Transmedia powerpoint
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This document discusses transmedia research related to the television show Big Brother and transmedia television. It provides background on transmedia storytelling and how reality TV shows like Big Brother were early adopters of transmedia strategies. Big Brother is used as a case study, with different readings summarized that examine how it incorporated the internet, phones, and other media to engage audiences and allow them to participate in the show across platforms. The readings also discuss how emerging technologies are transforming television and audience engagement with multiplatform texts.
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in this document u will read abt mass media. and what it is and how did it started. if u find this document helpful then please like and please share this with your friends.
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Convergence has had a significant impact on the television broadcasting industry. It refers to the ability of media content to be experienced across multiple platforms and the cooperation between different media sectors. For television specifically, convergence means audiences can access television programming anywhere and networks must adapt to this new environment. Television is now immersed in a participatory culture where audiences interact with shows through online comments and voting. This level of engagement helps build loyalty but challenges networks to evolve their content delivery and business models. Technological changes are forcing the television industry into transition as it races to capture new digital audiences while addressing issues like an evolving digital divide.
Television broadcasting page 4
Convergence has had a significant impact on the television broadcasting industry. It refers to the ability of media content to be experienced across multiple platforms. This has increased audience expectations and forced television networks to adapt. Television must now account for online and mobile technologies to attract fragmented viewers and compete with other media. As a result, new forms of interactive television have emerged that involve audiences providing online comments and even influencing show outcomes. However, television also faces challenges from the dominance of large media companies and changing audience behaviors driven by new technologies.
Unearthing the total value of web series the economic, industrial, cultural a...
A presentation that establishes a definition and the evolving understanding of web series as a hybrid form of internet television before establishing the concept of total value and how it is conceptualized in this project. The presentation was presented by Associate Professor Mark David Ryan (2019) as a visiting scholar for the Humanities Faculty, the University of Porto Arts (Faculdade de Letras da Universidade do Porto), Porto, Portugal, 25 October, 2019. This research is funded the ARC Linkage project Valuing Web Series: Economic, Industrial, Cultural and Social Value (LP180100626).
Room214 Sample Research: TV & Entertainment
This document discusses how new media is changing television. It notes that viewers now consume television through various time-shifted and online methods, and also engage with multiple screens simultaneously. This has resulted in changes in consumer behavior and expectations, including expecting content delivery across various platforms and on their own schedules. Networks must adapt to these changes to remain relevant through approaches like transmedia storytelling across TV, web, and social media to drive engagement.
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To quote Swedish media scholar Oscar Westlund, news consumption is changing rapidly, and thus there is a need for continuous studies into its shifting nature. There is a need for both quantitative and qualitative research into how news consumption across media is transforming, among the public as well as among specific groups. Ideally, such research should attempt to study changes over time in different geographical contexts, or even better, making cross-cultural comparisons to create a more comprehensive understanding of contemporary news consumption. And an important part of such studies is focusing on how news consumption have gained a participatory and co-creative dimension: consumption is also about users sharing, spreading, commenting and even creating content that feeds into to the circuits of news production.
Video streaming on the web as empowerment for video activist
This essay will reflect upon the impact of new technologies on the communication process and how that process is a reflection of the technologies used in its creation, transmission, exchange and absorption (participation). In particular, we will address the videos distributed via Internet by video activists and NGOs.
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This document discusses communication media and mass media. It defines communication and its elements, including the sender, message, channel, receiver, and feedback. It also discusses the different forms and functions of mass media, including print, broadcast, cinema, entertainment, advertising, agenda-setting, and propaganda. The document also covers television and violence, media power and its limits, and important principles of media ethics like accuracy, objectivity, fairness, and truth.
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本公司拥有海外各大学样板无数，能完美还原。
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三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
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◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
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2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
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Transmedia powerpoint
- 1. TRANSMEDIA RESEARCH: BIG BROTHER AND TRANDMEDIA TELEVISION ZOE, SARAH AND CASSANDRA
- 2. TRANSMEDIA • Henry Jenkins: “stories told across multiple media” (Jenkins, Purushotma, Clinton, Weigel & Robinson 2006, p.46)
- 3. BIG BROTHER:
- 4. BIG BROTHER • Reality TV shows, were one of the first formats to experiment with Transmedia storytelling. • Television. • Internet. • Audio. • Landline phones. • Mobile phones (texting) • Tabloid press.
- 5. WHAT WE’VE LEARNT IN COURSE: • Lecture 3, Christy Dena Reading • ‘Negative capability’: “uncertainty, Mystery, or doubt” in the audience’.
- 6. BIG BROTHER: EVANS- TRANSMEDIA TELEVISION Evans, E 2011, Transmedia Television: Audiences, New Media, and Daily Life, New York, Routledge. (Pg 40) • Big Brother involves ‘tele-participation’. • These shows have developed a history of incorporating processes of transmediality, utilising the internet and telecommunication devices to allow the audience direct input in the construction of the programme. • Estella Tincknell and Parvati Raghuram, in their discussions of Big Brother, argue that “rather than being confined to a single television show, the programme itself offered multiple sites for the production of meaning” (2004:261) • The viewer could watch on television, or via the website, and then participate in deciding who should leave the programme via their mobile or landline phone. • The use of new media technology alongside the television has formed a central part of the engagement with this particular style of reality programming.
- 7. SARAH’S READING Evans, E 2011, Transmedia Television: Audiences, New Media, and Daily Life, New York, Routledge. (Pg 40, • Emerging new media technologies are leading to the creation of new forms of narrative content and audience engagement. • Audiences response and their ability to “willingly integrate Transmedia” (gaming, mobile television, downloaded episodes) • What viewers want or how they will engage with a multiplatform text beyond the initial phase. • Transforming the traditional definition of television and its specific characteristics. • How audiences are “engaging with extensions of a television text” and how they engage with initial core episodes. • How does it relate to BB?
- 8. ZOE’S READING • Carlos Scolari’s Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. • Trans-media storytelling through the perspective of semiotics • Has given storytellers the ability to create “heavyweight narrative brands”. • 24 proposed a complex “semiotice device for generating multiple implicit media consumers” which are classified in 3 levels: • o single text consumers • o single media consumers • transmedia consumers • based on these levels, the storyteller needs to create various entrypoints into their story in order to appeal to a wide range of audiences. • “fiction is the brand” expressed through characters, topics and aesthetic style of the functional world.