tools to augment television programming. The quality of television programming itself is the most important variable in garnering high ratings and interest. Indeed, when a QR code first appears in a program, viewers will scan it with a smartphone out of curiosity. To attract and maintain audiences for a longer period time the most important point is the attraction of the programs themselves, because real interaction derives from the interest of viewers. Some TV programs 52 want to be popular at one time by virtue of QR code and the power of e-pals, but they do not only consume the website maintenance fee, the audience rating and advertisement growth are also seldom. Many audiences the QR code of programs of Hunan TV mainly because these programs have high quality, and many audiences watch them (Cheng, 2014).

Are QR codes a useful, and enduring technology for the television industry? Or it is it a fad?

For this discussion, I interviewed Ryan Hornberger, Vice President of the well-known

American QR code company Scan me and discussed with him his views on the use of the QR code in the Chinese television industry, as well as his attitudes toward the TV QR code.

Regarding the trend of Chinese TV stations actively applying QR codes, Hornberger was quite delighted, believing that QR codes will be applied better and more broadly in China than in America. One of the reasons for this view is that the popularity of mobile devices in China is far higher than in America, and that Americans prefer surfing the internet, shopping, and using social media via their computers. In contrast to this, there is a high proportion of Chinese that own mobile devices and smartphones, and this has made the promotion of QR codes in China quite successful.

The QR code is just a tool for making people’s lives and communications more convenient.

It is just a tool of support to help people obtain information, and once that information is acquired and its purpose is achieved, a QR code becomes irrelevant. Therefore, the television industry and retailers should treat and use QR codes correctly. Hornberger noted that some customers of “Scan Me” think that the purpose of QR codes is that “it is very cool to place this square picture in an advertisement.” This notion is incorrect. The QR code cannot be separately used as a use or use purpose, and it is just an auxiliary tool. When television programs utilize 53

QR codes, the thought behind it should not be that “I should position a QR code so that our programs will be cool or very interesting”, on the contrary, they should first consider “what do

I want to give audiences?” “How should I interact with audiences”, and “What information should the audience know and understand?” From these aspects of audience interest and TV program suitability, producers must consider “what means or tools can I use to achieve this purpose.” QR codes may provide answers to such questions, and achieve the aims of TV stations, however, if there is a better tool or technology to achieve such a purpose then focus should not only be concentrated on QR codes.

In contrast to the American broadcasting industry, China is applying QR codes much better.

At least Chinese audiences have a very high awareness of QR codes, even if they seldom scan

QR codes. Similarly, at least everyone notes the existence of QR codes, and essentially understands its uses, methods, and purpose. Most of the QR codes in America are used in print media, although some shopping channels use QR codes, but only for commercial purposes such as advertising. QR codes are positioned to encourage audiences to purchase the products of shopping channels more conveniently, and not for raising program ratings. In order to enhance interaction with audiences, improve program ratings, and enhance audience loyalty to television stations, Chinese TV programs use loyalty, and this is worth referring to by the American TV fields.

Hornberger did not think that QR codes would eventually die out because QR codes act as a bridge of communication for information. As long as human beings need to communicate information, QR codes will always exist. The purpose of TV programs is to convey entertainment information, news information, and life information, among other types of 54 information. For audiences, as long as communication continues, QR codes will have value. As discussed above, we should not treat QR codes as an individual, solitary technology. It is intertwined with other forms of information technology, and it is just a visible bridge to assist

TV programs in enhancing their medium.

Hornberger did not agree with the idea that "the challenge of TV QR codes is TV audience viewing habits". The QR code is not a behavior, but a tool. TV programs should not consider

“how audiences can use the TV QR code”, but consider “what audiences want”. Once the QR code is used in a suitable place, with information that audiences really want to have, then and only then will viewers instinctively scan QR codes.

The QR codes in some TV programs have a very short appearance duration, about 10 seconds.

Even if viewers have a desire to scan TV QR codes, by the time they unlock their phones, open the QR reader, leave their couch to move closer to the television set, and scan the code, the 10 seconds have already passed and the QR code has vanished. Such a development cannot achieve the original purpose of QR codes on television. This is evidence that TV stations often do not really consider the demands of viewers. If the producers of TV programs are afraid that “ugly”

QR codes will affect the aesthetics of a television program, and believe that 10 seconds of a QR code is enough to be effective, then it may be best not to use QR codes. The real purpose of QR codes is to convey information in a simpler, more convenient manner. Consequently, if a television manager believes that this is more important than program aesthetics, then a QR code should be placed in the most reasonable and convenient place. For example, make and place the

QR code with the highest definition and density rate, exhibit it on television for a long period, select the best time for its appearance, beautify it as far as possible so that it will not seem “ugly”, 55 and most importantly, simplify the process of viewers scanning the QR code. The application of some QR codes makes them more complicated for people to obtain information. This is not the real purpose of QR codes. Rather, QR codes should allow users to obtain the information or resources they want with just “a scan” plus “one clock”. For example, for the QR code of “I am a singer” on Hunan TV, after viewers scan it they directly proceed to the app download page.

This is very convenient, without excessive steps. The QR code of “Morning Beijing!” on Beijing

TV is directed to connect to the social media page of “Morning Beijing”, allowing viewers to interact with the program. This is also very convenient, and this is the only reason for the existence of the QR code.

Limitations

The utilization of QR codes in the Chinese television industry is still at the beginning and exploration stage. At the present, there have been no statistics published by TV stations that indicate how many viewers have scanned TV QR codes, or ads the programming rate of TV programs when QR code appears. This study conducts its research and analysis more through the perspective of the use of TV QR codes and viewer habits. If the program ratings of TV programs and their use of QR codes can be correlated then perhaps it will be possible to better analyze the role of QR codes in the television industry.

Recommendations for Future Research

This paper mainly researches the application of QR codes in the Chinese television industry, and in the interview for Research Question C, there is a discussion of the differences between the use of QR codes in Chinese and American television programs. There is also a discussion of the reason for the difference, however there is no in-depth analysis on the topic. For future 56 research, it is possible to research the topic through the angle of "the use of QR codes in Chinese and American TV programs" or "why are QR codes not widely used in the American television industry?".

In the future research, if there is an increase in the amount of QR code use data, it would be possible to add more statistics, such as the duration time of TV QR codes’ appearances, along with their correlation with program ratings. How many comments in social media are linked back to QR codes is another piece of information that may be significant. This can demonstrate whether QR codes are effective in helping TV more in detail and comprehensively.

Conclusion

As a new technology and a convenient information communication tool, QR codes are being rapidly developed in China, with different fields using QR codes to relay information conveniently (Bu, Jin, 2013). The use of QR codes in the Chinese television industry was more advanced than the western countries. QR codes currently can be seen in all popular programs.

Some QR codes are used by sponsors to advertise products and brands, while others are used to promote mobile apps developed by television stations. Some are used to allow viewers to obtain more program information and some are used to encourage viewers to discuss programs and for opinion promotion on social media.

Challenged by rise of new forms of media, the Chinese television industry has begun to explore a new road to enhance its interaction with viewers (Tao, 2012). QR codes represent a bridge between television programming and audiences, relaying information that the producers of television programming want to convey and that audiences want to obtain through the simple use of a black and white square picture. QR codes can help TV programs present more 57 information within a limited time span.

This new trend illustrates that because of the challenge presented by the rise of the Internet and new media, which Chinese TV programs cannot avoid, they have decided to use a new technology to integrate themselves with these new mediums. As an “invisible bridge”, the QR code helps improve and advance the integration between traditional television and new media.

It also helps the interaction between programming and audiences.

However, when using QR codes, the television industry must be cautious about whether QR codes are large enough for viewers to scan, whether there is sufficient time for scanning, whether the scanning process is very complicated, and how to allow viewers to get the information they want in the easiest manner. The television industry should use QR codes appropriately and the correct use of TV QR codes should derive from the demands of viewers. How TV programming interacts with viewers and what information the TV programming wants to convey. If TV programming uses TV QR codes because "QR codes are very cool", or because "using QR codes is a popular trend", then QR codes will not help improve the program ratings of TV programs, and also cannot achieve the interaction between TV programming and audiences. 58

REFERENCES

Austin & Williams. (2013). Where have you seen qr codes? Retrieved July 7, 2014，from www.austin- williams.com

Barnes, S.J. (2002) Wireless digital advertising: nature and implications. International J ournal of Advertising, 21, 399–420. Retrieved July, 20, 2014

Breyer, J., Decker, S., & Kim, E. (2009). The Technology Revolution and its Implication s for the Future.

Bu, Y., & Jin, Y. (2013). How does the television use the QR code to be more competiti ve. Press Circles, 33-36. Retrieved March, 24, 2014

Cheng, D. (2014, June 1). Big Competition Of Chinese Television Verity shows Comes T his Summer. Retrieved October 6, 2014.

Chmielewski, D. (2013, June 9). Nielsen study: Social networking dominates smartphone, tablet use. Los Angeles Times. Retrieved July 7, 2014, from http://articles.latimes.com /2013/jun/09/entert ainment/la-et-ct-nielsen-study-social-networking-smartphone-tablet- 20130609

China Mobile Limited. (2014). Change, with You. Sustainability Report. Retrieved Februa ry 8, 2015, from http://www.chinamobileltd.com/en/ir/reports/ar2014/sd2014.pdf?year= 2014

Cutler, K. (2013, May 9). People Actually Use QR Codes (In China). Retrieved August 1 3, 2014, from http://techcrunch.com/2013/05/29/people-actually-use-qr-codes-in-china/

Denso, ADC (2011). QR Code Essentials, Retrieved May, 20, 2014, from http://www.nac s.org/Link Click.aspx?filetic ket=D1FpVAvvJuo%3D&tabid=1426&mid=4802

Denso Wave Inc.(2011). The History of the QR Code, Retrieved May, 20, 2014, from h ttp://www.qrco de.com/en/histo ry.

Dou, X. & Li, H. (2008) Creative use of QR codes in consumer communication. Inter national Journal of Mobile Marketing, 3, 61–67. Retrieved November, 1, 2014

Ericsson. (2013, November 11). Ericsson Mobility Report: Global smartphone subscription s to reach 5.6 billion by 2019. Retrieved April 2, 2014, from http://www.ericsson.co m/news/1741771 59

Geek.com. (2013, January 4). Hula：A New Development Of Television Interaction. Retri eved March 12, 2015, from http://www.geekpark.net/topics/169905

Gillan, J. (2011). Television and new media must-click TV. New York: Routledge. Retriev ed February 10, 2015

Google,Inc. (2012, August 1). The New Multi-Screen World Study Think with Google. Ret rieved July 8, 2014, from http://www.thinkwithgoogle.com/research-studies/the-new-m ulti-screen-world-study.

Guangming Daily News (2013). The application of QR Codes in the television. Retrieved January, 2, 2015, from http://epaper.gmw.cn/gmrb/html/2013-05/18/nw.D110000gmrb_ 2 0130518_2-06.htm

Guo, B (2014, December 12). The QR code in media. Retrieved March, 14, 2015, from http://media.pe ople.com.cn/n/2014/1212/c391385-26197394.html

Guo, H. (2012, December 15). QR Codes: The New Direction Of Traditional Media Platf orm. Retrieved November 4, 2014.

Jiang, H., & Li, M. (2013). The Application and Development of the QR Code in the Ne w Media. Observations of New Media, 5, 60-60. Retrieved March 14, 2015, from htt p://d.g.wanfangdata.co m.cn/Periodical_cbfxyj201305017.aspx

Jinxi, J. (2014, April 17). Brief History of Chinese Online Website. Retrieved March 8, 2 015, from http://www.cssn.cn/zt/zt_xkzt/zt_wxzt/jnzgqgnjtgjhlw20zn/zghlwfz20znhg/20 1404/t20140417_1070127_1.shtml

Kim, E., & Lee, M. (2013). An Exploratory Study of Perceived Benefits and Risks for Q R Code based Virtual Fashion Stores. Korean Journal of Human Ecology, 22(5). Ret rieved December 4, 2014.

Li, J. (2013, January 2). Kaimendaji in CCTV is trying hard to interact with audiences. Q ilu Evening Newspaper. Retrieved May, 5, 2014

Li, Q. (2015, February 22). Rating of 2015 Chinese Spring Festival Gala. Retrieved May 5, 2015, from http://www.askci.com/ent/2015/02/22/1545269byf_all.shtml

Li, X. (2007, March 26). What would traditional media do under the challenge of new m edia. Retrieved September 6, 2014, from http://news.xinhuanet.com/zgjx/2007-03/26/c ontent_5896842.htm 60

Li, Y. (2013, February 5). QR codes helps television programming to attract audiences. B eijing Daily. Retrieved February 8, 2015, from http://ent.sina.com.cn/c/2013-02-05/16 273853181.shtml

Live China (2013, January 6), Kaimendaji got the No.1 rating. Retrieved April 8, 2015, f rom http://live. china.com.cn/2013-01/06/content_5647501.htm

MarketingCharts. (2013, July 8). Data Dive: QR Codes. Retrieved August 13, 2014, from http://www.marketingcharts.com/online/data-dive-qr-codes-29525/

Maurice, M. (2011, October 31). Qr codes explained. Retrieved January 4, 2014 from htt p://ccnmtl. columbia.edu/enh anced/noted/qr_codes_explained.html

Meng, Y., & Zhang, X. (2000, December 1). Combination With Newspaper and Televisio n. Retrieved April 5, 2014, from http://www.people.com.cn/GB/paper79/1364/214457. html

Mobiforge. (2014, May 16). Global mobile statistics 2014 Part A: Mobile subscribers; ha ndset market share; mobile operators. Retrieved August 14, 2014, from http://mobifor ge.com/research-analysis/global-mobile-statistics-2014-part-a-mobile-subscribers-handse t-market-share-mobile-operators

Naumann, A. (2011). Are you QR-ing? EventDV, 24(7), 26. Retrieved from http://searc h.p roquest.com/docview/888532557?account id=10559

NetEase. (2013, December 26). Hula Makes A New Community For Hunan TV Audience s. Retrieved January 17, 2015, from http://mobile.163.com/13/1226/16/9H1L4NBQ001 1671M.html

NetEase. (2015, March 3). CCTV Enclosed The Rating Of 2015 Chinese Spring Festival Gala. Retrieved May 5, 2015, from http://ent.163.com/15/0303/07/AJP2UQJP00031G VS.html

Niu, C., & Zhang, T. (2014, November 21). Cross Platform And Television Programming. Retrieved March 16, 2015, from http://media.people.com.cn/n/2014/1121/c390725-26 069901.html

Okazaki, S. & Barwise, P. (2011) Has the time finally come for the medium of the fut ure? Journal of Advertising Research, 51, 59–71. Retrieved November, 8, 2014

People.cn. (2015, January 5). Seven things make a competition between Chinese tradition al television and new media. Retrieved April 13, 2015. 61

Printrobot. (2012). Qr codes usage statistics. Retrieved May, 20, 2014, from https://printro bot.com

Qi, L. (2013, November 11). QR Codes Open A New Era For The Television. Retrieved May 3, 2015.

QRstuff. (2011, January 18). What Size Should A Printed QR Code Be? - QRStuff.com. Retrieved February 14, 2015, from http://www.qrstuff.com/blog/2011/01/18/what-size- should-a-qr-code-be

Rice, R. (2011). Americans watching more TV thanks to mobile devices Internet Retrie ved July 7, 2014, from http://www.suntimes.com/business/5979189-420/americans-wa tching-more-tv-thanks-to-mob ile-devices-internet.html#.U7sD_I1dW58

Rohm, A.J. & Sultan, F. (2006) An exploratory cross-market study of mobile marketin g acceptance. International Journal of Mobile Marketing, 1, 4–12. Retrieved July, 2 0, 2014

Tao, Q. (2012, June 11). Analyzing of Crossing Platform With The Television And The I nternet. Retrieved February 22, 2015, from http://qnjz.dzwww.com/gdst/201206/t2012 0611_7199490.htm

Tao, W (2014, December 12). The application and the future of QR codes. Retrieved March, 2, 2015, from: http://xuewen.cnki.net/CJFD-CBFX201305021.html

Wang, H. (2014, June 4). We-Media Time. Retrieved January 2, 2015, from http://www.g mw.cn/med ia/2014-06/14/content_11624572.htm

Wang, Y. (2007, June 1). The marketing of the QR code: A super media in hands. V Ma rketing China. Retrieved March, 25, 2014

Waters, J. (2012). QR codes for dummies. Hoboken, NJ: John Wiley & Sons, Inc. Ret rieved September 28, 2014

Xiong, X. (2013, January 7). "Hula" from Hunan TV is an interesting "magic exercising way" Retrieved January 8, 2015, from http://digi.tech.qq.com/a/20130107/001219.htm

Xu, L. (2014, March 11). What is QR Codes mean to Chinese characters. Retrieved Febr uary 13, 2015, from http://tech.qq.com/a/20140316/005905.htm

Zhao, Y. (2013, November 13). The QR Code：The Imagination of Finance in the new e ra. Retrieved July 2, 2015, from http://finance.sina.com.cn/roll/20121103/0237135675 92.shtml 62

Zhou, Z. (2012, September 28). Scan Out the Business Opportunity. Retrieved July 2, 20 15, from http://society.people.com.cn/n/2012/0928/c1008-19141524.html

Zhong, B. (2014, January 28). Television Programming And Social Media. Retrieved May 5, 2015.

163 Mobile. (2013, December 1). Hula QR Code from Hunan TV Builds a Deep interacti ve society. Retrieved July 9, 2014, from http://mobile.163.com/13/1226/16/9H1L4NB Q0011671M.html

63

DEFINITION

1. Big Four: The big four television networks in the U.S. are ABC, CBS,NBC and FOX.

2. Yuan: is the base unit of a number of former and present-day Chinese currencies, the ISO

4217 standard code for renminbi is CNY, an abbreviation of “Chinese yuan”.

3. Uses and gratifications theory: is an audience-centered approach to understanding mass

communication to understanding why and how people actively seek out specific media to

satisfy specific needs.

4. Multi-screens: multi-device and cross-screen usage.

5. 1D Code：Also called Linear Barcode. "One dimensional" barcode that is made up of lines

and spaces of various widths that create specific patterns.

64