Abstract

With this presentation we try to reflect upon the concept of quality with regards to television for children. In addition, we aim to identify a set of criteria which can allow us to recognize and evaluate the quality of programming for younger audiences. This analysis is based both on the contribution of different authors that have studied quality in television and on the opinions of professionals who intervene and pay especial attention to programming for children in Portugal. The opinions of these professionals were collected by interview in the frame of a larger study which focused the offer and programming criteria for children in the Portuguese terrestrial channels. As we shall see, some professionals emphasize the content of television programming and programmes, while others stress the levels of audience, the human and technical resources as well as the goals pursued by each channel.

Abstract

This work tries to do a revision to the preferences, tastes and ways of consuming television on the part of the young men of Aragon. The contributed results arise from 790 surveys realized (fulfilled) to individuals who form a part of this group. The investigation puts of manifest the notable interest that this group demonstrates for the local televisions, for the information and the entertainment and especially for the contents of proximity. All these preferences place inside a wider context in which it is revised also the models of consumption of other means (press, radio and Internet) as well as the results are analyzed having in bill public laceration of the radio and the television.

Abstract

Nowadays the local television has its own specific weight in audiovisual area. The little broadcasting stations are closer to the citizen than big national channel, but local television make a very similar programming but with less quality. 24- hours broadcasting is very difficult and expensive, so local channel need help from big national communication groups to completed their own playlist. The offer of local television focuses on news information, although included others genre like sports.

Abstract

Quality in television has been conceived as: diversity in contents and genres, plurality of opinion and perspectives, long term financial objectives, and professionalism in planning, programming, and execution. Today, because of «seduction strategies», programs have turned into formats; programming has changed from vertical to horizontal; audience wars turn the spectators into a public to be conquered, but also served. The relations of supply and demand are now on a new level where a generalist television conceived for broadcasting is possible and, with the expansion of the digital television there is also place for programs for a reduced public.

Abstract

This communication presents an analysis on the most significant elements related to the quality of the Television in present times. It examines, at the same time, the main ethical problems faced by the professionals and the users of the television, and it indicates the minimum paths required in order to achieve a good practice on television. It presents problems which should be solved as when television invents and makes programmes just because the reality does not cover their needs. Television, it adds, should be structured in order to stimulate competitively to obtain a good quality rather than to obtain good economical figures and a high audience. Therefore, the television of the XXI century which we just joined, should let it very clear which social benefits is going to give, whether it will be capable of responding to the new competitiveness and diversity in brief period of time. Whether it is going to assign qualified professionals not only in programmes for children but in all other programmes whenever required, without using supposed experts whose only interest is to fight among themselves in order to make spectacle. It should also avoid personal conflicts as a show and obviously it should avoid images of violence and psychological and vexatious misconduct.

Abstract

The digital television brings a new form to make and to watch, the question is if they are going to change the contents, they will be of greater quality.there is place for cultural and educative contents. In order to analyze the subject it is necessary to study the different forms from distribution and the options of reception, ¿onde is the keys of the business?

Abstract

Last decades of past century, there appeared a double-sided phenomenon. On one hand a crudest competence among general TV networks and therefore, with hardly some exceptions, TVnetworks marginalized cultural programs to the borders of timetable grids. On the other they appeared TV thematic channels devoted to different elements of culture with an aim of high quality products. The broadcast of this internationalist network TV arrive everywhere thanks to digital TV platforms. These new TV networks are in a continuous process of renovation both of searching new content and image. The previous balance in TV broadcast where genres were distinguised and there was a coherent timetable have disappeared. Now the system mixes genres and formats. The economic context also is confusing with the high increase of production costs combined with a policy of downsizing. As a result, cultural approaches have been decreasing in public network TV and previous criteria for culture in TV have been left aside. Thesecultural approaches never existed in private network tv because its principal aim is to achieve the highest share by means of raw products in new formats such as talk-sohw, reality show and lateshow

Abstract

Television is entertainment. Nowadays the TV show business is identified to the concept of «trash television» to a greater extent. Nevertheless to entertain offering quality programmes is as respectable and necessary as to inform or educate. Among the immense miscellanea of entertainment genres, subgenres and formats, the game show stands out because of its noble spreading of values as the desire of being better and the stimulate of empathy and knowlodge. In spite of being in television since its birth, the game show has never disappeared of the schedule. The reason of this success is based on its structure and scheduling flexibility, its wide margins of profitability and on its capacity for involving to the audience in the programme itself. In Spain, the game show is one of the most frequent genres –since 1996, Spanish TV production companies have produced an average of more than 32 games each season, a number only overwhelmed by the local fiction (sitcoms and TV movies) - and its presence in the most watched programme ranking is constant in every television season.

Abstract

The present paper analyzes the results of a qualitative investigation developed by the Spanish public television on the values and characteristics of the national television fiction genre, as well as other aspects of its latest evolution. The conclusions of this qualitative analysis and the audience ratings confirm the hegemony of the genre within the generalist television programming. In the same sense, the paper analyzes its latest tendencies and what is called the last renewal of domestic television fiction.