An audience perspective on the second screen phenomenon

Second screen applications are among the latest of the TV industry’s innovations to retain the TV viewer’s attention in a challenging multi-screen environment. These applications can be regarded as an extension of TV content consumed on a TV set towards lightweight portable devices such as tablets. While numerous commercial instances are available internationally and the existing literature on the topic from a technical perspective is extensive, the audience side of this phenomenon has been paid far less attention to. Moreover, in the case of Flanders, the successful commercial implementation of second screen applications remains limited. In this research, we aim to elicit what TV viewers’ expectations and preferences are regarding second screen functionalities. By applying means-end theory and a laddering approach we were able to discern how these preferences subsequently relate to the TV show itself, the consequences for the viewing experience, as well as how second screen applications and usages are expected to fit in the viewer’s everyday life

In search of the audience

We all are members of media audiences. On many occasions, we are self-consciously so – such as when we sit in darkness in a cinema, transfixed by a larger-than-life screen, sharing the experience with a group of relative strangers. More frequently, we are part of an audience through habit or circumstance. Much of our media use is habitual. We are often barely aware of it. We scan the morning newspaper, half-listen to the car radio or iPod on the journey to work or university, glance at billboards, check online daily news updates, glance at the evening news bulletin – all this happens amidst the clutter of domestic life and regular patterns of work and leisure

Two Screen Viewing and Social Relationships. Exploring the invisible backchannel of TV viewing

Use of social networks to create a real-time backchannel of\ud communication among viewers of television programs has been documented, and has been termed “two-screen viewing,” with one screen devoted to the program being watched, and a second screen (usually a laptop, tablet, or cell/mobile\ud phone) devoted to maintaining the backchannel. Prior research has examined twoscreen viewing through content analysis of social media posts. However, little has been done to explore the way in which two screen viewing qualitatively changes the viewing experience, or to understand how this behavior contributes to the construction or maintenance of social relationships. Couch (1992) noted that social interaction require a shared focus, a social objective, and congruent functional identities. The first screen program provides the shared focus. Using online interviews, this small pilot project seeks to discover whether social objectives and congruent functional identities are established through two-screen viewing. That is, the study explores how one might go about determining whether this communication actually contributes to social relationships or serves some other, asocial purpose. The present study is a small pilot project only. Preliminary\ud data suggest that there are two types of two-screen viewing defined by different degrees of visible and invisible online practice

Tracking changes in everyday experiences of disability and disability sport within the context of the 2012 London Paralympics

The 2012 Paralympics was the biggest ever, the most accessible and best attended in its 64-year history. The Paralympics and ideas of disability associated with the Games provide significant opportunity for reflection on how far societal opinions, attitudes and behaviour have changed regarding disability. In 2012 – the first ever “legacy games” – an explicit aim of the Paralympics was to “transform the perception of disabled people in society”, (Channel 4), and use sport to contribute to “a better world for all people with a disability” (IPC 2011). The 2012 Games therefore came with a social agenda: to challenge the current perceptions many people have about disability and disability sport. Within this report – commissioned by the UK’s Paralympic broadcaster, Channel 4 – we consider everyday experiences of disability and disability sport within the context of the London 2012 Paralympics and televised coverage of the Games. The analysis is based 140 in-depth interviews that took place in the UK over a period of eighteen months, during the lead up to, and immediately after, the Games: between January 2011 and September 2012. Embedded in the lifeworld of our participants, we ask whether the 2012 Paralympics was successful in changing perceptions of disability

A Teacher in the Living Room? Educational Media for Babies, Toddlers, and Preschoolers

Examines available research, and arguments by proponents and critics, of electronic educational media use by young children. Examines educational claims in marketing and provides recommendations for developing research and product standards

Video Art: Cultural Transformations

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television\u27s conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art\u27s growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising

Television sport in the age of screens and content

The death of television has been long predicated in the digital age, yet it remains a powerful mediator of live sports. This article focuses on football and examines the implications for the sport of the move to an age of screens and content. These may be large screens in public places or in our homes or those at work or smaller screens carried in the palm of our hands, but what we use them for, how content gets onto those screens, and the implications for sports and sports fans remain compelling questions in the digital age. The article argues that through reflecting on major media sport events such as the FIFA World Cup, we see patterns of continuity in the role played by television as well as evidence of change

Interactive Food and Beverage Marketing: Targeting Children and Youth in the Digital Age

Looks at the practices of food and beverage industry marketers in reaching youth via digital videos, cell phones, interactive games and social networking sites. Recommends imposing governmental regulations on marketing to children and adolescents

Open Engagement Through Open Media

This case study outlines and characterises the broad range of public engagement activities using media technologies undertaken by The Open University and in particular draws out how both open access and open licensing of content is influencing the ways in which a university can engage with various publics from around the world. It also discusses how different channels and social media technologies are shaping the way that such engagement happens and how it is necessary to think about ‘learner journeys’ through different media and different types of educational content. This is all placed in the strategic view of how open media is supporting the enduring social justice mission of The Open University