contexts of television
TRANSCRIPT
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Contexts of TelevisionProf. MARTIN ŠTOLL, Ph.D.
Institute of Communication Studies and JournalismCharles University in Prague
SUMMARY
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WHAT IS TELEVISION?
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Technological communication principle„Described machine makes the object in place A visible at any
place B.“Patent from 2 January 1884, Julius Gottlieb Nipkow
Institution
Social, culture a political phenomena
Space for Creativity
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PARTICIPANT OF MARKET
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Technological communicationprinciple
OPTICS
RECORD
TECHNOLOGY OF PROCESSING
TRANSMITTION
TV SETS
DEFINITION OF SCREEN
COLOR: NTSC, SÉCAM, PAL
ANALOG vs. DIGITAL
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Technological communicationprinciple
- VISIONS OF DIGITALISATION
- QUALITY OF RECORD-TRANMITTION-RECIEVING
- THE SPACE IS GETTING WIDE
- INTERACTIVITY
- HYPERTEXT (HbbTV – hybrid aplication)
- PART OF CYBERSPACE – MIXING OF CONTENTS
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INSTITUTION
- FORM OF EXISTENCE
(state,public, private)
- PURPOSE OF EXISTENCE
(broadcaster, producer, both)
- HIERARCHY
(structure, size)
- LAW FRAMES
(law regulations, ČR, EU, internal and external regulation)
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Social, culture and politicalphenomena
- FORMING MEDIUM, AUTHORITY(agenda setting, bringing of contents, realistic)
- POWER(ability to fascinate masses, tool of manipulation, advertisement)
- IMAGE OF THE WORLD AND ADAPTING- (fragmentalization of knowledge/congition, rhytm of a day)
- TOOL OF MANIPULATION
(propaganda, intersection of political influences in all regimes)
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SPACE FOR CREATIVITY
- MACRO vs. MICRO(schedule vs. one programme)
- SERIALITY vs. SINGULARITY(factory way of producing vs. original creativity)
- COMMISSION vs. INDEPENDENT(dramaturgy, categories, types, formats – licences, original,
right for author´s freedom)
- ROUTINE vs. ORIGINALITY
(repeated processes, defined time and financial limits)
- METHODS OF PRODUCING + CONDITIONS(independent creativity, commissions, half-commissions, co-
production, time, finance)
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WHAT IS TELEVISION TODAY?
- Television stays even in the era ofinteractivity ONE OF THE TYPES OF COMMUNICATION
- Actively ADAPTING FOR NEW SITUATION (technics, interactivity, channels, contents, aestetics)
- Its POWER is NOT still TRIVIAL
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WHAT IS TELEVISION TODAY?
- Its developing will be continued – A LOT OF MONEY WAS PUT IN
- RECYCLATION of present contents– archives
- Digitalisation opens FURTHER SPACE, that will need new creativity
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WHAT IS TELEVISION TODAY?
- Technology IS NOT GUILTY, important is the way of using it
- New television is a CHALLENGE OF CREATIVITY
- Television is even CHALLENGE FOR PEDAGOGUES
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PROGRAMMING CONTEXT
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DRAMATURGY
macro-dramaturgy
x
microdramaturgy
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PRODUCER
Institution
X
Person
Initiator a funder (financing) the projects
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MACRODRAMATURG
1. The Piece of Work = the whole schema (schedule)
2.Building Stone of Schedule = one programme(film, news, documentary…)
Products on the shelf:
Place, Size, Content, Target audience, Price
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PRINCIPLES OF BUILDING THE TV SCHEDULE
1. Segmentation into the smaller shapes
2. Respect phases of a day and habits
3. Sufficient variability
4. Periodicity
5. Relationship of single item and the whole
6. Dalectics between planning and improvisation
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PRINCIPLES OF BUILDING THE TV SCHEDULE
Particular cases:
Highlighting
We are promoting one programme instead of others. We are making him much more important, above average...
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PRINCIPLES OF BUILDING THE TV SCHEDULE
Particular cases:
Tentpoling
tent over the most attractive programme
Spectator survives the programme before even after...
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PRINCIPLES OF BUILDING THE TV SCHEDULE
Particular cases:
Hammocking
Opposite of tenpoling: the worst programme is in the middle.
Spectator is hunger for the third one....
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PRINCIPLES OF BUILDING THE TV SCHEDULE
Particular cases:
Stacking
Grouping the similar programme types
(cooking 3x)
Variant: themming
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PRINCIPLES OF BUILDING THE TV SCHEDULE
Scheduling
- Within one cannel
- In connection with programmes on other „own“ channels
- In connection with the programmes of rival channels.
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PRINCIPLES OF BUILDING THE TV SCHEDULE
BridgingCrossing between channels (megafilm a documentary about it on
the other channel continues)
CounterprogrammingAnti-scheduling
CrossprogrammingShifting the starts. Spectator will find his programme from the
beginning.
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KINDS OF TELEVISION PROGRAMMES
The most general categories, thatcombine CONTENT, FORM and
COMMUNICATION MODUS. Thefirst POINT OF REFERENCE.
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KINDS OF TELEVISION PROGRAMMES
1) News and Public Affairs2) Features and Documentaries3) Education4) Arts and Music5) Children´s Programmes6) Drama7) Movies8) General Entertainment9) Sport10) Religion11) Publicisty (internal)12) Commercials
(WILLIAMS 2008, p. 78–83).
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TYPE
Narrower point of view, much more concrete, clear parametres
Schedule type: sorting according to formaland schedule possibilities
Programme type - genres: sortingaccording to programme and content
possibilities
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SCHEDULING TYPE
Filling (targeting) the schedule by content is dominant.
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SCHEDULING TYPE
Other parameters:
- Description combining form, content and genre (in connectionwith schedule)
- Placing in tv schedule- Durage- Targeting- Budget
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PROGRAME TYPE
(„genre“)
sorting according to programmeand content possibilities
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PROGRAMME TYPE („genre“)BBC:- Fiction- Light entertainment/Sitcoms- Music- Sport- News- Information- Infotainment/Human Interest- Arts/Humanities/Sciences- Education- Religion- Others- Presentation
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SPECTATOR´S CONTEXT
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FUNDAMENTAL NEED TO KNOW THE TARGET ON THE MARKET
More spectators = higher price of broadcasting time
- Financing the institution, production of the programmes, and broadcasting
- Right fixing the target audience
- Adequateness of communication tools (surage, method of storytelling, composition,
money…)
- Timing
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FUNDAMENTAL NEED TO KNOW THE TARGET ON THE MARKET
More spectators = higher price of broadcasting time
- Financing the institution, production of the programmes, and broadcasting
- Right fixing the target audience
- Adequateness of communication tools (surage, method of storytelling, composition,
money…)
- Timing
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RATING
SHARE
CONTENTMENT(public service, metodics of BBC)
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RATING
Number of spectators of the television
in the moment
in time interval (average of measuring time)
in relation to target audience.
Number of spectators from target group, that in the measuring time SHOULD follow our programme.
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SHARE
Participation (share) of tv station
at the moment
(or average of measured time)
on whole rating
of all stations.
We measure all spectators, that were following our programme at the moment, from those who HAD TV SWITCHED ON.
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CONTMENTMENTSpecifics of public broadcaster
Coefficient of contmentment – 10 to +10
a) one programme
b) one programme type (genre)
c) one slot
d) one period (days, weeks, months, quaters of a year, years)
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TARGET AUDIENCE (GROUP)
Basic unit of media practise.
Group of spetators (consumers), in which behaving(consumer´s behaviour) we are interested in.
0-3
3-15
15-24
24-55
55 and more
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MEASURING METHODS:
- Daily continual research (diaries) since 1972
500 spectators
change in quarter of a year
ČST organising it
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MEASURING METHODS:
Media Projekt – questionnaire (90 min)
500 spectators + 500 spectators after startingprivate TVs
A quarter evaluation.
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MEASURING METHODS:
Pre-set television controller
Records datas each minute
6 A.M. - 6 A.M.
1833 households, tj. 4400 spectators
Change 25% after quarter of a year
Minute rating course
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PARTICIPANT
OF THE MARKET
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Goal of market participant- get on the market
- reach the costumers
- to get them used to products/services
=
To get the feedback – amount and the efect
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TELEVISION ATRRACTIVITY IS BASED ON
- variety and changeability
- various typology of products
- genres
- durages (lenghts)
- neigbourhood of programmes
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The ammount of costumers is the same, more and more sellers fights to reach them.
Communication cannels and the form (way) of usage is changing.
Television producers and broadcasters use all available resources to be successful.
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WHAT IS THE TV PRODUCT?
PROGRAMME (SCHEDULING) SCHEME
(Goal: attractivity in every moment of broadcasting in relation to expecting group of spectators - costumers)
SPECTATORS ARE THE COMMODITY
It is not the business WITH the spectators, but BY spectators.
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TELEVISION MARKETmarkets-festivals-shows-individual sales
- sale of finished programmes
- sale of formats
- sale of project (pitching forum; pre-buy/sale; coproduction)
- pooling system
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WHAT IS THE COMMODITY?
ONLY LICENCES(owner´s rights)
saling and buying of single items
saling and buying of in package
saling by barter (exchange) method
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BROADCASTING TIME
Pricing the time
The price of the time is different in everymoment of every day and each channel.
The goal of a keeper is to have the highest priceis possible.
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INCOME OF TELEVISION:
advertising
saling author´s rights
marchendaising
other saling activities(leasing, services apod.)
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PUBLIC BROADCASTER TELEVISION „TELEVISION OF PUBLIC SERVICE“
specific position at the market
competition advantage (law, finaning, space in multiplex)
vs.
restriction (limitations)(advertisement, ordering and filling it)
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Tzv. dual system
Co-existence
privat media
and
public service media
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PUBLIC SERVICE18th June 1997
Statement on public service broadcasting, called
Amsterdam protocol(comming into force since 1. May 1999)
Validity of EU law
„specific nature (character)
of public service broadcasting“
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INSTITION OF PUBLIC SERVICE
Established by law (Acts), but
they are not the state ones!
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INSTITION OF PUBLIC SERVICE
Financing:
Licence fee(in CZ 135 Kč/month – 5 Euros/month)
4,43 Kč/day (16 cents/day)
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EUROPE (fees tv+radio)
CZ87 EUR
Italy 111 EUR
France 123 EUR
Ireland 160 EUR
Great Britian169 EUR
Germany 216 EUR
Sweden 232 EUR
Finland 245 EUR
Austria 265 EUR
Denmark 309 EUR
Norway 317 EUR
Switzerland 365 EUR
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What is expecting from public service broadcasting?
- orientation point
- place for public debates
- disinterested and independent newscast
- pluralist, inovative and diverse programme offer
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What is expecting from public service broadcasting?
- the wide public and simultaneouslyminorities
- helping to understand (philosphy, religion,
multi-cultural...)
- spreading the national and europeanheritage
- important quota of original creativity
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What is expecting from public service broadcasting?
- unprejudiced news
- service to whole-society interests
- communication coequality (parity) ofminorities
- supporting cultural and juridicalknowledge a level of education
- cultivated entertainment
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CODEX BBC
Values and standards:absence of bias a sharpness of information
privacy and collecting the information
taste and politeness
violence
imitating and anti-social behaviour
screening the persons and environment
children in programmes
conflicts of interests
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TOOLS OF
TV EXPRESSION
TV LANGUAGE
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DOES HAVE TV OWN LANGUAGE
OR
IS IT JUST USING LANGUAGES OF OTHER ARTS, OTHER
COMMUNICATION WAYS?
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TELEVISION – SISTER OF RADIOTECHNICS
- (online) transmittion of signal
- fluidness, continuity
- ability to code, transmit ans decode data/message
- radio/tv set and popularity (the place in the society
and individual´s life)
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TELEVISION – SISTER OF RADIOCONTENT
- programming (schedule) and structuring (macro and micro point of view)
- creative and communication methods (on-line
broadcasting…)
- genres (reportage, lecture, learning course, talk-show, entertaining…)
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TELEVISION – ADOPTED SISTER OF FILMTECHNICS
- Optical illusion (other principle)
- Parametres of cinematography formats (format 4:3,
16:9..., lens speed, depth of sharpness, angle of shooting, movement of
camera...)
- Audiovisual principle (audio and video together)
- Individual and collective perception
- Totality of communication
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TELEVISION – ADOPTED SISTER OF FILMCONTENT
- Composition of takes (shots) (other way)
- Moving picture and sound (both tools together)
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TELEVISION IS
NEITHER RADIO
NOR FILM.
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Intimately close to RADIO
news
public affairs, magazine programmes
forms of documentary
charts – hit parade
classic music
sport online broadcasting
talk show
entertaining show
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Intimately close to THEATRE
all shot in studio
entertaining stage show
reality show
Records and online broadcasting of theatres
adaptation of plays
television play
soap opera
series, sagas
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Intimately close to FILM
fairly tales (animated)
news
public affairs
forms of docuemntary
television film
television series (outdoor, spectacular)
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TOTALLY DIFFERENT PRINVIPLES
Theatre and film as a performance…
…radio and television as a home partner.
(ever-present)
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IN WHAT GENRES WE CAN FIND TYPICAL TELEVISION TOOLS?
ČIS- public affairs and documentary(natural seriality, other work with material, other composition, other stresses, own aestetics)
- television online transmittion (broadcasting) of
everything(mainly sport – visible, without commentary)
- variety show (show in studio or outdoor)
- reality show (principle)
- tv play, tv film
- dramatic forms in series
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ANSWER:
Does television have own expression tools, original genres?
Yes, it has.
Televize is peculiar communication principle with own communication methods and specific reach.
Its own communication methods are derived from other arts and close to them, nevertheless televiision in the time of
its existence imprinted them peculiar shape.
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WHAT DOES SUIT TO CHANNEL?
WHAT CAN WE JAM IN IT?(
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CHANNEL Frequence of transmittion
ganied by licence
State organ, Comittie for tv broadcasting(
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Responsibility for the content(accoding to law)
broadcaster(holder of licence)
not producer
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ONE SIDE:
frequence has a limited span, how many datas can carry:
in analogue time – picture, sound, data about color, teletext, titles for deaf.
in digital time – many more contents(multiplex, interactivity, other cannels – mobiles…)
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SECOND SIDE:Broadcaster (holder of licence) has an concept, plan, strategya) Reach (covering): - whole area-wide 70%- regional more than 1% and less than 70%- local less than 1%
b) Content:-full-format programme-tematic (genre) focusing (cooking, film, children…)
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What does PROGRAMME
SCHEDULE mean?
„Intentional time arrangement of tv programmes and other parts of broadcasting.“
(Law 231/2001 CZ about radio and tv broadcasting, point 1 j)
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What does PROGRAMME
mean?
„Motion picture sequence with sound or without it, that by its content, form and function constitutes closed unit of broadcasting and is and individual
item of tv programme schedule. “ (Law 231/2001 CZ about radio and tv broadcasting, point 1 l)
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THIRD SIDE:
Types of programmes:
original production (everything paid from the beginning to end)
inhouse - outcorcing
X
aquisition (finished programmes of all types from anybody)
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ORIGINAL PRODUCTION:
sequence shooting technology (studio programmes, online broadcasting from outsied and inside, news, drama series)
shooting take by take (current affairs, documentary, tv films,
cinematographic film, cartoons)
combinations(magazines, news, shows, shows for childrens)
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AQUISITION:
other tv piecescinematographic films
advertesimentteleshoppingcharity spots
……
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Rule of full-format television:
variability – „multicoloured“dynamics of composition
Time (changeable) load capacity for he spectatormaximal attractivity
as cheap as possible (relation of costs and profit)
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TELEVISION AS A DISTRIBUTION
CHANNEL
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VIOLENCEon non-television pieces of works (art)(Only distribution?)
(Cinematography, documentary, news-cocksure citations, pictures are becoming the part of new pices – recyclation of pictures)
Why aren´t authors and producers of other arts rising up againt the boradcasting?
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VIOLENCEon non-television pieces of works (art)(Only distribution?)
(Cinematography, documentary, news-cocksure citations, pictures are becoming the part of new pices – recyclation of pictures)
Why aren´t authors and producers of other arts rising up againt the boradcasting?
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Principle of television is make use, (abuse?), parasitizese, sponging on other types of
communication:
- LITERATURE (mining maximum from adaptations, reading for good night, quiz question)
- FILM (whole pieces, parts of it), divided by advertisment!!!- THEATRE (base of studio programmes, online from theatres,
adaption, own drama tv genres), actors (popularity of tv came from film and theatre actors in the beginning. Today – opposite situation).
- MUSIC (sound track as a rubbish dump of music, "illustration", music and for of video clip, entertaining shows, classic music -online)
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Principle of television is make use, (abuse?), parasitizese, sponging on other types of
communication:
- ART (scenic decorations in big shows…)- PRINT MEDIA (the least, source of news?)- RADIO (overwhelming majority of formats and programme
types)- INTERNET A INTERACTIVE COMMUNICATION (forms of
voting, discussions, o using social nets in online broadcasting –Danish detective stories)
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What can we jam into the channel?
To television as a distribution channel we can jam everything. High, low, long, short, important,
truthful, lying, entertaining, serious, salty and sweet, fragrant and malodorous, fast and slow.
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Power of television is in its scope of authority and reach.
It is main distribution channel of mainstreamu. Mainstream forming channel.
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ROLE OF
PRODUCER
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MACRODRAMATURGY
commissioning editor
(slot editor)
MICRODRAMATURGY
PRODUCER
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SEARCHING FOR:
- convenient (fitting) formats- convenient topics (it means even commercial
value)
- adequate processing - suitable producer (co-producer)
- author (authors)
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FINDING:
Inhousemarket platforms (tv markets)
festivals a showsDevelopment platforms (pitching
forum, grants…)
His initiative or directive order(rating, public service, anniversary…)
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POSSIBILITIES OF PRODUCTION
Production plan
production plan is a pendant to schedule plancomplementary joining
One works on the second one, one cannot exist without the second one.
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POSSIBILITIES OF PRODUCTION
PRODUCTIONINHOUSE productionOUTSORCING, part-order (contract)Ordering the primary recording, without postproduction
COPRODUCTIONCO-OPERATION (pool...)OUTSORCING, full-order (contract)
AQUSITION
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POSSIBILITIES OF PRODUCTION
pre-salepre-buy
letter of intent
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POSSIBILITIES OF PRODUCTION
buying x selling
FORMAT (licence)
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Commissioning editor(slot editor)
SLOT
COMPOSITION OF SLOTCombination of macrodramaturgy and
microdramaturgy
Attractive and well-doneAttractive and bad-done
Not much attractive and well-doneNot much attractive and bad-done
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Commissioning editor(slot editor)
SCHEDULING DURING THE YEAR
(vaggons – golden and clay)
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PRODUCENT/SLOT EDITORis nogotiating (cooperating) with
colleagues in his department - dramaturgists (regular meetings, coordinations…)
colleagues accross institution (executive production, other regional studios…)
external producers authorssponsors, partners
immediate superior (regular meetings)
superiors (regular meetings)
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PRODUCENT/SLOT EDITOR
Situation at the nowadays market:
Television producership is much more stronger.
Outflow of spectators from cinemas.Other forms of communication.
New generation.
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IMPEACHMENT OF TELEVISION
x
DEFENCE OF TELEVISION
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IMPEACHMENT OF TELEVISION
Actively forming society(non-adequate agenda setting, making wieving of the world flat,
manipulation)
Powerful communication channel (manipulation of authenticity, unclear influences – politics, causing a
panic)
Product/Sevice(only common consumption, low quality, fragmentalisation,
distracteness)
Cultural values(not interested in edge – principle of mainsteream, no space for
culture – besides public service)
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IMPEACHMENT OF TELEVISION
Technology(always late, extra heavy on equipment,
non-compatibility in international context)
Partner(sofa-culture (slipper culture), leading to pasivity, dependance,
substitution or real world by television reality)
Space for creativity + application(creative process as an empoyment – the death of creativity, hard task to keep
the national identity alive)
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DEFENCE OF TELEVISION
Actively forming society(educate, learning, agenda setting, cultivate, entertain…)
Powerful communication channel (cinematography, politics, crises)
Product/Sevice(common consumption, quality, variety)
Cultural values(archive, own creative processes, creativity derived from other arts
and types of communication)
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DEFENCE OF TELEVISION
Technology(high technologies, one of the motors of audiovisual techniques)
Partner
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Thank you for attention.© M. Štoll 2019