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The purpose of this paper is to examine factors influencing the audience demand for televised post-season games of the Korean professional baseball league.

The data were collected from a total of 129 games – the entire post-season games from 2008 to 2016. Two dependent variables representing audience demand for televised baseball matches, obtained from the third-party television audit company AGB Nielsen, were regressed on a series of match-related and unrelated antecedent factors associated with each match. Pooled OLS regression with wild bootstrap standard errors with 100,000 replications was applied in the analysis.

Regarding match-related factors, higher television ratings and the greater numbers of television viewers were associated with matches with greater significance, outcome uncertainty and score sum. In terms of the match-unrelated factors, the broadcast platform appeared to be the most powerful predictor of both television ratings and the numbers of viewers. Other than the broadcast platform, night matches, matches with full stadium occupancy and team values showed positive impacts on both the television ratings and the numbers of viewers.

The sales of media rights and sponsorships are the major sources of revenues for professional sports leagues, and the size of these two streams of revenues is in proportion to the size of the audience demand for television and other media. This study provides valuable insights to the sports marketers of professional sports clubs and leagues by establishing proper understanding of the determinants of the audience demand for televised sports.

The characteristics specific to each professional league and country play unique roles in determining the antecedent factors of audience demand for televised sports; this study is one of the few attempts to examine Koran professional baseball league.

This paper explores how firms within the audience measurement industry, specifically its radio and television markets, have navigated myriad market and nonmarket challenges. The market strategies and the nonmarket forces that constrain those strategies are largely defined by two features: the delineation of its geographic markets by political boundaries and markets that have natural monopoly characteristics. While the pre-monopoly stage or periods of competition may be comparatively short-lived, they are still telling. Monopolists undertake market strategies designed to ensure that they are not supplanted and nonmarket actions geared to avoiding undesirable constraints and reputational damage. Depending on their legal and regulatory environment, customers of the measurement services have used both market and nonmarket actions to mitigate the market power of the audience measurement firms. This paper focuses primarily on the U.S. radio and television audience measurement markets that Arbitron and Nielsen, respectively, have dominated for decades. Non-U.S. markets, which frequently feature America’s foremost firms, illustrate alternatives to America’s largely laissez-faire approach.

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.

This paper aims to investigate factors associated with higher or lower television audience retention from one programme aired sequentially after another, referred to as lead-in audience retention. Lead-in is a primary determinant of television programme audience size.

The study models a series of factors linked to lead-in audience retention, such as rating of the second programme, genre match and competitor options. The hypothesised relationships are tested across over 1,000 pairs of programmes aired in the UK and Australia, using multivariate linear regression models.

The study finds the factors consistently related to significantly higher lead-in audience retention are the rating of the second programme in the pair and news genre match in programming. Factors consistently linked to lower audience retention include the rating of the initial programme and the number of competitor options starting at the same time as the second programme.

The findings help television networks understand drivers of lead-in audience retention. Knowledge that can be used to inform the design of tailored marketing plans for programmes based on schedule, timing and adjacent programming. Further, the findings help advertisers and media buyers with scheduling television advertising to achieve reach or frequency objectives.

No previous studies have comprehensively combined all four factors driving lead-in audience retention into a single model. The testing across multiple markets adds to the robustness of the findings. In particular, the discoveries about the impact of competitor network activities and genre build considerably on past research.

This study aims to contribute to research into narrative brands by investigating if the lack of closure in the ambiguous season two’s ending of the Australian television series, Wanted, constituted a brand transgression.

Comments on posts about Wanted from social media accounts associated with the series were downloaded and analysed using thematic analysis informed by non-participatory netnography.

Audiences found the ambiguous ending of Wanted season two disappointing and it did not fulfil implied promises and their expectations, which fits the description of a brand transgression, and so they engaged in behaviours indicative of a brand transgression such as spreading negative word of mouth online. The ambiguous ending could have been a cliff-hanger to lead into a third season that was not guaranteed when the final episode aired, or the ending for the entire series. Although a third season was eventually made and positively received by audiences, viewer numbers declined by nearly a third, illustrating the importance of brand management for narrative brands.

This research has implications for the creators of television series, particularly if they do not know if it will be renewed. Not providing audiences with their expected closure can constitute a brand transgression and damage the narrative brand’s residual brand equity and potential earnings from streaming or a revival at a later date.

Prior research has focused on audiences’ responses to definitive endings, rather than ambiguous endings, which is the focus of this research. Furthermore, narrative brands are still an under-researched context.

The purpose of this paper is to assess the effectiveness of field sponsorship through sponsor recall and recognition across two environments that differ on the degree of felt presence they trigger among viewers: on-site and television. A series of research hypotheses concerning the interaction effects of viewing environment, event – sponsor congruence and arousal intensity were developed.

To test the effect of the viewing environment, a field experiment was conducted where 44 ice hockey fans attended a professional ice hockey game in the local team’s arena, whereas 44 others saw the same game, at the same time, on television. The participants were randomly assigned to one of the two game viewing conditions.

A higher level of arousal was detrimental to sponsor identification in a manner consistent with the intensity of the processing principle according to which arousal polarizes attention resources on the arousing stimulus (the event) while diverting resources away from the peripheral stimuli (the sponsors). In addition, because the event congruent sponsors are more superficially processed in comparison with the incongruent ones, this negative impact was more pronounced in the former group. This was qualified by a three-way interaction with the type of environment; the on-site, direct, audience was less affected by the processing intensity principle and exhibited better recall and recognition than the television audience as arousal and congruency increased, whereas, at lower levels of arousal, higher event – sponsor congruence hampered on-site sponsor identification in comparison with television.

The findings were obtained in the context of a single sports event; additional studies need to be conducted using different sports. In addition, the comparison of on-site audience with other types of media audiences (e.g. on-line broadcasting) is warranted.

Arousal intensity results from the game’s drama, which is a function of game importance and game outcome uncertainty. Hence, except for low-stakes games (e.g. pre-season matches, exhibitions), initiatives that promote a leveled playing field such as salary cap, financial fair play and open leagues are likely to jeopardize sponsor identification, particularly for congruent sponsors. With respect to the impact of the viewing environment, congruent sponsors should reap superior benefits from the television audience when the stakes are low. However, when the stakes are high, their benefits will accrue to a greater extent from on-site spectators.

This is the first study to offer a rigorous comparison of sponsorship’s impact on direct (on-site) versus indirect (television) audiences through a field experiment. This is also the first research to provide a framework based on the processing intensity principle that encompasses predictions related to arousal and its interaction with event – sponsor congruence and the viewing environment. Within this perspective, the degree of sponsor integration in the viewing environment is instrumental in predicting sponsorship outcomes.

The purpose of this paper is to elucidate the relationship between the political orientation of television viewers and their perception of television programming quality.

Information from a sample of 2,843 viewers is used. Ordinary least square models are estimated to test the theoretical hypotheses.

The results suggest that the ideological position of viewers has a significant bearing on their evaluation of the quality of television channels. They also point to the key role played by news programming in the audience’s general assessment of channels quality.

There are a number of limitations to this research, which are largely related to the data analyzed, since they are cross-sectional and measures based on a single item are used. Future research in this field ought to take the multidimensional nature of the concepts discussed here into greater consideration.

If political orientation colors viewer perception of quality television, it seems worthwhile for television schedulers to have more information about the political-ideological profile of their audience, so as to design a more appealing programming range for their target viewers. Regarding the impact of the perceived quality of news programs on the perceived quality of the whole channel, it would make sense for television managers to invest in news programs not only on the basis of the size of the audience reached, but also as a way to build up a strong brand and to differentiate it from competitors.

There is scarce empirical research on the perceptions of quality media and television by viewers. This paper develops and tests hypotheses that contribute to a better knowledge of the mechanisms that generate the perceptions of consumers about the quality of television channels.

The purpose of this paper is to outline the historical and political broadcasting conditions that hindered the success of British professional wrestling and allowed the rise to dominance of the American World Wrestling Federation.

Because of the nature of professional wrestling, the paper utilises a range of secondary sources (audience research conducted by the Independent Broadcasting Authority, and interviews with retired wrestlers) and primary research (government papers, magazines, newspapers).

The paper finds that the World Wrestling Federation benefited from neo‐liberal television policies, but also created a product that attracted a new generation of fans.

The paper examines an under‐researched area of study (British professional wrestling) to explore and complicate existing debates about sports marketing and British media institutions in the 1980s and 1990s.

The purpose of this paper is to analyse simultaneously the effect of attendance at the stadium on the size of the TV audience, taking into account the effect of price and uncertainty of outcome hypothesis on both the TV audience and stadium attendance. The paper assumes that a home-team effect exists and influences potential spectators’ decision to go to the stadium or to stay at home.

The data set consists of all 228 matches broadcast live and on open air from the Brazilian League across the seasons 2013–2015. The econometric approach of the present paper is based on three simultaneous equations through the Three-Stage Least Square estimator. This method is chosen in order to avoid endogeneity between ticket prices and live attendance and, consequently, with the television audience, too.

This work finds a correlation between TV audience and attendance at the stadium. However, it has been demonstrated that those matches that are more expensive have a larger TV audience. Scheduling and UO appear to be relevant for TVs and clubs. Scheduling is relevant, as weekend matches have a smaller TV audience but higher attendance at the stadium.

The findings indicate that Brazilian football clubs should find optimal prices for matches in order to maximise both TV audience and attendance.

Analysing simultaneously the effect of attendance at the stadium on the size of the TV audience, taking into account the effect of price on all three of these variables, is new. Another novel aspect is the use of data on audience size to observe a possible substitution effect. The authors also distinguish between home and away matches, assuming that a home-team effect exists and influences potential spectators’ decision to go to the stadium or to stay at home.

This article argues in favor of using motion picture screens as a medium for the presentation of advertising messages. The concept and history of cinema screen advertising is examined, previous and contemporary audience research on cinema ads is presented, and an argument favoring the adoption of cinema screen advertising is offered. Virtually all of the American mass media are characterized as commercial in the sense of being largely advertising supported. The most commonplace and pervasive media‐newspapers, television, radio, and magazines—all share this characteristic. Cinema, however, is and has been supported almost entirely by patrons. Moreover, today there is much discussion as well as research on how new communications technologies might be employed to meet advertising and marketing needs. This article examines a mass communications technology which has been present for a century but has been virtually untapped as an advertising and marketing medium for reaching American consumers. Few individuals think of theatrically exhibited motion pictures as a likely medium to be supported by advertising. Introductory mass communications, advertising, and marketing texts regularly omit mention of this notion. This article argues that in an age of new communications technologies, use of this older technology for advertising and marketing carries many of the same advantages as does use of the emerging ones. This article explores the concept of cinema advertising, presents previous and contemporary audience research on cinema ads, and argues that today, especially, this long‐neglected medium should be adopted for the dissemination of information by the consumer marketing and advertising industries.