Web Media 207, RWC Television has become an integral part of most consumer's everyday lives. However over the recent years, the ways in which we interact with television have drastically changed. These changes can be attributed to the rise of digitisation and convergence. Images featured in this work are either or my own creation or can be reused under copyright law. The purpose of this work is for educational uses. A Day in the Life of Digital Convergence: The Evolution of Television by Danica Christidis is licensed under a Creative Commons Attribution 4.0 International License. References Eadie, M. (2005). The Digitisation Process: an introduction to some key themes. Retrieved from http://www.ahds.ac.uk/__print__/creating/information- papers/digitisation-process/index.htm. Jenkins, H. (2006, June 19). Welcome To Convergence Culture. [Web log post]. Retrieved from http://henryjenkins.org/2006/06/welcome_to_convergence_culture.html. Jenkins, H. (2007, March 22). Transmedia Storytelling 101. [Web log post]. Retrieved fromhttp://henryjenkins.org/2007/03/transmedia_storytelling_101.html. Leaver, T. (2008). Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance. Media International Australia, 126, 145-154. Retrieved from http://link.library.curtin.edu.au/p?cur_digitool_dc162834.   Leaver, T. (2010). FlashForward or FlashBack: Television Distribution in 2010. Flow TV, 11, 1. Retrieved from http://flowtv.org/?p=4668. Mittel, J. (2006). Tivoing Childhood. Flow TV, 3, 1. Retrieved from http://flowtv.org/2006/02/tivoing-childhood/. RobThomas. (2015, January 20). The 2nd #VERONICAMARS novel, #MrKissandTell is now available! I will be at Austin’s Book People 1/30 signing copies. [Tweet]. Retrieved from https://twitter.com/RobThomas/media.

1. A Day in the Life of Digital Convergence:
The Evolution of Television
Web 207, RWMC
Christidis-17094210
1

2. Introduction
Television is an integral part of most consumers every
day lives. Whether it poses as a source of comfort,
entertainment or used for educational purposes, the
television is interacted with daily.
However in recent years, the ways we watch and
interact with television has drastically changed. We are
no longer passive consumers of the medium who have
their schedules dictated by the TV guide. Instead
consumers have been given much more power and
different roles in the way we interact with television in
our every days lives. Many of these changes can be
attributed to the emergence of digital convergence and
digitisation.
2

3. So what’s digital convergence anyway?
Digital convergence can be defined as “the flow of
content across multiple media platforms, the
cooperation between multiple media industries,
and the migratory behavior of media audiences
who would go almost anywhere in search of the
kinds of entertainment experiences they wanted”
(Jenkins, 2006, para. 2).
3

4. And digitisation?
Digitisation relates to “the process of making an
electronic version of a 'real world' object or event,
enabling the object to be stored, displayed and
manipulated on a computer, and disseminated
over networks and/or the World Wide Web” (Eadie,
2005, para. 2).
4

5. The Effect on Television
Digitisation and convergence have changed:
 The ways we watch television
 The roles of consumers and producers of this
content
 Transmedia and overflow
 The distribution of this content
5

6. The Way We Watch Television
Before Convergence
The act of watching television
used to be sacred. Whether it
was a child waking up
especially early to watch
cartoons on a Saturday
morning or a family finishing
dinner early to gather around
the living room to watch their
favourite show; television has
a part in dictating our
schedule in order not to miss
out on a regularly scheduled
program or broadcast.
6

7. The Way We Watch Television
Before Convergence
The act of watching a television show also had to had
to be done in front of a television itself.
7

8. The Way We Watch Television
After Convergence
TV shows don’t necessarily have to be watched on a
television. Your favourite shows can be watched on a
range of different media devices such as laptops,
iPads and smartphones. TV can be watched anytime,
anywhere and it’s all up to the consumer!
8

9. What does this mean?
This demonstrates that “television is part of an
ever changing menu of programming to be
accessed at our convenience, not a steady stream
of broadcasting to be tapped into at someone
else’s convenience” (Mittel, 2006, para. 7).
Consumers are given much more power to dictate
their own schedules and given the option to watch
television anywhere.
9

10. The Roles of Consumers and Producers
Before Convergence
Viewers of television were passive consumers who
have very limited say on what they witness on
television.
10

11. Roles of Consumers and Producers
After convergence
Consumers are given much
more power and their opinions
are much more weighted.
There are many more
platforms to express
themselves such as blogging,
social media, online fan
communities. These platforms
can also be used to mobilise
fans from all over the world to
get what they desire from their
favourite TV shows. This also
ensures that their opinions will
be heard by producers and
possibly considered.
11
Using my personal blog to comment
and express my opinion on the
recent events of Grey’s Anatomy

12. Transmedia & Overflow
Transmedia refers to the “process where integral elements
of a fiction get dispersed systematically across multiple
delivery channels for the purpose of creating a unified and
coordinated entertainment experience” (Jenkins, 2007,
para. 3).
Transmedia results in overflow. This gives both traditional
consumers and producers to create their own content and
interact with television in new ways.
12

13. Transmedia and Overflow
Before Convergence
The plot and universe in television shows are strictly
only played out and explored on the show itself.
Consumers don’t play a part in creating content.
13

14. Transmedia & Overflow
After Convergence
Especially dedicated fans
are no longer satisfied with
just watching the TV show.
Instead they find other ways
to interact with the show’s
universe. This can be done
through transmedia content
such as books, games, toys
and websites which are all
created by the original
producers of this content.
(Jenkins 2007). This is a
valuable marketing
opportunity for media
conglomerates (Jenkins
2007).
14
(RobThomas 2015). The discontinued
Veronica Mars TV series lives on through
novels which adds to fan’s understanding
on Veronica Mars universe but doesn’t
affect the major plot.

15. Transmedia & Overflow
After Convergence
Fans can also create their
own content, adding to
their favourite show’s
universe. This results in
overflow and can take
many forms such as fan
fiction and meme creation.
This demonstrates that
fans can also become
producers of this content.
15
For example, here’s me writing my
own fanfiction piece where Derek
doesn’t die and they all live happily
ever after.

16. Distribution: Digital Distance
Before Convergence
Television was traditionally provided by major
television networks. Viewers were required to wait
patiently for the broadcasts which enhanced their
viewing experiences due to excitement and
anticipation.
16

17. Distribution: Digital Distance
After convergence
There are many more ways
for consumers to access this
content such as live
streaming services including
Hulu.com (Leaver 2008).
As there are many more ways
for fans to connect to each
other from across the globe,
the risk of spoilers becomes
significant. Fans must decide
whether or not to isolate
themselves from the
community or allow their
viewing experiences to be
ruined by spoilers (Leaver
2010).
17
Accurate representation on how it
feels to be on the other side of the
world when your fandom has just
experienced a major episode of
your favourite television show

18. In conclusion…
Before digitisation and convergence, your daily
interactions would probably go something like this:
You would plan your day to specifically allow you to
catch your scheduled favourite TV show . You and
your family would gather around the television set
together to watch. This viewing experience seems
sacred and hasn’t been ruined by the risk of spoilers.
During the discussion of the TV show, your views and
opinions would be unheard by the creators of the show
and would only occur in the immediate physical
environment.
18

19. While after convergence your daily interaction of
television would be vastly different:
You can watch your favourite television show anytime,
anywhere on a variety of different devices, due to
spoilers you may already know what would happen in
this latest episode. After viewing you may decide to
blog your opinions on what you’ve just seen or
participate in the online fan community. You may also
be able to expand your knowledge on the show’s
universe by playing the official game or checking out
the show’s website. It’s also possible to create your
own content about the show through fanfiction. Overall
you have become a much more powerful, interactive
consumer.
19

20. Our every day interactions with television have vastly
changed due to the rise of digitisation and convergence.
These interacts will continue to change in the future as
convergence and digitisation are continuing processes.
20

21. 21
A Day in the Life of Digital Convergence: The
Evolution of Television by Danica Christidis is licensed
under a Creative Commons Attribution 4.0
International License.

22. References
22
 Eadie, M. (2005). The Digitisation Process: an introduction to some key
themes. Retrieved from
http://www.ahds.ac.uk/__print__/creating/information-
papers/digitisation-process/index.htm.
 Jenkins, H. (2006, June 19). Welcome To Convergence Culture. [Web log
post]. Retrieved from h
ttp://henryjenkins.org/2006/06/welcome_to_convergence_culture.html.
 Jenkins, H. (2007, March 22). Transmedia Storytelling 101. [Web log post].
Retrieved
fromhttp://henryjenkins.org/2007/03/transmedia_storytelling_101.html.
 Leaver, T. (2008). Watching Battlestar Galactica in Australia and the Tyranny
of Digital Distance. Media International Australia, 126, 145-154.
Retrieved from
http://link.library.curtin.edu.au/p?cur_digitool_dc162834.
 Leaver, T. (2010). FlashForward or FlashBack: Television Distribution in
2010. Flow TV, 11, 1. Retrieved from http://flowtv.org/?p=4668.
 Mittel, J. (2006). Tivoing Childhood. Flow TV, 3, 1. Retrieved from
http://flowtv.org/2006/02/tivoing-childhood/.
 RobThomas. (2015, January 20). The 2nd #VERONICAMARS novel,
#MrKissandTell is now available! I will be at Austin’s Book People
1/30 signing copies. [Tweet]. Retrieved from
https://twitter.com/RobThomas/media.