Journal articles on the topic 'Television and digital media'
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Victoria-Mas, Juan Salvador. "From the school in television to the (digital) television in the school." Comunicar 14, no. 27 (October 1, 2006): 98–103. http://dx.doi.org/10.3916/c27-2006-15.
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In this paper, first, three implicits insights are identified regarding relationships between education and television. Next is the description of one kind of development from television programs «sort of educational» to the properly educational television programs. Finally, we focus in the ideal of interactivity in one television alreadey converged, in some cases, with internet. In the epilogue, an insight is proposed regarding two platonic miths, one about participation in the communication and another about the breaking of the unidirectionality and of the mass communication media like television seems to carry us.En el presente artículo se identifican, en primer lugar, los tres implícitos principales en las relaciones entre educación y televisión. Se describe a continuación una evolución desde los programas de tipo educativo a los propiamente educativos. Y se apunta, finalmente, hacia el ideal de la interactividad en una televisión que ya ha convergido, en algunos casos, con el medio Internet. En el epílogo, se aporta una reflexión a propósito de dos mitos platónicos referridos a la participación en la comunicación y a la ruptura de la unidireccionalidad y de la comunicación de masas hacia la que parecían abocarnos medios como la televisión.
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Van Gorp, Jasmijn, Sonja De Leeuw, Justin Van Wees, and Bouke Huurnink. "Digital Media Archaeology." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 38. http://dx.doi.org/10.18146/2213-0969.2015.jethc080.
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In this article, we will contribute to a methodological discussion in the Digital Humanities by uncovering the digital tool AVResearcherXL as a form of Digital Media Archaeology. AVResearcherXL enables to search across, compare and visualise the metadata of Dutch television and radio programmes and a selection of newspaper articles of the Dutch Royal Library. Media archaeology provides a fruitful framework to reflect on the tool as method for Television History Research. First, the tool in itself functions as a new way of media archaeology. The tool, as it is, is double-sided and enables comparison, shedding an unusual, data-driven light on the television, radio and newspaper archives by providing different 'slices of' and 'search lights on' the metadata, thus contributing to a 'variantology of the media.' At the same time, we approach our own reflection on the tool as a form of media archaeology: we will uncover the tool, digging in its architecture and its functionalities, and offer an approach to a meaningful use of the tool. In other words, this very article is a form of ‘doing media archaeology’, in the sense of becoming 'an active archaeologist of knowledge'. Digital media archaeology, therefore, is always two-fold and a matter of interaction of user and tool. In this article, we first dissect the tool as archaeological site, before exploring its usage. Taken together, the article provides methodological strategies to cope with a digital tool such as AVResearcherXL and thus aims to further enhance an understanding of Digital Media Archaeology as an opening to media historical inquiry.
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van Ryn, Luke. "Book Review: Television as Digital Media." Media International Australia 142, no. 1 (February 2012): 178. http://dx.doi.org/10.1177/1329878x1214200119.
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Gilbert, Anne. "Push, Pull, Rerun: Television Reruns and Streaming Media." Television & New Media 20, no. 7 (April 29, 2019): 686–701. http://dx.doi.org/10.1177/1527476419842418.
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In scholarly and industry analyses of television’s expansion into online distribution, few have accounted for the specific negotiations required when old television content streams on new media. This article considers the economic consequences, viewer utility, and cultural position of television reruns as they expand from the pushed flows of legacy television to the pull contexts of digital streaming. The emergence of streaming outlets upsets conventions of off-network syndication yet introduces new licensing revenue to television markets, and streaming undermines the pleasures of familiar, passive entertainment offered by reruns. Reruns, as a concept, a cultural commodity, and as an archive of a televisual past and present, are reconfigured with the move toward streaming television. Internet distribution of television reruns provides a necessary case study to investigate the full scope of how streaming services are destabilizing the conventions of the U.S. television industries.
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Sun, Lin. "Research on Digital Media Art Film and Television Special Effects Technology Based on Virtual and Reality Algorithm." Scientific Programming 2022 (September 24, 2022): 1–7. http://dx.doi.org/10.1155/2022/4424772.
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Art special effects, as a kind of new media art form, bring different visual impacts to viewers in film and television animation. This study discusses the application of digital media art film and television special effects’ technology through virtual and realistic algorithms. The wide application of digital media art film and television special effects’ technology has achieved the purpose of saving production time and cost for the creation of film and television dramas. Through the comprehensive analysis and research on art creation, image impact, film viewing perception, and natural interactive emotion under different technological environments, and the analysis of the comparison results, it can be seen that digital media art film and television special effects’ technology has a far-reaching impact on film and television animation, can better carry out the sustainable development of film and television field, also promote the sustainable development of science and technology to a certain extent, promote the modern development of digital media art design, support society's continuous development and progress, and better promote the all-round integration of digital media art and film and television creation.
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Ginsburg, Faye. "INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE." Sociologia & Antropologia 6, no. 3 (December 2016): 581–99. http://dx.doi.org/10.1590/2238-38752016v632.
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Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.
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Yip, William, and Lowell Kongable. "Advanced Digital Television System." IEEE Transactions on Consumer Electronics CE-32, no. 4 (November 1986): 743–53. http://dx.doi.org/10.1109/tce.1986.290167.
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Rozanova, N., and A. Yushin. "Digital Technologies in TV and Transformation of Media Market." World Economy and International Relations, no. 5 (2015): 92–103. http://dx.doi.org/10.20542/0131-2227-2015-5-92-103.
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The article analyzes new phenomena in the field of television associated with the digital era, in particular, the transformation of media market under the influence of technological, economic, financial and institutional factors of digitalization. Contemporary international and Russian television industry is in the process of digital revolution. The era of traditional television as a typical broadcasting technology, a traditional social, economic and cultural phenomenon, has come to an end. We are on the verge of a global and irrevocable shift to mass utilization of various digital devices that certainly affect the positions of television as a separate industry. Modern television is outlined as a part of a wide digital media market, just a segment of a highly competitive entertainment structure with complex network interactions. In terms of Russia, the new phenomena accompanying the evolution of media and television markets in the process of digitalization urgently need an economic analysis. In what direction is it necessary to develop the local broadcasting? Is there a sound commercial future of national and regional television companies? What lessons can extract Russia from world experience? What else does Russian television need to improve efficiency and global competitiveness? These issues are detail considered in the article. Trends and obstacles for the implementation of a prospective business model for Russian TV are shown. It is concluded that successful development of the Russian television industry is possible only under the conditions of efficient formation of a fundamentally new configuration of a multi-market structure type.
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Stadel, Luke. "A Review of “Television as Digital Media”." Quarterly Review of Film and Video 30, no. 3 (May 2013): 279–83. http://dx.doi.org/10.1080/10509208.2011.647542.
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Wijfjes, Huub. "Television as Digital Media (review)." Technology and Culture 53, no. 4 (2012): 956–57. http://dx.doi.org/10.1353/tech.2012.0146.
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Sudarsono, Achmad Budiman, and Helen Olivia. "Mediamorfosis Industri Media Televisi: Studi Lembaga Bisnis EMTEK pada Platform Digital vidio.com." COMMENTATE: Journal of Communication Management 1, no. 1 (June 30, 2021): 1. http://dx.doi.org/10.37535/103002120211.
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Changes in communication technology are currently changing the behavior of society in general, this is indicated by the use of mobile media, which has been used as a communication medium, is now used as a medium for watching television programs. This mediamorphosis phenomenon is used by MNC Group and Emtek Group to transform conventional media into digital media. This change encourages media owners to make digital changes in the broadcasting sector in Indonesia. The MNC group has digital television broadcasting under the name MeTube, while the Emtek group has the name Vidio.com. Not many televisions in Indonesia have changed conventional media broadcasting to digital media, benefiting the MNC group and the Emtek group. The perspective of this study is referred to as a channel for the process of exchanging commodities in the free market in order to compete and provide benefits and satisfaction to the public. As for this study using a qualitative method with a constructivist paradigm, while the aim of the researcher is to try to explore the problem of changes made by the media industry from conventional to online streaming broadcasts that change people to watch television shows anywhere. While the results of this study are changes in technological developments, especially communication and information technology, giving impetus to the media to change their business strategies. With the development of convergence technology, media are required to adapt by distributing content through many platforms at the same time as the current media industry terminology changes.
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Kleinsteuber, Hans J. "Digital television in Germany." International Journal of Digital Televison 2, no. 1 (January 1, 2011): 87–93. http://dx.doi.org/10.1386/jdtv.2.1.87_7.
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Ugalde, Leire, Juan-Ignacio Martínez-de-Morentín, and Concepción Medrano-Samaniego. "Adolescents’ TV viewing patterns in the digital era: A cross-cultural study." Comunicar 25, no. 50 (January 1, 2017): 67–76. http://dx.doi.org/10.3916/c50-2017-06.
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The deep-rooted changes that have taken place in the media world over recent years have brought about changes in both television itself and in the relationships established with this medium. Consequently, it is important to understand how young people watch television today, in order to design strategies to help them develop the capacities they require to ensure responsible use. With this aim, the present study analyzes the television viewing habits of 553 adolescents (267 boys and 286 girls), aged between 14 and 19, from Ireland, Spain and Mexico. Through the implementation of two questionnaires (CH-TV 0.2 and VAL-TV 0.2), four viewing patterns were detected that can be generalized to all the contexts studied. Two of these patterns clearly distinguish between boys (critical-cultural) and girls (social-conversational), with boys viewing more cultural and information-oriented programs, and girls tending to watch shows with a view to talking about them later with their friends. Two of the variables which best distinguish between the other two patterns identified are the perception of a conflictive climate (conflictive-passive viewing) and the perception of responsible parental mediation (committed-positive viewing). Moreover, preferred television genre was found to be the factor with the greatest discriminatory power in relation to these patterns, while time spent watching television, perceived realism and cultural context were not found to be significant. Los profundos cambios acaecidos en la configuración del contexto mediático en los últimos tiempos, han generado cambios tanto en el medio televisivo como en las relaciones establecidas con él. Es por ello que, resulta necesario conocer cómo consumen la televisión los jóvenes actuales en aras de crear estrategias que ayuden a capacitarlos en la utilización de este medio. Con este fin, en esta investigación se han estudiado las pautas de consumo televisivo de 553 adolescentes (267 chicos y 286 chicas) de Irlanda, España y México, de edades comprendidas entre 14 y 19 años. Mediante la aplicación de dos cuestionarios (CH-TV 0.2 y VAL-TV 0.2), se han podido detectar cuatro pautas de consumo generalizables a todos los contextos estudiados. Dos de estas pautas, diferencian el consumo entre hombres (Crítico-Cultural) y mujeres (Social-Conversacional), siendo ellos los que realizan un consumo más cultural e informativo y ellas, más dirigido a entablar conversación con sus amistades. En lo que a las otras dos pautas se refiere, la percepción de un clima conflictivo (consumo Conflictivo-Pasivo) o la de una mediación responsable (consumo Comprometido-Positivo) son algunas de las variables que marcan las diferencias. Además, se han detectado aquellos factores que presentan mayor poder discriminativo en la configuración de estas pautas, siendo la preferencia mostrada hacia los géneros televisivos el factor más discriminante entre los estudiados. Sin embargo, la permanencia, el realismo percibido y el contexto cultural no han resultado ser determinantes.
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Feng, Ting, Chengfei Wang, and Ce Chen. "Creative Effect of Film and Television Advertising Based on Digital Media Interactive Technology." Mobile Information Systems 2022 (September 29, 2022): 1–10. http://dx.doi.org/10.1155/2022/6231760.
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Advertising creativity is the product of creative activities in modern advertising operations, and it is an extremely effective and creative way of communicating advertising information. A film and television advertisement without novelty and creativity, no matter how much funds are invested, only consumes financial resources and even causes the audience to be bored. At present, there are some problems in the creativity of film and television advertisements, such as random combination, lack of core ideas and soul, and high cost of good creativity. With the rapid development of communication technology, traditional media interaction methods can no longer meet people’s needs, and digital media interaction technology has emerged. This technology greatly enhances the dissemination and interaction of the media and has been widely used in the creation of film and television advertisements. Therefore, this paper uses digital media interaction technology to improve the creative effect of film and television advertising so as to promote consumers to make decisions, complete the purchase behavior, and shorten the entire link from advertising notification to action conversion. This article aims to find the possibility for the application of digital media interaction technology in the creation of film and television advertisements and to promote the creation of film and television advertisements to develop in a new direction. Experiments show that under the background of digital media interaction technology, users’ favorite degree of film and television advertisements has increased by 9%, reaching 90%. This further shows that after a series of digital media interactions, film and television advertisements can often capture the hearts of the audience more accurately, and then provide users with just-right services.
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Pratiwi, Ilma. "ESTETIKA GASTRONOMI NUSANTARA DALAM MEDIA DIGITAL." Jurnal Budaya Nusantara 4, no. 2 (June 30, 2021): 248–57. http://dx.doi.org/10.36456/b.nusantara.vol4.no2.a3628.
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The development of the digital technology affects how humans perceive aesthetics in digital media. Including how the Indonesia gastronomic presentation is perceived in digital media both visually and audio. Gastronomy is the study of food and food culture. The development of digital information technology creates a space that is full of information, how can information about the Indonesian gastronomy continue to exist in the midst of cross-cultural information on today's digital media. People's behavior is influenced by the perceptions of netizens formed from digital information media, be it social media, television media, film media, even entertainment media on demand. This study uses a phenological approach to describe how the Indonesian gastronomic aesthetics are presented in various digital media platforms, namely social media Instagram, social media Facebook, social media Youtube, digital television media, digital film media, and entertainment digital media on demand. The data was obtained through observation of these various digital media platforms. This study produces a comparison of the aesthetic elements used in each of these digital media and how the existence of Indonesian gastronomy is presented in it.
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Arroyo-Cañada, Francisco-Javier, and Jaime Gil-Lafuente. "Considerations of Interactive Digital Television as Advertising Media." Journal of Promotion Management 18, no. 3 (July 2012): 306–18. http://dx.doi.org/10.1080/10496491.2012.696456.
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Moore, Arthur R., and Michael P. Sharrock. "Magnetic Media for the Digital Television Tape Recorder." SMPTE Journal 95, no. 10 (October 1986): 1004–8. http://dx.doi.org/10.5594/j03216.
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Sultanbayeva, G., and O. Lozhnikovа. "DIGITAL TRANSFORMATION IN THE KAZAKHSTAN." BULLETIN Series of Philological Sciences 75, no. 1 (March 30, 2020): 405–15. http://dx.doi.org/10.51889/2021-1.1728-7804.70.
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This research presents the results of a sociological study on the media behavior of the adult population of Kazakhstan. The aim of the research is to identify the specifics of media consumption of digital technologies and media preferences of the adult population. The main task of our empirical research is to determine the mechanism of access to the main technical means, and the media behavior of active users. The research methodology includes quantitative and qualitative methods: a survey among the target group, sampling over 2500 respondents from all regions of Kazakhstan. We conclude that three quarters of the respondents will use three main channels: television, informal channels and Internet resources. Currently, there is a preserved tradition of formalized passive perception of information through television. The results of the study can be used in applied work in media marketing and digital business.
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Shah, Babar Hussain, Sajid Abbasi, and Sana Rashid. "DEATH OF TV- RUMOR OR REALITY: A SYSTEMATIC REVIEW." Pakistan Journal of Social Research 03, no. 04 (December 31, 2021): 748–56. http://dx.doi.org/10.52567/pjsr.v3i4.623.
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May people are surprised to see the influence of social media in our life, and they are of the view that social media can replace television life or soon social media may replace television from our lives and this study was designed to explore the importance and effectiveness of television in our life the contemporary epoch of social media. This research study is designed to explore the importance of TV in this modern era of digital media by systematic review. The researcher picked up forty ( n= 40) research papers randomly from year 2014 to 2021, demonstrating the relevance of television in the age of digital media. It has been observed that despite expansion of FM stations and multitude of films being released around the globe and hitting the box office one medium did not affect the importance of other medium. The same may be postulated for television and other new forms of media. The convergence of technology and the proliferation of new media have not and will not put an end to the TV. This research proves beyond a doubt that television is still going strong and getting greater every day. Keywords: Television, social media, technology, systematic, review, Importance.
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Menrisal. "Digital Learning Media: Review." JOURNAL OF DIGITAL LEARNING AND DISTANCE EDUCATION 1, no. 4 (October 1, 2022): 131–39. http://dx.doi.org/10.56778/jdlde.v1i4.32.
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Digital learning media is the use of technology in the form of software to distribute information (transfer of knowledge) to students. The purpose of using digital learning media is so that students can receive knowledge, skills, more easily, without being constrained by space and time. Digital learning systems require infrastructure and technology support, such as computers, internet access, servers, television, interactive video, CD/DVD ROM, and so on. Digital learning can be done in two ways, namely fully digital or in combination with face to face (face to face). Face to face can also be done by involving technology, such as video conferencing or tele conferencing. The success of developing a digital learning requires a gradual design. Digital design is known as storyboarding and visual mapping (visual map). This design is specifically focused on the use of advanced methods in digital learning, especially on the aspects of design and its principles.
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Gregory, Mark A. "Impending Media Review." Journal of Telecommunications and the Digital Economy 4, no. 1 (March 31, 2016): ii—iv. http://dx.doi.org/10.18080/jtde.v4n1.51.
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In the March 2016 issue papers cover a range of topics that include the UK BBC charter review, film and television being affected by Internet clichés and an interesting look at digital currencies. Two historical articles on the bombing of Darwin and radio telephone surveying provide interesting reading about past telecommunications challenges. In Australia the government appears to be taking concerns raised by media organisations seriously and recent reductions in television licence fees point to the government’s impending media regulation review being more than just window dressing.
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Hagedoorn, Berber. "Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 71–94. http://dx.doi.org/10.1515/ausfm-2017-0004.
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Abstract Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.
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Nakamura, Masataka. "1. Digital Cable Television System." Journal of The Institute of Image Information and Television Engineers 65, no. 1 (2011): 8–14. http://dx.doi.org/10.3169/itej.65.8.
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Lin, Lisa. "Beyond Canned Television." Canned TV Going Global 9, no. 17 (August 31, 2020): 21. http://dx.doi.org/10.18146/view.224.
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The October of 2018 saw the creation of BBC Earth Tribe, a global online brand representing BBC Natural History Unit (NHU)’s programming on Tencent Video, one of China’s leading online streaming services. Besides providing over 650 hours of BBC documentaries to Chinese online audiences, BBC Earth Tribe delivers unprecedented access to creators from BBC NHU through interactive screen forms and offline events. This article offers a study of BBC Earth’s global strategies in its partnerships with one of the largest Chinese digital platforms, Tencent, in terms of coproduction and online community building beyond traditional canned television distribution. It examines Project Penguin, which has formalised coproduction partnerships between BBC Studios and Tencent Online Media Group (OMG) since October 2018. The distribution partnerships involve not only pre-sales of BBC Earth’s flagship documentaries but also coproduction and online community building on Tencent-run platforms, from streaming services to social media platforms. By examining BBC Earth’s distribution strategies in the Chinese media landscape from the early 2000s, the paper aims to theorise distribution strategies between BBC Studios and Tencent Video and its socio-cultural implications on television distribution in the digital, multiplatform era of convergence.
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Kai Khiun, Liew, Trisha Tsui-Chuan Lin, and Theng Yin Leng. "Skeuomorphic Domestic Television’s Analog Divide: Television and Social Stratification in Singapore." Television & New Media 21, no. 7 (February 26, 2019): 730–48. http://dx.doi.org/10.1177/1527476419826514.
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Through the ethnographic survey of the ownership, use, and display of television-related devices of forty households in Singapore, this article frames the concept of Skeuomorphic Domestic Television. This term describes the continued centrality of the traditional “living room television” amid digital media’s portability. Results from the stocktaking of the ownership of television-related devices in the surveyed households point to the narrowing of the digital divide arising from the greater affordability of media technologies. However, within the highly densely populated city-state, it was found that social distinctions from television cultures were maintained in the skeuomorphic luxury of the “TV-Sofa space” in living rooms of surveyed households. Such a space that distinguishes individuals watching television in cluttered rooms against the more communal viewing practices in designated spacious living rooms characterizes the “Analog Spatial Divide” of skeuomorphic domestic television cultures.
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Stauff, Markus. "Taming Distraction: The Second Screen Assemblage, Television and the Classroom." Media and Communication 4, no. 3 (July 14, 2016): 185–98. http://dx.doi.org/10.17645/mac.v4i3.538.
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This article argues that television’s resilience in the current media landscape can best be understood by analyzing its role in a broader quest to organize attention across different media. For quite a while, the mobile phone was considered to be a disturbance both for watching television and for classroom teaching. In recent years, however, strategies have been developed to turn the second screen’s distractive potential into a source for intensified, personalized and social attention. This has consequences for television’s position in a multimedia assemblage: television’s alleged specificities (e.g. liveness) become mouldable features, which are selectively applied to guide the attention of users across different devices and platforms. Television does not end, but some of its traditional features do only persist because of its strategic complementarity with other media; others are re-adapted by new technologies thereby spreading televisual modes of attention across multiple screens. The article delineates the historical development of simultaneous media use as a ‘problematization’—from alternating (and competitive) media use to multitasking and finally complementary use of different media. Additionally, it shows how similar strategies of managing attention are applied in the ‘digital classroom’. While deliberately avoiding to pin down, what television is, the analysis of the problem of attention allows for tracing how old and new media features are constantly reshuffled. This article combines three arguments: (1) the second screen is conceived of as both a danger to attention and a tool to manage attention. (2) To organize attention, the second screen assemblage modulates the specific qualities of television and all the other devices involved. (3) While being a fragile and often inconsistent assemblage, the second screen spreads its dynamics—and especially the problem of attention—far beyond television, e.g. into the realm of teaching.
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Brevini, Benedetta, and Francesca Fanucci. "Digital television in Iitaly: From analogue to digital duopoly?" International Journal of Digital Televison 4, no. 1 (March 1, 2013): 7–19. http://dx.doi.org/10.1386/jdtv.4.1.7_1.
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Nofiard, Farid. "Komunikasi Politik Digital di Indonesia." Al-Hiwar : Jurnal Ilmu dan Teknik Dakwah 10, no. 2 (December 28, 2022): 31. http://dx.doi.org/10.18592/al-hiwar.v10i2.7548.
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The habits of the Indonesian people in seeking the information at this time have experienced a shift from what was previously considered television and print media as a means of actual information, turning to digital media as the main media for seeking information. This is in line with the demands of the industrial revolution 4.0 which demands an all-digital society, the great attention of the Indonesian people to the internet is an opportunity for political actors to turn to digital media as a means of political communication. Through research using descriptive literature study methods, researchers try to observe through online news, scientific magazines, television news, and digital literacy related to political communication built by political actors in Indonesia today. It was found that the results of political communication built through digital media were more effective because political messages were more easily conveyed thanks to the great attention of the Indonesian people to the internet. In addition, digital media can save time and cost in delivering political messages. This digital political communication, apart from personal branding, can also be used to resolve conflicts between the government and society
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Sadiku, Matthew N. O., Adebowale E. Shadare, and Sarhan M. Musa. "Digital Entertainment." International Journal of Advanced Research in Computer Science and Software Engineering 7, no. 8 (August 30, 2017): 62. http://dx.doi.org/10.23956/ijarcsse.v7i8.22.
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The popularity of the Internet and digital media is making a significant impact in entertainment activities. Like the invention of television and cinema, the invention of the Internet and wireless technologies are making a profound change in our lifestyle and giving us the technological ability to enjoy digital entertainment. This paper provides a brief introduction to digital entertainment.
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Wang, Zhenzi, Zhi-Qiang Liu, and Steve Fore. "Facing the Challenge: Chinese Television in the New Media Era." Media International Australia 114, no. 1 (February 2005): 135–46. http://dx.doi.org/10.1177/1329878x0511400115.
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In this paper we examine current developments in new media and Chinese television. In particular, we present a case study of the Spring Festival Eve Gala 2002, sponsored by China Central Television Station (CCTV). Despite the rapid development of digital technology and new media in recent years, Chinese television is unlikely to be transformed quickly. We propose that coevolution and convergence with new media offer the most effective strategy for the future development of Chinese television. The case study indicates that the current progress in media and communications technologies has set the stage for a gradual and incremental transformation of Chinese television.
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Farias, Myl, Marcelo M. Carvalho, and Marcelo S. Alencar. "Digital Television Broadcasting in Brazil." IEEE Multimedia 15, no. 2 (April 2008): 64–70. http://dx.doi.org/10.1109/mmul.2008.25.
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Zhou, Jiehan, Zhonghong Ou, Mika Rautiainen, Timo Koskela, and Mika Ylianttila. "Digital Television for Mobile Devices." IEEE Multimedia 16, no. 1 (January 2009): 60–71. http://dx.doi.org/10.1109/mmul.2009.7.
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Chambers, Deborah. "The Rise and Fall of the Analogue Television Set." VIEW Journal of European Television History and Culture 8, no. 15 (October 27, 2019): 79. http://dx.doi.org/10.18146/2213-0969.2019.jethc166.
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This article explores the shifting materiality and meanings of television as an exhibited object. To consider the fluctuating discourses involved in the display of analogue TV sets, the article critically examines how the object has been re-presented: aestheticized, interrogated, destabilised and reorganized as science, modernity, art, and media heritage. An interpretive approach drawing on Walter Benjamin and media archaeology is supported by archival sources. The term “analogue rupture” is introduced to critically assess the implications of, and discontinuities involved, in analogue television’s status as art and heritage. Digital media heritage discourses that invite us to regard obsolescence as inevitable progress are questioned.
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Burova, Slavica. "SUSTAINABILITY AND DIGITALIZATON OF THE REGIONAL TELEVISIONS THROUGH THE PRISM OF LEGISLATIVE BROADCASTING: THE CASE OF THE REPUBLIC OF NORTH MACEDONIA." KNOWLEDGE - International Journal 47, no. 1 (August 16, 2021): 243–48. http://dx.doi.org/10.35120/kij4701243b.
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In recent years, the European and Macedonian television etherare experiencing major changes. The process of digitalization of television has been completed in most European countries, while in a smaller number it is still ongoing. Digitalization of television means production, transmission and reception of television programs in digital form through the use of digital methods for modulation and signal processing.
The process of digitalization of televisions in the Republic of North Macedonia was carried out during 2013, although the first scenario for digitalization was to be completed by the end of 2012. By decision of the Government of the Republic of Macedonia, analog signals were switched off on 31 May 2013, and The very next day, on June 1, 2013, the digital broadcasting started. From a legal point of view, this process passed without enough public debate, media managers were brought before a final act, and at the last minute they were forced to sign contracts and documents for the transition from analog to digital signal. This was especially negatively reflected on the work of the regional televisions whose programs, under very unfavorable financial conditions, are distributed by a digital public communication network operator. The Association for Private Media of the Republic of North Macedonia, at the time of the adoption of the regulations, categorically states that the current conditions for digitalization are too much for the televisions, above all economically unjustified and completely unacceptable in the current situation. Additionally, the frequency spectrum management in the Republic of North Macedonia is under the competence of a special regulator - the Agency for Electronic Communications, which is also an independent regulatory body, while the decisions for issuing licenses in the broadcasting area are made by the Agency for Audio and Audiovisual Media Services (previously Broadcasting Tip).
The main claim of this research is that a strategically designed regulatory policy, if it strives to achieve media and cultural pluralism, in the implementation of the digitalization process, must take into account the conditions for economic sustainability and development of regional television.
The main goal of this research is an analysis of the process of digitalization of terrestrial televisions, which was conducted during 2013 by the Government of the Republic of Macedonia and the regulatory bodies of the broadcasting activity.
A qualitative research strategy will be applied in the research. The following methods for data collection or analysis will be used: qualitative analysis of documents; analysis of secondary data; in-depth interviews with owners or managers of regional televisions and in-depth interviews with experts in the field of media policy and in the field of management and broadcasting; qualitative analysis of interview transcripts.
Regional televisions are a very important factor in informing the citizens in the regions where they are broadcast. The survival of regional televisions should be a concern, above all for the central government, but also for the local one. Thereby, it is necessary to take into account the specifics of the regional televisions. The purpose of this paper was to present the real situation, as well as the important role of regional televisions in the Republic of North Macedonia, but also to point out recommendations for their continuous sustainability. In addition to the above conclusions and recommendations, it is necessary to keep in mind that this is a particularly sensitive topic that is presented in this paper in the simplest possible way. However, due to its complexity and importance, the need to deepen research in this area is pointed out in order to contribute to the development of a more effective strategy, plan and guidelines for creating positive conditions for sustainability and development of regional televisions.
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Brügger, Niels. "Media events in an age of the Web and television: Dayan and Katz revisited." Nordic Journal of Media Studies 4, no. 1 (May 7, 2022): 37–55. http://dx.doi.org/10.2478/njms-2022-0003.
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Abstract When Daniel Dayan and Elihu Katz published their seminal book Media Events: The Live Broadcasting of History in 1992, television occupied centre stage, whereas computer networks were only beginning to be used. Since the late 1990s, television and digital media have co-existed and co-evolved in still more entangled ways. In this article, I ask how the supplementing of television by a new media form, the Web, has affected the ways media events as understood by Dayan and Katz can unfold and be conceptualised. Based on a medium theory perspective where focus is more on “media” and less on “event”, I introduce the article by tracing how Dayan and Katz understand television as a medium. Then follows a brief account of the vast literature about Media Events, with a particular focus on how digital media are conceptualised. With these two sections as a stepping stone, the Web's digital features are outlined, followed by a historical analysis of the interplay of the development of the Web and a concrete media event: the Olympics from 1996 to 2016. Finally, this web historical outline is used to re-evaluate Dayan and Katz's conceptualisation of media events. The analysis is guided by three themes – liveness, control, and participation – pivotal for Dayan and Katz's understanding of media events as well as the history of the Web.
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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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Scibilia, Michael, and Brett Hutchins. "High-Stakes Television: Fan Engagement, Market Literacy and the Battle for Sports Content." Media International Australia 141, no. 1 (November 2011): 26–37. http://dx.doi.org/10.1177/1329878x1114100105.
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Televised on Network Ten's new digital multi-channel One HD in April 2010, the Foot Locker Elite Classic – High Stakes Hoops (HSH) was a one-off made-for-television event. Highlighting an intersection between media policy decisions, fan culture and sports media, this basketball tournament is an unlikely source of insight into the contemporary media marketplace. The event was born out of changing television industry conditions. It served the mutual dependencies of a media-starved sport in Australia – basketball – and a brand new commercial network digital multi-channel, One HD, that required extensive content to fill its 24-hour, seven-day-a-week schedule. One HD was launched by Network Ten in 2009, and competes with the specialist pay television provider Fox Sports. This article argues that it was knowledge of these broader television market conditions that significantly informed the staging and collective meaning of HSH for many fans, rather than just the quality of the play or the teams taking part. Media sport market literacy – discussion about the business and strategic value of television and media coverage – is now an under-acknowledged but important part of fan discussion.
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Pérez-Pérez, Ramón. "Literacy in the media communication: code and decoding of the digital narrative." Comunicar 13, no. 25 (October 1, 2005): 167–75. http://dx.doi.org/10.3916/c25-2005-023.
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The generalization of a technological and digital screen world shows a complex reality. Traditional communication systems and new unknown relation with other novel and strangers converge in this reality. The television already has entered the digital world. The digital technologies define a new universe of languages, of interactions and systems of relation. A new reality that is located between the real thing and the virtual thing. This world of «screens» has numerous edges that are necessary to analyze in all their dimensions and individual influences, social and cultural. All solution happens through a process of alphabetization in the new technologies of the communication. La conformación y generalización de un mundo tecnológico y digital, «de pantallas», presenta una realidad compleja. Convergen en esta realidad sistemas de comunicación y de relación tradicionales con otros novedosos y desconocidos. La televisión ya ha entrado en el mundo digital. Las tecnologías digitales definen un nuevo universo de lenguajes, de interacciones y sistemas de relación. Una nueva realidad que se sitúa entre lo real y lo virtual. Este mundo de «pantallas» tiene numerosas aristas que es necesario analizar en todas sus dimensiones e influencias individuales, sociales y culturales. Toda solución pasa por un proceso de alfabetización en las nuevas tecnologías de la comunicación.
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Ćitić, Tatjana. "Artificial intelligence in media systems: Radio and television." Socioloski pregled 54, no. 4 (2020): 1329–45. http://dx.doi.org/10.5937/socpreg54-29621.
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The development of radio and television is accompanied by technological innovations in the field of business, production, storage and placement of the content. This paper is focused on the application of digital technology which has brought revolutionary possibilities to the media systems in the optimization and integration of work processes, maximum use of resources, time saving, as well as easier exploitation of archived materials and the content placement on digital platforms. The basic thesis of the paper is that the application of artificial intelligence in modern radio-television systems may have positive effects on more efficient business operations, as well as product quality, integration and efficiency of employees' work with the aim of improving the quality of reporting and creating a new user experience in content consumption.
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Utray, Francisco, Mercedes de Castro, Lourdes Moreno, and Belén Ruiz-Mezcua. "Monitoring Accessibility Services in Digital Television." International Journal of Digital Multimedia Broadcasting 2012 (2012): 1–9. http://dx.doi.org/10.1155/2012/294219.
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This paper addresses methodology and tools applied to the monitoring of accessibility services in digital television at a time when the principles of accessibility and design are being considered in all new audiovisual media communication services. The main objective of this research is to measure the quality and quantity of existing accessibility services offered by digital terrestrial television (DTT). The preliminary results, presented here, offer the development of a prototype for automatic monitoring and a methodology for obtaining quality measurements, along with the conclusions drawn by initial studies carried out in Spain. The recent approval of the UN Convention on the Rights of Persons with Disabilities gives special relevance to this research because it provides valuable guidelines to help set the priorities to improve services currently available to users.
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Zhang, Rui, Dequan Yu, and Songyu Yu. "Security Strategy of Digital Television Middleware System." IEEE Transactions on Consumer Electronics 53, no. 3 (August 2007): 969–73. http://dx.doi.org/10.1109/tce.2007.4341574.
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Bower, A. "Digital Two-Channel Sound for Terrestrial Television." IEEE Transactions on Consumer Electronics CE-33, no. 3 (August 1987): 286–96. http://dx.doi.org/10.1109/tce.1987.290271.
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Sile Yu and Shan Chen. "Research on chinese digital television service information." IEEE Transactions on Consumer Electronics 49, no. 1 (February 2003): 188–92. http://dx.doi.org/10.1109/tce.2003.1205475.
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Ershov, Yuri. "Digital World of Networked Teens and Their Visual Practices." Theoretical and Practical Issues of Journalism 8, no. 2 (May 24, 2019): 355–72. http://dx.doi.org/10.17150/2308-6203.2019.8(2).355-372.
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The article presents the results of a pilot study of teen media practices. The study was conducted using focused interviews (with video recording) with 11 graders in three Siberian cities in March — April 2018. The survey project shows how the viewing is transformed as a sociocultural practice and why the YouTube videohosting fundamentally influences this process. The problem is connected with generational (digital) gap and non-fulfillment of the natural loss of the audience of television channels by young viewers. Not only university departments and academic centers, but also the research services of consulting companies and corporations are studying this media consumerism problem today, since the request for such research is formulated throughout the media industry. An analysis of the data from a focused interview shows that the media activity of school students is not fully comprehended by them: adolescents cannot yet appreciate time and control it. Television viewing has become largely ritual in nature and serves to strengthen emotional ties with the family. Without personal involvement in the media process, adolescents' interest in watching or reading is quickly fading. For teens, the privacy of their lives in social networks and the ability to comment on any web content is of great importance. The author assumes in a discussion key the possibilities of integrating social media and television, justifying the forecast for the development of this sector of the media market. Patterns of adolescent media activity will undoubtedly influence in the future the behavior of adults in the media environment. This research project was undertaken to respond to an industrial query: how management should change media platforms and content policies to captivate the younger generation and win their loyalty.
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Handayani, Sri. "WEB TV Sebagai Media Alternatif Mengakses Informasi." Jurnal The Messenger 2, no. 1 (March 24, 2016): 42. http://dx.doi.org/10.26623/themessenger.v2i1.289.
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<p><em>The Information Technologies are growing fast. One of them is Internet. There are various applications to share information offered in Internet. WebTV is one of them. WebTV is interactive television using Internet as its distribution media. WebTV can be watched all the time, both delay or direct broadcasting.There are some main benefits of WebTV compared with common television are: there are no competition in getting frequency, the consumers are not limited by time to watch their preferred programs, there is an interaction in internet in using such services as e-mail, chat, e-commerce, e-government, e-education, digital trend influences the compound of television and internet, One of the strategies used in television industry is increasing the brand image.</em></p>
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Geni, Gammara Lenggo, Rizki Briandana, and Farid Hamid Umarella. "The Strategies of Television Broadcast During the Covid-19 Pandemic: A Case Study on Indonesian Television." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 243–56. http://dx.doi.org/10.17576/jkmjc-2021-3702-15.
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This study aims to analyse the media management strategy of Indonesian television stations during the Covid-19 pandemic. In March 2020, an outbreak of the Covid-19 pandemic in Indonesia affected the operations of broadcasting offices, which forced people to work from home. This situation affects the operations, strategy, and content of the television industry. The object of research is Kompas TV, one of the largest media companies in Indonesia, which was the first to implement a digital concept for its customers. The concepts of planning, organising, actuating, and controlling are used to analyse the strategies media utilised. The methodology employed for the current research takes the form of a case study by adopting the qualitative approach through an in-depth interview and observation. The results showed that Kompas TV, through its digital platform in the form of websites, YouTube channels, and social media, achieved an increase in the number of viewers, users, and engagement during the pandemic. In particular, the digital aspect does not only appear in communication, but also in the implementation of the Kompas TV strategy. The results of the study also revealed that strategies carried out on Kompas TV can be used as a model for other television in Indonesia to emulate, in order to sustain its business in times of crisis. Keywords: Strategy, broadcast management, Indonesia television station, pandemic Covid-19, qualitative research.
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Kavaz Siručić, Marina. "Mediji i obrazovanje." Obrazovanje odraslih/Adult Education 10, no. 1 2010 (2010): 119–25. http://dx.doi.org/10.53617/issn2744-2047.2010.10.1.119.
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This text treats the relation between media and education, questioning the modalities of media impact in educational area, stating the advantages and disadvantages in using media both as resource and as educational institutuion. The expansion of media development in the last five decades shows the extent of media impact in all areas of civic society including education which turns out to be the most sensitive one. Therefore, we are treating on theoritical level positive and negative reflections of media on education underlining the ways media can positively contribute to education process and symbiotic effect of media and education. Regarding the primacy of electronic/digital media (radio, television, Internet) over the other, we focus on television and Internet. Furthtermore, our issue is the influence of media on maintaining working stereotypes by pseudo education. Point of view and conclusions of this article do not intend to offer general solutions or assessments but try to encourage the consideration of this extremly wide area and its impact on individuals and society.
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Salomaa, Elina. "Dissertation: “In the intersection of television and Twitter: Social television as a tool for interaction and participation in a media event”." Fachsprache 42, no. 1-2 (May 5, 2020): 72–75. http://dx.doi.org/10.24989/fs.v42i1-2.1840.
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This dissertation presents the phenomenon of social television by focusing on the interplay between the traditional broadcast media and the newer social media in the context of the FIFA World Cup. The aim of the study is to shed light on interactional practices that are generated in the intersection of television and Twitter. Through the lens of digital discourse and conversation analysis the study examines how the participation in a media event is constructed in live tweeting practices. The dissertation shows that social media have offered new ways of participating and enjoying television content but have not replaced the role of traditional television as a central medium for experiencing massive media events such as the FIFA World Cup.
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Cox, Christopher M. "Programming – Flow in the convergence of digital media platforms and television." Critical Studies in Television: The International Journal of Television Studies 13, no. 4 (December 2018): 438–54. http://dx.doi.org/10.1177/1749602018796681.
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This essay updates Raymond Williams’ flow by defining its contemporary logics – televisible and invisual. The televisible are both media content and visual digital media forms that shape – and are shaped by – interactions with media content through digital media platforms. The invisual are unseen operations of software, algorithms and other processes that configure and manifest the televisible. A case study of Netflix illuminates how this reconceived flow series functions as a framework for understanding the stakes of digital media platforms that both foster possibilities for user interactivity and attenuate users to industrial models for audienceship and programming.
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Strukov, Vlad. "Digital switchover, or digital grip: Transition to digital television in the Russian Federation." International Journal of Digital Televison 2, no. 1 (January 1, 2011): 67–85. http://dx.doi.org/10.1386/jdtv.2.1.67_1.
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