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Media Interfaces, Networked Media Spaces, and the Mass Customization of Everyday Space
Abstract
From viral videos on YouTube to mobile television on smartphones and beyond, TV has overflowed its boundaries. If Raymond Williams' concept of flow challenges the idea of a discrete television text, then convergence destabilizes the notion of television as a discrete object.Flow TV examines television in an age of technological, economic, and cultural convergence. Seeking to frame a new set of concerns for television studies in the 21st century, this collection of all new essays establishes television's continued importance in a shifting media culture. Considering television and new media not as solely technical devices, but also as social technologies, the essays in this anthology insist that we turn our attention to the social, political, and cultural practices that surround and inform those devices' use. The contributors examine television through a range of critical approaches from formal and industrial analysis to critical technology studies, reception studies, political economy, and critiques of television's transnational flows. This volume grows out of the critical community formed around the popular online journal Flow: A Critical Form on Television and Media Culture (flowtv.org). It is ideal for courses in television studies or media convergence.
... Viewers can access TV content using different screens for different purposes (search, watch, share, and participate). In fact, multiscreening practices relocate the viewing experience within the networked media space (Chamberlain 2011); the set of connected and interchangeable devices (smart TV, smartphone, PC and tablet) that are currently available provide viewers with real-time access to audiovisual content and online platforms that enhance the TV experience. We can therefore observe that linear flow as described above is no longer a default condition of the medium. ...
... Finally, with respect to the medium, the evolution from the concept of flow to that of circulation inevitably blurs the well-established boundaries between technological and cultural forms, leading to their hybridisation with the formats of interpersonal conversation in online environments. In the networked media space, the domains of communication are definitively mixed through " techno-social-spatial relations " (Chamberlain 2011) that can be established through the audience's active contributions and participation. As demonstrated by research data on TV content circulation within online environments, social media act as an inter-change platform where needs, desires, and pleasures of the audience converge. ...
This article discusses the evolution of the concept of flow from the producer-controlled phase to the user-controlled phase, and proposes the concept of circulation as a new framework for understanding the new TV ecosystem. The multiplication of screens (from the traditional TV set to handheld mobile devices) has made TV content accessible anytime and anywhere and, furthermore, has provided an interactive space where the digital life of content is managed by the audiences on social media. Such multiplication of screens has created forms of TV consumption that lead to the deconstruction and subsequent reformulation of the concepts of space, time and medium. This article examines this ongoing process, beginning with observations of audience consumption practices that are analysed using Osservatorio Social TV 2015, an Italian research project.
... que se desarrollan en este complejo contexto, debemos ser conscientes de esa hibridaci?n (Chamberlain, 2011). Para ello, es ?til rescatar el concepto de la cultura participativa. ...
... La rigidez propia de ?pocas previas ha evolucionado hacia un modelo m?s flexible en el que la televisi?n, en fondo y forma, se mezclan entre s? (Chamberlain, 2011;Wood, 2004). El an?lisis de la hibridaci?n ...
... And yet, streaming services constantly attempt to pin down these multifarious identities and turn them into trackable data to target customers. They monitor users' behaviors, analyzing their interactions within the service with unremitting surveillance (Chamberlain, 2010). With each action within the Netflix interface, users not only express their choices but also offer a diversity of models to predict their behavior, and, potentially shape it. ...
This article explains how Netflix has transformed the ways in which we interact with media in the contemporary milieu. I argue that Netflix works through a process of planned differentiation, designing unique customization experiences to create a new type of media user that participates in its global and regional release and production strategies. This leads me into a discussion of how the Netflix interface manages the spectators’ experience through a series of connected features. Thus, I detail Netflix’ personalization mechanisms, proposing that, ultimately, its users ‘pay to buy themselves’, or the version of themselves its interface offers back to users upon systematically gathering data on their habits. Finally, I remark that the key characteristics of the current streaming service/spectator relationship are deceptive limitlessness, customization, the automation of content flow and ubiquity, weaving a form of audiovisual engagement that has partially and, at times completely, conquered our everyday.
... Por lo tanto, las lógicas de las redes sociales no sustituyen a las de los medios o instituciones tradicionales, sino que ambas se mezclan en un nuevo contexto donde cada vez es más complejo interpretar las diferencias entre lo comercial y lo político o lo privado de lo público. Al analizar las dinámicas de interacción y participación que se desarrollan en este complejo contexto, debemos ser conscientes de esa hibridación (Chamberlain, 2011). ...
El 24 de mayo de 2015, Manuela Carmena y la formación política Ahora Madrid consiguieron unos resultados electorales que pocos auguraban. Ahora Madrid se constituyó apenas cuatro meses antes de las elecciones municipales y su candidata no era una figura pública ni mediática. Por la normativa de la Junta Electoral no tenía derecho a espacio promocional en las televisiones públicas, las privadas no le prestaban atención y el presupuesto del partido no les permitía contratar espacios publicitarios. Aún así, contaron con una campaña electoral desarrollada por profesionales destacados del panorama español de la comunicación publicitaria y del diseño gráfico. El presente artículo analiza cómo ese colectivo desarrolló la campaña por iniciativa propia, de forma colaborativa y en un contexto digital. Como resultado, pone de manifiesto el cambio que supone esta práctica respecto a la estructura de la comunicación publicitaria. Se trata de un estudio de caso que utiliza la técnica de la entre
Even prior to its premiere in April 2017, Hulu’s The Handmaid’s Tale inspired a series of cosplay protests against antiabortion legislation at the Texas State Capitol. The red robes and white bonnets have since been popularized by the critically acclaimed series, and handmaid-style cosplay protests have continued transnationally, with the handmaid heralded as what the BBC calls “an international protest symbol” against heteropatriarchal oppression. Due to a surge of visible feminisms in popular media, it has become good business to create such female-centric, avowedly feminist texts. As the television industry has evolved from a broadcast network to a subscription market, content options have emerged that have both cultivated and responded to a feminist niche audience. Industry interests and feminist interests have seemingly aligned, with the adaptation of Margaret Atwood’s The Handmaid’s Tale representing a pertinent example of the popular and the political intersecting. The Handmaid’s Tale has been positioned by both industry and audience as a transmedia text that bridges fiction and reality to become part and parcel of contemporary feminist movements. This article will thus make an argument for how the shifting television landscape might enable new forms of public feminisms. Through a case study of The Handmaid’s Tale, I will examine how transnational feminist communities might mobilize around such texts and how fiction and fan activities might be used to embolden feminist political action.
Industrial discourses surrounding subscription video on demand (SVOD) services are deeply embedded in the rhetoric of viewer choice and control. However, these discourses are often misleading, with viewers given only nominal amounts of agency in their viewing experience, most often circumscribed by the limited affordances of the service’s interface. This article takes online TV interfaces as its object of study and interrogates to what ends SVODs use them. In particular, it examines how the interface can operate as a part of an SVOD’s larger branding campaign. Using Netflix as a case study, the article argues that the interface is discursively positioned as empowering viewers to easily find what they want to watch, yet the actual operation and affordances of the interface significantly delimit viewer agency. Instead, the interface works to guide viewers to Netflix original content to strengthen the core brand values of abundance, personalization, and exclusivity.
Mit der Ökonomie und Ästhetik seriellen Erzählens in jüngeren Quality TVSerien haben sich auch die Formen der Publikumsteilhabe nachhaltig verändert (vgl. McCabe/Akass 2007; Jancovich/Lyons 2008; Nelson 2008).
A Study of Influences on Active Use of N-Screen Service : Use Motives, Perceived Usefulness and Affinity
RESUMO: Discute-se a utilização de ferramentas de software customizadas para o acesso à informação arquivada nas plataformas de mídias sociais através do fenômeno do uso de redes sociais em paralelo ao consumo de TV, constituindo o que alguns autores chamam de "backchannel", um espaço secundário da produção de conteúdo e discussão sobre os programas que estão sendo assistidos de forma síncrona à sua emissão; formando o que propomos denominar aqui de nuvem de sentido e procurando nela forças organizadoras semelhantes às que conhecemos no jornalismo como critérios de noticiabilidade. São exploradas as técnicas de mineração de dados através da ferramenta personalizada Social Tracker, desenvolvida na linguagem de programação Python, para coletar dados sobre o problema, considerando-se que, devido à grande quantidade de informações geradas neste ambiente, é cada vez mais difícil fazer isso manualmente. 1. INVESTIGAÇÃO EM PLATAFORMAS SOCIAIS: A crescente utilização de plataformas sociais tem transformado esses ambientes em grandes repositórios de conteúdo que pode ser explorado para atividades jornalísticas diversas, incluindo ai investigação e coleta de dados. Para tanto, o conhecimento específico sobre o funcionamento desses serviços, bem como o desenvolvimento de ferramentas customizadas através de programação tornaram-se possibilidades novas a disposição do profissional de jornalismo; apesar do estranhamento que tais habilidades possam causar por serem, até então, originalmente pertencentes a áreas de conhecimento muito distantes da Comunicação. Mesmo assim, fica cada vez mais claro que o investimento em técnicas de mineração de dados (data mining) pode ser um diferencial importante, principalmente para os que se dedicam ao Jornalismo Investigativo.
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