Re-scheduling Television in the Digital Era

Bruun, Hanne

doi:10.4324/9780429276309

Cited by 23 publications

(24 citation statements)

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“…From a high-level perspective, potential changes derive from the materiality of online TV, while potential continuities relate to the established context for watching television. The schedules of linear television structure viewing patterns, with programs and between-slots (announcements, advertisements) sequenced into a flow of continuous television (Bruun 2020;Ihlebaek et al 2014;Williams [1974Williams [ ] 2003. Internet-distributed television, however, offers content libraries instead of schedules (Lotz 2018, 117).…”

Section: From Schedule To Library: the Changing Materiality Of Televisionmentioning

confidence: 99%

Conceptualizing the Experiential Affordances of Watching Online TV

Lüders

Sundet

2021

Television & New Media

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This article investigates the experiential affordances of watching online TV as outcomes of the material underpinnings of online TV and the actions taken by viewers. Potential experiential changes derive from how online TV services can be considered libraries of content affording self-scheduling action possibilities. Such changes need to be situated in the slow-to-change conditions of television viewing. We draw on a qualitative study of how viewers respond to the action possibilities and constraints of online TV services. We argue that potentials for individualized viewing are counterbalanced by television viewing as a social activity. Next, self-scheduling ties in with viewing as a deliberate action, appropriated to create experiences where attentiveness is tailored to what is narratively required. Finally, flow schedules are replaced with programed paths constraining the agency of viewers.

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Section: From Schedule To Library: the Changing Materiality Of Televisionmentioning

confidence: 99%

Conceptualizing the Experiential Affordances of Watching Online TV

Lüders

Sundet

2021

Television & New Media

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“…Especially within public service television companies, scheduling is presently transforming into what this article suggests we term trans-programming. As argued in Bruun (2020), the new practices that are emerging produce a television paradigm in which the distinction between the linear channels and the non-linear platforms within the company no longer really applies (Bruun, 2020: 109). Elaborating and reflecting on these findings, this article highlights and discusses two features of what trans-programming entails.…”

Section: Introductionmentioning

confidence: 99%

From scheduling to trans-programming

Bruun

2020

Media, Culture & Society

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Based on findings from a production study, this article explores and discusses the impact of streaming on television scheduling. Especially within public service television companies, scheduling for traditional linear television is currently transforming into what this article terms trans-programming. This development makes the work of the schedulers more important as well as more difficult than ever. The article argues that this development is a result of the integration of linear channels and non-linear services within the companies’ portfolios, which is leading to a merger between linear and non-linear promotion and distribution strategies for the content. A trans-programme is being produced, and this is becoming the key competitive tool in the current transformation of the television industry. The focus on the trans-programme involve organisational changes, but in train with this it actualises new and familiar issues and dilemmas in the production culture involving commissioning. These issues call for further research.

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“…This article combines perspectives from production studies (Banks et al, 2015;Caldwell, 2008;Mayer et al, 2009) with various scholarly approaches to television's digital transformations (Bruun, 2020;Jenner, 2018;Johnson, 2019;Lotz, 2018). Production studies provide a general framework for analysing television production cultures based on the fundamental assumption that these contexts inform media products (Banks, 2014: 120) -namely, blank is most productively analysed as both a public service production and a successor of a hit show.…”

Section: Introductionmentioning

confidence: 99%

‘Youthification’ of drama through real-time storytelling: A production study of blank and the legacy of SKAM

Sundet

2021

Critical Studies in Television: The International Journal of Te

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This article explores the ‘youthification’ of television through real-time storytelling. It draws on a study of the online youth drama blank (2018–2019), NRK’s first follow-up after the hit show SKAM (2015–2017). It finds that real-time drama brings unique opportunities to broadcasters aiming to reconnect with younger audiences, but also substantial challenges. This insight is essential, as previous studies have highlighted the format’s advantages while downplaying its problems and dilemmas. Furthermore, the article emphasises the continuous need for innovation in youth storytelling, especially at public service broadcasters with the mandate and ability to do so.

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Re-scheduling Television in the Digital Era

Cited by 23 publications

References 0 publications

Conceptualizing the Experiential Affordances of Watching Online TV

Conceptualizing the Experiential Affordances of Watching Online TV

From scheduling to trans-programming

‘Youthification’ of drama through real-time storytelling: A production study of blank and the legacy of SKAM

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