Search results

The purpose of this paper is to understand factors that affect viewing of television news programmes by people living with dementia, and to identify dementia-friendly design principles for television news programmes and factors for personalising object-based media broadcast.

Extensive public involvement comprising two discussion groups with people with dementia and family carers informed the study design and provided supplementary secondary data. Primary data collection comprised a focus group interview with people with dementia (n=4) and family carers (n=4). Past viewing experiences and perceived barriers and facilitators to viewing television were explored. Participants commented on an array of video clips comprising varying segments of fictional news programmes, plus control versions of each segment.

Four themes were identified: content (general comments, context, type of media and pace); presenter (body language, clothing and accent); background (location and studio appearance); and technical aspects (graphics, sound, colours, camera, transitions, general issues).

Limitations included a modest sample size which is offset by exemplary public involvement in informing the study design.

Measures ensured research involvement and participation was made accessible to people living with dementia.

Participants benefited from sharing views with peers and expressed enhanced wellbeing from knowing their participation could lead to improved television viewing, an important social occupation, for people with dementia in the future.

This study is the first to be published which focusses on dementia-friendly television news programmes.

The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens.

In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing.

Its findings show how Promax transmits industrial lore, not only about “how to do” the job of television marketing but also “how to be” in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as “TV people” rather than just “marketing people”; the creative work of television marketing is seen as akin to the creative work of television production and positioned as part of the television industry.

The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion.

The aim of this study is to determine which of previously used survey measures can be considered the most appropriate to assess children’s advertising exposure. First, three levels of content specificity for assessing children’s exposure to advertising were distinguished as follows: exposure to the medium, exposure to broad content and exposure to specific (i.e. commercial) content. Second, using longitudinal data from 165 children between 8 and 11 years old, the test-retest reliability and content validity of survey measures from all three levels were examined.

Due to societal concerns about the effects of advertising on children’s well-being, research into this topic is expanding. To enhance knowledge accumulation and bring uniformity to the field, a validated standard survey measure of advertising exposure is needed. The aim of this study is to provide such measures for television and internet advertising.

The findings suggest that all measures provided solid estimates for children’s television and internet advertising exposure. Yet, due to minor differences in reliability and validity, it may be concluded that television advertising exposure can best be measured by asking children how often they watch certain popular (commercial) television networks, either weighting or not weighting for advertising density. Internet advertising exposure can best be measured by asking children how often they use the internet or how often they visit certain popular websites, weighting for advertising density.

The current measures for children’s advertising exposure through traditional media can easily be adapted to fit new media.

Sports leagues have stood out in the entertainment industry due to their great economic value and cultural impact. This is the case of the American sports leagues, with emphasis on the National Basketball Association (NBA), whose largest Latin American market lies on Brazil. The aforementioned league’s audience is constantly growing, a fact that can be partially explained by the encouragement provided for its viewers to interact through social media, in a phenomenon called social TV. Accordingly, the aim of the present study is to investigate how social TV works as a means for Brazilian fans to coproduce their NBA broadcasting enjoyment through social media interactions.

The authors conducted a netnography on the community of fans engaged in Twitter hashtag #NBAnaESPN, which was released by ESPN to promote audience integration during NBA games' broadcasting.

A theorization about the role played by social TV in the way fan culture articulates through social media to enjoy broadcasting media products was herein presented. The findings of this study have evidenced three categories concerning the role played by television broadcasting, social media and the fandom in NBA consumption by Brazilian fans. Based on these findings, the authors got to the conclusion that social TV establishes a mediatized environment where fan culture can be articulated through social media to enable interactions about television broadcasting.

The study was limited to members of the Brazilian NBA audience who engage in the official social media of the league’s broadcasting.

The study heads toward a theoretical generalization based on the research results.

This paper aims to test the effects of brand experience and brand love on brand loyalty and willingness to pay a premium price in streaming television services.

Structural equation modelling was used to assess the proposed theoretical model drawing on data from 220 subscribers of a well-known TV streaming brand services (Netflix).

The results revealed that brand experience and brand love have a significant direct impact on brand loyalty and willingness to pay a premium price in streaming TV services. Also, the impact brand experience has on brand loyalty and on willingness to pay a premium price is partially mediated by brand love.

In the streaming television industry, brand managers can create more meaningful experiences that create strong and emotional bonds with users, thereby increasing loyalty levels and intention to pay a premium price. Also, brand managers should consider focusing their efforts to young consumers, as they have a stronger attachment to technology than older generational groups.

This paper enriches the existing literature on brand experience in the entertainment television industry and provides evidence of the role of experience and brand love on brand loyalty and willingness to pay a premium price in services.

Este estudio prueba el efecto que tiene la experiencia de marca y el amor a la marca en la lealtad a la marca y la disposición a pagar un precio más elevado en las plataformas de servicios de streaming.

Un modelo de ecuaciones estructurales (SEM) ha sido utilizado para contrastar el modelo teórico propuesto basándose en datos de 220 suscriptores de una conocida marca de servicios de streaming (Netflix).

Los resultados revelan que la experiencia de marca y el amor a la marca tienen un impacto significativo y directo en la lealtad a la marca y la disposición a pagar un precio más elevado en el contexto de televisión por streaming. También, el impacto que tiene la experiencia de marca en la lealtad a la marca y en la disposición para pagar un precio más elevado es parcialmente mediado por el amor a la marca.

En el contexto de la industria de entretenimiento (televisión por streaming), los gerentes de marca pueden diseñar significativas experiencias que sean capaces de crear fuertes lazos emocionales con sus usuarios, incrementando sus niveles de lealtad y disposición a pagar más. Además, los gerentes de marca deben considerar enfocarse al segmento de consumidores jóvenes, pues ellos tienen más apego a la tecnología que las personas mayores.

Este estudio enriquece la literatura existente sobre experiencia de marca en el sector del entretenimiento televisivo aportando evidencia del rol de la experiencia y del amor hacia la marca en la lealtad y la disposición a pagar un precio elevado.

本研究检验了品牌体验和品牌喜爱对流媒体电视服务的品牌忠诚度和高价支付意愿的影响。

结构方程模型（SEM）被用来评估本文所提出的理论模型, 该模型的数据来自于一个知名电视流媒体品牌服务方（Netflix）的220名订阅用户。

本文的结果显示, 品牌体验和品牌喜爱对流媒体电视服务的品牌忠诚度和高价支付意愿有显著的直接影响。同时, 部分品牌体验对品牌忠诚度和高价支付意愿的影响会被品牌喜爱所调节。

在流媒体电视行业中, 品牌经理可以创造更多有意义的体验, 与用户建立强大的情感联系, 从而提高忠诚度和高价支付意愿。同时, 品牌经理应该考虑将他们的工作重点放在年轻消费者身上, 因为他们比老一辈群体对科技有更强的依恋。

本文丰富了关于娱乐电视行业品牌体验的现有文献, 并提供证据证明了体验和品牌喜爱对品牌忠诚度和高价支付意愿的作用。

Web-based course assessment is a new thing at China's Open University – China Radio and Television Universities (China RTVUs). This article reports an innovative pilot study in this research area. The experimental course for integrated web-based assessment in this study is Advanced English Writing, which is a compulsory course in the B.A. English programme at China Central Radio and Television University (CCRTVU). The study started in March 2005 and it is still in progress at the moment. This article first describes the webbased assessment design of the course and the implementation procedures. Then it moves on to report some initial feedback from the student participants on the pilot study. The article ends with a tentative plan for further actions based on the current study.

Fans have been characterized as specialized consumers who often express disagreements with the entertainment industry's decisions, especially when it comes to the original content of the works that serve as the basis for the development of media products, evidencing a kind of consumer resistance. Under a Foucauldian perspective aligned with the consumer culture theory (CCT), power relations are established in a dynamic of power exercise and resistance to power. Based on this, the authors pose the following research question: how do fans of media products resist the changes made by the entertainment industry in relation to their canons?

The authors adopted the Foucault's genealogy of power as a method, analyzing the comments posted on the Westeros.Org website, the main discussion forum of fans of A Song of Ice and Fire (ASoIaF) book series and Game of Thrones (GoT) TV series.

The findings reveal ways of resistance in relation to the adaptation of the media text permeated by an entertainment dispositif, which considers the adaptation legitimate, and a fannish dispositif, which criticizes the way this adaptation was made. However, their empirical categories reveal that they are forged not only from singularities but also from overlaps. The authors conclude, therefore, that this process occurs in an agonist way, in which conflicts are fought as a reciprocal incitement revealing a productive and ethical relationship.

The agonism shows how consumers can simultaneously be led to incorporate and resist to discourses and market practices. This demonstrates how resistance is not necessarily a force opposed to another, but a dynamic of reciprocal negotiation.