Dissertations / Theses on the topic 'Independent Television'

This project has been undertaken with the intention of discussing two closely related themes, the first of which is to provide a general history of ITV's performance in the Midlands in the twentieth century, in which the most significant events to have occurred during this period have been analysed, and various assessments on these events have emerged as a result. The second, and most important, of these themes, concerns the concept of `regional identity', leading to the question of the extent to which the companies that have represented TTV in the Midlands since the mid-1950s (ATV, ABC, Central, and Carlton) have attempted to create or reflect feelings of regionalism in general, and regional identity in particular, through their programmes and other activities. The information included in this study has come from a variety of sources, including reports and other relevant material from the companies themselves, and from the various broadcasting authorities, whose responsibility has been to administer the work of the companies. In addition, this project contains extracts from a series of interviews with some of the most important people connected with ITV in the Midlands, including presenters, producers, and senior executives from the various companies, and other interested parties, including representatives from the broadcasting authorities. This study concludes with an examination of Carlton's record in the Midlands following its takeover of Central in 1994, and considers the future prospects for ITV in the Midlands under Carlton or any other company that assumes control of the broadcasting licence for the commercial channel in this region.

Thesis (M.S.)--Kutztown University of Pennsylvania, 1997.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2717. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 76-80).

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-02-28T18:40:12Z No. of bitstreams: 1 karlaholanda.pdf: 1359067 bytes, checksum: 03ec36b10e230b60a7f55392cb4cd834 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-03-01T16:01:17Z (GMT) No. of bitstreams: 1 karlaholanda.pdf: 1359067 bytes, checksum: 03ec36b10e230b60a7f55392cb4cd834 (MD5)<br>Made available in DSpace on 2018-03-01T16:01:17Z (GMT). No. of bitstreams: 1 karlaholanda.pdf: 1359067 bytes, checksum: 03ec36b10e230b60a7f55392cb4cd834 (MD5) Previous issue date: 2013-01-24<br>PROQUALI (UFJF)<br>Estudo da produção independente de documentários na televisão brasileira a partir do Programa DocTV, projeto criado e executado desde 2003 pela Secretaria do Audiovisual - órgão subordinado ao Ministério da Cultura. Os documentários do DocTV são produzidos em cada estado e exibidos em rede nacional através das emissoras públicas. Esse caráter regional da produção e da exibição é raro na história da relação entre televisão e produção independente no Brasil e torna-se oportunidade singular para se analisar o efeito que a descentralização pode provocar na produção audiovisual do país, no que se refere às categorias temáticas e às características estilísticas dos documentários produzidos em cada estado. Ao detalhar o funcionamento do DocTV - suas ações, metas e resultados -, verifica-se o papel ainda pouco definido da TV pública no Brasil e a vulnerabilidade de programas instituídos na esfera pública, que se tornam sujeitos a interrupções por governos que se sucedem. O estudo traça ainda um painel comparativo da relação entre produção independente e televisão em outros países e no Brasil.<br>A study of independently produced documentaries on Brazilian television, analyzing the DocTV Program, a project created and carried out since 2003 by the Audiovisual Secretariat - subordinate organ of the Brazilian Ministry of Culture. Documentaries on DocTV are produced in each state and exhibited on the national network by way of public stations. This regional character in their production and exhibition is rare in the history of relationship between television and independent production in Brazil, and thus presents a unique opportunity to analyze the effect that decentralization can incite within the country’s audiovisual production, in regard to the thematic categories and stylistic characteristics of the documentaries produced in each state. In detailing the operations of DocTV - their actions, goals and results - the role of public television in Brazil, and the vulnerability of programs instituted in the public sphere, are still poorly defined, as they become subject to disruption by successive governments. This study outlines a panel comparing the relationship between independent production and television in foreign countries and in Brazil.

This thesis looks at independent film and video cultures in Britain from the mid 1970s to late 1980s. It examines a period of time in which diverse radical film- and video-makers in Britain contributed towards struggles against capitalism, patriarchy, racism, colonialism and homophobia. New social models of film and video production and exhibition were developed, such as the film collective, and new alliances were built to campaign for changes to social policy and legislature. The study examines this moment in order to clarify the capacity for radical discourse to bring groups together and impact on dominant cultural forms such as television. The thesis explores the interrelation between public debate, institutions and individuals. It uses public sphere theories to examine alternative reading publics, and media such as film, video and television. It argues that independent film and video in Britain at this time, including activist documentary, currents of counter-cinema and avant-garde film, was largely concerned with creating and circulating counterpublic discourses. These counterpublic discourses consolidated and expanded oppositional groups, and set out to change aspects of society as a whole. The thesis gives an account of the diversity of the influences on independent film and video, from socialist and liberation movements, to popular radical histories and psychoanalytic and Marxist film theory. Attention is given to the Independent Filmmakers’ Association as an agent of change between filmmakers and state, notably in terms of national film and broadcasting policy. There is a case study of Marc Karlin’s television film For Memory (1986), which looks at the fate of socialist memory under televisual regimes; and a case study of Stuart Marshall’s Bright Eyes (1984), which looks at issues of sexuality, identity and counter-history during the AIDS crisis. The thesis argues that during this period, independent film- and videomakers helped to transform television into a vital site of counterpublic discourse.

This thesis aims to contribute to the growing field of media production studies through an ethnographic study of independent television production companies in Great Britain and Germany. Discourses of self-enterprise, free markets and consumer choice supported by technological developments, audience fragmentation and neoliberal legislation have led to a shift from a formerly predominantly public-service orientated broadcasting environment to a commercialised, competitive and consumer-orientated television industry. Because they seldom command high ratings, 'serious' documentaries are not a high priority for broadcasters compared to other programme genres, and a formerly protectionist attitude toward documentary is being eroded alongside public service broadcasting values. The thesis examines the impact of these developments on independent companies involved in documentary production. It inquires into the ways in which the new commercial production structures affect the work of independent documentary makers and asks to what extent they constrain or enable individual creativity in the development of original documentary programming. Combining participant observation with practitioner interviews, the study analyses the complex ways in which television workers adapt to creativity-commerce tensions. It describes how commercial imperatives cause independents to act as service-providers for broadcasters and to conform to predetermined programme preferences. The empirical results show that a sense of professional identity alongside occupational values and genre traditions play a particularly important role in this context. They disguise commercial conformity and prevent or dissolve creativity-commerce tensions. At the same time, they form the basis for an understanding of programme quality that is independent from and potentially in conflict with economic objectives. Consequently, television workers both accept their commercial supplier role and the creative constraints it entails, and are also critically reflexive about the production culture and their own role within it. The thesis will discuss the interplay of these competing values and address the consequences they have for the developed programmes and the documentary genre in general.

This study is an account of how the interplay between socio-political concerns and economic objectives shaped programme supply make/buy decisions for establishing UK commercial television and the ongoing programme supply arrangements of its main terrestrial operator ITV (Independent Television). A main interest is to build a credible explanation of why make/buy decisions for programmes shown on ITV diverged from initial expectations that they would be determined on a competitive basis. The enquiry examines the underlying reasons that affected these decisions to show how socio-political fear of the potential impact commercial television might have on UK society impinged on the outcomes that prevailed and how changes occurred as this fear diminished. To achieve this aim, the investigation first focuses on the make/buy conditions impinging on decisions that led to the start up phase of UK commercial television. It is followed by a detailed examination of how programme supply make/buy arrangements for ITV evolved in the initial (1954 - 1964) and later (1990 - 2001) contract periods. These two contract periods are focused on as distinctive points of reference for guiding and containing the research within practical boundaries. The first represents a time when programme supply make/buy options were first established and the second when these options were substantively modified. An historical case study approach is applied, drawing upon state archives, interviews and programme supply statistics to explain the outcomes that prevailed.

The study concerns the inter-relationship between media reform and civil society in Thailand between 1995-2000. It examines case studies of two selected television organisations - the production company Watchdog and the broadcast channel Independent Television (iTV) - and analyses their internal production decision-making processes, their public affairs programs and their urban and rural audiences. Debates about civil society and media reform between 1995-2000 influenced the government's media regulation policies to the extent that more attention was paid to media freedom as intended by Articles 39, 40 and 41 in the 1997 Constitution. Non-governmental Organisations (NGOs) took an important role in monitoring government policies on media reform under the Constitution and issues about media re-regulation and ownership were canvassed, although the drawn out National Broadcasting Commission (NBC) selecting process delayed media reform. The transparency of the selection process of the NBC has been widely debated among NGOs, media scholars and media professionals. Most Thai public affairs programs in the period were shown on iTV, Channel 9 and Channel 11 and were in the minority compared with entertainment. Thai television stations normally screened entertainment programs to make profits, while they usually would not allow producers to air open debates critical of the government. Also, public affairs programs that were screened often were given inappropriate airtimes. Watchdog and iTV treated public affairs programs in different ways. Watchdog, originating from an NCO, the Creative Media Foundation, emphasized public participation in local community-oriented programs - such as Chirmsak Pinthong's Lan Ban Lan Muang - which exemplified civic journalism on television. In contrast, iTV was created in 1996 to meet the promise made in 1992 after Black May that a non-state commercial channel would be introduced. It was organised by journalists from the Nation Multimedia Company and focused on current national news issues which seldom allowed public participation. Both organisations attempted to maintain their professionalism despite political and business pressures. Chirmsak and Watchdog were accused of bias favoring the Democrat Party and often encountered program censorship. ITV staff, especially in the news department led by Suthichai Yoon and Thepchai Yong, unsuccessful fought. Shin Corps 2000-2001 takeover of the station that had been brought on by the financial problems of iTV and the Siam Commercial Bank after the economic crisis of 1997. There were three main concepts of civil society in the period 1997-2000 - Communitarianism, Self-sufficiency and Good Governance. These ideas were advanced by reformers such as Dr. Prawase Wasi and Thirayut Boonme, and were reinforced by His Majesty King Bhumibol's December 1997 Birthday Speech that endorsed the ideal of national self-sufficiency. Thai civil society debates often were involved with rural people, while the 8th National Development Plan and the Chuan government's policy on decentralisation aimed to strengthen the rural sector as an antidote to the 1997 crisis. However, the aims of civil society reformers were at times too idealistic and were viewed with skepticism by some middle class urban critics. The continuing influence of electoral corruption in rural areas also obstructed civil society ideals, while decentralisation and community development still maintained a top-down way of development and depended on government support. These difficulties in implementing pro-civil society reforms in the political process were paralleled by difficulties in developing public interest programs on Thai television. Current affairs and investigative journalism programs, such as iTV Talk, Tod Rahad and Krong Satanakarn, did not often open public discussion on the programs. Rather, the regular format of panel discussions, consisting of elites and some celebrities, tended to focus on national topics rather than local issues. The hosts of many of these public affairs programs depended on their own celebrities status and tended to invite well-known guests, whereas community-oriented programs such as Lan Ban Lan Muang and Tid Ban Tang Muang promoted civic journalism and deliberative democracy more effectively. The latter programs allowed the public to participate in the programs as the main actors and even proposed their own agendas. However, a limited study of three audience focus groups - an expert urban group, a young middle class urban group, and a rural group - found considerable scepticism about the possibility of developing public interest awareness via television programs. The expert and young middle class groups criticised both the hosts and the style of a selection of current affairs programs, which they thought were too serious and also biased. Some also considered that current affairs programs were a platform for the people in power rather than providing a space for the public. Therefore, they rarely watched them. In contrast, the rural group who participated in Lan Ban Lan Muang, believed that the program was useful for development communication. The audience gained information about other communities and used the media as the means to publicise their own community. However, they rarely watched it because the airtime of the program was the same as a popular entertainment program on Channel 3. The researcher used qualitative research methods to collect data, including indepth interviews, focus groups, participant observation, program recording and document analysis. Theoretically, the study has attempted to combine the approaches of western and Thai scholars. The main approach used to explain the relationship between the media and civil society is media and public sphere theory, as introduced by Habermas, and combined with the perspectives on media re-regulation of the Thai scholar Ubonrat Siriyusak. In terms of analysing Watchdog and iTV, the researcher used political economy perspectives to understand decision-making in both organisations. In addition, an organisational culture approach was used to explore conflicts of interest that arose in both organisations due to their different sub-cultures. Civic journalism, framing theory and development communication theory were further employed to examine the television programs and their roles in promoting the public interest and development projects, while the audience groups were considered in the context of participatory communication theory and reception theory.

This thesis explores the problem of compatibility between generations in the field of Digital Television, and proposes solutions to this problem. Since its inception, the DTV has been under development without taking into account the ability to continue receiving broadcasts with legacy equipment when a new generation is introduced. Therefore, when it comes time to introduce a new technology, a simulcast solution is usually used. The study carried out in this thesis explains the reasons why a traditional simulcast is a problem. As a concrete study example, the case of the transition from SD MPEG-2 to HD H.264 broadcasts according to the DVB-T standard is analyzed. And how this problem unnecessarily extends the transition periods between generations. In this way it postulates that one way to promote the development of new generations of Digital Television is precisely to shorten transition times. In order to facilitate the transition to a new generation, different technical solutions have been studied and developed that provide a certain degree of compatibility between generations. The results obtained conclude that it is not only feasible, but also desirable, to incorporate inter-generational compatibility solutions in Digital Television standards. Using the techniques described here, and others listed as future work, it would be possible for new standards and generations to incorporate this necessary capability.<br>Esta tesis explora el problema de la compatibilidad entre generaciones en el área de la Televisión Digital, y propone soluciones a ese problema. Desde su inicio, la TVD se ha ido desarrollando sin tener en cuenta la capacidad de seguir recibiendo emisiones con equipos antiguos cuando se introduce una nueva generación. Por lo tanto, cuando llega el momento de introducir una nueva tecnología, se suele utilizar una solución de emisión simultánea o simulcast. El estudio realizado en esta tesis explica las razones por las que un simulcast tradicional es un problema. Como ejemplo de estudio específico, se analiza el caso de la transición desde emisiones SD MPEG-2 a HD H.264 utilizando el estándar DVB-T. Y cómo esta dificultad alarga innecesariamente los períodos de transición entre generaciones. En esta línea se postula que una forma de promover la implantación de nuevas generaciones de Televisión Digital es precisamente acortando los tiempos de transición. Para facilitar la transición a una nueva generación, se han estudiado y desarrollado diferentes soluciones técnicas que proporcionan un cierto grado de compatibilidad entre generaciones. Los resultados obtenidos concluyen que no sólo es factible, sino también deseable, incorporar soluciones de compatibilidad intergeneracional en los estándares de Televisión Digital. Utilizando las técnicas aquí descritas, y otras enumeradas como trabajos futuros, sería posible que los nuevos estándares y generaciones incorporaren esta característica necesaria.

Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-03-21Bitstream added on 2014-06-13T18:20:12Z : No. of bitstreams: 1 barbosa_fs_me_bauru.pdf: 1245825 bytes, checksum: 02ea0e4125077a39a77a4ce6e8e8fb9d (MD5)<br>Através da contextualização histórica dos meios de comunicação - cinema, televisão e internet - a serialidade é apontada como uma estratégia usual na produção de diversos conteúdos audiovisuais e evidencia-se que a construção da linguagem e formato das webséries independentes intituladas #E_VC? e Armadilha, produzidas pela empresa 8KA Produções Audiovisuais Ltda, tem como referenciais os conteúdos produzidos pelas citadas plataformas, acrescentando-se novos elementos próprios das mídias digitais. As etapas de produção, desde a ideia inicial (argumento), pré e pós produção, finalização e estratégias de lançamento e veiculação no Youtube são estudadas através da ferramenta Analysis, que, disponibilizada pelo portal de compartilhamento de vídeos, possibilita a análise do desempenho, o nível de atenção, as plataformas e dispositivos mais utilizados por arte dos espectadores, contribuindo com dados eficientes que direcionam a produção de novos conteúdos. As perspectivas multiplataforma com a elaboração de narrativas seriadas (websódios), que interrelacionam o ambiente web com os conteúdos televisionados, são apontadas como tendências e a convergência das mídias, sobretudo com a utilização de novos dispositivos tecnológicos (recursos de 2ª tela, por exemplo), discute as possíveis formas de consumo dos referidos produtos audiovisuais, interferências sobre modelos de negócios e as possibilidades de integração da internet à televisão digital no Brasil<br>The context of media - cinema, television and internet - are presented as a contribuing factor to the composition of both language and audiovisual format used in the making of two independent webseries: #E VC? and Aramadilha, produced by 8KA Produções Audiovisuais Ltda. It intends to discuss the stages of production, from the initial idea (argument), pre and post production, completion, launch strategies and placement on Youtube. Through Youtube's Analytics, a tool provided by the video sharing platform, it is possible to analyze performance, level of attention, and which platforms and devices are the most used by spectators, etc. These infomation are an efficient contribution, giving directions for the production of new content. It also highlights the prospects for multiplalform production with the development of serial narratives (websodes) that interrelate the web environment with the televised content. With the convergence of media and, especially, with the use of new technology devices (second screen resources, for exemple), it also intends to discuss the possible ways in which the audiovisual products above mentioned are consumed, its inferences about business models and the possibility of integration between the internet and Brazilian's digital television

Orientador: Ana Silvia Lopes Davi Médola<br>Banca: Vania Cristina P. N. Valente<br>Banca: Wilton Garcia Sobrinho<br>Resumo: Através da contextualização histórica dos meios de comunicação - cinema, televisão e internet - a serialidade é apontada como uma estratégia usual na produção de diversos conteúdos audiovisuais e evidencia-se que a construção da linguagem e formato das webséries independentes intituladas #E_VC? e Armadilha, produzidas pela empresa 8KA Produções Audiovisuais Ltda, tem como referenciais os conteúdos produzidos pelas citadas plataformas, acrescentando-se novos elementos próprios das mídias digitais. As etapas de produção, desde a ideia inicial (argumento), pré e pós produção, finalização e estratégias de lançamento e veiculação no Youtube são estudadas através da ferramenta Analysis, que, disponibilizada pelo portal de compartilhamento de vídeos, possibilita a análise do desempenho, o nível de atenção, as plataformas e dispositivos mais utilizados por arte dos espectadores, contribuindo com dados eficientes que direcionam a produção de novos conteúdos. As perspectivas multiplataforma com a elaboração de narrativas seriadas (websódios), que interrelacionam o ambiente web com os conteúdos televisionados, são apontadas como tendências e a convergência das mídias, sobretudo com a utilização de novos dispositivos tecnológicos (recursos de 2ª tela, por exemplo), discute as possíveis formas de consumo dos referidos produtos audiovisuais, interferências sobre modelos de negócios e as possibilidades de integração da internet à televisão digital no Brasil<br>Abstract: The context of media - cinema, television and internet - are presented as a contribuing factor to the composition of both language and audiovisual format used in the making of two independent webseries: #E VC? and Aramadilha, produced by 8KA Produções Audiovisuais Ltda. It intends to discuss the stages of production, from the initial idea (argument), pre and post production, completion, launch strategies and placement on Youtube. Through Youtube's Analytics, a tool provided by the video sharing platform, it is possible to analyze performance, level of attention, and which platforms and devices are the most used by spectators, etc. These infomation are an efficient contribution, giving directions for the production of new content. It also highlights the prospects for multiplalform production with the development of serial narratives (websodes) that interrelate the web environment with the televised content. With the convergence of media and, especially, with the use of new technology devices (second screen resources, for exemple), it also intends to discuss the possible ways in which the audiovisual products above mentioned are consumed, its inferences about business models and the possibility of integration between the internet and Brazilian's digital television<br>Mestre

Memoria para optar al título de periodista<br>¿Cómo se dan los acuerdos entre las cadenas y estas empresas externas? ¿Son esas condiciones las que han perjudicado históricamente a este sector audiovisual, a tal punto de amenazar su existencia? ¿Habrá otros factores que incidan en la inestabilidad de la industria? ¿Por qué es importante que este sector audiovisual pueda sostenerse? ¿Es realmente un sector que aporta a la televisión chilena? Con estas interrogantes como premisa, esta memoria busca explorar una respuesta a la precarización en la que han caído históricamente las productoras independientes en su trabajo para la televisión en el medio local.

Orientador: Maria Teresa Miceli Kerbauy<br>Banca: Carlo José Napolitano<br>Banca: Ruy Sardinha Lopes<br>Resumo: Esta pesquisa tem como objetivo a avaliação de eficiência da Lei do Serviço de Acesso Condicionado (Lei da TV paga - Lei 12.485/11) a partir dos indicadores: promoção da diversidade cultural, estímulo à produção independente e à produção regional. Para tal fim, a pesquisa apresenta um breve histórico da implantação do serviço de TV paga no Brasil com ênfase para a evolução das regulações direcionadas ao conteúdo. Descreve, com base no modelo do Ciclo de Políticas Públicas, o estágio de implementação da Lei 12.485/11 e o texto final da mesma. Para subsidiar a avaliação, o conceito de cultura nacional é discutido, desvelando as concepções de culturas híbridas (CANCLINI, 2008) e identidades emergentes (BHABHA, 1998) e o papel destes dentro do ambiente cultural globalizado. A presente investigação permite compreender a maneira como se deu a introdução das diretrizes voltadas ao conteúdo na regulação do setor e a forma como estas influenciaram o mercado de produção audiovisual para a TV paga no Brasil.<br>Abstract: This research aims to evaluate the efficiency of the Conditional Access Service Law (Pay TV - Law - Law 12.485/11) from indicators promoting cultural diversity, fostering of indepentend productions and regional production. For this purpose, the research presents a brief history of pay TV service deployment in Brazil with emphasis on the develpment of regulations directed to the content. It describes, based on the model of the Public Policy Cycle, the implementation stage of Law 12,485/11 and the final text of the same. To support the evaluation, the concept of national culture is discussed, revealing the concepts of hybrid cultures (CANCLINI, 2008). This research allows us to understand the way how was the introduction of guidelines geared to the content in the sector regulation and how they influenced the audiovisual production market for pay TV in Brazil<br>Mestre

Dissertação (mestrado)—Universidade de Brasília, Centro de Ciências Humanas e Sociais, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2011.<br>Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-11-11T11:19:43Z No. of bitstreams: 1 2011_CarlaGomideSantanaCamargos.pdf: 1566716 bytes, checksum: f2f6a9b6b8715b35a2c82935cf48da88 (MD5)<br>Approved for entry into archive by Mariana Guedes(mari_biblio@hotmail.com) on 2011-12-13T13:17:10Z (GMT) No. of bitstreams: 1 2011_CarlaGomideSantanaCamargos.pdf: 1566716 bytes, checksum: f2f6a9b6b8715b35a2c82935cf48da88 (MD5)<br>Made available in DSpace on 2011-12-13T13:17:10Z (GMT). No. of bitstreams: 1 2011_CarlaGomideSantanaCamargos.pdf: 1566716 bytes, checksum: f2f6a9b6b8715b35a2c82935cf48da88 (MD5)<br>Essa dissertação apresenta uma análise das disputas empreendidas pela corporação audiovisual no ambiente legislativo, entre 1999 e 2010 em torno da adoção de medidas legais que contemplem a exibição da produção audiovisual nacional independente pela televisão. A partir do início do século XXI, o relacionamento com a televisão passou a ocupar um lugar de destaque entre as ações a serem implantadas com o objetivo de atingir a industrialização, na visão do campo audiovisual. Nesse momento, tanto a TV aberta, quanto a TV paga já estavam assentadas em sólidos modelos de negócios. Inspirados pelo art. 221 da Constituição Federal, os produtores pressionam o Estado no sentido de intermediar a negociação com a televisão, que rejeita a regulamentação do setor. As disputas pela instituição da cota de tela foram travadas especialmente no processo de criação da Agência Nacional do Cinema, na tentativa de sua transformação em Agência Nacional do Cinema e do Audiovisual e a partir da convergência tecnológica que promoveu uma aproximação entre televisão e telecomunicações e forçou o estabelecimento de um novo arcabouço legal para a televisão por assinatura. Nessa conjuntura, o audiovisual nacional independente viu uma oportunidade de inserção. Além da proteção do Estado, sua estratégia incluiu a composição com outros grupos de pressão. Por meio das audiências públicas ocorridas na Câmara dos Deputados e no Senado Federal e da documentação oficial, esse trabalho aborda a construção de uma nova concepção de política audiovisual e das novas configurações e jogos de poder que se instauraram no setor. ______________________________________________________________________________ ABSTRACT<br>This dissertation presents an analysis of the shape of the audiovisualindustry speech in the congress between 1999 and 2010 about the adoption of legal actions related to the independent national audiovisual production and television. Since the beginning of the XXI century, the relationship with television has been in the centre of actions to be implemented with an aim to achieve audiovisualindustrialization. At this moment, both free-to-air TV and pay-TV have solid business models. Inspired by article 221 of the Brazilian Federal Constitution, producers have been pressing the Government to intermediate discussions with the television industry, which rejects any regulation of the sector. Disputes on the implementation of quota were held especially when the National Cinema Agency was being created, with an attempt to transform it in a National Cinema and Audiovisual Agency, and from the technologic convergence that brought together television and telecommunications and forced the establishment of a new legal framework for pay-TV. In this conjuncture, the national independent audiovisual saw an opportunity to insert in this market. Apart from being protected by the Government, their strategy included alliances with other important groups capable of pressure. Through public hearings taken place in the Chamber of Deputies and the Federal Senate, and also official documents, this dissertation deals with the construction of a new conception for an audiovisual policy and with the new configuration of the audiovisual sector.

Thesis (M.S.)--Kutztown University of Pennsylvania, 1999.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2704. Typescript. Abstract precedes thesis as preliminary leaves. Includes bibliographical references (leaves 34-35).

Orientador: Nelly de Camargo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-20T18:14:05Z (GMT). No. of bitstreams: 1 Rogatto_MarcosErnesto_M.pdf: 15550636 bytes, checksum: d523d95883d9c3acb3269e7f6ba27964 (MD5) Previous issue date: 1995<br>Resumo: A presente dissertação de mestrado analisa as perspectivas para a produção independente de vídeo no Brasil frente ao quadro de mudanças que se configura nas telecomunicações. Através de elementos da Teoria dos Sistemas aborda-se o perfil da televisão brasileira, o percur,so dos produtores independentes, a relação que ambos mantém entre si e com as políticas de comunicação. o primeiro capítulo trata do surgimento e do desenvolvimento da televisão brasileira, em especial do vertiginoso crescimento da TV Globo e da configuração das redes nacionais. No mesmo capítulo aborda-se o aparecimento dos primeiros realizadores independentes e o pioneirismo que deu início à ploriferação do número de produtoras de vídeo. As diferentes formas de atuação das produtoras, já configuradas como empresas organizadas, estão presentes no capítulo dois, no qual analisa-se as opções de atuação e sobrevivência no mercado e as condições de produção em cada segmento. No capítulo seguinte é feito um levantamento histórico da legislação que modela as concessões dos meios eletrônicos de comunicação no País, a influência das políticas de comunicação na formatação da grade de programação e a relação entre tecnologia e possibilidades estéticas do suporte vídeo. Também são analisadas as rápidas mudanças no atual momento das telecomunicações brasileiras, com o surgimento dos novos canais, transmitidos através de cabos, antenas e satélites. A experiência no desenvolvimento das emissoras estrangeiras, bem como as legislações que regem as TVs de vários países estão presentes no capítulo quatro. A segmentação, as iniciativas de utilização social dos meios e a participação da produção independente nestes locais também são questões analisadas neste capítulo. As dez edições, até hoje existentes do Festival VideoBrasil, são resgatadas no capítulo seguinte. Através da descrição dos realizadores, da sinopse dos trabalhos, dos eventos paralelos e das condições de produção dos videos premiados, têm-se um panorama do Festival que pode ser considerado o mais significativo no recorte da produção independente voltada para a renovação das formas de expressão presentes no vídeo. Através desta dissertação espera-se não só resgatar elementos que mantém íntimas relações, em um processo dinâmico de transformação, como também apontar caminhos para que a produção independente de vídeo tenha segmentos mais amplos de atuação e contribua com novos formatos na programação das emissoras brasileiras de televisão<br>Abstract: This work covers the independent video production in Brazil; where its relationship and its conflicts are analyzed through the history of the producers and the history of television in the country. The work presents an analysis of Brazilian telecommunications legislation and foreign experience in the sector along with the corresponding implications for independent video production. New technologies are also covered in order to show how they are being used to provide new channels and to transform this electronical1ybased format. AIso, in this study we can see how video resources are being used by their independent producers, and the paths by which they are gaining greater transmission space. Through a sample of the award winning videos, taken from ten editions of the 'Video-Brazil Festival' (Brazil's most important video festival), there is a view of the events, the participating producers, the job summary, and production conditions. Through this work, we hope to present a broad view of the ways in which independent video makes an impact, and, even suggest ways for this production system to occupy a more important role contributing to the diversification of programs for TV broadcasting stations<br>Mestrado<br>Mestre em Multimeios

A massificação da Internet trouxe inúmeras possibilidades. Comunicar à distância nunca foi tão simples e rápido como agora. Todos os dias surgem novas aplicações que respondem à necessidade que o ser humano tem em se relacionar com os outros e com o mundo. O jornalismo é, hoje em dia, impensável sem a Internet. Este trabalho tenta explicar como é que um canal de televisão, mais concretamente a TVI, utiliza este novo meio para divulgar informação. A página de informação da TVI não é, por enquanto, uma nova forma de assistir televisão, mas oferece a possibilidade de o utilizador interagir em tempo real com a programação, através de comentários ou pelo envio de conteúdos multimédia. O site é sobretudo um veículo de transmissão de informação e entretenimento, que pretende criar uma relação de proximidade com telespectador e ao mesmo tempo chegar a um público diferente daquele que costuma ver televisão: o utilizador da internet.

Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2018-12-11T12:56:02Z No. of bitstreams: 1 MORAIS_Kátia_tese doutorado 2018.pdf: 4307718 bytes, checksum: 4996e3de8e8b7e34387b2c6b7b73da0f (MD5)<br>Approved for entry into archive by Uillis de Assis Santos (uillis.assis@ufba.br) on 2019-01-03T11:15:17Z (GMT) No. of bitstreams: 1 MORAIS_Kátia_tese doutorado 2018.pdf: 4307718 bytes, checksum: 4996e3de8e8b7e34387b2c6b7b73da0f (MD5)<br>Made available in DSpace on 2019-01-03T11:15:17Z (GMT). No. of bitstreams: 1 MORAIS_Kátia_tese doutorado 2018.pdf: 4307718 bytes, checksum: 4996e3de8e8b7e34387b2c6b7b73da0f (MD5)<br>CNPQ e CAPES<br>A tese investiga como o segmento de produção independente vem se comportando a partir das ações da Política de Fomento ao Audiovisual em curso no Brasil destinadas à produção de conteúdos para TV. Considera-se o relacionamento entre produtoras, Agência Nacional do Cinema (Ancine) e canais/programadoras de televisão através de uma leitura políticoeconômica. O atual desenho da Política de Fomento se estrutura em 2012, com a regulamentação da Lei nº 12.485/2011 (Lei da TV Paga), que institui cota de conteúdos nacionais e nacionais independentes e estabelece o pagamento da taxa Condecine Teles para empresas de telecomunicações. Esta é a maior fonte de recursos dos investimentos públicos na produção independente nacional. A Lei da TV Paga se junta à Ancine, agência reguladora e entidade gestora da Política, e ao Fundo Setorial do Audiovisual (FSA), criado em 2006 e aperfeiçoado em 2013, com a publicação do Regulamento Geral do Programa de Apoio ao Desenvolvimento do Audiovisual Brasileiro (Regulamento Prodav). O Regulamento organiza as linhas dedicadas aos mercados de TV Aberta, TV por assinatura e ao campo público, além de criar as linhas de desenvolvimento, com características particulares em cada caso. Os objetivos específicos da tese se relacionam a cada um dos três eixos centrais da pesquisa: 1) Examinar o perfil das empresas produtoras independentes beneficiadas pela Política de Fomento nas linhas Prodav, voltadas para televisão; 2) Identificar quais conflitos emergem do relacionamento entre produtoras e Ancine, em função dos condicionantes criados para o acesso dos conteúdos independentes aos mercados de TV; 3) Averiguar quais canais e programadoras mais vêm pré-licenciando conteúdos independentes como parte da implementação da Política de Fomento, observando os perfis desses canais, bem como dos conteúdos licenciados. O método incluiu análise documental, aplicação de questionário online com perguntas abertas e fechadas para 105 produtoras independentes de todo o Brasil e entrevistas em profundidade com 22 produtoras dos estados da Bahia, Pernambuco, Rio de Janeiro e São Paulo. Os principais resultados obtidos apontam aumento no registro de produtoras independentes, com crescimento no número de empresas estabelecidas fora do eixo Rio-São Paulo; descentralização relativa da produção; fortalecimento das parcerias; profissionalização em funções criativas e administrativas; forte atuação no desenvolvimento de conteúdos seriados e direcionamento dos projetos com foco na produção de conteúdos e não mais em função dos mercados a que se destinam. Ao mesmo tempo, os resultados indicam o forte poder de pressão dos grandes grupos de mídia sobre a instância política decisória e, consequentemente, sobre as regras de fomento público à produção independente nacional. Organizam-se em fluxos econômicos transnacionais e buscam ampliar sua penetração nos mercados de audiovisual. Neste contexto, tem-se um setor de produção independente em formação, o que torna inevitável a forte permanência da ação do Estado.<br>The thesis investigates how theindependent production segment is behaving based on the actions of the Audiovisual Promotion Policy underway in Brazil aimed at the production of TV content. It is considered the relationship between producers, Cinema National Agency (Ancine) and television channels/programmers through a political-economic reading. The current design of the Promotion Policy is structured in 2012, with the regulation of Law No. 12,485/2011 (Pay TV Act), which establishes a quota of national contents and national independent contents, and establishes the payment of the tax Condecine Teles for telecommunication companies. This is the largest source of public investment in national independent production. The Pay TV Act joins Ancine, the regulatory agency and managing body of the Policy, and the Audiovisual Sectorial Fund (ASF), created in 2006 and perfected in 2013 with the publication of the General Regulation of the Support Program for the Development of Brazilian Audiovisual (Prodav Regulation). The Regulation organizes the lines dedicated to the markets of Open TV, Pay TV and the public field besides creating the development lines, with particular characteristics in each case. The specific objectives of the thesis relate to each of the three central axes of the research: 1) to examine the profile of the independent producers benefiting from the Promotion Policy in the Prodav television lines; 2)to identify conflicts that emerge from the relationship between producers and Ancine, due to the constraints created for the access of independent content to TV markets; 3) to find out which channels and programmers most come pre-licensing independent content as part of the implementation of the Promotion Policy, observing the profiles of these channels, as well as that of the licensed content. The method included documentary analysis, application of online questionnaire with open and closed questions for 105 independent producers from all over Brazil; and in-depth interviews with 22 producers from the states of Bahia, Pernambuco, Rio de Janeiro and São Paulo. The main results point increase in the registration of independent producers, with growth in the number of companies established outside the Rio-São Paulo axis; relative decentralization of production; strengthening partnerships; professionalism in creative and administrative functions; strong performance in the development of serial content; and directing the projects focused on the production of content and no longer depending on the markets for which they are intended to. At the same time, the results indicate a strong power of pressure of large media groups on the political decision-making body and consequently on the rules of public funding to the national independent production. They are organized in transnational flows and aim to broaden their penetration into audiovisual markets. In this context, there is an independent production sector under development, which makes the permanence of state support inevitable.

In 2010, IFC (formerly Independent Film Channel) underwent a major rebrand campaign, which included a redesigned logo, tagline, and channel name; a transition to ad-supported programming and airing films with commercial interruptions; a reliance on original scripted comedy series; an emphasis on so-called 'blockbuster' indies over lesser-known films; and a general de-emphasis of independent film as the core of the brand identity. The features of the rebrand closely mirrored actions already taken by other film-based cable channels, most notably IFC's current parent channel, AMC (formerly American Movie Classics). In refashioning the IFC brand identity, IFC executives seized upon the instability of the term independent within existing discourses around independent film and music production and constructed a looser definition -- one that was no longer rooted in independent film and also hailed a very specific gendered, raced, and classed audience in order to attract new advertisers. This project contextualizes IFC's pre- and post-rebrand brand identity within the American independent film and music movements that began in the late 1980s and continued into the 1990s before analyzing the paratextual means through which the post-2010 IFC brand identity has been constructed, including upfront presentations, trade press coverage, press releases, on-air promotional spots, materials for prospective advertisers, images from graphic design agency portfolios, and IFC employee instructional guides on the use of language and image following the rebrand. Finally, this project examines how IFC has constructed its niche cable viewership following the rebrand in order to deliver the traditional commodity audience to its advertisers. Together, these analyses form a compelling look at the shifting discourses of independent cultural production and how independent-ness is situated within IFC's construction of a niche cable brand identity.<br>text

碩士<br>明道大學<br>產業創新與經營學系碩士班<br>100<br>Taiwan's cable TV industry from illegal to legitimate business, evolution of today's convergence of telecommunications, information and entertainment in of the important role. Cable TV in the development process, the consortium centralized of resulting in gradually market structure industry competition, lead to the gradual centralization of market structure. The customer dissatisfied the quality of service of the cable television industry, it has been some scholars have called for the quality of service should face up to cable, to ensure the interests of the customer ratings.　　 In this study, explore the literature of the cable television customer satisfaction at home and abroad, the degree of influence will affect customer cable satisfaction dimensions: Reliability, Responsiveness　Assurance , Tangibles, Empathy, the survey of individual dimensions of variables to provide independent system, cable companies, as the improvement of service quality, so that the cable companies can improve the overall satisfaction of viewing households, the realm of creating a win-win and customers, to ensure that new entrants to competitors from entering the market of the same district to retain a competitive advantage. In this study, to build a hierarchical model for an objective assessment for analysis the use of interpretive structural modeling. First of all references and Cable television through expert interviews, to construct a suitable criteria for assessing the quality of customer service, followed by the use of interpretive structural model for the industry overall service quality assessment. Finally, the assessment of development hierarchical model used in the service quality expectations of consumers on the innovative model of service quality levels, in assessing and improving the quality of reference providing the industry for future innovative services.

Thesis (M.M. (ICT Policy and Regulation))--University of the Witwatersrand, Faculty of Commerce, Law and Management, Graduate School of Public and Development Management, 2013.<br>In the year 2004, before the advent of competition in the South African subscription television broadcasting market the Independent Communications Authority of South Africa (ICASA) identified various potential barriers to enter this market. Then, in January 2006 ICASA issued an invitation to apply for commercial satellite and cable subscription television broadcasting licenses. Eighteen applications were received and five were licensed during November 2007. The purpose of this qualitative study is to assess how effective the regulatory approach has been in addressing the identified entry barriers and in promoting competition and convergence in this market. The findings from the research study indicate that there is lack of effective and sustainable competition and convergence in the market, and that the applicable light-touch regulatory approach is preferred for this market but needs to be intensified. This may seem contradictory, but it is not if the regulator is regarded as absconding from its responsibilities. A significant finding is that ICASA is viewed as a weak regulator that is absconding from its regulatory obligations in this market. Some of the important negative findings include: there are extensive barriers to entry which have created an uneven playing field that favours the dominant operator; ICASA and the Department of Communications have been captured by the dominant operator; there is monopoly in the ownership of content rights which stems from abuse of content exclusive rights and lack of relevant regulations; and the regulatory framework and licensing regime should be modified in the context of the migration to the Digital Terrestrial Television transmission, the urgent need to promote competition in this market and the creation of a converged communications industry in the country.

Dissertação de mestrado em Ciências da Comunicação (área de especialização em Informação e Jornalismo)<br>A televisão é, para muitos, o meio de comunicação por excelência. O impacto e a importância que assume na sociedade são inquestionáveis. Uma larga parte dos portugueses acede à informação sobre a atualidade única e exclusivamente através da caixinha mágica que, em Portugal, desde 1974, aliou som e imagem. É alvo de muitos estudos nas Ciências da Comunicação, mas o foco nem sempre envolve aqueles que fazem parte dela. Muitos são os seus protagonistas. Três meses de estágio na TVI permitiram-me perceber o impacto que tem no telespectador cada reportagem, cada destaque, cada comentário. São eles, os comentadores, que recuperam a atualidade, que a debatem em estúdio, que a explicam e simplificam. São, por isso, um elo de comunicação importante entre a estação de televisão e o telespectador. Tendo por base a experiência de estágio na televisão líder de audiências em Portugal, a TVI, este relatório de estágio pretende aprofundar questões ligadas ao comentário e aos comentadores residentes da estação de Queluz de Baixo. O objetivo passa por desenvolver um trabalho que se baseie nesta primeira experiência profissional, aliada aos estudos da área, na procura de novos dados sobre esta temática, englobando a perspetiva de quem a vive na primeira pessoa, os comentadores, e a visão de quem os convida, o diretor de Informação.<br>Television is, for many, the media par excellence. The impact and the importance that has in society are unquestionable. A large part of the Portuguese people access to information exclusively through the magic box that, in Portugal, since 1974, has teamed sound and image. It is the target of many studies in Communication Sciences, but the focus does not always involve those who are part of it. Many are its protagonists. Three months of internship in TVI allowed me to realize the impact that every story, every highlight, every comment have on the viewer. It is them, the commentators, who recover the news, that debate it in the studio, that explain it and simplify. Therefore, they are an important communication link between the television station and the viewer. Based on the experience of the internship at the audience leader television in Portugal, TVI, this internship report aims to deepen issues related to comment and resident commentators in the Queluz de Baixo station. The goal is to develop a work that is based on this first professional experience, coupled with studies of the area, in search of new data on this issue, encompassing the perspective of those living television in the first person, the commentators, and the sight of whom invites them, the director of information.

This thesis deals with the issue of The Council for Radio and Television Broadcasting (the Council). The Council is an administrative office, which the public has little information about, and this lack of facts often results in various misunderstandings. The main objective of this thesis is to provide information about the Council and its activities and thus help to eliminate these mistakes and lack of knowledge. The thesis combines the administrative law and the media law. The thesis is composed of two major parts. The Council in general is dealt with in the first part. The history is summarized, the Council as an independent administrative regulatory authority is described and further examples of such administrative offices are provided in this part. The areas in which the Council operates are presented in the second part of this thesis, which is divided into three chapters according the main laws concerning the broadcasting. The first one deals with the law on broadcasting. Key broadcasting licenses and basic obligations of broadcasters are discussed in this chapter. The second chapter is about the law on the regulation of advertising. The last of these relevant laws is the law on audiovisual media services on demand, which regulates the newest electronic medium - the internet. Electronic mass...

碩士<br>國立政治大學<br>公共行政研究所<br>98<br>In this study, the focus of discussion is on the disputes that the budget of Public Television Service Foundation(PTS Foundation) was frozen breaking out at the end of 2008.It presents the conflicts among the model that PTS relies on the government budgets for financial resource,the surveillance jurisdiction of government for financial affairs,and the purpose to protect independence of public television by external oversight on actual operation.On the other hand,the series of controversial incidents during the 4th board of directors and supervisors recruitment of PTS Foundation in 2009,made the disputes to surface,such like the legitimacy of the board of directors and election procedures not sufficiently open.In addition,the present system of elected directors and supervisors of PTS,whether its operation brings the function of public television’s independence or not,and other issues have become the points in this study. Through literature reviewing and interviews,this study confers the design for election system of Board of directors in domestic and foreign public television,reviews the disputes in the process of the recently elected directors and supervisors of PTS.This study finds that the election process of directors and supervisors in PTS are deeply influenced by the congress party and ruling authority’s deviation of implementation,also shows that the gaps of the election process of PTS board of directors and supervisors let the parties and executive power have the space to manipulate the elected process.Moreover,this study provides the suggestion how to amend the law and improve the shortage of the election procedure of the directors and supervisors in order to maintain the current system, and suggests the future election system can be reformed toward to the direction of professional diversity and responsibility politics. Next,on the model design that PTS takes the government budgets as financial resources and the external oversight mechanisms derived,in practice,the operation may result in the situation that the politic power by the authority and the budget monitoring procedures could interfere with the public television’s independence and its programs.The study finds that the model of public television's financial resources affect the standard density of the external oversight.The current external oversight mechanisms taking government budget as financial resources breaks the purpose of protecting public television from the political power.This study discusses the impact that the Legislative Yuan’s monitors the procedure of financial resources to the independence of public television.In addition,regarding that PTS maintains to take government budgets as financial resources and how to re-regulate the external supervision mechanisms,this study provides the policy recommendations to find balance among the public television’s independence,and the public resources application and its performance accountability.

碩士<br>銘傳大學<br>公共事務學系碩士在職專班<br>102<br>This study bases on the fact that the statutory budget NT$450 million of Taiwan Public Television Service (PTS) was frozen by the Legislative Yuan in 2008. Later, the Legislative Yuan also amended the law to expand the Board of Directors of PTS; such a condition led to constant conflicts regarding reappointment and re-election within the board which therefore jeopardized the independence of PTS. Under this premise, the research aims to analyze and explore the public television system in Taiwan from the perspective of independence in order to serve as a reference for the amendment of the Public Television Act by the government in the future. Through in-depth interviews with the board directors and the executives of PTS as well as the non-governmental organizations, this thesis has gained a better understanding of the operational problems of PTS and the expectations from other relevant parties. On the aspect of management, the research findings show that the rights and duties of the CEO, the Board of Directors and the General Manager of PTS should be more clearly distinguished. The regulations maintaining the division and uniformity of power and responsibility should be implemented. As for the election system for directors and supervisors, it is suggested that the Board should be downsized, the procedure for the appointment of directors and supervisors simplified and the mode of class directors adopted. Furthermore, the representatives of different ethnic groups should be generated spontaneously, and the worker directors should not be sheltered by law. Sustaining a statutory budget is currently the best way of providing a stable source of funds for PTS. As for the scale expansion of budgets, the internal personnel and operational efficiency of PTS should be reviewed before further requests for the government funds are made. On the other hand, PTS should devote itself to increasing its self-raised funds. As far as the supervision and accountability mechanism is concerned, relevant laws and regulations should be amended to facilitate their supervising and monitoring function if any apprehension exists from the Executive Yuan or the Legislative Yuan regarding the exercise of authority or operation of PTS. In addition, public value assessment systems should be evaluated annually, and policymakers should consider the feasibility of setting up audience advisory committees so that the public opinion can be effectively reached out to the Board of Directors of PTS in order to put public accountability into practice.

Este trabalho de projeto enfoca o estudo desenvolvido ao longo de 6 meses, a construção de uma nova aplicação para smartphone, tendo como base um programa de televisão para o seu funcionamento. Após o meu contato direto com a aplicação 1.0.8 da estação de televisão TVI, «Você na Tv», notei que evidenciava algumas lacunas que tornavam a aplicação menos eficiente. Para chegar ao objetivo final, foi feita uma revisão da literatura desde o nascimento da Internet, ao dos telemóveis e posteriormente às aplicações. Ao longo de todo o projeto fui sempre abordando o papel do utilizador em cada uma destas vertentes. Qualquer aplicação móvel tem como finalidade entreter o utilizador. Por este motivo, o primeiro écran visualizado não pode ter informação em demasia. Para atingir o sucesso numa aplicação deste género, é necessário ter informação sucinta, bem apresentada e que induza o utilizador a interagir. A proposta de aplicação «Você na Tv» 2.0 apresenta-se com uma vertente mais interativa, organizada e dentro das normas para a construção de uma aplicação, mostrando uma interação entre a comunicação e a organização nas apps.<br>The present project pretends to be the result of the study and development of a new structure for an existent entertainment mobile application. During my direct contact with this TVI application, “Você na TV” 1.08, it became clear that there were significant gaps that needed to be addressed. Regarding this, it was done a systematic review over the origin of the internet, mobile devices and applications, with a constant focus on the user’s view. Since every mobile application major goal is to entertain the user, the main screen must not have unnecessary information. In order to be successful and to engage the user, the content needs to be brief and extremely captivating. The “Você na TV” 2.0 application pretends to be a more interactive one when compared with the previous version. It was developed in an interactive layout where the communication is preconized.