Digital Video Analysis

In North American culture, watching television is as much part of regular life as eating supper. In an age so heavily dependent on technology, newer additions such as Netflix enable society’s massive consumption. In a New York Daily

In 2007, Netflix, an online video rental service founded in the late 1990s, changed courses and began to offer a video on demand streaming service that, though not the first of its kind, profoundly altered the way in which viewers watch and categorize televisual texts in the Post-Network Era of streaming and individualization of television viewing. This influence warrants a reconfiguration of Raymond Williams’ classic theory of flow as well as of Ethan Thompson’s more recent theory, which makes necessary advances by correctly accounting for a shift toward catering to audience tastes, but fails to address the particularities of the streaming platform. This essay argues that what I call “streaming flow”, still encourages continual viewing, but

As television viewers, we tend to slouch in front of this electrical box after a long day’s work, many of us don’t think or know about how much television programming has changed since our parent’s childhood. In “Thinking outside the Idiot Box” by Dana Stevens and “Watching TV Makes You Smarter” by Steven Johnson, both writers give their thoughts and opinions about how television programming has evolved over the last three decades. These gentlemen recognize that the days of slap-stick comedy were over and replace by more sophisticated stories. This new brand of programs have provide a step stoning for the evolution of television to gain momentum.

In ‘How Netflix is Deepening our Cultural Echo Chambers’, Farhad Manjoo uses the remake of “One Day at a Time” to emphasize the imperative shift of an era focused on streaming that entails a narrow set of refined references. By first exhibiting a remade show on a platform such as Netflix, the re-examination of reality is displayed to be evolving the mainstream identity of millions. From broadcasting, cable then to streaming the secular depiction of being a “vast wasteland” emerges into the view of a “bubbling sea of creativity” that allows for collective groups of individuals to be recognized. Manjoo insinuates that through the shared references viewers attained through television, nothing thereafter will have the direct mass impact of a singular movement of culture that the medium television had at its peak. Although seemingly

Although what Ashley Hovey spoke about, the industry of technology and media, is not necessarily in line with my professional interests, it is definitely aligned with my recreational interests. Like many millennials, I am an avid watcher of on-demand streaming services like Netflix/Hulu, and an abandon-er of television. With the growing popularity of non-traditional media sources, there has been a mantra amongst millennial news sources that the medium of TV is dying Thus, it was incredibly interesting to hear Ashley’s perspective, as a person who works in TV, on the state of the industry. For one, it was surprising to hear how important advertising revenues are to big companies like Comcast. Although I knew that advertising revenues are high, I did not know that they are Comcast’s #2 source of revenue and in turn, a lot of its initiatives are aimed towards optimizing ad gains.

The television industry is one of the most rapidly changing media industries to date. Its evolution from black and white, to colour, to digital and now three-dimensional viewing, there is nothing slow about its development. Focusing particularly on commercial free-to-air (FTA) television, the FTA television industry plays a critical role in the Australian ecosystem. Due to its free delivery, it generates $3.2 billion per annum in economic and advertising surplus (Venture Consulting, 2015). This is why the value of commercial FTA television to the Australian public remains high whereby FTA television is watched by more than 14 million Australians daily (Free TV Australia, 2014). However, television nowadays is much more than a medium of entertainment and information. It is also used as a method for engaging in social interaction (Morely, 1986, p. 22), and this digital divide of interaction is what harms the television industry. The launch of streaming services not only confronts the traditional ‘linear’ TV format by allowing users to select what they want to watch and when they want it, it also broadens the offering to almost any device (Spooner, 2015). The research methods in the television industry despite its strength as a medium, must however, walk hand in hand with the fast progression of new technology and challenge the rise of digital omnivores.

Noel Murray, a writer in TheWeek.com, published a nonfiction article on February 15, 2017 called, “TV’s Callous Neglect of Working - Class America”. Murray wrote this article to convey the fact that television series now don’t exemplify the realness of how most people live. To exhibit his views he uses a powerful structure, metaphors and oxymorons. Murray’s reveal that television does no unite us as one since the shows don’t even display the real daily life one may live. Murray establishes a informal tone for young adults watching television.

Steven Johnson’s book, Everything Bad Is Good For You, paints a modern picture of the way in which technology has affected us in a mostly positive way. Johnson has also written about neuroscience, computer technology, and media studies in his previous books. In his book Everything Bad Is Good For You, Johnson uses comparisons between two different eras of television to point out the varying complexities between the simple plotlines of older TV, and the highly complex plotlines of modern TV. For example, people can watch television dramas such as 24, which in comparison to older shows are many times more complicated and more difficult to understand. If the much less complicated show Hill Street Blues confused the developing TV audiences of

In the recent years, media, especially news outlets had been accused of being severely influenced by political party’s establishments due to their content. For example, in the United States, some had accused media companies of being biased towards a political party while they clearly support the other. It is a fact that this accusation, no matter how ridiculous they may sound, still holds some elements of truth in it. Since it is undeniable that the media industry is in one way or another affected by external factors, this essay will discuss the various ways of how movies and TV shows are affected by the political and economic factor. The essay focuses on movies and TV shows because they generally capture a larger scale of audience, causing

In our society, there are many forms of mediated texts ranging from newspapers and magazines to films and television shows. Each of these media forms can be seen from different theoretical perspectives and analyzed to understand the different concepts that may influence them. Television shows are one of the most popular media texts with approximately 400 new shows airing each year (Ryan, 2016). However, it is often very unlikely for these television shows to strive as 65% are cancelled after their first season (Ocasio, 2012). This then, brings Marxist scholars into the picture as they are interested in how economic factors affect the production and distribution of media content (Mack & Ott, 2016). The Marxist theoretical perspective allows Marxist scholars to study television shows in order to understand why they were cancelled and how certain roles in the media lead to this.

The impacts on the Film and Television industry by discussing the positive and negative socio-economic effects of streaming services and pay-tv on sectors such as retail, exhibition and free-to-air television.

The emergence of the internet and digital globalisation forces the entire media and entertainment industry to digitalize and accelerate its online distribution world widely, the commercial television industry is not an exception. During this transforming period, the continuous rise in popularity of online video-sharing websites like YouTube and the increasing prevalence of mobile video playback devices seem to suggest that commercial television has passed its glory days. However, an outlook of the global media and entertainment industry posted by PwC (2015) pointed out that free-to-air television occupied the largest share of the global advertising market in 2014 with 31%, and will remain 29% in next five years. Therefore, whether the free-to-air television industry is in crisis or still profitable with huge potential is depends on the industry and regulation background in the particular area. This essay will take Australian commercial television industry as an example to analyse its challenges and future development trend. The analysis will focus on the particular situation faced by Australian television industry, especially the free-to-air television, and tread different channels of Australian free-to-air television as a whole. It will firstly introduce the historical development of Australian free-to-air television and draw a brief sketch of how this industry is formed and regulated. Then, this analysis

Television executive Lauren Zalaznick, gave a presentation called “The conscience of television” for TED Talk which she discussed past five decades of the highest standing shows on air. Zalaznick runs studies which go to great lengths on how the topics of television shows changed from decade to decade and how viewers changed the reason of watching based on what was happening in the world. Television’s conscious effects our emotions, challenges our values, and influences our views on the world by what we choice to watch.

Today, digital technology and the Internet are deeply reshaping the motion picture industry with a trend toward the digitalisation and disintermediation (Zhu, 2010). Media streaming services are an example of this current restructuration. Providing an access to a wide collection of entertainment online at a cheap price, they have penetrated the monopoly that cinema once enjoyed (Herberg, 2017). A significant example can be found in the US company ‘Netflix’, source of nearly a third of all North American downstream internet traffic at peak hours (Hallinan & Striphas, 2016). Once a small DVD subscription service created in 1997, it offers today to its subscribers to watch its own produced movies and shows as well as content of other

What do we really mean by television? The way we watch television has drastically changed over the last fifteen years due to new technologies such as digital television and services providing on-demand access. These drastic changes have had a huge effect on viewers and have “allowed online streaming platforms to dominate and revolutionize the way the audience consumes” (Aliloupour) media, ultimately allowing the viewer to be in total control of how, when and where they want their content. The idea of only being able to watch television on a television set is now a thing of the past. Due to technology, the audience now has a vast variety of options on how they can access content. By using scholarly articles, research in new media and Internet sites I will be analyzing current television and where the future of television will be heading.