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This article interrogates how the shift to a more robust mandate in Bosnia was made intelligible to the Swedish TV audience. The turn to peace-enforcement and NATO command in December 1995 represented a clear break with Swedish tradition and identity, and essentially signified a turning point in Sweden's policy on the use of force. The analysis reveals how four characterizations of the Swedish UN soldiers served to make sense of recent events and ultimately paved way for future policy changes; throughout the six-month period under scrutiny, the depictions, very broadly, moved from weak soldiers and failed warriors, to honourable peacekeepers and unique combat soldiers. The Swedish peacekeeper figure is thus reconstructed, essentially accommodating an increased involvement in activities of peace-enforcement and war-like operations. [ABSTRACT FROM AUTHOR]

This study investigates why women in Southern Italy are attracted to Turkish TV serials, which may seem culturally distant at first glance. By conducting semi-structured interviews with 30 women, the research aims to uncover the specific elements of Turkish serials that resonate with these women. The findings reveal that participants appreciate the portrayal of strong, independent female characters in Turkish serials, which challenge their preconceptions about Muslim women and foster a sense of shared human experiences across cultures. The romantic ideals depicted, without overt sexualization, and the subtle reinforcement of traditional gender roles, align with the viewers' cultural values, offering a comforting blend of familiarity and novelty. Additionally, the high production values and aesthetically pleasing depiction of Turkish settings and lifestyles enhance the appeal. These serials not only entertain but also prompt audiences to reflect on their own cultural and feminist issues. This study highlights the intricate dynamics of cross-cultural media consumption and its impact on cultural perceptions and viewer engagement. [ABSTRACT FROM AUTHOR]

The air sustains, connects and conditions our lives and has been of growing relevance to social scientists adopting an atmospheric approach to social life. Nonetheless, in screen studies, air's critical uptake has so far been limited to narrative cinema, leaving it undertheorized in non-fiction filmmaking. In this paper, I introduce theories of the air that flow from the broader rise of atmospheric socio-aesthetic theories and suggest that it is possible to understand the air as an agent in the relationship between a filmmaker and their practice, and the film and its viewers. To make this argument, I first present a theoretical orientation to air as it is implicated in the non-fiction filmmaking process, before considering how the air has been understood in film scholarship, and how it has been taken as a subject of filmmakers working in experimental traditions. I then consider two bodies of non-fiction filmmaking through this aethereal lens. The first is Margaret Tait and her concept of 'breathing' with the camera, and the second is Arwa Aburawa and Turab Shah's And Still, It Remains (2023). In these analyses, I argue that thinking aethereally allows us to consider the co-construction of documentarian, document and viewer. [ABSTRACT FROM AUTHOR]

Rationale: Over the last two decades, sports economists and management scholars alike have increasingly begun modeling the tv demand for professional sports, most notably association football. However, there as yet exists no empirical study on whether the observed mechanisms are robust across different distribution channels. Design/methodology/approach: In this study, we add to this still-emerging literature stream by analyzing the robustness of otherwise well-explored determinants of tv demand across different distribution channels (free-to-air and pay-tv), also distinguishing between male and female tv audiences. Findings/research contribution: Interestingly, exploring the German tv demand for F1 racing at two different tv channels holding non-exclusive media rights between 2011 and 2017, we note that the effects of most (e.g. the starting time, weather), though not all, determinants are robust across the two different channels and the two audience groups. Practical implications: Our results thus suggest that media right holders interested in maximizing television audience demand for a sport broadcast are well-advised to add nuance to their communication efforts. [ABSTRACT FROM AUTHOR]

Reality TV, particularly Music Reality Shows (MRSs) like Nigerian Idol, has emerged as a significant dimension of television programming, providing a platform for cultural representation and interactivity. Afrobeats, a music genre that originated in West Africa, has gained global acceptance and recognition in recent years with great influence on the global cultural landscape. This study examined the cultural preferences of viewers towards the use of Afrobeats music in the Nigerian Idol reality TV show. Cultivation theory was adopted as the theoretical framework to investigate the level of viewership of Nigerian Idol among residents of Lagos, Nigeria, and explore their cultural preferences for Afrobeats music. Through a mixed methods approach involving a quantitative survey and focus group discussions (FGD), the study gathered data from residents of Lagos, Nigeria. The results reveal a reduction in viewership of Nigerian Idol compared to previous seasons, indicating shifting audience interests. However, there is a significant cultural preference for Afrobeats music compared to other genres of music, particularly those of foreign origin, among viewers who have encountered the Nigerian Idol. This also confirms the growing influence and acceptance of the fast-rising Afrobeats genre. The findings underscore the role of media, particularly television programmes such as Reality TV Shows, in shaping cultural identity and preferences. The correlation analysis confirms a strong relationship between viewership levels and cultural preferences for Afrobeats music in Nigerian Idol, highlighting the impact of television programming on audience perceptions and tastes for cultural artifacts like music. The study contributes to understanding cultural dynamics in the context of Reality TV Shows, music, and cultural entertainment, emphasizing the need for producers to adapt to evolving audience preferences and embrace digital innovations to sustain viewer interest. [ABSTRACT FROM AUTHOR]

Understanding television viewing behavior is highly relevant, as it remains an important source of political news for many. Nowadays, viewers can choose between a growing diversity of formats covering political news, varying from traditional news broadcasts to late-night talk shows and satire. Yet, we have little to no information about the specific political content provided by television programs; and much less how this can be connected to viewing behavior and audience characteristics (political interest, ideology). Moving forward, using unique Dutch audience-meter data (3,672 viewers from 1,761 different households) from July 2017 to July 2018, we explore who is exposed to which (political) topic in what type of television program. We use automated content analysis to analyze the subtitles of television programs (N = 21,480). Our results indicate that situational factors, such as lead-in and lead-out effects affect news exposure. We also found that political interest does not only shape the volume but also the composition of audiences’ political information diets. Results show that higher political interest was associated with television audiences receiving a greater proportion of their news from public affairs and opinion programs. There does not appear to be any difference in patterns for political ideology; similar proportions of each type of program make up the information diets for both left and right viewers. [ABSTRACT FROM AUTHOR]

Despite discoverability and prominence emerging as crucial to contemporary industry and policy debates in relation to online and internet-distributed television, there remains relatively little rich, qualitative data about how contemporary audiences discover content. This article addresses this gap through empirical audience research focused on the 'routes to content' through which UK audiences find and decide what television to watch. Defining television broadly to include all forms of video content accessed in the home, we argue for the importance of thinking about discoverability as an audience activity, not just an industrial strategy. Building on TV audience studies' longer history and more recent literature on engagement, media literacy, algorithms and technological affordances in contemporary media platforms, we argue for new understanding of the imaginaries shaping people's habitual viewing activities. The article proposes four new concepts for thinking about discoverability as an audience activity. First, we explore technological affordances and default behaviour, developing the concept of the negotiated-null affordance to explain how technological affordances can be rendered invisible by habitual behaviours. Second, we focus on algorithmic literacies and propose a new dissonant algorithmic imaginary to explain our participants' ambivalences towards algorithmic personalisation. Third, we unpack the dynamics of access that emerge in our participants' negotiations of television technologies, services and content. Fourth, we examine the role of word of mouth and promotional paratexts, theorising a second-order algorithmic imaginary to help us understand how these forms of communication can often, themselves, be subject to algorithmic processes. In doing so, we argue for the need for further qualitative research that looks beyond the 'savvy' consumers that dominate audience research in order to unpack the technological, industrial, cultural and social processes that shape people's routes to content in a platform-dominated media landscape. [ABSTRACT FROM AUTHOR]

We propose the valuation of a real option in the telecommunications industry. According to the probabilistic present worth approach, we estimate the value of a contract between a television network and a company willing to advertise its business on this network. We assume that the value of the contract depends on a time-dependent variable, i.e., the number of viewers tuned into the network, which behaves like a Markov process. After discretizing and converting this number into a monetary value through a specific function, we compute the nth-order moment of the total discounted earnings. The knowledge of the moments, and the application of the maximum-entropy approach, allows to find the probability distribution of the payoff function and the consequential pricing of the real option. Finally, we apply the proposed model to the real television audience data. [ABSTRACT FROM AUTHOR]

The Club, a Turkish series exclusively produced for Netflix, challenges the official historical narrative of modern Turkey by depicting the experiences of minorities on the brink of the country’s political upheaval. It highlights the state’s complex relations with its minorities and historical events that are often silenced in the official historical narrative. This study looks at how Turkey’s dark pasts pertaining to its religious minorities are portrayed in The Club and the ways in which its audience respond to these dark pasts. It argues that the audience of The Club recreates the silences about the past, resulting in the denial or rationalization of state violence, while emphasizing a nostalgic multi-cultural past. [ABSTRACT FROM AUTHOR]

This article analyzes American cable channel HGTV's programing strategies in response to the COVID-19 pandemic, and specifically their construction of a "COVID-free" fantasia in their series Home Town and its spinoff, Home Town Takeover. By considering this response through the lens of dissonance, I argue that while the network originally emphasized their social responsibility to mitigating the spread of the virus, their business model incentivized them to move past the virus more swiftly than other channels, pushing the labor of mediating dissonance onto their on-screen talent and their audience. This case study foregrounds how variables like genre, channel, and audience shaped the television industry's response to the pandemic, with HGTV's business model built on "evergreen" reality programing leading them to abdicate principles of social responsibility both more quickly and more thoroughly, despite numerous options that would have addressed the dissonance of COVID in a more balanced fashion. [ABSTRACT FROM AUTHOR]

This study aims to increase the effective use of in-stadium sponsor message placement by analyzing the influence of various run-of-play characteristics on television viewers' visual attention allocation. Sports broadcasts constitute one potential platform for sponsors to place personalized messages. However, literature still questions the effectiveness of in-stadium sponsor messages, and the influence of game-related factors on viewers' visual attention has received little consideration in this context. In addition, researchers call for more reliable and realistic measures concerning the effective evaluation of sponsorship-linked marketing. Therefore, this study uses real-time adaptions (eye-tracking, in-play betting odds, etc.) utilizing live soccer broadcasts as one of the first. Data were analyzed second by second (n = 100,298) using generalized linear mixed models. Results indicate significant associations of several run-of-play characteristics with viewers' visual attention to sponsor messages depending on the characteristic, the games' degree of suspense, and playing time. Findings provide hands-on advice for practitioners to enhance sponsor message placement during live broadcasts. [ABSTRACT FROM AUTHOR]

This research utilizes the theoretical framework of the protest paradigm to analyze how major TV channels and newspapers in Chile and Colombia covered—on their official X (Twitter) accounts—the massive 2019 protests. The paper collected data using the software Crimson Hexagon (CH), a social media analysis software that accesses all public messages posted on Twitter, and then conducted a manual content analysis to fully explore the adherence to the paradigm in digital environments, including audience interactions with media content. Results show that chosen media outlets take mainly the riot and confrontation frames to delegitimize protesters, partially influencing the reaction of audiences who engaged with those diminishing devices. A further analysis demonstrates how deeply intertwined the media are with the status quo and elites. In addition, legacy media, particularly TV, seem to fall into a systematic delegitimization of social protest. This research is valuable as it enhances the understanding of media portrayals of protests in Latin America given the new dynamics of news engagement on social media. [ABSTRACT FROM AUTHOR]

Using Netflix's weekly Global Top 10 lists for English-language and non-English-language series and films, this article highlights some of the ways in which the world's most popular streaming platform misrepresents both the production and consumption of its most popular geographically diverse global content. First, the Global Top 10 lists create a series of false equivalencies between the popularity of English-language and non-English-language content that mask the difference in production budgets between the two categories. Second, Netflix's publicized data isolates the global audience distribution of non-English-language content from other economic, technological, cultural, and political factors affecting local media ecosystems as demonstrated through an analysis of South Korea. Third, in failing to account for genre-related differences, the Global Top 10 lists distorts audience behavior in the Ibero-American region. Despite the variety of limitations presented by the incomplete audience data from Global Top 10 lists, when properly contextualized with recent academic research and economic information extracted from the specialized trade press publications, this article argues that the relationship between global streaming audiences and geographically diverse content is far more complex than it appears in the Netflix's industrial discourses. [ABSTRACT FROM AUTHOR]

The article presents an interview with Irene Vasco, a Colombian writer recognized for her work in promoting reading. Her ability to tell funny and unpretentious stories that take us into the territory of domestic life and intimacy is highlighted. Her experience in the United States, her background as a reader and television viewer, and her career in the publishing world are mentioned. The growth of the international market for children's literature in Colombia and the difficulties that authors faced in terms of contracts and royalties are also discussed. The work of Enlace, a couple who created their own publishing fund, and the collaboration of Juventud, a Spanish publisher, in the publication of Irene's books in Europe and the United States, are highlighted. [Extracted from the article]

Previous research has concluded that the working-class is largely invisible on television. When the working-class is displayed; however, common frames highlight moral shortcomings and lack of responsibility. This study asks what difference such representations make. The study relies on cultivation analysis and a survey of the adult Swedish population to understand the extent to which heavy television viewers provide "television answers" in their descriptions of and attitudes toward the working-class. While some results are inconsistent, heavy television viewers seem more prone to view social inequalities as the result of working-class people's failure to take responsibility for their own well-being. [ABSTRACT FROM AUTHOR]

The article discusses the evolution of American sitcoms and the emergence of a new subgenre called "unsituated comedy." It explains how traditional sitcoms have followed a formulaic structure, while unsituated comedies challenge conventions by adopting more fluid storytelling, character dynamics, and forms of humor. The authors provide a list of twenty-three American comedies that exemplify the unsituated comedy subgenre, arguing that these shows offer new portrayals of marginalized identities and have the potential to challenge norms and offer social commentary. The article acknowledges that some sitcoms have already challenged norms and offered social commentary, but the post-network era has brought about significant changes that have allowed for the emergence of unsituated comedies. These shows break away from traditional sitcom conventions by exploring different settings, allowing characters to grow, and presenting narratives that are less linear and more open-ended. Unsituated comedies offer a hybrid space between comedy and drama, challenging cultural scripts of normalization. The article emphasizes that unsituated comedies are not necessarily superior to traditional sitcoms, but rather offer new possibilities for exploring power dynamics in communities and everyday life. These shows, such as Scrubs, Modern Family, and The Office, have shifted away from the traditional sitcom format by allowing greater movement and exploring a wider range of characters and settings. They no longer rely on a central space or a limited cast, but instead showcase characters in various locations and introduce new characters from their neighborhoods or communities. Unsituated comedies also delve [Extracted from the article]

Objective: Television is a general media that faces a range of audiences with diverse tastes and educational levels, and its programs are mainly consumed by the general audience. The "readability" of a text or news report increases the audience's understanding of it and attracts the viewer's attention and interest and conveys its message to the audience more easily. Objective: The evaluation aims to measure the news reports of the IRINN and determine the level of readability obtained from them. Theoretical framework: Robert Gunning's reading order (Fag index) was used. Method: Research method: Quantitative content analysis and among the news broadcasted between the beginning of February 1401 and the end of December 1402 in the detailed news section at 19:00 on the IRINN, 120 news were selected as the sample size for analysis by simple random sampling method. Is. Results: Examining the readability of the annotated news text of the IRINN (at 19:00) showed two general results; First, the broadcasted news is at an average level in terms of readability. Second, the average of 7 years and more of education for understanding the news of the IRINN means that the network is not in an unfavorable situation in this regard. Third, many audiences can understand and receive the news without any problem. Fourth, the investigation in these studies showed that the average length of sentences for news is 27.65 words in total and using this number of words in news sentences is considered to be very long and the most important factor of difficulty in understanding news texts. Conclusions: The investigation of the researches of the IRINN in the field of attention and viewing of the audience during a year of research shows that this network has been unsuccessful in attracting the attention of the audience, especially the general audience, which constitutes the majority of the audience. For this reason, despite the spread of broadcasting (almost universal coverage of the network), it does not have a wide audience. One of the reasons for such a problem is writing news reports regardless of the general audience's ability to understand and read the text. In response to the research questions, it should be said that in order to understand the news presented in the detailed news section of 19, on average, more than 7 literacy classes (2nd guidance and above) are needed, which is at the average reading level. Also, in response to "What factors show the audience's level of understanding of an article". The average sentence length for the studied sample is "27.66" words. Such an average for the news or news report is considered to be too long and causes the reader to misunderstand its content. On the other hand, the length of the sentences affects the easy understanding of the audience of a radio and television news channel. [ABSTRACT FROM AUTHOR]

This article analyzes the categories established to study the connections between national identities and football in Latin America. It focuses particularly on that of the 'public arena', inspired by the work of Clifford Geertz, and that of 'free zones' in culture, introduced by the Argentine anthropologist Eduardo Archetti in his research into a 'popular sports nationalism' at the dawn of the twentieth century. As part of the analysis, it looks at the narrative of Argentina's recent victory of the Qatar World Cup 2022 on television and in the experience of fans, as well as the (futile) attempts by politicians to channel the fervour. Finally, the article explores how the political hero moves into post-politics: the narrative twists that enable the shift from Maradona to Messi. [ABSTRACT FROM AUTHOR]

The Hulu original comedy Shrill is a communicative text for understanding fat women’s subjectivity in line with discourses of neoliberalism and postfeminism. Based on interviews with twenty-five women who watch the series, I argue that Shrill offers an avenue through which audiences reckon with expectations of the female body and celebrate resistance to those expectations; in a media landscape that has routinely erased fat women completely or made their bodies a site of comic relief, Shrill engages with rhetorics of body positivity and self-acceptance. While it pushes back against neoliberal, postfeminist discourses of the disciplined female subject, it simultaneously reifies notions of the “right” kind of fat femininity, one that is marked by class (middle- to upper-class) and race (white). [ABSTRACT FROM AUTHOR]

In general, financial markets of limited attention or visibility are expected to exhibit more inefficient asset prices. Such markets thus require eventual, increased trading to resolve these inefficiencies. In this study, we consider this financial framework within the sports gambling market for National Football League (NFL) games. We consider whether NFL games garnering less public attention are more likely to see larger movements in their betting lines. We consider games with smaller television audiences, with kickoff times shared with other contests, and between teams with smaller fanbases, to be indicative of less visibility. To test our model, we collected betting line data for all regular and postseason NFL football games from 2007–2021. Based on a sample of 3,756 games, our findings indicate more frequent and larger line movements in games with indications of less widespread attention, and many of these results are statistically significant. Our conjecture is that such differences in line movement levels may derive from the limited resources of oddsmakers being disproportionately focused on games with the most visibility. [ABSTRACT FROM AUTHOR]

Television plays a significant role in shaping the beliefs, perceptions, and attitudes of young individuals. Understanding the factors that influence these beliefs is essential for comprehending the impact of television programming on the youth population. This paper aims to investigate the correlations in beliefs regarding television programming among Greek youths aged 15–18 with their demographic characteristics, parental educational levels, school performance, and daily television viewing habits. To study the above, a structured questionnaire was electronically distributed to 204 Greek teenagers after obtaining parental consent. By identifying the factors associated with variations in beliefs, this study contributes to the existing literature on media influence and youth development. The findings indicate youth's moderate levels of reflection regarding different aspects of television shows, including their presentation to the public and their influence on perceptions and attitudes. What is more, the youth audience haslow trust in TV news, and they moderately believe that the content of news is greatly influenced by governments and political elite agendas, while they consider TV as a major influential media type in shaping people's political opinions. Notably, youngsters who considered themselves high-achieving students, as well as those who engaged in more frequent television viewing, including documentaries, news, and talk shows, exhibit increased concern and skepticism regarding the information presented in the television programs they watch. This is an important finding, because despite the low trust in TV as a medium, it continues to attract the attention of young people. [ABSTRACT FROM AUTHOR]

This study investigated the determinants of television viewership and its relation to broadcasters' choices of matches for live telecasts. Also, factors driving the broadcasters' choices were examined. A panel data set from the 2018 Korea Baseball Organization league pennant race was analyzed. Broadcasters' choice order of matches and the actual television ratings of each match were regressed on a series of antecedent factors related to the game characteristics and audience preferences. It was found that the broadcasters' choice order of matches positively affected the television ratings, suggesting that the broadcasters' decisions were well reflected in the actual viewership. It also appeared that broadcasters' choices were based on popularity and team performance/quality, whereas viewers showed preference for current games' on-field performance. There was no evidence of audience preference for games with higher outcome uncertainty, whereas the broadcasters tended to choose games with more certain, rather than uncertain, outcomes. Theoretical and practical implications of the findings were discussed. [ABSTRACT FROM AUTHOR]

This article explores the dissolution of the online/offline distinction and the impact of information technologies on space and time. It introduces the concept of hybrid space, where physical reality and virtual significance intertwine. The role of digital objects and their relation to spatiality is discussed, as well as the reorganization of space and the concept of diachronic time through Flusser's technical image. The text argues that apparatuses and people are mutually dependent, shaping each other's intentions and actions. It also highlights the temporal aspects of technical images and their role in externalizing culture and memory. The circulation and significance of technical images are emphasized, drawing parallels between their circular temporality and the circulation of capital. The text also discusses the role of information in mediating between machines and workers in cognitive capitalism, but acknowledges the continued exploitation and suffering in industrial capitalism, particularly for marginalized groups. [Extracted from the article]

This article analyzes comfort and enjoyment between networks and viewers is seen in reality show's popularity. This study conducting skeptical post-modern by Rosenau (1991) as for the approach. The study-case approach focuses on the planning and execution of research. It appears that the cultural diversity that is being portrayed on the reality TV program 90 Day Fiancé through Nicole and Azan’s scenes is intended to be a well-liked sub-genre of alternative fiction. As a result, the scenes and everything else in the show might all have been made up to suit the preferences of the viewers. Thus, there are two opposing viewpoints among viewers in this case: first, those who criticize 90 Day Fiancé while also bringing up the subject of cultural diversity as a result of their critical thoughts; and second, those who do so without bringing up the subject at all because they only view the show as entertainment. [ABSTRACT FROM AUTHOR]

This article asks how the rise in use of SVOD in the United Kingdom during 2020 impacted people's expectations of public service television (PSTV). Drawing on 56 qualitative interviews with 28 UK participants conducted in 2019 and 2020, the article uses the COVID-19 lockdown to explore how disruption to the context of viewing might shape the cultural meanings people attach to PSTV. Challenging dominant approaches that measure audience assessments of public service media (PSM) against normative criteria, this article focuses instead on the processes through which people's cultural meanings about PSTV are formed. Examining the interplay of their encounters with, expectations and evaluations of television, it reveals the divergent meanings our participants brought to linear and on-demand television. The article concludes by examining the implications of these expectations for PSM policy and for the ways in which we research people's viewing experiences and choices amidst the rise of VOD. [ABSTRACT FROM AUTHOR]

"Uncomfortable Television" by Hunter Hargraves is a book that analyzes post-millennial US television through the lens of discomfort and the affects associated with taking pleasure in shows whose protagonists are unlikeable or unpleasant. The author argues that post-millennial television normalizes discomfort as a strategy of governmentality, contrasting it with twentieth-century television that aimed to comfort and instruct audiences. The book explores various negative affects portrayed in television, such as irritation, addiction, perversion, and White guilt, and examines their role in late capitalism or neoliberal capitalism. The author calls for more self-critical analysis in television studies and discusses the misrecognition of viewing discomfort as political action in "woke TV." [Extracted from the article]

To better understand esports consumer demand, this study derived topics from real-time viewer comments during live streams of two professional esports leagues, King Pro League (KPL) and CrossFire Pro League (CFPL). We investigated structural factors that drew viewers' attention to each topic. Using data from Douyu.com, we collected 1,111,177 real-time comments on 126 KPL matches and 233,869 comments on 96 CFPL matches. We employed a digital ethnography approach to discern the fan identification of viewers who contributed to comments. We applied guided Latent Dirichlet Allocation (LDA) to extract topics in these comments. We examined structural factors that affect viewers' interest in each topic using a multinomial logit regression. Only a small proportion of viewers who commented during live-streaming esports games were identified as fans of competing teams. Viewers paid most attention to the excitement of the game. Commentators and in-streaming activities also captured viewers' attention. Esports fans tended to focus on players and teams whereas general observers were more attuned to game-related skills and knowledge. We take the attention economy as a theoretical framework to understand esports consumers' interests and demonstrate the structure of consumer demand for various aspects of esports. We provide insight to help esports organizations and live-streaming platforms effectively attract viewers. [ABSTRACT FROM AUTHOR]

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Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historians of the late British empire often cite the 1960s and 1970s as a turning point in Commonwealth nationalisms, when British sentiment abroad was in major decline. This article investigates one exception to that phenomenon: Australians' continued appreciation for British television, especially British comedy television. While other historians have seen this as a symptom of 'cultural imperialism', this article argues that Australian stations purchased British comedies for complex commercial reasons that extended beyond imperial sentiment. Australian and British television stations worked together to bring British television programmes to Australia. Public and private British stations sold Australians programmes to finance their domestic activities, claiming their products were uniquely 'high quality'. Australian stations borrowed British language of 'high quality' to describe these programmes, a rhetoric which filtered through to how Australian viewers described their television preferences. Combining international business records with viewers' opinions, this article demonstrates the role media firms could play in positively framing consumers' attitudes to Britain even in the post-imperial era. [ABSTRACT FROM AUTHOR]

This article explores the partnership between Higher Ground Productions, the production company founded by Barack and Michelle Obama, and streaming platforms like Netflix, Spotify, and Amazon. It discusses how these partnerships allow the platforms to position themselves as politically aware and attract a diverse audience by curating agreeably centrist-liberal programming. The article also examines the concept of "massness" in streaming entertainment and how major streamers aim to present themselves as mainstream services while accommodating individualized tastes. It highlights the impact of Higher Ground in the entertainment industry, producing documentaries and family programs that highlight marginalized artists and communities. The Obamas' partnership with these platforms reflects their commitment to diversity and education, but also raises questions about the authenticity of their progressivism. [Extracted from the article]

This article explores the concept of success in relation to content released on SVOD (Subscription Video on Demand) platforms through a qualitative methodological approach. By merging academic theory with prevailing industry practice, it identifies various indicators of success, both quantitative and qualitative. The article also examines the advantages and disadvantages of the data underpinning the dominant methodological approaches in the sector: census data and sample data. The research leads to the conclusion that a multidimensional concept of success, integrating elements of consumption, economics, temporality and market dynamics, is a more appropriate formula for capturing the realities of consumption in SVOD. [ABSTRACT FROM AUTHOR]

"The Oxford Handbook of the Hollywood Musical" explores the nature and evolution of the Hollywood musical genre. The book raises questions about what defines a specifically 'Hollywood' musical and how it has changed over time. The volume consists of twenty-six chapters grouped into six themed parts, covering topics such as the relationship between stage and screen, the use of technology in film musicals, the impact of racial identity, and the cultural export-import activity of the genre. While the book aims to add musicological considerations to the discussion, some chapters may require a technical grounding in music theory. Overall, the handbook provides valuable insights into the Hollywood musical genre, although it misses some opportunities to challenge and expand perceptions of what 'Hollywood' represents. [Extracted from the article]

The article shares insights of Historian Richard Slotkin, on how the 'real West' became accessible as the center of movie production in Oklahoma. Topics include national audiences were used to images from commercial media with employment in the regional film industry; and Western films provided a source of entertainment for film going audiences as well as uncooperative filmmakers and theaters.

We study the impact of batch DNS filtering of copyright-infringing websites, a novel administrative-based process that does not require judicial involvement. In partnership with a large telecommunication provider, we measure the impact of this intervention on piracy activity and the legal alternatives integrated into households' media subscription bundles, an aspect largely unexplored in prior literature. We find a significant reduction in Internet traffic, which proxies piracy activity. However, we do not observe statistically significant changes in the consumption of the legal alternatives under consideration, only a slight increase in TV viewership. To further understand these outcomes, we examine the heterogeneity of these results based on households' pre-block usage intensity of digital piracy and demographic characteristics. Our work contributes to the literature on the effectiveness of piracy control strategies and informs policy makers and industry practitioners about the benefits and limitations of DNS-based website blocking. • Digital pirates are heavy users of paid and free legal media. • DNS blocks on piracy sites lower Internet traffic, indicating less piracy. • DNS blocks don't affect pay-TV, VoD, and paid channels' consumption. • DNS blocks are less effective against piracy in households with young people. [ABSTRACT FROM AUTHOR]

This study explores the trend of Eid-related video advertisements in Malaysia on online streaming platforms like YouTube, as focusing on major corporate channels such as Petronas, TNB, Malaysia Airlines, and Telekom Malaysia. Thus, the aim of the study is to explore the trend of Eid advertisements and Malaysian audience engagement through corporate video on YouTube Channel. Notable differences emerged in how each company portrayed these values, showcasing unique approaches to brand representation. Despite the commonality in values, the varied portrayal methods indicated distinct brand identities for each organisation. The analysis was conducted using content analysis through viewing the Eid advertising video which emphasised the importance of crafting a brand image within the Eid-themed video content to resonate and be memorable among viewers. Findings shows that while companies align on shared values for Eid advertisements, the way these values are communicated plays a crucial role in shaping the brand's image and audience engagement. Consistent and respectful representation of shared values building trust towards the audiences. Meanwhile, broadcasters must ensure that the advertisements they air are culturally sensitive and align with the values of the audience. [ABSTRACT FROM AUTHOR]