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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.

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.

Produced by a local subsidiary of a global media conglomerate, a licensed clone of Who Wants to be a Millionaire? achieved the highest‐ever ratings in India in the early 2000s, spawning unlicensed clones among its rival channels. This paper seeks to analyse the cultural and economic factors behind this most widely acknowledged example of television format adaptation in India.

Through interviews with media‐owners, programme producers, and advertising agencies, an insider perspective was sought on why some clones had succeeded and others had not in India's competitive television market.

As with other forms of franchising in developing and transitional economies, the industry rationales for adapting television programmes, global and local, prove to be a paradoxical mix of economic pragmatism and cultural hybridity.

The strategy of cloning television raises complex issues of imitation versus inspiration within the increasingly globalised media industries of emerging markets.

The paper examines the impetus for cloning across a variety of programme genre in India.

To achieve a full understanding of the role of marketing from plan to profit requires a knowledge of the basic building blocks. This textbook introduces the key concepts in the art or science of marketing to practising managers. Understanding your customers and consumers, the 4 Ps (Product, Place, Price and Promotion) provides the basic tools for effective marketing. Deploying your resources and informing your managerial decision making is dealt with in Unit VII introducing marketing intelligence, competition, budgeting and organisational issues. The logical conclusion of this effort is achieving sales and the particular techniques involved are explored in the final section.

Television critics play a central role in the interpretation of cultural forms, objects, and productions. In contrast to critics in elite art worlds, the role and status of television critics are less institutionalized and less well understood. One indicator of the degree and status of the institutionalization of critics’ roles is the codification of evaluative criteria and critical practices. Our research examines whether critics in television draw upon a recognizable set of evaluation criteria, and if so, whether that repertoire of aesthetic concepts increasingly parallels criteria employed by critics in elite art worlds. Using multidimensional scaling to delineate television criticism over the last two decades, a period of considerable transformation in the industry, we find that television criticism attends to a core set of conventional criteria. These include appraisal of formal aesthetic elements, signaling increased attention to television as an art form, while retaining consideration of factors such as entertainment value that are of interest to audiences and business constituencies alike.

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.

The necessity to assess television programming as programming (rather than merely as a vehicle to deliver advertising audiences) is discussed against the background of commercial television's rapidly changing technology, a principal effect of which has been to fragment formerly “mass” audiences. Traditional ratings data (because they lack adequate quantitative detail, contain no qualitative information, and measure programs only after they are aired) are becoming an insufficient basis for making either programming or advertising decisions. As audiences become increasingly segmented, the necessity to understand them (exactly who they are and why they watch particular programs) becomes apparent‐whether for purposes of developing programs, scheduling them, or ascertaining whether they constitute an efficient vehicle within which to place advertising messages. Audience understanding can come only from a considerably expanded base of systematic research.

Wherever television is a commercial venture which earns a significant percentage of revenues from advertising, it tends to be transformed to better serve the needs of ad agencies and their clients. One oft raised complaint is that in an attempt to raise ratings and viewership, advertisers insist that shows cater to the “lowest common denominator” of society; as a result, quality programming is often compromised, eliminated, or banished to time periods when viewing is inconvenient. Programme diversity is also undermined. This paper suggests that the strategies of commercial television often restrict high quality programming even if the actual sponsors are committed to quality and diversity. This is done to create an environment which will best serve the majority of sponsors, and thus attract maximum advertising revenues. A history of Voice of Firestone (a long‐lived programme on U.S. Radio and TV) will be used as an example of this tendency. In an era when Europe is becoming more involved with commercial television, the lesson of such examples is especially significant.

Despite the growing importance of online word-of-mouth (WOM) with regard to television (TV) ratings, it is usually excluded from early prediction models. The purpose of this paper is to investigate the role of online WOM in TV ratings predictions, focussing on whether the incorporation of online WOM could improve predictions of TV ratings, and extracts meaningful rules for decision-making.

The author uses online WOM as a potential predictive variable in the TV ratings prediction model. The author matches a list of programs based on TV ratings for the movie channel with internet user reviews and TV ratings information from Yahoo! Movies (YM) and XYZ Company. The data set includes 71 movies, for which the data were analyzed with a hybrid model.

Grey relational analysis shows that online WOM is a useful ex ante determinant of TV ratings. As a predictive variable, it plays an essential role in enhancing TV ratings predictions. The experimental results also indicate that the proposed model surpasses other listed methods in terms of both accuracy and reduction of variables, while the proposed procedure yields a set of easily understandable decision rules that facilitate the interpretation of TV ratings information.

This paper identifies critical predictors of TV ratings and suggests that online WOM messages are a credible source. A hybrid model is developed to illustrate an intelligent prediction system for TV ratings.

The study demonstrates the effectiveness of online WOM and its impact on TV ratings. It offers an intelligent prediction system for TV ratings with practical implications for managers within the TV industry.