TV Audience

This article discusses the audience migration between Brazilian television and digital media. Since 2000, Brazilian free-to-air TV audience dropped by 28%. In the same period, Internet access increased 400%, and digital paid TV, more than 500%. The phenomenon accentuated after 2006, when pay TV had begun to grow on average 30% per year, and the Internet, 26%. A statistical comparison between this fall of audience with the increase of pay TV subscribers and growth of broadband Internet access shows that there is a migration of free-to-air TV audience towards these two media. Nowadays, one third of Brazilian population has access to pay TV and more than half use the Internet. Through empirical investigation and statistical analysis, this paper investigates the implications for such decrease and the motivation of audience migration. The most important consequences are: a partial reformulation of television schedule, programme focus and targets; transmedia productions, including new web narratives; focus on mobile applications, with interactivity and public participation; and new approaches on newscasts, which are becoming more informal, focused on opinion and local news.

Il volume analizza la storia della televisione italiana delle origini a partire da una prospettiva sociale. Tramite l’utilizzo sia di dati statistici sugli ascolti televisivi, conservati presso gli archivi RAI, sia di memorie degli spettatori di quegli anni, rintracciate in diari e autobiografie, questo libro propone una storia del pubblico televisivo attraverso i mutamenti della società del “miracolo”. Quali sono i programmi televisivi entrati a far parte dell’immaginario del nostro paese? Quali erano le dinamiche di visione, privata e collettiva, messe in atto dalla TV delle origini? Ribaltando la prospettiva gerarchica della tradizione di studi sulla televisione italiana, il libro rivisita la TV degli anni cinquanta e sessanta a partire da un’analisi dei suoi pubblici.

This article examines how Sofia Vergara is perceived by American audiences and Hispanic audiences, taking into account that both cultures have different contexts and different screenings where they see her. Sofia´s character Gloria Pritchett in Modern Family has been determined  to reach fame and success. This character  represents the contemporary stereotype of Spitfire Latina, who reinforces the characteristics that  most of Latino/a roles in American TV have had since the 40s. Is there  actually a difference between Sofia and Gloria? Comments on her Facebook Fan Page and in some interviews published on Youtube can vary from Spanish fans and American fans, but it seems that she exudes charm not just because of her physical attributes, but because of her personality. Is there something different between the representation of Latinos in American productions from Hispanic productions?

This essay will attempt to negotiate the paradigms between two distinct research traditions, firstly, the user and gratification theory, which has been a widely used theory since its inception in the 1940's. It will then consider the cultural audience tradition that emerged from the 1980's. This essay will explore their historical presence and how these two methods intersect by comparing the similarities of each tradition.

A audiência da TV aberta brasileira está em queda, requerendo que as redes de TV revejam suas estratégias comerciais, em especial a programação televisiva. O cenário atual é de forte migração de público para a internet e a TV por assinatura, acentuada a partir de 2006. Programas historicamente consolidados, como o telejornal e a novela, estão entre os mais afetados. Assim, a Rede Globo, por ter ambos os programas como pilares de sua grade, é a emissora que vem sofrendo maior impacto com o desgaste da programação. O presente artigo compara a grade dessa emissora, de cinco em cinco anos a partir de 1975, para percorrer o histórico de programação que caracterizou o " Padrão Globo de Qualidade ". Busca-se, com esse referencial, compreender as estratégias atuais para combater a evasão de público. Por fim, questiona-se a viabilidade, hoje, da manutenção de uma grade de programação rígida.

This article examines the nature of social media ‘talk’ generated by reality television (TV) audiences of Khumbul’ekhaya, a popular South African ‘docureality’ or ‘social reality’ series that has aired on SABC 1 since 2006. The article uses waThiong’o’s (1981) re-interpretation of the notion of ‘empty space’ to examine Khumbul’ekhaya viewers’ feedback on Facebook. In the article I argue that this social media ‘talk’ reflects the fact that audiences typically treat Khumbul’ekhaya as an ‘empty space’ or a canvas which they variously reconstitute in their own languages.

El objeto de estudio es la ficción nacional entendida como género paradigmático de la producción de contenidos de la programación televisiva. A través de su análisis se repasan las consecuencias que la crisis económica ha tenido para la producción y la creación de ficción: el envejecimiento del público del prime time, el fracaso de la televisión de pago, el predominio del duopolio privado, los recortes de las inversiones, la asfixia de las televisiones públicas, son algunos de los efectos de la crisis. Todo ello ha producido un retroceso en la calidad de contenidos y en hábitos de consumo.

Esta investigación intenta cuantificar la importancia de la audiencia en diferido frente a la audiencia lineal o tradicional en el mercado televisivo en España desde una nueva perspectiva basada en la audiencia acumulada de los programas analizados. Planteamos tres hipótesis de investigación: la H1 asegura que el peso de la audiencia en diferido en España continúa siendo muy reducido cuantitativamente frente a la audiencia tradicional; la H2 determina que los géneros con mayor número de telespectadores acumulados en diferido son los vinculados a la ficción frente a los de actualidad y entretenimiento; y la H3 afirma que las series españolas generan más audiencia en diferido que las extranjeras. Para comprobar las hipótesis proponemos una metodología basada en el estudio de los 10 programas más vistos en diferido durante nueve meses pero, en este caso, nos centraremos en la audiencia acumulada de los programas y no en su frecuencia. Concluiremos que la audiencia en diferido tiene más peso de lo que pensábamos porque ya está transformando, en algunos casos, la manera en la que se determina si un programa o no ha tenido éxito. También concluiremos que los géneros de ficción son los que obtienen mayor audiencia en diferido y, primordialmente, las series españolas por el interés que el contenido local también genera en Internet. Palabras clave: audiencia en diferido, audiencia lineal, vídeo bajo demanda, televisión, géneros televisivos.
Abstract
This research tries to quantify the importance of the time-shifted audience in front of the linear or traditional audience in the Spanish television market from a new perspective based on the accumulated audience of the analyzed shows. We propose three research hypotheses: H1 to ensure that the power of the time-shifted audience in Spain is very small compared to the traditional audience; H2 to determine that the genres with the greatest number of accumulated viewers in time-shifted audience are those linked to fiction versus current affairs and entertainment tv shows; and H3 to affirm that the Spanish series generate more audience than the others. To verify these hypotheses we propose a methodology based on the study of the 10 most watched time-shifted programs during nine months, although, in this case, they will focus on the cumulative audience of the programs and not on their frequency. We conclude that time-shifted audience has more power than we thought because it is already transforming, in some cases, the way in which it is determined whether or not a program has been successful. We will also conclude that the genres of fiction are those that obtain more time-shifted audience and, mainly, the Spanish series because of the interest generated also by local content on the Internet. Introducción Existen estudios que analizan el fenómeno de la televisión no lineal aunque en esta investigación nos vamos a centrar en la cuantificación del peso del consumo en diferido (aquel que se produce un minuto después de la emisión lineal tradicional) con respecto a la audiencia tradicional en España. En cuanto a los estudios existentes, destaca un análisis del consumo de la televisión no lineal en 62 países donde se concluye que

The article analyzes the regional consumption of mainstream Italian TV series, covering the four-year period from 2016-2019. It underlines the great heterogeneity of television fiction consumption across Italy, and it demonstrates how the correlation between national and regional success is often subject to the influence of factors that can produce anomalies. The most important factors responsible for anomalies appear to be the regions where the series are set, and the broadcasting channels. The article also compares and quantifies such phenomena to understand how the national success of Italian series can benefit from the polarization of consumption happening in the various regions of the country. As a matter of fact, the popularity of Italian mainstream TV series appears to be the result of the mutual entanglement of different regional patterns of taste and consumption. Moreover, audience consumption behaviors, while being interesting from an economic point a view, can also be good indicators of the level of socio-cultural fragmentation of a country.

By common understanding, media events attract the largest audiences in the history of the world. Despite its conceptual importance, however, there is hardly any research on the size of global audiences. In a critical review of the state of research, this article shows that scholars studying media events obtain their information on audiences of billions primarily from media coverage. This coverage also influences the potential users of media events and stimulates imagined communities. It is therefore important to investigate how and on what basis news media report on global audiences. By means of a qualitative content analysis of the British coverage of Diana Spencer’s funeral, this study reveals that the global response is reported and defined even before a media event takes place and can thus be regarded as a myth. This leads to conceptual considerations on media events and suggestions for future studies.

Presentamos las conclusiones de una investigación sobre la audiencia social en Twitter durante la gala de los Premios Goya 2014. Analizamos la fiabilidad de los distintos sistemas que usan el código de programación, la biblioteca API, del espacio de microblogging para el estudio de audiencias sociales. Las tres herramientas observadas son T-Hoarder, Lab RTVE y Tuitele. Éstas presentan cifras distintas en el minuto a minuto y en el número total de tuits contabilizados.
Los datos cuantitativos aun siendo masivos, no garantizan o no explican el comportamiento de la audiencia. Para entender éste habría que elaborar una teoría basada en un nuevo tipo de espectador. El comportamiento de la audiencia social se asemeja en gran medida con las características del enjambre propuestas por Bauman. Son colectivos de espectadores que se unen sólo para el entretenimiento televisivo, no muestran características de identidad marcadas y actúan de forma líquidas

Social Audiences, community or swarm? Case Study: Goyas 2014 (Abstract)
We present the results of an investigation about the social TV audience on Twitter durin the Goya Awards Ceremony 2014. We analyze the reliability of systems that use the application programming interface from the microblogging space for the study of social audiences. The three analized tools are T-Hoarder, Tuitele and RTVE Lab. They present different results.
These quantitative data even big data, don’t explain the behavior of the audience. To understand this behavior we should develop a new theory about the audience. The behavior of the social hearing largely looks like the characteristics of the swarm proposed by Bauman. They are groups of spectators that join together only for the TV entertainment. They don't have identity marks and they act in a liquid form

The article publishes the results of a nationwide survey FOM (2015/2016), approximately 4500 respondents, by the degree of civic engagement, according to their domi-nant orientations consisting of volunteers, activists, ordi-nary people, a Web of ordinary people, the outsiders. The degree of confidence in the screens of the media was be-ing studied weekly with the audience of Runet, thus there was determined a great interest of the audience to vir-tual news screens, the most popular news channels, and the actors of civic participation were identified as well.

В статье публикуются результаты общенационального опроса ФОМ (2015/2016), примерно, 4500 респондентов, по степени гражданской активности, по их доминирующим ориентациям состоящих из волонтеров, активистов, обывателей, Web-обывателей, аутсайдеров. Выяснялась степень доверия экранам СМИ, исследовалась недельная аудитория рунета, определялся наибольший интерес у аудитории виртуальных новостных экранов и самые популярные новостные каналы, идентифицировались акторы гражданского участия.

Esta investigación analiza el comportamiento de la audiencia social y creativa por medio de Twitter. Nos centramos en la emisión de la gala de los premios Goya 2013, que realizó la primera cadena de RTVE el 17 de febrero de 2013. Este trabajo pretende comparar la audiencia audimétrica, o tradicional, con la audiencia social que participa en Twitter. Nuestra hipótesis de trabajo es que estos grupos sociales no son comparables, es decir, no se puede conocer la audiencia audimétrica por medio de los tuits. Además, esta investigación indaga si es posible cuantificar, utilizando este espacio de microblogging, el share de la audiencia global.
Para realizar este estudio hemos contado con diversas herramientas en la Red y sistemas de prospección y medición de audiencias. Entre ellos destacamos el contador T-hoarder, de monitorización del flujo de tuits. Como herramientas de control utilizamos los estudios de GECA, Pirendo y Tuitele.