Journal articles: 'Digital television'

1

Ortiz-Sobrino, Miguel-Ángel. "Television, globalization and social change." Comunicar 13, no. 25 (October 1, 2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.

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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.

2

Victoria-Mas, Juan Salvador. "From the school in television to the (digital) television in the school." Comunicar 14, no. 27 (October 1, 2006): 98–103. http://dx.doi.org/10.3916/c27-2006-15.

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In this paper, first, three implicits insights are identified regarding relationships between education and television. Next is the description of one kind of development from television programs «sort of educational» to the properly educational television programs. Finally, we focus in the ideal of interactivity in one television alreadey converged, in some cases, with internet. In the epilogue, an insight is proposed regarding two platonic miths, one about participation in the communication and another about the breaking of the unidirectionality and of the mass communication media like television seems to carry us.En el presente artículo se identifican, en primer lugar, los tres implícitos principales en las relaciones entre educación y televisión. Se describe a continuación una evolución desde los programas de tipo educativo a los propiamente educativos. Y se apunta, finalmente, hacia el ideal de la interactividad en una televisión que ya ha convergido, en algunos casos, con el medio Internet. En el epílogo, se aporta una reflexión a propósito de dos mitos platónicos referridos a la participación en la comunicación y a la ruptura de la unidireccionalidad y de la comunicación de masas hacia la que parecían abocarnos medios como la televisión.

3

Koga, Toshio, and Eiichi Iizuka. "Digital television. 11: Measurements for digital television." Journal of the Institute of Television Engineers of Japan 40, no. 1 (1986): 54–62. http://dx.doi.org/10.3169/itej1978.40.54.

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Gualdo, Riccardo. "Connessioni interdiamesiche: fiction e documentari nella didattica delle scienze." Lingue e culture dei media 6, no. 1 (August 8, 2022): 1–23. http://dx.doi.org/10.54103/2532-1803/18568.

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Il passaggio al digitale ha cambiato radicalmente il modo di “guardare” la televisione: questa rivoluzione culturale, percettiva e cognitiva ha trasformato gli spettatori da consumatori passivi in manipolatori e produttori dei messaggi. Un fattore di novità è l’interconnessione tra i diversi codici semiotici, verbali e non verbali, che cooperano alla costruzione del messaggio. L’articolo tratta il tema della divulgazione e della didattica in televisione, commentandone alcune forme e suggerendo, con esempi concreti, come usare nella didattica dell’italiano a stranieri prodotti televisivi nati con altri scopi. The digital shift has radically changed the way of 'watching' television: this cultural, perceptual and cognitive revolution has transformed viewers from passive consumers to manipulators and producers of messages. A new factor is the interconnection between the different semiotic codes, verbal and non-verbal, that cooperate in the construction of the message. The article deals with the theme of popularisation and teaching in television, commenting on some of its forms and suggesting, with concrete examples, how to use television products born with other purposes in teaching Italian to foreigners.

5

Ugalde, Leire, Juan-Ignacio Martínez-de-Morentín, and Concepción Medrano-Samaniego. "Adolescents’ TV viewing patterns in the digital era: A cross-cultural study." Comunicar 25, no. 50 (January 1, 2017): 67–76. http://dx.doi.org/10.3916/c50-2017-06.

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The deep-rooted changes that have taken place in the media world over recent years have brought about changes in both television itself and in the relationships established with this medium. Consequently, it is important to understand how young people watch television today, in order to design strategies to help them develop the capacities they require to ensure responsible use. With this aim, the present study analyzes the television viewing habits of 553 adolescents (267 boys and 286 girls), aged between 14 and 19, from Ireland, Spain and Mexico. Through the implementation of two questionnaires (CH-TV 0.2 and VAL-TV 0.2), four viewing patterns were detected that can be generalized to all the contexts studied. Two of these patterns clearly distinguish between boys (critical-cultural) and girls (social-conversational), with boys viewing more cultural and information-oriented programs, and girls tending to watch shows with a view to talking about them later with their friends. Two of the variables which best distinguish between the other two patterns identified are the perception of a conflictive climate (conflictive-passive viewing) and the perception of responsible parental mediation (committed-positive viewing). Moreover, preferred television genre was found to be the factor with the greatest discriminatory power in relation to these patterns, while time spent watching television, perceived realism and cultural context were not found to be significant. Los profundos cambios acaecidos en la configuración del contexto mediático en los últimos tiempos, han generado cambios tanto en el medio televisivo como en las relaciones establecidas con él. Es por ello que, resulta necesario conocer cómo consumen la televisión los jóvenes actuales en aras de crear estrategias que ayuden a capacitarlos en la utilización de este medio. Con este fin, en esta investigación se han estudiado las pautas de consumo televisivo de 553 adolescentes (267 chicos y 286 chicas) de Irlanda, España y México, de edades comprendidas entre 14 y 19 años. Mediante la aplicación de dos cuestionarios (CH-TV 0.2 y VAL-TV 0.2), se han podido detectar cuatro pautas de consumo generalizables a todos los contextos estudiados. Dos de estas pautas, diferencian el consumo entre hombres (Crítico-Cultural) y mujeres (Social-Conversacional), siendo ellos los que realizan un consumo más cultural e informativo y ellas, más dirigido a entablar conversación con sus amistades. En lo que a las otras dos pautas se refiere, la percepción de un clima conflictivo (consumo Conflictivo-Pasivo) o la de una mediación responsable (consumo Comprometido-Positivo) son algunas de las variables que marcan las diferencias. Además, se han detectado aquellos factores que presentan mayor poder discriminativo en la configuración de estas pautas, siendo la preferencia mostrada hacia los géneros televisivos el factor más discriminante entre los estudiados. Sin embargo, la permanencia, el realismo percibido y el contexto cultural no han resultado ser determinantes.

6

Mothersole, Peter L. "Digital Television." IEE Review 36, no. 11 (1990): 432. http://dx.doi.org/10.1049/ir:19900182.

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7

Anastassiou, D. "Digital television." Proceedings of the IEEE 82, no. 4 (April 1994): 510–19. http://dx.doi.org/10.1109/5.282227.

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8

Hatori, Mitsutoshi, and Takanori Okoshi. "Digital television(end): A prospect of digital television." Journal of the Institute of Television Engineers of Japan 40, no. 3 (1986): 198–203. http://dx.doi.org/10.3169/itej1978.40.198.

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9

García-Matilla, Agustín. "About a television for the education in tuning multimedia." Comunicar 13, no. 25 (October 1, 2005): 33–44. http://dx.doi.org/10.3916/c25-2005-005.

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In 2005, the current socialist government has set out to undertake the greatest update in broadcasting policy since 1956, the moment in which television was born in Spain. This transformation is related to the quick digital reconversion that television has suffered in the latest years. Despite the changes in the law and some reasons to be optimistic about technological development in a recent future the television of the 21st century can not do without being profitable in a social, cultural and educative sense. This is a challenge which many countries have not faced yet and Spain is among these countries. Some models of public television in the world have consolidated proposals of broadcasting contents that make a priority out of the cultural and educative role of television. España inició el siglo XXI con un sistema televisivo sometido a una evidente dispersión legislativa, denunciado por infinidad de instancias por la baja calidad de los contenidos ofrecidos por las diversas ofertas televisivas, una televisión pública exageradamente endeudada y que relegaba los objetivos de servicio público a un papel secundario frente a la utilización partidista de los espacios informativos y un irregular desarrollo de las ofertas de televisión de pago. En 2005, el gobierno socialista ha asumido la mayor actualización legislativa coordinada en materia audiovisual. Han pasado casi 50 años desde el inicio de las emisiones televisivas. Este cambio no afecta sólo al ámbito de la televisión pública sino que además lleva aparejada una transformación global del marco de leyes que contribuirá al desarrollo de la radiotelevisión digital que se impondrá tras el apagón analógico previsto para 2010. Los cambios se ven guiados por la convergencia tecnológica y también por la imperiosa necesidad de atajar ese gran lastre que ha significado tener que pensar hasta hace poco tiempo en una radiotelevisión del pasado. La televisión que ya deberíamos estar viviendo en presente continuo debe concebirse desde las potencialidades que abre la transformación digital y el desarrollo de estrategias multimedia.

10

Hashimoto, Yoshitaka, and Seiichiro Iwase. "Digital Television (5) Structures of Digital Television Sub-Systems." Journal of the Institute of Television Engineers of Japan 39, no. 5 (1985): 457–64. http://dx.doi.org/10.3169/itej1978.39.457.

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11

Millán-Paredes, Tatiana. "New ways to understand the world: from analogic to digital television." Comunicar 11, no. 21 (October 1, 2003): 147–51. http://dx.doi.org/10.3916/c21-2003-23.

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Digital technology has caused a revolution in the television world. The quality of sound and video have been improved and the channels have been multiplied. Television has been transformed into a receiver of many and different services and television has became very similar to the computer and the way it works. After initial euphoria, it has been generally recognised that we need better audiovisual products and the adaptation of traditional products to a digital format. The author thinks that the future of digital television will be succesful, but at present the projects frequently fail and these failures make companies doubt and walk slow. La tecnología digital ha revolucionado el mundo de la televisión, al tiempo que está permitiendo la oferta de otro tipo de productos, multimedia y telefonía, que abren las expectativas de la empresa audiovisual clásica. La televisión deja de ser un aparato de recepción de contenidos audiovisuales para convertirse en un terminal de acceso a múltiples servicios. Sin embargo, la autora señala que faltan productos audiovisuales en cantidad y calidad aceptables, y la adaptación a formatos digitales de los servicios tradicionales. Si a largo plazo el éxito resulta incuestionable, a corto plazo nos encontramos con el fracaso de muchos proyectos y una situación de incertidumbre que impide a muchas empresas entrar en el juego digital.

12

Schaefer, Richard J. "Whither Digital Television?" Journal of Broadcasting & Electronic Media 47, no. 1 (January 2003): 145. http://dx.doi.org/10.1207/s15506878jobem4701_9.

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13

Pilati, Antonio, and Emanuela Poli. "Digital terrestrial television." Modern Italy 6, no. 2 (November 2001): 195–204. http://dx.doi.org/10.1080/13532940120084116.

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Pilati, Antonio, and Emanuela Poli. "Digital terrestrial television." Modern Italy 6, no. 2 (November 2001): 195–204. http://dx.doi.org/10.1017/s1353294400011984.

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SummaryIn Italy, as in much of Europe, the beginning of the new century has brought a crucial period of change to the television system. The change affects technology, strategies and regulation of the medium. This article starts by reconstructing the current situation and the emerging trends at a global level. It then analyses the state of the Italian television industry on the eve of the introduction of digital terrestrial broadcasting, setting out the opportunities and potential developments this opens up.

15

Hashimoto, Hideo, and Hideo Kuroda. "Digital Television (3)." Journal of the Institute of Television Engineers of Japan 39, no. 2 (1985): 178–85. http://dx.doi.org/10.3169/itej1978.39.178.

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16

Bloomfield, Louis A. "Television Goes Digital." Physics Today 52, no. 11 (November 1999): 42–47. http://dx.doi.org/10.1063/1.882883.

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Mejia Noe, Alex Fernando, and Jon Arambarri. "Guía metodológica para la implementación de televisión digital en Bolivia." Project, Design and Management 1, no. 2 (November 18, 2019): 89–110. http://dx.doi.org/10.35992/pdm.v1i2.343.

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The migration to Digital Terrestrial Television or Open Digital Television, with the ISDB-Tb standard, is a transition that involves several changes and heavy investments in the transmission and development of content by television companies and also meansa change for users, since they must also adapt their televisions to have access to the new signal with more audio and video quality. It is necesary to study the regulations, to point out the essential requirements for the different phases of implementation, in joint work with companies and specialized professionals, with international recognized good practices in project management. In Bolivia, Telecommunications Law 164 was amended on August 31, 2017 to provide a conglomerate of resolutions and decrees that promote the digital migration of the different analogue television channels and subsequently a series of provisions were established for operating licensing for 15 more years for each current operator, for free. The channels companies have a new digitalblackout period for the 3 main cities until November 2021 and others with less coverage until November 2025. The guide resulting from this work has already been applied and its contribution to all other channels is expected.

18

Chirumamilla, Padma. "Remaking the set: innovation and obsolescence in television’s digital future." Media, Culture & Society 41, no. 4 (June 8, 2018): 433–48. http://dx.doi.org/10.1177/0163443718781993.

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In this article, I examine how television’s shifting presence in an unfamiliar venue – the repair shop – is illustrative of a broader tension between rhetorics of innovation and obsolescence. Investigating the nature of this tension, I argue, is crucial for understanding how television is changing in India. Through interviews with small-town and rural television repairmen in south India, and an ethnographic study of a small-town television repair shop, I explore how studying the television as a material object with a distinct life outside the walls of the home and the experiences of the individual viewer can open up new veins of analysis for scholars of television, both in India and elsewhere. Furthermore, I argue that the technological instability on display in the repair shop challenges persistent notions of a technologically empowered ‘digital’ future that have been promulgated by state governments in India.

19

Arwidya Tantri Agtusia, Akhmad Sarif, and Ajib Setyo Arifin. "Analysis of Digital Television User Acceptance After Analog Switch-Off (ASO) Implementation in Jabodetabek." Jurnal E-Komtek (Elektro-Komputer-Teknik) 7, no. 1 (June 28, 2023): 39–51. http://dx.doi.org/10.37339/e-komtek.v7i1.1169.

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The government officially stopped broadcasting analog television or what is known as Analog Switch Off (ASO) on November 2, 2022, in Jabodetabek. It impacts analog TV users in Jabodetabek, who can no longer receive television broadcasts on their analog televisions. This research aimed to determine user acceptance of digital television broadcasts after implementing ASO in the Jabodetabek area. In the present study, the experience of digital TV users is evaluated using the UTAUT (Unified Theory of Acceptance and Use of Technology) 2 model and the Structural Equation Model (SEM). The data was obtained from a questionnaire distributed through digital media for the Jabodetabek area. According to data processing, the two factors that significantly influence the user experience of digital television broadcasts are the Analog Switch Off (ASO) policy factor and the habit factor. The hypothesized model suitability test fits the resulting data and can affect the Behavioral Intention 41.4.

20

Klein, Bethany. "Relocating Television: Television in the Digital Context." Information, Communication & Society 15, no. 2 (March 2012): 327–28. http://dx.doi.org/10.1080/1369118x.2011.589909.

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Bais, M., J. Cosmas, C. Dosch, A. Engelsberg, A. Erk, P. S. Hansen, P. Healey, et al. "Customized television: standards compliant advanced digital television." IEEE Transactions on Broadcasting 48, no. 2 (June 2002): 151–58. http://dx.doi.org/10.1109/tbc.2002.1021281.

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Matsumoto, Shuzo. "Digital television. 7; Digital custom IC." Journal of the Institute of Television Engineers of Japan 39, no. 8 (1985): 733–39. http://dx.doi.org/10.3169/itej1978.39.733.

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Ishida, Jun-ichi. "Digital television (8); Digital signal transmission." Journal of the Institute of Television Engineers of Japan 39, no. 9 (1985): 822–31. http://dx.doi.org/10.3169/itej1978.39.822.

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James Bennett. "Television Studies Goes Digital." Cinema Journal 47, no. 3 (2007): 158–65. http://dx.doi.org/10.1353/cj.0.0019.

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Yip, William, and Lowell Kongable. "Advanced Digital Television System." IEEE Transactions on Consumer Electronics CE-32, no. 4 (November 1986): 743–53. http://dx.doi.org/10.1109/tce.1986.290167.

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Kujawinska, Malgorzata, Tomasz Kozacki, Claas Falldorf, Thomas Meeser, Bryan M. Hennelly, Piotr Garbat, Weronika Zaperty, et al. "Multiwavefront digital holographic television." Optics Express 22, no. 3 (January 28, 2014): 2324. http://dx.doi.org/10.1364/oe.22.002324.

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Kleinsteuber, Hans J. "Digital television in Germany." International Journal of Digital Televison 2, no. 1 (January 1, 2011): 87–93. http://dx.doi.org/10.1386/jdtv.2.1.87_7.

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de Bot, Paul G. M., and Flavio Daffara. "Digital terrestrial television broadcasting." Philips Journal of Research 50, no. 1-2 (January 1996): 61–77. http://dx.doi.org/10.1016/0165-5817(96)81301-5.

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Springett, Mark, Mark Rice, and Richard Griffiths. "Towards inclusive digital television." Universal Access in the Information Society 12, no. 1 (November 19, 2011): 1–3. http://dx.doi.org/10.1007/s10209-011-0261-9.

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Yiyan Wu and B. Caron. "Digital television terrestrial broadcasting." IEEE Communications Magazine 32, no. 5 (May 1994): 46–52. http://dx.doi.org/10.1109/35.281578.

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31

Netravali, A., and A. Lippman. "Digital television: a perspective." Proceedings of the IEEE 83, no. 6 (June 1995): 834–42. http://dx.doi.org/10.1109/5.387087.

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Mlynek, D. J., and J. Kowalczuk. "VLSI for digital television." Proceedings of the IEEE 83, no. 7 (July 1995): 1055–70. http://dx.doi.org/10.1109/5.390123.

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Mariani, Dina, and Yanuar Mahfudz Safarudin. "Rancang Bangun Antena Mikrostrip dengan Metamaterial CSRR untuk Penerima TV Digital." Jurnal Sustainable: Jurnal Hasil Penelitian dan Industri Terapan 7, no. 1 (August 7, 2018): 7–12. http://dx.doi.org/10.31629/sustainable.v7i1.438.

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Digital television technology has more benefit than analog television, for example several TV channel may included in one frequency channel. The changing from analog to digital televisions system require more innovative antenna parameter such as working frequency, bandwidth, return loss, VSWR, and gain. In other hand, the size of the antenna must be minimalized, so it can be integrated inside digital television. This research used metamaterial element of Complementary Split Ring Resonator (CSSR) method with negative permittivity that manufactured in the patch and Double Pole Ground Plane in the ground side. The antenna ad 478-694 operating frequency. Antenna design and simulation using CST (Computer Simulation Technology) Microwave Studio 2012. The result show that return-loss value < -10 dB, and VSWR = 2 at 478-625 MHz range of frequency. Te value of gain is 3.27 dBi, it has 147 MHz bandwidth, and omnidirectional radiation pattern.

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Nurfitria, Syintia, Muhamad Yusuf, and Ican Mandala. "MIGRASI MEDIA TELEVISI MAINSTREAM KE DIGITAL." KOMUNIKASIA: Journal of Islamic Communication and Broadcasting 2, no. 1 (July 28, 2022): 37–54. http://dx.doi.org/10.32923/kpi.v2i1.2489.

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Digital era has influenced most local television to retreat in media and also factors such as human resources and production financing are thing that hinder growth of local television in entering digital system. However, since the issuance of Law no. 32 of 2002 about Broadcasting, ownership of local television station in Indonesia is increasing. This law can be a rule as well as a protector for diversity of content and ownership of local television station in maintaining their existence. Local television existences have an important role in changing function of mainstream media, especially in raising local issues. The presence of local television expected to display regional culture, local event, or region identity, as well as live of surrounding public. Thus, local television can represent overall local cultural identity based on local wisdom while still existing with digital.

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Pinto, Manuel. "The search for communication in a multi-screen society: an ecology point of view." Comunicar 13, no. 25 (October 1, 2005): 259–64. http://dx.doi.org/10.3916/c25-2005-036.

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This paper presents new aspects to think about public service broadcasting, emphasizing the role of emotion and entertainment to the understanding of the television experience. Television is discussed in the context of the «multi-screen society» and technological devices, from an ecological point of view. Finally, several aspects dealing with digital literacy are discussed. Este texto reflexiona sobre una nueva forma de concebir la televisión como servicio público, resaltando las dificultades y problemas que plantea analizar el concepto de la calidad de la televisión, si no se tiene en cuenta la dimensión emotiva y de entretenimiento del medio. Posteriormente, el autor pretende ubicar la televisión en el contexto de la multiplicidad de otras pantallas y tecnologías, subrayando las cuestiones del sentido y de la calidad de vida, desde un modelo ecológico. Finalmente, se apuntan algunas contribuciones para profundizar el concepto y las experiencias de alfabetización digital.

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Kai Khiun, Liew, Trisha Tsui-Chuan Lin, and Theng Yin Leng. "Skeuomorphic Domestic Television’s Analog Divide: Television and Social Stratification in Singapore." Television & New Media 21, no. 7 (February 26, 2019): 730–48. http://dx.doi.org/10.1177/1527476419826514.

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Through the ethnographic survey of the ownership, use, and display of television-related devices of forty households in Singapore, this article frames the concept of Skeuomorphic Domestic Television. This term describes the continued centrality of the traditional “living room television” amid digital media’s portability. Results from the stocktaking of the ownership of television-related devices in the surveyed households point to the narrowing of the digital divide arising from the greater affordability of media technologies. However, within the highly densely populated city-state, it was found that social distinctions from television cultures were maintained in the skeuomorphic luxury of the “TV-Sofa space” in living rooms of surveyed households. Such a space that distinguishes individuals watching television in cluttered rooms against the more communal viewing practices in designated spacious living rooms characterizes the “Analog Spatial Divide” of skeuomorphic domestic television cultures.

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Frandsen, Kirsten. "Tour de France in a digital television paradigm." MedieKultur: Journal of media and communication research 39, no. 75 (December 19, 2023): 032–52. http://dx.doi.org/10.7146/mk.v39i75.138616.

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This article analyses sports events as mega-events with global appeal and increasing socio-economic and cultural significance, and as genres which have now become important in the television industry’s transformation from broadcast to online streaming. It presents findings from a qualitative production analysis of how the Tour de France 2022 was shaped in a twofold strategic context. Genre specific aspects of the media event in the ongoing transformation of the television industry and wider strategic interests behind the hosting and organization of the start of the race in Denmark 2022 are discussed and their intertwinements are described. Based on interviews, documents, observations, screenshots and select broadcasts, the article presents a thematic analysis of how the event in Denmark was shaped in a shared concern for television’s ability to provide exposure of the race and the Danish context and public service broadcaster TV 2’s particular strategic branding interests in the event.

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Murakami, Hitomi. "Digital television. (9) High efficiency coding of television signals." Journal of the Institute of Television Engineers of Japan 39, no. 11 (1985): 1110–17. http://dx.doi.org/10.3169/itej1978.39.1110.

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Hagedoorn, Berber. "Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 71–94. http://dx.doi.org/10.1515/ausfm-2017-0004.

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Abstract Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.

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Vasanth, G. "Impact of Digital Television on Audience Especially Children." Journal of Advanced Research in Journalism & Mass Communication 05, no. 04 (October 31, 2018): 116–22. http://dx.doi.org/10.24321/2395.3810.201828.

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Ahmed, Humara, and Khawaja Farouk Mazhar. "Role of digital marketing strategies in success of small businesses in Pakistan." Journal of Economic Info 10, no. 4 (February 1, 2024): 1–6. http://dx.doi.org/10.31580/04qweb11.

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This paper attempts to examine the effect that digital marketing has on small businesses in Pakistan. The current impact and use of digital marketing by small business enterprises will be examined. Digital marketing is the promotion of businesses and their products using digital channels such as the internet, television, and text to potential customers. This may also include social media, advertisements on televisions, emails, web advertising and other multimedia channels. It is defined as achieving marketing objectives through applying digital technologies.

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Clarke, C., M. MacCormack, J. Mitchell, P. Moss, and J. Zubrzycki. "A Wireless Digital Television Camera." SMPTE Journal 110, no. 6 (June 2001): 365–71. http://dx.doi.org/10.5594/j11604.

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Sakurai, M. "Digital Television Receiver for ISDB." Proceedings of the IEEE 94, no. 1 (January 2006): 323–26. http://dx.doi.org/10.1109/jproc.2005.859710.

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Richer, M. S., G. Reitmeier, T. Gurley, G. A. Jones, J. Whitaker, and R. Rast. "The ATSC Digital Television System." Proceedings of the IEEE 94, no. 1 (January 2006): 37–43. http://dx.doi.org/10.1109/jproc.2005.861714.

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Strachan, David, Randy Conrod, and Michel Proulx. "An Introduction to Digital Television." SMPTE Journal 104, no. 3 (March 1995): 118–19. http://dx.doi.org/10.5594/j09629.

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Beyers, B. W. "Digital television: opportunities for change." IEEE Transactions on Consumer Electronics 38, no. 1 (1992): xiii—xxiv. http://dx.doi.org/10.1109/30.125070.

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Lim, Jae S. "Digital Television: Here at Last." Scientific American 278, no. 5 (May 1998): 78–83. http://dx.doi.org/10.1038/scientificamerican0598-78.

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Sedacca, B. "Going digital [terrestrial television infrastructure]." Engineering & Technology 1, no. 7 (October 1, 2006): 32–35. http://dx.doi.org/10.1049/et:20060702.

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Gleave, M. M. "Clearing the picture digital television." IEE Review 39, no. 6 (1993): 253. http://dx.doi.org/10.1049/ir:19930109.

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Nakamura, Masataka. "1. Digital Cable Television System." Journal of The Institute of Image Information and Television Engineers 65, no. 1 (2011): 8–14. http://dx.doi.org/10.3169/itej.65.8.

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Journal articles on the topic 'Digital television'

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