Journal articles: 'Independent Television'

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Thomas, Amos Owen. "Television Dependency in Independent Kazakhstan." Gazette (Leiden, Netherlands) 67, no. 4 (August 2005): 325–37. http://dx.doi.org/10.1177/0016549205054282.

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Perkins, Claire, and Michele Schreiber. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (October 3, 2019): 919–27. http://dx.doi.org/10.1080/14680777.2019.1667059.

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Kennedy, Melanie, and Safiya Umoja Noble. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (October 3, 2019): 1043–60. http://dx.doi.org/10.1080/14680777.2019.1667071.

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Marghitu, Stefania. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (September 16, 2019): 1050–53. http://dx.doi.org/10.1080/14680777.2019.1667075.

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Hale, Gary A., and Richard C. Vincent. "Locally Produced Programming on Independent Television Stations." Journalism Quarterly 63, no. 3 (September 1986): 562–67. http://dx.doi.org/10.1177/107769908606300317.

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Nylund, Mats, and Peter Mildén. "New Strategies in Finnish Independent Television Production." Journal of Media Business Studies 9, no. 1 (March 2012): 85–99. http://dx.doi.org/10.1080/16522354.2012.11073538.

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Creeber, G. "ITV Cultures: Independent Television Over Fifty Years." Screen 47, no. 2 (January 1, 2006): 261–65. http://dx.doi.org/10.1093/screen/hjl020.

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Doyle, Gillian. "Public policy, independent television production and the digital challenge." journal of digital media & policy 10, no. 2 (June 1, 2019): 145–62. http://dx.doi.org/10.1386/jdmp.10.2.145_1.

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Television production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector – attributable partly to historic policy interventions – is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent production sector to flourish in an increasingly globalized and competitive digital environment for television. Although preserving indigenous television production and associated audience access to locally made content remain important goals for media policy, achieving these has become more difficult in the face of trends towards consolidated ownership and ‘the emergence of powerful transnational platforms commercialising cultural goods and services online’ (García Leiva and Albornoz 2017: 10). This article examines the challenges raised for public policy as ownership structures in the television production sector adjust in response to new distribution technologies and to the transformative forces of digitalization and globalization. Focusing on the United Kingdom as an example, it asks do we still need television production companies that are indigenous and independent in a digital world and if so why? What role can and should public policy play in supporting the sustainability of an ‘indie’ sector? Drawing on recent original empirical research into the association between corporate configuration, business performance and content in the television production sector, it reflects critically on historic and recent approaches to sustaining independent producers and it considers how, in a digital world, public policy may need to be re-imagined for a rapidly evolving television landscape.

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Ferreira, Paulo Ixtanio Leite, Bruno Barboso Albert, Edmar Candeia Gurjão, and Glauco Fontgalland. "Television channel spectrum sensing using independent component analysis." IET Communications 9, no. 8 (May 21, 2015): 1054–59. http://dx.doi.org/10.1049/iet-com.2014.0505.

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Borer, Tim, and Andrew Cotton. "A Display-Independent High Dynamic Range Television System." SMPTE Motion Imaging Journal 125, no. 4 (May 2016): 50–56. http://dx.doi.org/10.5594/jmi.2016.2548838.

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REDLEY, MICHAEL. "THE REGULATORY ROLE OF THE INDEPENDENT TELEVISION COMMISSION." Journal of Financial Regulation and Compliance 1, no. 1 (January 1992): 93–98. http://dx.doi.org/10.1108/eb024755.

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Smaill, Belinda. "Commissioning Difference? The Case of SBS Independent and Documentary." Media International Australia 107, no. 1 (May 2003): 105–16. http://dx.doi.org/10.1177/1329878x0310700111.

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SBS Independent (SBSI) is the arm of SBS Television responsible for commissioning new work. Since 1994, SBSI has been working in conjunction with other screen funding bodies to commission feature film, short drama, animation and documentary. The charter that dictates the practices of SBS Television also provides guidelines for SBSI, which is consequently required to focus on work that is innovative and concerned with Indigenous issues and cultural diversity. This article focuses on the case of documentary in Australia and the impact of SBSI on a filmmaking community and contemporary documentary culture with particular reference to the Australia by Numbers and Hybrid Life series of half-hour programs. The focus on diversity, and the fact that this is the first Australian television institution to adopt an outsourcing model for almost all production, means that SBSI has formed a unique relationship with independent documentary. Here I examine the specificity and efficacy of this relationship.

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Crisell, Andrew. "Book Review: ITV Cultures: Independent Television Over Fifty Years." European Journal of Communication 21, no. 2 (June 2006): 256–57. http://dx.doi.org/10.1177/026732310602100211.

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Doyle, Gillian, and Richard Paterson. "Public Policy and Independent Television Production In the U.K." Journal of Media Business Studies 5, no. 3 (September 2008): 17–33. http://dx.doi.org/10.1080/16522354.2008.11073473.

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Wober, J. Mallory, and Barrie Gunter. "Television audience research at Britain's independent broadcasting authority, 1974–1984." Journal of Broadcasting & Electronic Media 30, no. 1 (January 1986): 15–31. http://dx.doi.org/10.1080/08838158609386605.

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Borghese, Michael M., Mark S. Tremblay, Genevieve Leduc, Charles Boyer, Priscilla Bélanger, Allana G. LeBlanc, Claire Francis, and Jean-Philippe Chaput. "Independent and combined associations of total sedentary time and television viewing time with food intake patterns of 9- to 11-year-old Canadian children." Applied Physiology, Nutrition, and Metabolism 39, no. 8 (August 2014): 937–43. http://dx.doi.org/10.1139/apnm-2013-0551.

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The relationships among sedentary time, television viewing time, and dietary patterns in children are not fully understood. The aim of this paper was to determine which of self-reported television viewing time or objectively measured sedentary time is a better correlate of the frequency of consumption of healthy and unhealthy foods. A cross-sectional study was conducted of 9- to 11-year-old children (n = 523; 57.1% female) from Ottawa, Ontario, Canada. Accelerometers were used to determine total sedentary time, and questionnaires were used to determine the number of hours of television watching and the frequency of consumption of foods per week. Television viewing was negatively associated with the frequency of consumption of fruits, vegetables, and green vegetables, and positively associated with the frequency of consumption of sweets, soft drinks, diet soft drinks, pastries, potato chips, French fries, fruit juices, ice cream, fried foods, and fast food. Except for diet soft drinks and fruit juices, these associations were independent of covariates, including sedentary time. Total sedentary time was negatively associated with the frequency of consumption of sports drinks, independent of covariates, including television viewing. In combined sedentary time and television viewing analyses, children watching >2 h of television per day consumed several unhealthy food items more frequently than did children watching ≤2 h of television, regardless of sedentary time. In conclusion, this paper provides evidence to suggest that television viewing time is more strongly associated with unhealthy dietary patterns than is total sedentary time. Future research should focus on reducing television viewing time, as a means of improving dietary patterns and potentially reducing childhood obesity.

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Carter, Eli. "Entering through the Porta dos Fundos: The Changing Landscape of Brazilian Television Fiction." Television & New Media 18, no. 5 (September 7, 2016): 410–26. http://dx.doi.org/10.1177/1527476416667822.

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Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Brazilian television fiction as it transitions out of a six-decade-long network era.

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Clarke, D. B., and M. G. Bradford. "Competition between Television Companies for Advertising Revenue in the United Kingdom: The Independent Television Regions Prior to Deregulation." Environment and Planning A: Economy and Space 24, no. 11 (November 1992): 1627–44. http://dx.doi.org/10.1068/a241627.

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This paper provides a contribution to the geographies of advertising and the media. The authors examine the ways in which commercial television companies try to attract advertising to their regions; advertising being their main source of revenue. Competition based on the cost of advertising in particular regions is effectively restricted. This market failure results in regionally uneven allocations of advertising money, and hence an uneven regional pattern of TV company revenues. Other forms of competition are used to attempt to change this. TV companies promote their regions to advertisers and advertising agencies in ways varying from the production of ‘hard’ data to full-blown campaigns designed to promote or alter regional ‘images’. They also provide various services and cost incentives. It is argued that the deregulation of commercial television, which introduces intraregional competition, will not correct the market failure and will, if anything, reinforce the uneven allocation of advertising monies and media revenues. It is also suggested that intraregional competition will reduce regional promotion, the main competitive strategy that has been used to try to offset regional differences.

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Aufderheide. "Documentary Filmmaking and US Public TV's Independent Television Service, 1989–2017." Journal of Film and Video 71, no. 4 (2019): 3. http://dx.doi.org/10.5406/jfilmvideo.71.4.0003.

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Jonathan, Parker LJJ. "R v INDEPENDENT TELEVISION COMMISSION EX P. TV DANMARK 1 LTD." European Law Reports 5, no. 1 (January 1, 2001): 93–104. http://dx.doi.org/10.5235/elr.v5n1.93.

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DOMBERGER, S., and J. MIDDLETON. "Franchising in Practice: The Case of Independent Television in the UK." Fiscal Studies 6, no. 1 (February 1985): 17–33. http://dx.doi.org/10.1111/j.1475-5890.1985.tb00397.x.

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Nikolychuk, Lynne A. "The evolution of make/buy contracting for UK independent television (ITV)." International Journal on Media Management 4, no. 2 (January 2002): 118–23. http://dx.doi.org/10.1080/14241270209389988.

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Sabarofek, Margareth Sylvia, and Magriet Ester Sawaki. "PENGARUH KARAKTERISTIK INDIVIDU, BUDAYA KERJA DAN PERILAKU INDIVIDU TERHADAP KINERJA PEGAWAI: STUDI KASUS PADA PT. TELEVISI MANDIRI PAPUA." Jurnal Riset Manajemen dan Bisnis 12, no. 2 (January 29, 2018): 93. http://dx.doi.org/10.21460/jrmb.2017.122.289.

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ABSTRACTThis study aims: to analyze the influence of individual characteristics, work culture and individual behavior to employee performance in PT. Papua Independent Television: and to analyze the dominant factor influencing the performance of employees at PT. Papua Independent Television. The method of analysis used in this research is statistical integral multiples regression model analysis using. The result of analysis that: the first problem showed that the simultaneous behavior of employees, work culture and employee characteristics of strong and significant influence on the performance of employees; the second problem shows that partially dominant culture influence the performances ofemployees and thus concluded that the partially dominant culture and the most significant effect onperformance.Keywords: Individual characteristics, work culture, individual behavior, and performance.ABSTRAKPenelitian ini bertujuan untuk menganalisis pengaruh karakteristik individu, budaya kerja dan perilaku individu terhadap kinerja pegawai; dan untuk menganalisis faktor yang berpengaruh dominan terhadap kinerja pegawai pada PT. Televisi Mandiri Papua. Metode analisis yang digunakan dalam penelitian ini adalah statistik integral model multiples regression analysis.Berdasarkan hasil analisis disimpulkan bahwa secara simultan perilaku pegawai, budaya kerja dankarakteristik pegawai berpengaruh kuat dan signifkan terhadap kinerja pegawai, serta menunjukkansecara parsial budaya kerja berpengaruh dominan dan paling signifikan terhadap kinerja pegawai.

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Zhao, Deng Feng, Guo Lu Ma, and Guo Ying Zeng. "Optimal Design of Television Packaging Based on Drop Analysis." Advanced Materials Research 156-157 (October 2010): 713–16. http://dx.doi.org/10.4028/www.scientific.net/amr.156-157.713.

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Optimization method was applied to obtain optimal television packaging cushion for reducing drop impact response on television. At first, by establishing the parametric finite element model of television with packaging, the drop simulation was performed, and the equivalent stress distribution, acceleration response curve and other related parameters were obtained. Simulation shows that maximum acceleration is overload. Then, structural optimization of television with packaging was performed. The equivalent stress distribution and acceleration curves of optimal packaging and without optimal packaging for the independent components were studied. The results show that maximum acceleration is reduced and the cushioning performance is enhanced.

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Belenkiy, Yuri Mikhaylovich. "Sitcom Genre Features." Journal of Flm Arts and Film Studies 4, no. 1 (February 15, 2012): 120–32. http://dx.doi.org/10.17816/vgik41120-132.

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The article deals with the main features of sitcom that make it an independent genre. The term “situation comedy” is compared to other comedy subgenres, such as comedy of manners and comedy of intrigue in its first sense etc. The emergence of TV sitcom properties is analyzed from the historic prospective. During all the years of its existence sitcom has managed to retain the combination of theatrical aesthetics and the nature of television which makes it not only an independent genre, but also a unique television product in a sense.

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Scholes, M. "Peter Goodwin, Television under the Tories: Broadcasting Policy, 1979-97; Paul Bonner and Lesley Aston, Independent Television in Britain." Screen 40, no. 4 (December 1, 1999): 461–66. http://dx.doi.org/10.1093/screen/40.4.461.

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King, Lesley, Lana Hebden, Anne Grunseit, Bridget Kelly, and Kathy Chapman. "Building the case for independent monitoring of food advertising on Australian television." Public Health Nutrition 16, no. 12 (October 4, 2012): 2249–54. http://dx.doi.org/10.1017/s1368980012004429.

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AbstractObjectiveTo provide an independent monitoring report examining the ongoing impact of Australian self-regulatory pledges on food and drink advertising to children on commercial television.DesignAnalysis of food advertisements across comparable sample time periods in April/May 2006, 2007, 2009, 2010 and 2011. The main outcome measure comprised change in the mean rate of non-core food advertisements from 2006 to 2011.SettingSydney free-to-air television channels.SubjectsTelevised food advertisements.ResultsIn 2011 the rate of non-core food advertisements was not significantly different from that in 2006 or 2010 (3·2/hv. 4·1/h and 3·1/h), although there were variations across the intervening years. The rate of fast-food advertising in 2010 was significantly higher than in 2006 (1·8/hv. 1·1/h,P< 0·001), but the same as that in 2011 (1·5/h).ConclusionsThe frequency of non-core food advertising on Sydney television has remained essentially unchanged between 2006 and 2011, despite the implementation of two industry self-regulatory pledges. The current study illustrates the value of independent monitoring as a basic requirement of any responsive regulatory approach.

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Ferrara, Beatrice. "The Otolith Group’s “Monuments to Dead Television.” Independent Cinema and the Migrant Experience in Europe between Television and the Museum." CINEJ Cinema Journal 3, no. 1 (April 8, 2014): 47–74. http://dx.doi.org/10.5195/cinej.2013.78.

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“Monument to dead television” is the expression the British collective The Otolith Group uses to define its activity of recuperating long-lost quality films, and re-screening them in contemporary art museums and gallery spaces. What these films share is a cinematic vocation and a complex approach to the question of memory and migration in Europe, and to the role of images as testimonies or documents. This essay explores The Otolith Group’s interest in such forgotten archives of modern television in order to unearth their significance for contemporary museums today.

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Zoellner, Anna. "Professional Ideology and Program Conventions: Documentary Development in Independent British Television Production." Mass Communication and Society 12, no. 4 (September 30, 2009): 503–36. http://dx.doi.org/10.1080/15205430903237840.

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Lee, David. "Networks, cultural capital and creative labour in the British independent television industry." Media, Culture & Society 33, no. 4 (May 2011): 549–65. http://dx.doi.org/10.1177/0163443711398693.

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Paterson, Richard. "Early independent production entrepreneurs in UK television: pioneering agents of neoliberal intervention." International Journal of Entrepreneurial Venturing 9, no. 3 (2017): 1. http://dx.doi.org/10.1504/ijev.2017.10006933.

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Hogan, Lindsay, and Matt Sienkiewicz. "1001 markets: Independent production, ‘Universal Childhood’ and the Global Kids’ television industry." Interactions: Studies in Communication & Culture 4, no. 3 (December 1, 2013): 221–38. http://dx.doi.org/10.1386/iscc.4.3.221_1.

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Wu, Irene. "Who Regulates Phones, Television, and the Internet? What Makes a Communications Regulator Independent and Why It Matters." Perspectives on Politics 6, no. 4 (November 13, 2008): 769–83. http://dx.doi.org/10.1017/s1537592708081905.

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More political scientists should engage in the debates surrounding regulation of communications networks, the infrastructure on which telecom, media, and Internet services ride. In 1990 there were 14 communications regulators worldwide, by 2007 there were 148. To fulfill World Trade Organization Agreement on Basic Telecommunications commitments, many countries aim to create regulatory agencies that are “independent.” What characterizes independence? Regulators are embedded in a political context that includes three main constituencies : other government institutions, industry, and consumers. Independent regulators are able to take action autonomously from other government institutions and industry while serving as advocates for consumers. In a survey of 18 countries, several traits emerge; a leader who cannot be dismissed arbitrarily, regulatory authority clearly distinct from policymaking, independent funding, minimal staff exchange between regulator and regulated firm, and dedicated support for consumers. It is usually easier for a regulator to be independent if operators are privatized. In a study of 4 countries, independent regulators follow decision-making procedures that give the public notice about proposed rule changes, opportunities to provide comments, and final decisions with explanation. Also, independent regulators have gift, conflict of interest, and post-employment rules, which set ethical standards and expectations for staff.

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Liang, Tina, Stefan Kuhle, and Paul J. Veugelers. "Nutrition and body weights of Canadian children watching television and eating while watching television." Public Health Nutrition 12, no. 12 (May 1, 2009): 2457–63. http://dx.doi.org/10.1017/s1368980009005564.

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AbstractObjectiveTo examine whether eating while watching television poses a risk for poor nutrition and excess body weight over and above that of time spent watching television.DesignWe analysed data of grade 5 students participating in a comprehensive population-based survey in the Canadian province of Nova Scotia. This survey included the Harvard’s Youth Food Frequency Questionnaire, students’ height and weight measurements, and a parent survey. We applied multivariable linear and logistic random effects models to quantify the associations of watching television and eating while watching television with diet quality and body weight.SettingThe province of Nova Scotia, Canada.SubjectsGrade 5 students (n4966).ResultsEating supper while watching television negatively affected the consumption of fruits and vegetables and overall diet quality. More frequent supper while watching television was associated with more soft drink consumption, a higher percentage energy intake from sugar out of total energy from carbohydrate, a higher percentage energy intake from fat, and a higher percentage energy intake from snack food. These associations appeared independent of time children spent watching television. Both watching television and eating while watching television were positively and independently associated with overweight.ConclusionsOur observations suggest that both sedentary behaviours from time spent watching television as well as poor nutrition as a result of eating while watching television contribute to overweight in children. They justify current health promotion targeting time spent watching television and call for promotion of family meals as a means to avoid eating in front of the television.

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Gerhardt, Cornelia. "Moving closer to the audience: watching football on television." Revista Alicantina de Estudios Ingleses, no. 19 (November 15, 2006): 125. http://dx.doi.org/10.14198/raei.2006.19.08.

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This article aims to describe specific practices of television spectators based on recordings of English families and friends while watching football on television. Their conversations and the talk and events on television are transcribed and analysed with interactional sociolinguistic and conversation analytical methodologies. By doing 'watching football on television', the spectators constitute themselves as a community of practice. Their strategies include direct address of the television (i.e. the commentator or one of the protagonists of the game) and signalling of independent knowledge and emotions to construct their identities of football fan and expert. Conflict between these two identities may become instantiated in the talk. At times, the spectators mutually negotiate the participant role 'party to the talk at home' for the television. This is done by furnishing second pair parts to the commentators' adjacency pairs. Also, it includes respecting the commentators' turns. Having spent countless hours watching football on television, the spectators manage to carefully construct their talk around the commentators' so that one single, coherent conversation emerges. The practices show how the participants as watchers strive to become part of the spectacle using the television as a bridge to the game itself.

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Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (July 11, 2017): 285–95. http://dx.doi.org/10.1177/0163443717717634.

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Over recent years leading independent television production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, besides the ability to make compelling content, two key variables which strongly affect commercial success and sustainability in this sector are, first, effective management and exploitation of intellect property rights (IPRs) and, second, scale and configuration of activities. Focusing primarily on the latter, it analyses how changing technological and market conditions are affecting the advantages conferred by size and by adopting differing cross-ownership configurations thus, in turn, fuelling current processes of industrial re-structuring.

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Fernández-Quijada, David. "Quoting television: a cross-national analysis of regulatory intervention in the independent television production industry in the UK and Spain." International Journal of Cultural Policy 18, no. 4 (September 2012): 378–97. http://dx.doi.org/10.1080/10286632.2011.591489.

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Aires, Luisa, Michael Pratt, Felipe Lobelo, Rute Marina Santos, Maria Paula Santos, and Jorge Mota. "Associations of Cardiorespiratory Fitness in Children and Adolescents With Physical Activity, Active Commuting to School, and Screen Time." Journal of Physical Activity and Health 8, s2 (September 2011): S198—S205. http://dx.doi.org/10.1123/jpah.8.s2.s198.

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Background:The objective of this study was to analyze associations of cardiorespiratory fitness (CRF) with physical activity, time spent watching television and using computer, mode of commuting to school (CS), and adiposity, by gender.Methods:Participants were 1708 students (53.8% girls), aged 11 to 19 years. CRF was evaluated with a 20-meter shuttle-run test using VO2max by previously published equation. Maturation stages determined by Tanner’s criteria, body mass index, and skinfolds were measured, and a questionnaire used to assess socioeconomic status, PA, television and computer time, and mode of CS. We conducted a regression analysis using CRF as the dependent variable.Results:CRF was independent and positively associated with physical activity [β = 0.338 (95% CI = 0.119; 0.188); P < .001] and with maturation [β = −0.876 (95% CI = 0.666; 1.087); P < .001]; independent and negatively associated with television time [β = −0.003 (95% CI = −0.005; −0.002); P < .001] and adiposity [β = −0.068 (95% CI = −0.076; −0.060); P < .001]. CRF was positively associated with CS [β = 0.337; (95% CI = 0.014; 0.741); P = .014]. No associations were found for computer time.Conclusions:These findings suggest that increasing overall physical activity levels through interventions in different domains such as active CS, reducing sedentary activities, such as television time, might be effective strategies for improving CRF in youth.

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Lourenço, Ana, and Simon Turner. "The role of regulation in constituting markets: a co-evolutionary perspective on the UK television production sector." Journal of Institutional Economics 15, no. 4 (February 28, 2019): 615–30. http://dx.doi.org/10.1017/s174413741900002x.

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AbstractThis article builds on a legal institutionalist approach to assess market-based regulatory change in British television production over the last three decades. It explores how formal rules governing television production constitute market relations, and whether these rules are likely to be evaded by television producers and commissioners in a context where contracting depends heavily on social norms of cooperation, reciprocity and flexibility. Using qualitative data, this article suggests that changes in law and terms of trade intended to promote a market in television production have not had a straightforward or linear effect: compulsory independent production quotas and licensing models of terms of trade have redrawn organizational boundaries in unexpected ways, disturbed the public service remit and engendered new financial flows. Formal rules were nonetheless central to the trajectory of the television production industry, as they were a constitutive element of changes in the power structure of the sector towards producers’ interests.

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Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (August 20, 2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.

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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-based television production companies over recent years, this article examines how corporate takeovers in the production sector may affect creative decision-making and impact on the nature and quality of television content. Against a background of increased investment interest from multinationals in indigenous players in the United Kingdom and across Europe, the analysis presented makes a timely and policy-relevant contribution to knowledge.

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Anyiwo, Nkemka, L. Monique Ward, Kyla Day Fletcher, and Stephanie Rowley. "Black Adolescents’ Television Usage and Endorsement of Mainstream Gender Roles and the Strong Black Woman Schema." Journal of Black Psychology 44, no. 4 (May 2018): 371–97. http://dx.doi.org/10.1177/0095798418771818.

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This study investigated the associations between Black adolescents’ television usage and their endorsement of mainstream gender roles (MGR) and the strong Black woman (SBW) schema, which characterizes Black woman as emotionally strong, independent, and self-sacrificing. A total of 121 self-identified Black adolescents completed survey measures assessing their endorsement of the SBW and MGR, their viewership of 29 popular television programs (17 targeted to mainstream audiences and 12 targeted to a Black audience), and their total hours of weekly television viewing. Viewing Black-oriented programs was associated with stronger endorsement of SBW. However, viewing mainstream programs was associated with lower endorsement of MGR, specifically for boys. These findings offer some of the first indications of potential relations between Black adolescents’ gender role schemas and the racial makeup of the television programs that they view. We discuss possibilities that youth’s selection of television programs may strengthen the development of the SBW or that youth who embrace the SBW schema may select programs that fit the schema.

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Badran, Yazan, and Enrico De Angelis. "‘Independent’ Kurdish Media in Syria." Middle East Journal of Culture and Communication 9, no. 3 (2016): 334–51. http://dx.doi.org/10.1163/18739865-00903001.

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The Syrian uprising in 2011 was accompanied by the birth of a new generation of media outlets seeking to offer alternative narratives to those of the regime. After the Kurds gained a certain level of autonomy from the Syrian regime and opposition forces, areas historically inhabited by Kurds (Rojava) have also seen the emergence of local media: for example, the television station Ronahi, magazines and newspapers such as Welat, Buyer and Shar, radio stations such as Arta FM and Welat and the ARA News agency. Indeed, for the first time in their history, Syrian Kurds have the opportunity to have an independent voice in the media landscape. In this paper we map the field of emerging Kurdish media in Syria and analyze some of the main features of these outlets, while situating them in the larger context of emerging Syrian media. Moreover, the paper explores their relationship in the current political context of the Syrian uprising and, especially, of Rojava. In doing so, we analyze the political identity that these media tend to project and address how they position themselves toward the issue of the Kurdish identity in general and in Syria in particular.

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ISLAM, M. RAKIBUL, M. AMIRUL ISLAM, and BANYA BANOWARY. "DETERMINANTS OF EXPOSURE TO MASS MEDIA FAMILY PLANNING MESSAGES AMONG INDIGENOUS PEOPLE IN BANGLADESH: A STUDY ON THE GARO." Journal of Biosocial Science 41, no. 2 (March 2009): 221–29. http://dx.doi.org/10.1017/s0021932008003088.

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SummaryThis paper evaluates exposure to mass media family planning (FP) messages among the Garo, an indigenous community in Bangladesh. A sample of 223 currently married Garo women were selected purposively from two districts where most of the Garo population live. The analysis demonstrated that television was the most significant form of mass media to disseminate FP messages among the recipients – more so than radio and newspapers. About 80·6% of the respondents had heard of FP messages through television, while for the radio and newspapers the percentages were 55·3% and 22·7% respectively. The contraceptive prevalence rate is much higher (79·5%) in the study area than the national level (55·8%). A linear logistic regression model was employed to identify the confluence of different demographic and socioeconomic characteristics on mass media FP messages. Regarding exposure to FP messages, four independent variables out of six had significant effects on the exposure to FP messages through any one of the types of media, i.e. radio, television and newspapers. These independent variables were age, level of education, occupation and number of children.

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Waymark, Peter. "Catherine Johnson and Rob Turnock (eds), ITV Cultures: Independent Television Over Fifty Years." Journal of British Cinema and Television 3, no. 2 (November 2006): 382–84. http://dx.doi.org/10.3366/jbctv.2006.3.2.382.

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Paterson, Richard. "Early independent production entrepreneurs in the UK television: pioneering agents of neoliberal intervention." International Journal of Entrepreneurial Venturing 9, no. 3 (2017): 280. http://dx.doi.org/10.1504/ijev.2017.086496.

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Fernández-Quijada, David. "Transnationalism and media groups in independent television production in the UK and Spain." Global Media and Communication 9, no. 2 (April 8, 2013): 101–18. http://dx.doi.org/10.1177/1742766513478139.

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Soto, Daniel. "Digital Television Backward Compatibility Based on Mixed Simulcast using Independent Scalable Video Coding." SMPTE Motion Imaging Journal 125, no. 9 (November 2016): 42–56. http://dx.doi.org/10.5594/jmi.2016.2619460.

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Dickinson, Margaret. "Colin Perry, Radical Mainstream: Independent Film, Video and Television in Britain 1974–90." Journal of British Cinema and Television 18, no. 2 (April 2021): 246–49. http://dx.doi.org/10.3366/jbctv.2021.0568.

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Fox, Jo. "From Documentary Film to Television Documentaries: John Grierson andThis Wonderful World." Journal of British Cinema and Television 10, no. 3 (July 2013): 498–523. http://dx.doi.org/10.3366/jbctv.2013.0152.

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In October 1957, John Grierson, the founder of the British documentary film movement, made the transition to a new medium: television. His series for STV, This Wonderful World, which ran in its original form until August 1965, introduced audiences to international documentary in an ‘inter-generic’ magazine format and was among the most popular broadcasts of the fledgling station, which was formed in August 1957 following the introduction of Independent Television (ITV) in 1954. This article analyses how cinematic documentarists made the transition to television and what their experiences reveal of the documentary's place in British society in the 1950s and 1960s. It argues that Grierson's series stood at the centre of debates over ‘prestige’ programming and ‘cultural uplift’, as well as over fears of the allegedly negative influence of ITV on the mass audience, and shows how British television negotiated an increasingly global media and the emergence of the modern television personality. It concludes with an examination of the legacy of early British documentary on television and demonstrates how its pioneers exploited the memory of the 1930s in order to carve out their place in the genre's history.

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Steemers, Jeanette. "International Sales of U.K. Television Content." Television & New Media 17, no. 8 (August 1, 2016): 734–53. http://dx.doi.org/10.1177/1527476416653481.

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Focusing on the United Kingdom, this article addresses key issues facing the international distribution industry arising from over-the-top (OTT) digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which U.K. distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as U.K.-based distributors adapt to a changing U.K. broadcasting landscape and global production environment. At one level, increasing U.S. ownership of U.K.-based distributors and the arrival of OTT players such as Netflix highlight the tensions between the national orientations of U.K. broadcasters and the global aspirations of independent producers and distributors. At another level, video-on-demand (VOD) has boosted international sales of U.K. drama. Although the full impact of subscription VOD (SVOD) on content and rights has yet to materialize, significant changes in the industry predate the arrival of SVOD.

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Journal articles on the topic 'Independent Television'

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