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Artículos de revistas sobre el tema "Pay television"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 12 de febrero de 2022

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1

O'Keefe, Roger. "The “Right to Take Part in Cultural Life” Under Article 15 of the ICESCR". International and Comparative Law Quarterly 47, n.º 4 (octubre de 1998): 904–23. http://dx.doi.org/10.1017/s002058930006259x.

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The fans' representatives also had some thoughts on the televising of games and pay-per-view television. They proclaimed “the right of fans to watch football matches on television without having to pay extra, since they take place in public arenas which have been paid for by the citizens”.1

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2

Pereira, Sara. "Quality in children’s television". Comunicar 13, n.º 25 (1 de octubre de 2005): 181–92. http://dx.doi.org/10.3916/c25-2005-025.

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With this presentation we try to reflect upon the concept of quality with regards to television for children. In addition, we aim to identify a set of criteria which can allow us to recognize and evaluate the quality of programming for younger audiences. This analysis is based both on the contribution of different authors that have studied quality in television and on the opinions of professionals who intervene and pay especial attention to programming for children in Portugal. The opinions of these professionals were collected by interview in the frame of a larger study which focused the offer and programming criteria for children in the Portuguese terrestrial channels. As we shall see, some professionals emphasize the content of television programming and programmes, while others stress the levels of audience, the human and technical resources as well as the goals pursued by each channel. O estudo da relação das crianças com a televisão pode incidir quer na vertente das audiências, nomeadamente, dos públicos infantis, quer na vertente da televisão e do sistema televisivo. O presente trabalho focaliza-se na segunda dimensão. Depois de nos termos detido, noutros estudos, sobre o contexto da recepção, quisemos analisar o contexto da programação e da difusão televisiva. Atendendo a que um dos factores que condiciona o uso da televisão reside nos programas oferecidos, consideramos fundamental estudar também o lado de lá do ecrã para conhecer o que é pensado, concebido e emitido especificamente para o público mais jovem. Neste sentido, realizámos uma pesquisa sobre as ofertas e os critérios de programação para a infância dos canais generalistas portugueses, no período compreendido entre 1992 e 2002. Neste estudo recorremos a uma metodologia assente em abordagens quantitativas e qualitativas.

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Johnson, L. W., B. J. Buchanan y F. J. Crittle. "Pay television in Australia". Telecommunications Policy 9, n.º 4 (diciembre de 1985): 301–9. http://dx.doi.org/10.1016/0308-5961(85)90023-0.

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4

Cunningham, Stuart. "Cultural Frames for Pay Television". Media Information Australia 58, n.º 1 (noviembre de 1990): 94–105. http://dx.doi.org/10.1177/1329878x9005800116.

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5

Adebule, Samuel Olufemi. "Price Discount and Retention of Customers of Pay Television Sector in Ekiti State, Nigeria". International Journal of Marketing Research Innovation 4, n.º 1 (2 de mayo de 2020): 13–19. http://dx.doi.org/10.46281/ijmri.v4i1.555.

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Aim: To determine the correlation between price discount and customer retention in the Nigerian pay television sector particularly in Ekiti State, Nigeria. Study Design: Descriptive survey research design was used for the study. Place and Duration of Study: Ekiti State, Nigeria between February and November, 2019. Methods: Multi-stage sampling technique was adopted to select the 390 subscribers of pay television in Ekiti State namely Startimes, Dstv and Gotv who are respondents of the study. Primary data used for the study were collected through a well-structured questionnaire and were analysed using percentages, frequency table and multiple regressions. Results: Findings from the study revealed that provision of price discount had a significant positive effect on retention of customers of pay television in Nigeria. Also the study revealed that reduction in subscription fees at interval has a positive effect on customer continuous patronage of the pay television service provider. Conclusion: The study concluded that increased sales promotion led to increased customer retention in the pay television sector in Nigeria. It recommended that pay television service providers should give more of price discounting and free to view stations to customers with a view to attracting potential customers and retaining the existing ones.

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6

Sari, Mezia Kemala. "PERANAN PEMILIHAN STRATEGI DAN STILISTIKA DALAM IKLAN DI TELEVISI". REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, n.º 1 (16 de marzo de 2016): 19. http://dx.doi.org/10.24821/rekam.v11i1.1290.

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Televisi adalah salah satu media terbaik saat ini yang dapat menghubungkan tujuan-tujuan dari para produsernya dengan kebutuhan konsumen. Tayangan televisi sangat penting sehingga konsumen dapat dengan mudah mendapatkan hal-hal baru melalui tayangan televisi seperti iklan. Iklan menjadi sangat penting ketika produser ingin menawarkan produk atau jasa. Hal ini dapat dengan mudah dicapai dengan membuat iklan di televisi untuk mendapatkan perhatian pembeli yang potensial. Tujuan utamanya adalah untuk menyampaikan pesan iklan tersebut dengan menarik yang dikemas untuk menjaring konsumen. Hal-hal yang harus dipertimbangkan dalam memilih strategi adalah relevansi akan produk itu sendiri, pesaing dan target pasar juga harus jelas. Iklan harus memerhatikan aspek iklan, yaitu stilistika. Dalam mendapatkan keunikan gaya, produsen dapat menggunakan penggunaan strategi bahasa seperti slogan, pemilihan karakter yang menarik, pemilihan strategi yang tepat dan juga menggunakan elemen iklan lainnya. Pemilihan strategi iklan akan menentukan penyampaian gaya bahasa pesan melalui bentuk kreativitas untuk mendapatkan respons konsumen yang lebih baik.The Role of Selection and Stylistics Strategies in Advertising on Television. Television is one of the best medium today that can connect producers’goals with consumers' needs. The televisions’ impressions are crucial so that consumers can easily get new things through the television’s impressions like advertisment. Advertisment becomes very important when producer wants to offer product or service. It can be easily achieved by making advertisment on television to get potential buyers’attention.The main goal is to deliver advertising messages by using attractive packaged to stimulate consumers. The things that should be considerated in choosing strategies are the relevancies to product itself, competitors and also clear target market. Advertisement should pay attention to the Stylistics’ advertising aspects. In getting the uniqueness of style, producers can use language strategies usage like slogans, selection of interesting characters, selection of appropriate strategies and also using other advertising elements. The selection advertisements’ strategies will determine conveying stylistics’ messages through form of creativity to get the better consumer response.

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7

Branigan, Tony. "How Will New Media Affect Television?" Media International Australia 86, n.º 1 (febrero de 1998): 54–62. http://dx.doi.org/10.1177/1329878x9808600107.

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The next two decades will force major changes on existing media and leave them with a significantly smaller share of voice, mind and advertising dollars. Pay TV in various forms will be the main challenge, but the Internet and other interactive media also seem certain to change traditional media use and advertising practices. In the United States, cable television has taken large numbers of viewers from free-to-air TV, and is expanding its share of advertising revenue. Pay TV's prospects in Australia are promising, though the largely American program content of advertiser-supported channels may limit their appeal. Pay TV may be in as many as 20 per cent of homes within three years, but its impact on television viewing levels will be only a fraction of that. Free-to-air viewing may decline by as little as 4 per cent by 2000, while television revenue may be unaffected by Pay TV. In the medium term, digital technology will make various forms of interactivity practicable for both free-to-air and Pay TV. This may prove to be more significant than competition for advertising dollars, as it will allow both media to compete for marketing expenditure currently made outside normal advertising media.

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8

Udoakpan, Nokuphiwa y Robertson Khan Tengeh. "The Impact of Over-the-Top Television Services on Pay-Television Subscription Services in South Africa". Journal of Open Innovation: Technology, Market, and Complexity 6, n.º 4 (10 de noviembre de 2020): 139. http://dx.doi.org/10.3390/joitmc6040139.

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Globally, developments and innovations in television technology, including the launch and growth of over-the-top television services (OTT TV), have affected traditional pay-TV operators’ ability to grow a subscriber base and retain existing customers. Despite attempts made by the Independent Communications Authority of South Africa (ICASA) to ascertain the impact of the OTT TV on pay-TV services, the results have remained inconclusive. In the absence of a comprehensive assessment and credible evidence, this paper sought to ascertain the impact that OTT TV services have on traditional pay-TV services in South Africa. A quantitative research method was adopted using a non-probability sampling technique for data collection. A total of 391 responses were collected utilising an online survey questionnaire and analysed using descriptive statistics on IBM® SPSS® version 26. The main findings of the study showed that OTT TV services are a complementary service to pay-TV services as opposed to a substitute. Low-income earners are using free/paid mobile applications to consume TV content, and for those who have neither OTT TV nor pay-TV services, free-to-air services are the preferred platform for TV consumption. This study benefits all stakeholders in digital media and business strategy, as well as marketing students.

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9

Atlas, Astrid, Marama Muru-Lanning, Simon Moyes, Ngaire Kerse y Santosh Jatrana. "Cell phone and technology use by octogenarians". Journal of Primary Health Care 12, n.º 1 (2020): 35. http://dx.doi.org/10.1071/hc19042.

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ABSTRACT INTRODUCTIONMany countries, including New Zealand, have an aging population and new technologies such as cell phones may be useful for older people. AIMTo examine cell phone and technology use by octogenarians. METHODSTe Puawaitanga O Nga Tapuwae Kia Ora Tonu- Life and Living in Advanced Age: A Cohort Study In New Zealand (LILACs NZ) cohort study data of Māori (aged 80–90 years, 11-year age band) and non-Māori (aged 85 years, 1-year age band) followed for 3 years was used to describe the prevalence among study participants of the use of the internet, cell phones and watching pay-per-view television. Association of these activities with living arrangement, congestive heart failure, chronic obstructive respiratory disease and participants’ cognition were examined. RESULTSTechnology use was relatively low among study octogenarians. Fewer Māori used cell phones and the internet (16% and 6%) than non-Māori (30% and 19%). Māori participants supported only by a pension were less likely to use cell phones than Māori with more income. More men watched pay-per-view television (e.g. SKY) than women. Living alone and having chronic lung disease were associated with not watching pay-per-view television. Participants who used the internet had higher cognition scores than others. Non-Māori women were less likely to watch pay-per-view television and non-Māori on a pension only were less likely to watch pay-per-view television than people on a higher income. Participants who lived alone were less likely to watch pay-per-view. CONCLUSIONRelatively low use of technology may limit potential for health technology innovation for people of advanced age. Socioeconomic and ethnic disparities will amplify this.

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Cawley, Richard A. "European aspects of the regulation of pay television". Telecommunications Policy 21, n.º 7 (agosto de 1997): 677–91. http://dx.doi.org/10.1016/s0308-5961(97)00036-0.

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11

Potter, Anna. "You've Been Pranked: Reality Tv, National Identity and the Privileged Status of Australian Children's Drama". Media International Australia 146, n.º 1 (febrero de 2013): 25–34. http://dx.doi.org/10.1177/1329878x1314600106.

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Australian children have always been considered a special television audience. In November 2009, Australia's public service broadcaster the ABC launched Australia's first dedicated free-to-air children's channel. Within a year of its launch, ABC3's most popular program was a local version of the transnational reality format, Prank Patrol. The popularity of reality television with children challenges policy settings, including the Children's Television Standards (CTS), that privilege drama in the expression of the goals of cultural nationalism. While public service broadcasting ideology is expressed and applied to Australian commercial free-to-air channels through the CTS, public service media compete with pay TV channels for the child audience using a range of genres. Thus contemporary Australian children's television is characterised by an abundance of supply, pan-platform delivery and a policy regime that has remained largely unchanged since the late 1970s.

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12

Nilssen, Tore. "The Television Industry as a Market of Attention". Nordicom Review 31, n.º 1 (1 de junio de 2010): 115–23. http://dx.doi.org/10.1515/nor-2017-0124.

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Abstract In this article, I present an economist’s perspective on the TV industry and view it as a so-called two-sided market, with advertisers on the one side benefiting from the presence of TV viewers and TV viewers on the other side having a dislike for advertising on TV. I use this framework to discuss the likely future development of pay TV, in particular how a future increase in competition in the TV industry will affect the prevalence of pay TV over advertising-financed TV.

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13

Becker, Lee B., Vernon A. Stone y Joseph D. Graf. "Journalism Labor Force Supply and Demand: Is Oversupply an Explanation for Low Wages?" Journalism & Mass Communication Quarterly 73, n.º 3 (septiembre de 1996): 519–33. http://dx.doi.org/10.1177/107769909607300302.

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Radio and television stations consistently have offered entry-level news salaries below those provided by daily newspapers, public relations, and advertising employers. The data reported in this paper show an oversupply of labor in radio news, television news, and daily newspapers. That oversupply probably serves to hold down salaries generally and to explain the lower pay in television news in comparison with daily newspapers. Television has many more persons seeking entry-level jobs than jobs available.

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14

Bulfer, Andrew F. "Report: AT&T's Pay-Per-View Television Trial". AT&T Technical Journal 66, n.º 3 (6 de mayo de 1987): 54–63. http://dx.doi.org/10.1002/j.1538-7305.1987.tb00210.x.

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15

Van Schooneveld, D. "Standardization of conditional access systems for digital pay television". Philips Journal of Research 50, n.º 1-2 (enero de 1996): 217–25. http://dx.doi.org/10.1016/0165-5817(96)81311-8.

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16

Nolan, Dermot. "Bottlenecks in pay television. Impact on market development in Europe". Telecommunications Policy 21, n.º 7 (agosto de 1997): 597–610. http://dx.doi.org/10.1016/s0308-5961(97)00037-2.

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17

Straubhaar, Joseph D., Vinicio Sinta, Jeremiah Spence y Vanessa de Macedo Higgins Joyce. "Changing Class Formations and Changing Television Viewing: The New Middle Class, Television and Pay Television in Brazil and Mexico, 2003-2013". Les Enjeux de l'information et de la communication N° 17/2, n.º 2 (2016): 207. http://dx.doi.org/10.3917/enic.021.0207.

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18

Straubhaar, Joseph D., Deborah Castro, Luiz Guilherme Duarte y Jeremiah Spence. "Class, pay TV access and Netflix in Latin America: Transformation within a digital divide". Critical Studies in Television: The International Journal of Television Studies 14, n.º 2 (16 de mayo de 2019): 233–54. http://dx.doi.org/10.1177/1749602019837793.

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In the context of international flows of media products, this article offers an exploration of pay TV and the prospects for streaming television usage in the Latin American region. Based on audience preference data gathered by Kantar Media, the article offers an overview of how the pre-Netflix era looked like in the region. Drawing on the theories of cultural proximity and cultural discount, our results suggest that the international nature of Netflix programming is of particular interest and appeal among the upper middle class and elite, who have the cultural capital to enjoy and appreciate it. The findings also indicate that access to streaming television is hampered by a new digital divide, based in both age or generation, class and geography, which will limit the extent to which services like Netflix will disrupt broadcast and cable/satellite television.

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19

Kuhn, Raymond. "Canal+: from innovative newcomer to beleaguered brand". Contemporary French Civilization: Volume 46, Issue 3 46, n.º 3 (1 de septiembre de 2021): 265–83. http://dx.doi.org/10.3828/cfc.2021.17.

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This article examines the advent, embedding, and problematic contemporary situation of Canal+ within the context of the French television landscape as a whole. The first section is devoted to the arrival of the new pay-tv channel in 1984 and its growth to maturity to become an integral part of the French television system. The second section concentrates on the challenges facing Canal+ in recent years and the company’s strategic response in an era of unparalleled expansion in the supply of both television and video content as well as radical changes in media usage by French audiences.

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20

Smart, Billy. "The Life of Galileo and Brechtian Television Drama". Journal of British Cinema and Television 10, n.º 1 (enero de 2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.

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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.

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Kwak, Ki-Sung. "The Regulation of Pay Television in East Asia: A Comparative Study". Westminster Papers in Communication and Culture 4, n.º 3 (1 de agosto de 2007): 87. http://dx.doi.org/10.16997/wpcc.100.

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22

Mullen, Megan. "The Pre-history of Pay Cable Television: An overview and analysis". Historical Journal of Film, Radio and Television 19, n.º 1 (enero de 1999): 39–56. http://dx.doi.org/10.1080/014396899100352.

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23

Paul, Joanna. "Challenges lie ahead for MTS in the Aotearoa public sphere". Pacific Journalism Review : Te Koakoa 11, n.º 1 (1 de abril de 2005): 42–46. http://dx.doi.org/10.24135/pjr.v11i1.829.

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Mo ratou, ma matou, ma koutou, ma tatouFor them, for us, for everyone As the Māori Television Service (MTS) celebrates its first year on air, it is easy to forget the long and at times painful struggle to get there, the aspirations of those who have worked in, consulted, wrote, and protested their way through the various incarnations of Māori broadcasting. The incarnations include Māori programming on mainstream television, Aotearoa Television, the Electoral College, Te Manu Aute, Nga Aho Whakaari, MTS legislation and the exhaustive process of building a new channel for all New Zealanders. We pay homage to those who have gone before and their passion to see Māori Television for and by Māori, to hear our Reo, tell our stories and to bring our way of life to all New Zealanders.

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Deron Overpeck. "“IS THIS PAY-TV TO BE THE END FOR US?”: Film Exhibitors Confront Pay Television, 1968–76". Moving Image: The Journal of the Association of Moving Image Archivists 12, n.º 2 (2012): 1. http://dx.doi.org/10.5749/movingimage.12.2.0001.

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Baldwin, Thomas F., Marianne Barrett y Benjamin Bates. "Influence of Cable on Television News Audiences". Journalism Quarterly 69, n.º 3 (septiembre de 1992): 651–58. http://dx.doi.org/10.1177/107769909206900313.

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A comparison of television viewing in the 1982–1989 years shows a steady decline of network news viewers, especially among those with pay television. A comparable decline is not found for local broadcast news. The increase in viewing of CNN and the related Headline News was steady, but mostly accounted for by the general expansion of cable, now in about 60% of American homes. One could argue that cable either merely diverts audiences from the traditional networks or that cable services actually win over audiences from the networks in head-to-head competition, and this study finds some evidence that cable is winning the competition.

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Schwer, R. Keith y Rennae Daneshvary. "Willingness to Pay for Public Television and the Advent of "Look-Alike" Cable Television Channels: A Case Study". Journal of Media Economics 8, n.º 3 (julio de 1995): 95–109. http://dx.doi.org/10.1207/s15327736me0803_2.

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Rubiyanto, Rubiyanto. "STRATEGI MEMBIDIK KETERSEDIAAN AUDIENS DALAM INDUSTRI TELEVISI (Studi Deskriptif Tayangan Film India ANTV)". Bricolage : Jurnal Magister Ilmu Komunikasi 4, n.º 01 (13 de marzo de 2018): 083. http://dx.doi.org/10.30813/bricolage.v4i01.1654.

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<p>ABSTRACT<br />The success of ANTV captured the attention of the audience through the Indian Movie show influenced ANTV's position to television in the first rank. The television, which used to be in the last number among rival televisions, tried the first time to broadcast an Indian movie called Mahabharata, which had been successfully aired by TPI in the 1990s. The latest version of the Indian movie gets a great reception from the audience. This article aims to describe ANTV's strategy in the television industry through Indian movie to win the competition. According to Pringle and Starr (2006: 123-125), when planning a program to be aired, the television managers should pay attention to the nine factors, namely (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Inventory Program, and (9) Local Production Capabilities. The authors limit this study to the available audience and the scheme programing of ANTV. The research method used qualitative descriptive with data collection technique, consist of interview, observation, and documentation. Based on the results of research and data analysis can be concluded that the Indian movie impressions in accordance with the ANTV audience target, so this show succeeded in drawing the attention of the audience, and became the top program. Scheme of ANTV programs illustrate the suitability of the broadcast time slot division and the available audience. These two conclusions refer to Pringle and Starr's thoughts. ANTV's strategy review to win the competition in the television industry opens up a new idea. In this research describe not only on-air programs but also strengthened by off-air program.<br /><strong>Keywords:</strong> Program, Indian Movie, ANTV, Available Audience</p><p><br />ABSTRAK<br />Keberhasilan ANTV merebut perhatian audiens melalui tayangan Film India memengaruhi posisi ANTV menjadi televisi di peringkat pertama. Televisi yang tadinya berada di nomor buncit di antara televisi saingan, mencoba kali pertama menayangkan film India berjudul Mahabharata, yang pernah sukses ditayangkan TPI tahun 1990-an. Versi terbaru film India ini mendapat sambutan luar biasa dari audiens. Artikel ini bertujuan mendeskripsikan strategi ANTV dalam industri televisi melalui tayangan film India untuk memenangkan persaingan. Menurut Pringle dan Starr (2006:123-125), ketika merencanakan sebuah program yang akan ditayangkan hendaknya pengelola televisi memperhatikan Sembilan faktor, yaitu: (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Program Inventory, dan (9) Local Production Capabilities. Penulis membatasi kajian pada ketersediaan audiens (available audience) dikaitkan dengan daypart pada pola pemrograman ANTV. Metode penelitian menggunakan kualitatif deskriptif dengan teknik pengumpulan data, terdiri dari wawancara, observasi, dan dokumentasi. Berdasarkan hasil penelitian dan analisis data dapat disimpulkan bahwa tayangan film India sesuai dengan target audiens yang diusung ANTV, sehingga tayangan ini</p><p>berhasil menyedot perhatian penonton, dan menjadi program unggulan. Penjadwalan program acara di ANTV menggambarkan kesesuaian pembagian slot waktu siaran dan ketersediaan audiens. Kedua simpulan ini sesuai dengan pemikiran Pringle dan Starr. Kajian strategi ANTV untuk memenangkan persaingan dalam industri televisi ini membuka sebuah pemikiran baru, yaitu gambaran strategi yang tidak hanya terpaku pada tayangan on-air, namun juga diperkuat dengan kemasan program off-air.<br /><strong>Kata kunci:</strong> Program, Film India, ANTV, Ketersediaan Audiens</p>

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Arcimowicz, Krzysztof. "Determinants of the Content and Creation of Modern Television Series. Selected Issues". Creativity. Theories – Research - Applications 3, n.º 1 (1 de junio de 2016): 104–17. http://dx.doi.org/10.1515/ctra-2016-0008.

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AbstractThe aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.

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R. Robbins, Thomas y James E. Zemanek, Jr. "UFC pay-per-view buys and the value of the celebrity fighter". Innovative Marketing 13, n.º 4 (21 de diciembre de 2017): 35–46. http://dx.doi.org/10.21511/im.13(4).2017.04.

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In 2016, the Ultimate Fighting Championship was sold for a reported price of $4 billion, the highest price ever paid for a sports franchise. This was a remarkable turn-around for a promotion that 15 years earlier was saved from bankruptcy by a $2 million buyout. This turnaround was driven by the UFC’s ability to mainstream the promotion and the sport while establishing reliable revenue streams through television contracts and massive pay-per-view events. In this paper, the authors review the pay-per-view record of the UFC and analyze the extent to which it is driven by high profile celebrity fighters with broad crossover appeal. Using statistical analysis, the authors identify the top crossover celebrities and assess the economic value they generate for the UFC. They compare this to the impact generated from the promotion’s highest ranked pound-for-pound fighter and find that celebrity has far more economic value than fighting skill.

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30

Carter, Eli. "Entering through the Porta dos Fundos: The Changing Landscape of Brazilian Television Fiction". Television & New Media 18, n.º 5 (7 de septiembre de 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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31

Kaitatzi-Whitlock, Sophia. "Implementing strategies for digital pay television in Europe: The case of Greece". Telematics and Informatics 16, n.º 3 (agosto de 1999): 151–76. http://dx.doi.org/10.1016/s0736-5853(99)00025-8.

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32

Booth, David y Gillian Doyle. "UK television warms up for the biggest game yet: pay-per-view". Media, Culture & Society 19, n.º 2 (abril de 1997): 277–84. http://dx.doi.org/10.1177/016344397019002009.

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33

Lee, Francis L. F. "Development of Pay Television in Hong Kong: History, Audience Consumption, and Challenges". Journal of Comparative Asian Development 6, n.º 2 (septiembre de 2007): 247–71. http://dx.doi.org/10.1080/15339114.2007.9678443.

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34

McCracken, Chelsea. "The new gay for pay: the sexual politics of American television production". New Review of Film and Television Studies 18, n.º 2 (2 de abril de 2020): 244–47. http://dx.doi.org/10.1080/17400309.2020.1739368.

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35

Jaksic, Branimir, Dragisa Miljkovic, Vladimir Maksimovic, Mile Petrovic y Branko Gvozdic. "Satellite television transmission in the world - broadcasting systems and standards". Acta Scientiarum. Technology 42 (28 de febrero de 2020): e44957. http://dx.doi.org/10.4025/actascitechnol.v42i1.44957.

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This paper considers the characteristics of satellite television transmission in the world. An overview of the development of satellite television is given through the following characteristics: broadcasting systems - analog and digital (SDTV, HDTV, UHDTV), frequency band (C, Ku, Ka), broadcasting standards (DVB-S, DVB-S2, DigiCipher, DSS), as well as the availability of TV services Free-To-Air TV (FTA) and PAY TV. All of these characteristics were considered both at the global and at the regional level: North America, South America, Europe, Africa, Russia, Asia, and Australia. The gathered data are presented in tabular form and presented graphically for the period from 1996 to 2018. Based on the presented results, an analysis of the development of satellite television transmission was carried out in accordance with the characteristics of the broadcast.

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36

Danaher, Peter y Mark Balnaves. "The Future of Ratings Measurement". Media International Australia 105, n.º 1 (noviembre de 2002): 40–48. http://dx.doi.org/10.1177/1329878x0210500107.

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The new media environment is changing the ways in which television services are delivered and accessed, putting increasing strains on the long-standing conventional audience tracking methodology. Not only are people watching television in different ways, through the proliferation of services via internet and pay TV, but new recording technology is also giving them the power to select what they watch and when they watch it, even bypassing the ad breaks along the way. Peter Danaher, Professor of Marketing at the University of Auckland, looks at how the ratings industry is trying to address these challenges. Professor Danaher was interviewed by Mark Balnaves.

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37

Goldson, Annie. "Journalism Plus? The resurgence of creative documentary". Pacific Journalism Review 21, n.º 2 (31 de octubre de 2015): 86. http://dx.doi.org/10.24135/pjr.v21i2.120.

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Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation.Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck

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38

Harker, Michael. "The transformation of broadcasting: public service broadcasting, the BBC and the distortion of new media markets". Northern Ireland Legal Quarterly 62, n.º 4 (11 de marzo de 2020): 553–68. http://dx.doi.org/10.53386/nilq.v62i4.437.

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Broadcasting markets in Europe have traditionally been highly regulated, with large public subsidies seen as necessary to ensure that cultural and citizenship goals can be realised. While being outside of Polanyi’s purview when he wrote his seminal work The Great Transformation, these 'markets' exist alongside other public interest norms; in his words, they are embedded in society.1 In the last 20 years, broadcasting markets in Europe have undergone something of a 'transformation', in the sense that technological advances have facilitated a shift away from public provision towards a market-based model. The removal of spectrum constraints has led to new platforms and a proliferation of channels. More importantly, with the emergence of conditional access systems has come the growth of subscription and pay-per-view television, offering significant new revenue streams and the development of new markets in premium content. Latterly, non-linear television services have seen a shift in audience viewing behaviour, and the convergence between television and the internet heralds new, innovative modes of delivery of, and changing pricing mechanisms for, broadcasting services. So, as a consequence of technological developments, we see the rise of a new type of commodity in broadcasting services. Whereas once, such goods were universally available partly because their consumption was physically non-excludable, now technology facilitates charging and the emergence of a market based on willingness and ability to pay.

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39

Scibilia, Michael y Brett Hutchins. "High-Stakes Television: Fan Engagement, Market Literacy and the Battle for Sports Content". Media International Australia 141, n.º 1 (noviembre de 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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40

Nguyen, Quang Dang, Khoa Van Nguyen y Tatyana Sakulyeva. "Analysis of Consumer Trends in the Telecommunications Markets of Russia and Vietnam". Journal of Telecommunications and the Digital Economy 9, n.º 3 (11 de septiembre de 2021): 87–109. http://dx.doi.org/10.18080/jtde.v9n3.366.

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By way of descriptive and comparative analysis, the subscriber bases and revenues of television, fixed and mobile telephony, and fixed and mobile broadband segments of the Russian and Vietnamese telecommunications markets for the period of 2015-2019 were analysed. The results of the study revealed similar global trends in the telecommunications markets of Russia and Vietnam. Fixed and mobile telephony revenues are declining, since customers prefer new communication technologies to the old ones. The television subscriber base is growing in both countries; TV revenues are increasing in the Russian market and somewhat declining in the Vietnamese telecommunications market. With further penetration of broadband, more customers are upgrading their television from Free TV to Pay TV (IPTV and OTT services). The results of the study confirmed the global consumer trends in telecommunications markets and the applicability of approaches used herein for other countries.

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41

Nian, Tingting, Yuheng Hu y Cheng Chen. "Examining the Impact of Television-Program-Induced Emotions on Online Word-of-Mouth Toward Television Advertising". Information Systems Research 32, n.º 2 (junio de 2021): 605–32. http://dx.doi.org/10.1287/isre.2020.0985.

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In this paper, we exploit a large-scale TV program, the Super Bowl 2016, to investigate the impact of television program–induced emotions on viewers’ online word-of-mouth (WOM) behavior on Twitter toward the Super Bowl ads aired during the game. The results obtained from a difference-in-differences analysis support our hypotheses on the direct and congruence effects of television program–induced emotions. Findings on the direct effect suggest that television program–induced emotional shocks (e.g., frustration after a fumble or joyness after a touchdown) have a significant effect on the arousal and valence of viewers’ online WOM toward ads subsequently. We additionally find that a match between television program–induced emotional shocks and the emotional content of ads leads to a more significant increase in the arousal and more favorable valence of online WOM responses to ads subsequently. Our findings suggest that advertisers should pay attention to the emotional context of ads in which the ads are placed and the content of ads. It would be more optimal to allocate ads into different programs or different positions in a certain program such that the context of ads and the content of ads are carefully matched or contrasted, especially when ads are likely to stimulate positive feedback from the audience.

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42

McMurria, John. "Whereto the Cultural Exception? Pay-Television and the Future fo European Film Finanace". Film International 1, n.º 4 (abril de 2003): 30–35. http://dx.doi.org/10.1386/fiin.1.4.30.

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43

Waterman, David y Andrew A. Weiss. "The effects of vertical integration between cable television systems and pay cable networks". Journal of Econometrics 72, n.º 1-2 (mayo de 1996): 357–95. http://dx.doi.org/10.1016/0304-4076(94)01726-3.

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44

Gandhi, Al Mutia. "SEMIOTICS ANALYSIS OF RUANGGURU ADVERTISING IN TELEVISION MEDIA". Metacommunication: Journal of Communication Studies 5, n.º 2 (1 de septiembre de 2020): 104. http://dx.doi.org/10.20527/mc.v5i2.8869.

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RuangGuru is one of the most successful startups in Indonesia, which is engaged in online tutoring. The application user has reached up to 15 million students. This achievement is the result of the advertisements that often appear on television media, especially during new school academic year or new semester. This study examines advertisements on television media less than 30 seconds to attract customers. This study uses semiotic to analyze television ads for the product. The research method uses an interpretive descriptive approach to analyze the signs used in advertisements. The data resource is four video recording advertisements on television media. The analysis starts with transcription and making video screenshots to sharpen the analysis. The results indicate that to attract television viewers, RuangGuru uses signs that indicate superior features. The features such as animated learning videos, practice questions, discussion, and ease of learning through applications. The celebrity figures in the advertisement represent students and parents who will later become consumers of RuangGuru. The ad also has a sign indicating how easy it is to pay and how cheap it is to subscribe to the Ruang Guru application compared to conventional tutoring. The blue color, which is the dominance of advertisements, shows that the RuangGuru app is trustworthy and can increase students' confidence in facing classroom learning.

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45

Andrews, Hannah. "‘More than a Television Channel’". Convergent Television(s) 3, n.º 6 (24 de diciembre de 2014): 5. http://dx.doi.org/10.18146/2213-0969.2014.jethc065.

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Obliged by act of Parliament to ‘innovate and experiment’, Channel 4 has, since its birth in 1982, been the UK’s most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation’s 2000 Annual report, ‘More than a Television Channel’ indicates the confidence, optimism and boldness with which this expansion was approached. The rapid expansion of the channel’s portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel. Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4’s strategy that pertained to one of the broadcaster’s particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company.

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46

Gascón-Vera, Patricia. "El infoentretenimiento en la televisión de pago, Movistar+ y el canal #0. El uso transmedia de sus contenidos de humor." Ámbitos. Revista Internacional de Comunicación, n.º 49 (2020): 177–96. http://dx.doi.org/10.12795/ambitos.2020.i49.11.

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47

Smit, Alexia. "Book Review: The New Gay for Pay: The Sexual Politics of American Television Production". Critical Studies in Television: The International Journal of Television Studies 14, n.º 3 (12 de agosto de 2019): 399–401. http://dx.doi.org/10.1177/1749602019851941.

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48

LEVY, JONATHAN D. "Competition and Copyright: Retransmission of Free-to-Air Television Signals by Pay TV Services". Prometheus 17, n.º 4 (diciembre de 1999): 387–403. http://dx.doi.org/10.1080/08109029908632118.

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49

Kruger-Robbins, Benjamin. "Julia Himberg, The New Gay for Pay: The Sexual Politics of American Television Production". Sexualities 23, n.º 4 (6 de septiembre de 2019): 686–88. http://dx.doi.org/10.1177/1363460719872722.

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50

Illés, Gabriella. "Expansion of the small cable television counterparts of market leading commercial channels in view of Hungarian regional and social aspects". Acta Agraria Debreceniensis, n.º 58 (8 de abril de 2014): 107–10. http://dx.doi.org/10.34101/actaagrar/58/1981.

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Currently, there are 102 Hungarian-language television channels in Hungary. TV2 Hungary is the second largest commercial television channel. Current trends in the television market in Europe indicate that large channels are expanding their portfolios while at the same time selling their smaller units. This trend has now affected Hungary as well. After having TV2 for 16 years, MTM-SBS Television Ltd. eventually expanded its portfolio with three new cable channels. The first new channel was FEM3, a channel directed at women, which was launched on January 1, 2010. A year later, the male channel, PRO4, was launched and finally, SuperTV2, primarily a premium entertainment channel, was launched on November 2, 2012. Although the main channel, TV2, remained free, the new pay channels on cable received a significant amount of investment from venture capitalists and Pro7Sat1 for the development of new content. SuperTV2 is a premium channel. When the channel was launched, the goal was to target those viewers who had turned away from watching the increasingly less-sophisticated content on the commercial channels as well as those who were not drawn to the programming on public television. When the viewer stats were examined, the channel had proven itself. The premium brand of Super TV2 was successful in attracting new viewers and consumers and within a year it had gained a strong foothold over more than 100 other Hungarian-language channels.

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