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The purpose of the paper is to outline the concept of the general peer in detail and to show its relation to the relevant social theories by Niklas Luhmann and Jürgen Habermas. It also aims at illustrating the concept with concrete examples from the academic system and the arts/mass media.

This paper introduces the concept of the “general peer” as an alternative to the concept of the “public sphere.” It situates the concept in the context of the concept of “profilicity” indicating a profile-based mode of identity.

The paper suggests that the concept of the general peer describes actually existing forms of the public better than the concept of the public sphere. It relates the general peer to second-order observation and functional differentiation prevalent in contemporary society.

The paper suggests that the concept of the general peer denotes a significant element of the constitution of profile-based identity (profilicity) in contemporary society.

The concepts of the general peer and profilicity may be used to conduct empirical research on the constitution of identity and the curation of profiles in various social contexts.

The paper can help understanding how to develop and assess profiles and their impact in contemporary social contexts.

The two concepts general peer and profilicity are theoretical innovations.

This article describes emerging trends in the usage of new media – internet, mobile broadband, e‐commerce, internet‐enabled entertainment, social networking and others – and outlines implications for commercial companies seeking to communicate more effectively with their customers and media companies seeking to develop new business models. The article includes the findings from a proprietary survey of new media usage among 2,100 US households.

In this article, the author leverages the findings from a proprietary survey of new media usage conducted by L.E.K. Consulting. The author then draws strategic implications for both commercial users of new media and media companies themselves.

Key findings from the survey are: new media are not only for the young. In fact, internet users in the 50‐64 age demographic spend more time online than the those in the 18‐24 age group. Traditional demographic segmentation based on age and income level does not work well to describe new media usage – instead membership in specific technology segments (e.g. “iPhone Nation”) – provides a better framework to describe target segments. New media usage has expanded to include all income levels, with almost half of the heaviest new media users reporting incomes below $25,000. Games have become a much more broad‐based activity, with almost everyone engaging in some kind of new media gaming activity.

The key message of this article is that usage of new media have become ubiquitous across all categories of customers. The author provides a range of specific recommendations to help companies embrace this change, identify new untapped opportunities and unlock new value for customers and shareholders.

This paper aims to focus on how innovative strategies take users into account. On the one hand, it will look at how the different stakeholders in the TV value network implement user behaviour. On the other hand, it will focus on how users perceive traditional advertising and new advertising formats (e.g. personalised advertising, interactive advertising).

The applied research method is a combination of expert interviews with different actors in the TV sector and qualitative user research on viewers’ expectations towards advertising and new advertising formats in a digital era.

This paper looks at customer ownership, (inter-media) audience fragmentation and audience autonomy as important concepts in understanding innovation and strategies within the Flemish commercial TV sector and how user behaviour is implemented.

More specifically, ad skipping (zipping) and second-screen applications are studied. To conclude, the findings of the research are linked to relevant policy questions and challenges for audience members and actors within the television industry.

The aim of this research was to identify and describe driving forces of importance in sponsorship during the seven years preceding a mega-sporting event like the Olympic Games 2008 in Beijing. This was done through the development of a conceptual 'meansobjectives model' linking sponsorship to brand equity factors and to objectives. The proposed model enables matching with real data consisting of 200 randomly chosen advertisements, articles and press releases from Chinese newspapers and the internet, revealing six types of means-objectives in sponsorship.

This study aims to examine the strategy of TV9 Nusantara, one of the local televisions in Indonesia, marketing its religious programs when soap operas are the most popular television programs in Indonesia.

This study used a descriptive qualitative method by collecting data using in-depth interviews, observation and documentation.

TV9 Nusantara used a counter-programming strategy to seize viewers from the competing television stations; the prime time is also set differently from other televisions as well as implements a head-sterling strategy to make the audiences loyal to watching TV9 Nusantara programs and not switch the channels.

In Indonesia, three types of television stations are broadcast nationally, publicly or government-owned, central and regional and local television. This study only focused on local television stations whose main program is religious, especially Islam.

The results of this study can underline the importance of establishing segmentation, targets, differentiation and market positioning as well as efforts to create products, prices, places and promotions for journalistic products, especially TV broadcast products and production processes that follow Sharia principles.

This study can inform the public regarding TV Broadcasting products and production processes following Sharia principles.

This study examined the implementation of marketing strategies and the marketing mix on local television, especially television that broadcasts programs that are not the favorites of most viewers.

The purpose of this paper is to analyze the role of interactivity with television (TV) personalities and audience members as mediating variables between teleshopping genre dependency and teleshopping behavior, and to identify the moderating effects of televiewers' instrumentalist behavior on teleshopping.

The Media Dependency Theory has been used as the conceptual framework of this study to explain teleshopping in terms of the relations of the individual with the teleshopping genre, TV personalities and audience members.

Data analysis performed using a sample of 432 Spanish teleshoppers shows that genre dependency has an indirect influence on teleshopping exposure, which in turn has a direct and positive effect on teleshopping behavior. The individual‐media relationships proposed are, in all cases, greater for high instrumentalist televiewers.

This research provides managers suggestions to increase teleshopping behavior. Managers responsible for TV content design should encourage specific viewing and purchase objectives so that they will attract an audience with instrumentalist motivations. They should also design attractive sales programs to retain the audience's attention and promote relationships with program hosts to increase relationships with TV personalities.

Previous research focused on individual media dependency has analyzed the antecedents and consequences of individual media‐genre dependency, but despite dramatic differences between instrumentalist and ritualist televiewers, very limited research has been conducted to examine them. This paper explains teleshopping in terms of the relations of the individual with the teleshopping genre, TV personalities and audience members, focusing on the moderating influence of televiewer's instrumentalist behavior.

Explores UK audience reception data provided by the Broadcasting Audience Research Board (BARB) and questions it with regard to new technology. Discusses technological innovations with reference to changing from passive to interactive television viewing, and notes developments to remote control television, teletext, video recorders, computers, cable television and micro‐TVs. Puts forward the development of new technology and spotlights its possible growth areas but does warn that, at present, new technology is still at the innovation stage. States also that video recorders and remote control equipped televisions are presently in an early stage of development and use. Assesses types of households and selects four for questionnaire use. Gives tabular typology for types and illustrates these in depth. Concludes that technology is affecting audience receptivity to commercial breaks on television, and that media planners and commercial advertisers must regard current audience data as inconclusive.

Social Marketing, Entertainment Education Program.

Postgraduate program. Master in Strategic Marketing and Master in Business Administration.

In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education.

This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show.

Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

This paper examines recent Canadian public policies intended to create a window for domestic entertainment programming on television in the face of a series of economic and technological factors which favour greater cultural integration with the American television market. These factors include the limited revenues available to the conventional public and private TV sectors, audience fragmentation through cable, and both the readily availability, and audience acceptance in English Canada, of inexpensive shows from the USA. Recent policies have focussed upon increasing the number of Canadian cable channels in a country where most people subscribe to cable; but paradoxically, public funding for the mainstay of domestic entertainment programming, the Canadian Broadcasting Corporation, is being drastically cut. The impacts of these cuts on the Corporation’s mandate, and proposed remedies, are outlined. It is concluded that public broadcasting policies are now being determined by economic rather than cultural goals, and that the Corporation is a victim of this trend.

The purpose of this paper is twofold. First, it investigates the relationship between television, its audiences and Twitter around the creation of social TV events. Here it contributes to knowledge by charting usage in relation to different types of programmes and by comparing Twitter to Facebook data. Second, it evaluates the way in which student-led research can be used to conduct audience studies with the help of Twitter.

The research applies a quantitative approach, measuring the volume of Twitter messages before, during and after two different types of television programmes, i.e. Reality TV (The X Factor and The Only Way is Essex) and sports broadcasts (football and Formula One). Brief comparisons are also drawn with data collected from Facebook. The pedagogical evaluation of the research is based on self-reflection by the author/tutor.

The research established similar trends and patterns of viewer engagement for both types of television programming, with key activity during and towards the end of a broadcast which points to viewers using Twitter, or Facebook, while watching the event. The findings are compared to previous studies on television programmes and Twitter use. The study also identified that student research using Twitter can lead to a valuable learning experience as it allows students to use their own knowledge of social media to inform the research process.

This research makes a contribution to the small yet growing body of studies examining Twitter activity in relation to TV events. It also contributes to knowledge on the educational use of social media by providing an account of how Twitter can be applied as a research tool by students.