Audience reach of science on television in 10 European countries: an analysis of people-meter data

Beginning with a differentiation of science programmes into five different editorial concepts, this article explores the audience reach of science on television in 10 European countries with a special emphasis on young audiences aged between 14 and 29 years. In relation to the share of this age group in the entire population, science programmes in all countries reach a considerably smaller proportion of younger viewers. Specific preferences for science content on television do not seem to be relevant in explaining aggregated viewing behaviours especially of young audiences. Unlike all other segments, the young science viewer segment is almost intangible as an aggregated group, as a definable segment of a mass audience that can be targeted by science programme makers

Relationships to Video Game Streamers: Examining Gratifications, Parasocial Relationships, Fandom, and Community Affiliation Online

Advances in media consumption and viewership have expanded the use of virtual communities such as streaming platforms (e.g., Twitch,tv, Azubu.tv, YouTube Gaming, AfreecaTV) and the ways individuals satisfy individual and social gratifications within these communities. Further, the connection viewers make with streamers as both fans and parasocially (i.e., a perceived friendship with media figure) has a number of implications for the communities that support them. This dissertation tested fandom and parasocial relationships (PSR) as mediators of the relationship between sense of community (SOC) and gratifications. Users of streaming platforms (N = 624) were surveyed regarding the gratifications they seek from streaming platforms, their fandom and PSR with their favorite streamer, and their sense of community on the site. Mediation analysis showed that PSR and fandom mediated the relationships between SOC and the gratifications of relaxing entertainment, expressive information sharing, and escapism. In other words, viewers for whom these gratifications were more salient reported higher PSR and fandom, and higher PSR and fandom predicted higher SOC. Unlike PSR, fandom mediated the relationship between SOC and the gratifications of cool and new trend and companionship. There are a number of theoretical and practical implications of PSR and fandom as they relate to gratifications and SOC. Specifically, the social nature of streaming platforms provide new opportunities for media consumers to satisfy individual and social gratifications. Additionally, the swings in popularity of microcelebrities on streaming platforms aligns well with traditional celebrity worship research (i.e., popularity dictates who receives special promotion). Streaming platforms provide opportunities for the building and maintenance of relationships comparable to previous research on streaming platforms. Ultimately, the streamer acts as the mechanism that enables to relationship between gratifications and SOC for stream viewers

Cooperating broadcast and cellular conditional access system for digital television

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.The lack of interoperability between Pay‐TV service providers and a horizontally integrated business transaction model have compromised the competition in the Pay‐TV market. In addition, the lack of interactivity with customers has resulted in high churn rate and improper security measures have contributed into considerable business loss. These issues are the main cause of high operational costs and subscription fees in the Pay‐TV systems. This paper presents a novel end‐to‐end system architecture for Pay‐TV systems cooperating mobile and broadcasting technologies. It provides a cost‐effective, scalable, dynamic and secure access control mechanism supporting converged services and new business opportunities in Pay‐TV systems. It enhances interactivity, security and potentially reduces customer attrition and operational cost. In this platform, service providers can effectively interact with their customers, personalise their services and adopt appropriate security measures. It breaks up the rigid relationship between a viewer and set‐top box as imposed by traditional conditional access systems, thus, a viewer can fully enjoy his entitlements via an arbitrary set‐top box. Having thoroughly considered state‐of‐the‐art technologies currently being used across the world, the thesis highlights novel use cases and presents the full design and implementation aspects of the system. The design section is enriched by providing possible security structures supported thereby. A business collaboration structure is proposed, followed by a reference model for implementing the system. Finally, the security architectures are analysed to propose the best architecture on the basis of security, complexity and set‐top box production cost criteria

Screen real estate ownership based mechanism for negotiating advertisement display

As popularity of online video grows, a number of models of advertising are emerging. It is typically the brokers – usually the operators of websites – who maintain the balance between content and advertising. Existing approaches focus primarily on personalizing advertisements for viewer segments, with minimal decision-making capacity for individual viewers. We take a resource ownership view on this problem. We view consumers’ attention space, which can be abstracted as a display screen for an engaged viewer, as precious resource owned by the viewer. Viewers pay for the content they wish to view in dollars, as well as in terms of their attention. Specifically, advertisers may make partial payment for a viewer’s content, in return for receiving the viewer’s attention to their advertising. Our approach, named “FlexAdSense”, is based on CyberOrgs model, which encapsulates distributed owned resources for multi-agent computations. We build a market of viewers’ attention space in which advertisers can trade, just as viewers can trade in a market of content. We have developed key mechanisms to give viewers flexible control over the display of advertisements in real time. Specific policies needed for automated negotiations can be plugged-in. This approach relaxes the exclusivity of the relationship between advertisers and brokers, and empowers viewers, enhancing their viewing experience. This thesis presents the rationale, design, implementation, and evaluation of FlexAdSense. Feature comparison with existing advertising mechanisms shows how FlexAdSense enables viewers to control with fine-grained flexibility. Experimental results demonstrate the scalability of the approach, as the number of viewers increases. A preliminary analysis of user overhead illustrates minimal attention overhead for viewers as they customize their policies

반한 감정에도 불구하고 지속되는 케이팝의 인기: 중국과 일본을 중심으로

학위논문 (석사) -- 서울대학교 대학원 : 국제대학원 국제학과(국제협력전공), 2021. 2. 박철희.The Korean Wave has been a significant source of cultural soft power by winning the hearts of the foreign public. Hallyu has been most popular in China and Japan, with exports to these countries accounting for more than half of the total net exports of South Korean cultural content. However, anti-Korean sentiments are remarkably high in both China and Japan due to political, diplomatic, and historical conflicts. Anti-Korean sentiment has negatively influenced the sustainability of hallyu, as the export of dramas and movies has decreased. Nonetheless, despite anti-Korean sentiment, the popularity of K-pop continued to increase. Along with relative apoliticism, the core reason for this lies in the sense of connectedness. The nature of the music itself bonds listeners regardless of national borders. Technological development bypassed government control and improved access and connections between K-pop suppliers and consumers. The main supplier, the Korean entertainment industry, strategically managed K-pop with glocal familiarity and interactivity. Furthermore, the digital generation consumers joined together in participatory fandoms to share their collective interests. Altogether, these factors strengthened the connectedness of K-pop, which helped to sustain its popularity in Northeast Asia despite anti-Korean sentiment.20세기 말 동북아시아로부터 불어온 한류 열풍으로 현재까지도 중국과 일본이 한국의 최대 문화 콘텐츠 수출국이다. 그러나 한류의 인기와 동시에 정치, 외교, 역사적 역학 관계로 중국과 일본에 자리 잡은 반한 감정은 한류의 지속가능성을 불안정하게 했다. 이는 콘텐츠의 하위분류에 따라 상이한 결과가 나타나는데, 드라마나 예능을 포함한 방송 콘텐츠나 영화는 반복적으로 수출액이 급락하는 현상이 관찰된다. 반면에 음악은 이러한 정치나 외교적 영향을 상대적으로 받지 않고 인기를 지속적으로 유지하는 현상을 볼 수 있다. 먼저, 케이팝이 반한 감정에 크게 영향을 받지 않는 이유는 상대적으로 정치와 무관하기 때문이다. 공급 측면에서 한류는 한국 정부가 이끌지 않은 설계되지 않은 성공이었고, 바텀-업으로 민간의 주도하에 이루어졌다. 수요 측면에서 케이팝은 중국과 일본 정부로부터 규제되기 어려웠고, 소비자들은 케이팝을 정치와 무관한 하위문화이자 여가로 즐겼다. 그러나 케이팝 역시 정치적인 영향력에서 완전히 배제될 수 없다. 따라서 본고는 케이팝의 지속적인 상승세를 연결성 (connectedness)으로 분석하고자 한다. 음악이라는 문화예술은 감정의 소통이 가능하여 공감을 형성한다. 기술의 발전은 시•공간을 넘어 케이팝 콘텐츠에 대한 접근성을 향상해주었고, 소셜 미디어는 스타와 팬 사이의 상호작용을 촉진했다. 한국 엔터테인먼트는 체계적인 인재 양성, 현지화 전략, 트랜스미디어 스토리텔링, 소셜 미디어 마케팅, 등을 통해 중국과 일본 소비자들에게 친근감을 형성했다. 중국과 일본의 디지털 세대로 이루어진 팬덤은 정체성을 함께 공유하며 단단한 결속력을 이루었다. 위와 같은 요인들로 인해 케이팝은 완강한 연결성을 가질 수 있었고 이는 중국과 일본에서의 강한 반한 감정에도 불구하고 케이팝이 지속해서 성공할 수 있도록 기여했다. 결론적으로, 케이팝이 반한 감정에도 불구하고 인기를 지속할 수 있었던 이유는 음악적 동감, 기술 네트워킹, 전략적 글로컬 친밀감, 팬덤 연대이고, 이는 연결성으로 사료될 수 있다.Abstract Chapter Ⅰ. Introduction 1 Chapter Ⅱ. The Ups and Downs of the Korean Wave 10 1. China 10 1-1. Ups: The Korean Wave (流) 10 1-2. Downs: Anti-Korean Sentiment (反) 14 1-3. Resilience of K-Pop 20 2. Japan 22 2-1. Ups: The Korean Wave (かんりゅう) 22 2-2. Downs: Anti-Korean Sentiment (けんかん) 27 2-3. Resilience of K-Pop 31 Chapter Ⅲ. Relative Apoliticism 32 1. K-Pop as Arts & Culture 32 2. Supply: Bottom-Up Hallyu 33 3. Demand: Subculture 36 4. Politics and K-Pop 38 Chapter Ⅳ. K-Pop Connectedness 41 1. Music: Harmony of Understanding 41 2. Technological Development: Online Network 44 2-1. Digital Revolution 44 2-2. Social Media 46 3. K-Pop Supply 49 3-1. Institutional Analysis: K-Entertainment Industry 49 3-1-1. Total Management System 49 3-1-2. Glocalization 50 3-1-3. Transmedia Storytelling 53 3-1-4. Social Media Marketing 54 4. K-Pop Demand 57 4-1. User Analysis: Digital Generation 57 4-2. Fandom Unity 58 4-3. China 61 4-4. Japan 63 Chapter Ⅴ. Conclusion 65 Bibliography 67 Appendix 92 논문초록 101Maste