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1.
2005年11月.全国唯一一家电视文摘频道——精品博览频道正式开播。精品博览频道开全国电视媒体之先河.依托"电视文摘"这一全新的运营模式.博采海内外电视精品节目. 相似文献
2.
全媒体时代,媒体技术快速发展,新渠道不断涌现,电视媒体面临重大挑战。电视媒体要适应信息市场分众化的新形势,坚持"内容为王"的原则,把主持人节目作为自身的核心竞争力,在提高节目制作质量的同时,从突出主持风格和提升主持人的专业水准入手,改善节目质量,制作电视精品,不断满足电视受众个性化、高品质的节目需求,巩固和提高电视媒体的核心竞争力,稳固电视媒体全媒体时代的市场地位。 相似文献
3.
培育品牌节目,是当今电视打造精品节目的趋势,也是浙江广电集团今后一段时期内媒体发展战略的重点。尤其对于一些老的电视品牌栏目,如何通过节目的创新和重新定位,进一步充实品牌内涵,提升品牌影响力,打造具有核心竞争力的精品节目,是许多电视媒体面临的共同问题。"十月阳光——纪念红军长征70周年"大型活动,为我们进行电视节目品牌创新提供了一个良机,使我们获益良多。本次活动获得了很大的成功,说明了节目的品牌创新不仅大有可为,也是电视媒体提升核心竞争力的必由之路。 相似文献
4.
近年来,随着电视媒体的不断发展,各级电视台对精品的呼声可谓逐浪拍高,这是因为精品是电视发展的目标和各栏目安身立命的根本保证。所以开创精品栏目、节目便成为了电视同仁的一致追求。首要工作就 相似文献
5.
实施电视精品战略，是电视媒体加入竞争行列、提高市场竞争效力、满足广大人民群众对优秀文化产品需求的必然之路。问题的核心不是要不要的问题，而是如何出精品、如何持续出精品?通过研究，除了加强节目生产机制的创新。还需要在以下方面，加强改革和更新。具体对策与建议如下： 相似文献
6.
文化精品影响深远,作用巨大。党的十七届六中全会放眼时代和全球,制定了"建设社会主义文化强国"的战略目标,提出了"增强国家文化软实力""不断推出精品力作"的任务要求。电视作为最具影响力和传播力的媒体,承担着传播和塑造大众文化的重任。为此,创作更多更好的电视精品节目就成为电视人责无旁贷的历史使命。本文所分析的电视精品节目主要是指带有策划和创作意味的电视节目,如电视纪录片、电视文学、电视戏曲等。笔者从三个方面详细论述,最后归论:打造电视精品是人民的期待,是时代的召唤,更是有责任的电视人面对伟大时代的光荣责任和历史使命,电视精品兴当其时,盛当必然。 相似文献
7.
打造精品节目,丰富产品体系
任何形态的媒体竞争,都无法逃避“内容为王”的铁律。网络电视台在挖掘目标受众与电视受众的相似性与差异性的基础上,可以重点打造几款精品节目,以点带面,用精品栏目的社会影响力提升网络电视台的知名度．进而引导广大社会人群关注并认同其他领域的服务。在不断推出精品节目的过程中逐步实现节目产品线的丰富和完善．形成面向社会各阶层受众的产品体系。 相似文献
8.
在当今多元化媒体竞争激烈的大环境下,对电视媒体来说,电视品牌栏目建设尤其重要,事关媒体的生存与发展。近年来全国各家电视媒体产生了一批精品栏目,福建省泉州市的多家电视机构也都在品牌栏目建设方面下足功夫,呈现出泉州本土节目突出地域优势、突出独特闽南故事、突出节目特色包装等特点。但是泉州多家电视媒体也存在着创新栏目数量不多、竞争不够激烈、可圈可点的栏目多是老面孔等问题。学界和业界对电视媒体品牌栏目及时进行总结和研究,对指导今后电视栏目建设和创新变得极其重要。 相似文献
9.
新媒体时代,电视帮忙类节目遇到电视受众减少、受众寻求电视帮忙的意愿降低和节目角色设定不清晰等问题。通过对安徽电视台《帮女郎帮你忙》节目的考察,本文认为帮忙类节目应该坚持立足民生、服务大众思想不动摇;明确节目定位,形成品牌特色;打造精品内容,强化电视媒体的专业性;紧跟新媒体时代的步伐,拓宽帮助渠道。只有不断创新变革,此类节目才能长久持续地发展。 相似文献
10.
现在，电视媒体市场的竞争日趋激烈，在这种情况下，电视媒体要想取得竞争优势，尤其是企业电视台要想生存发展，所办的各类新闻性节目就必须找准自己的定位，打造出自己独特的精品栏目。 相似文献
11.
This article discusses producer practices and the reasons why they engage their audience in the production process. In a digitised media context, audiences have become more visible, mainly through social media, and have more means to participate. Our research deconstructs the production process of a particular television programme by means of the “hierarchy of influences” model, which separates micro and macro levels that influence production. It draws on in-depth interviews with all editors of Flemish current affairs programme De Afspraak (The Appointment) and on a three-month participatory observation. We conclude that immersive ways of engaging the audience are applied in our specific case. More broadly, we argue that although practices change, pre-existing norms and values about the television audience remain central to how producers engage their audience through digital and social media. 相似文献
12.
Denis McQuail 《The Communication Review》2013,16(1-2):9-20
The concept of audience was widely adapted from its earlier origins in public spectacles and performance to apply to the new circumstances of mass media reception in the early 20th century, and especially to the public for film and broadcasting. It could even be applied more generally to include print media. The then novel usage of the term was a component in the larger paradigm of mass communications that in turn rested on certain preconceptions about its ‘mass’ character. These preconceptions have been challenged by subsequent research and theory. More recently, however, the ongoing transformation of the means of communication may have rendered the whole mass communication paradigm itself obsolescent, and with it the concept of a mass audience. In this article it is argued that paradigmatic change in ideas about the audience may be less due to a shift in technology than to the more fundamental theoretical changes of the intervening period. 相似文献
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14.
Roberto Roson 《Journal of Media Economics》2013,26(4):234-257
In this article, a model is introduced that has 2 distinguishing features. First, the multidimensional nature of competition in media markets characterized by free access and advertising is acknowledged, through explicit modeling of vertical and horizontal differentiation. Second, the price of advertising depends on the expected audience composition, not simply on its magnitude, and the amount of price discrimination. It is found that market equilibria depend on a number of critical factors: the amount and type of price discrimination in advertising, the correlation between formats and audience composition, the relative profitability of the different market segments, and diseconomies of scale in program quality. For a variety of market structures, the ability to discriminate on the price of advertising encourages a higher level of quality in broadcast media. 相似文献
15.
Charles Winick 《广播与电子媒介杂志》2013,57(2):129-142
Although stations, networks and advertisers spend hundreds of thousands of dollars annually on various rating services and audience measurement surveys, they often overlook a gold mine of voluntarily submitted feedback from their audience: the fan letter. It is true that the “pan” letter condemning a program often gets inordinate attention on decision‐making levels, but the run‐of‐the‐mill fan letter, if properly analyzed, can provide a wealth of information about the effect of a program upon its audience. Charles Winick is author of Taste and the Censor in Television (an Occasional Paper for the Fund for the Republic) and numerous articles in publications dealing with the mass media, such as Gazette, and the Journal op Broadcasting (“Censor and Sensibility,” Spring, 1962). Dr. Winick is a research psychologist and children's television program consultant at NBC who has taught and conducted research at the Massachusetts Institute of Technology, Columbia University and New York University. 相似文献
16.
The article contributes to the research on media management by approaching the audience as consisting of communities, instead of considering it a mass audience. By developing audience community as a concept in media management and audience research and investigating mainstream newspapers’ perceptions and practices of audience community relations, the study aims to provide a future outlook for the changing community nature of audiences. Newspaper organizations are starting to perceive the audience as a more concrete network of people, and journalistic processes can increasingly consist of generating platforms and practices for communication and communal activities with and among the audience. In the article, these processes are studied empirically by means of a qualitative study carried out in Finnish, Japanese, and Korean newspapers. Interestingly, the findings indicate that audience communities do not, after all, play an important role in the daily practices of the newspapers. The engagement with audience communities in social media is only occasional, intermittent, and by no means systematic. By contrast, interaction with offline communities seems to be more familiar and considered more valuable than connecting with audience communities in social media. 相似文献
17.
Tony Harcup 《Journalism Practice》2016,10(6):680-696
Alternative forms of journalism are said to challenge the passive role of audience members as receivers and to foster active citizenship among alternative journalists and audiences. Yet the scholarly literature on alternative journalism contains more assertions about than evidence from the audience. Downing has described the audience for alternative media as “the virtually unknown”, prompting him to urge journalism scholars to undertake more audience research to help increase our understanding of this allegedly active and civic-minded public. This exploratory study of the people who regularly read a contemporary example of alternative journalism—an investigative local blog covering one UK city—is intended to contribute towards filling the gap identified by Downing. Audience views are explored by means of questionnaires and focus groups, providing some evidence that individuals are attracted to alternative journalism by their dissatisfaction with mainstream media; that they see alternative media as helping them make sense of the world; and that, to an extent, engaging with such media is both a prompt to, and a reflection of, readers’ democratic engagement as citizens. Recognising the limitations of this small study, the article concludes by reiterating Downing's call for further research. 相似文献
18.
Reuben Mehling 《广播与电子媒介杂志》2013,57(4):307-313
It is difficult to evaluate accurately the values a given medium has to a given audience. It is relatively easy to theorize about attributes, but the subjective nature of values requires recourse to the members of the medium's audience for adequate information. The following report, which is part of a series of studies on leisure time activity and mass media attention, contrasts the various mass media against one another in terms of relative rather than absolute value. 相似文献
19.
Jacob L. Nelson 《Journalism Practice》2018,12(2):204-219
Non-profit news publishers, a small but growing piece of the news media environment, often explicitly attempt to build strong ties with their audiences. Many assume this approach differs from that of legacy newsrooms, which have historically kept the audience at arm’s length. In this article, I argue that this distinction has blurred. In-depth interviews with reporters and editors at a daily newspaper (The Chicago Tribune) and a local news non-profit (City Bureau) reveal that: (1) both organizations are pursuing a more collaborative relationship with their audiences; and (2) this pursuit is ill-suited for the traditional mass audience approach to news production. I conclude that journalists aspiring to work more closely with the audience find greater success when that audience is narrow to begin with. 相似文献
20.
随着电视产业化和频道专业化的深入,中国的电视媒体显现出空前无比的繁荣景象:频道越来越多,节目五彩斑斓,让人目不暇接.在这种表面“繁荣“的背后却隐含着现实的运营危机.对于电视媒体的发展而言,本文认为塑造收视率高、影响力大、竞争力强的品牌栏目就成为电视媒体的现实需要和当务之急. 相似文献