Abstract

The author makes her proposal of a quality TV which means closed to European models designed as a public service and full of politic pluralism. She proposes a less passive TV whith more cultural contens and for away from mercantile devices or getting audience as its main aim. A TV for everyone financed by everyone.

Abstract

The text claims for the recuperation of the debats in the schedules of the public channels in Spanish Televisions. It offers a resume of the development of this format through the last decades, and also presents a critic view of the contents, the anchors and the audiovisual ways of offering the controversial and dialogued generes in comercials and public tv´s.

Abstract

The objective of the article is to show the possibility that the monitoring of the presence of the social groups in the mass media of public ownership has, because of the lack of development of the Right of Access. A minimum empirical approximation to such presence highlights two aspects. On the one hand, the scarce presence of the social groups and, therefore, of the civil society, in the media. On the other hand, some essential methodological decisions that should be previously taken.

Abstract

Some authors question the existence of public television companies in the new environment of digitalization, Internet proliferation, growing competition and audience segmentation. However, others believe they should act as a driving force in the process of convergence and even that the new media present an opportunity to redefine the public broadcasting service (PBS) remit. The current challenge for the public media companies is to deliver their content through the maximum number of devices, not only via television sets but also broadband and mobile devices. Over the years, the BBC has adapted to new market situations and has implemented solutions that have been adopted by other public and private broadcasters around the world. The objective of this article is to show how the BBC has taken up the leadership of transforming public TV companies into online services in order to maintain market share; and how it has influenced Spain’s public TV broadcaster, RTVE. The methodology is based on internal and external documents of both corporations, and the findings are complemented by interviews with online service managers at RTVE. We conclude that these public companies have adapted their activities to the new technologies and have developed interactive services to reinforce their public service mission.

Abstract

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.

Abstract

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.