This week we looked at the consumption patterns of TV audiences and how these have changed with the introduction of new technologies. The main reading by Everett and Caldwell explores the ways major media conglomerates have kept audiences interested in their TV content with convergence media to create another dimension to the fictional worlds shown in their TV programmes (2003). However, my found reading by Conlin, Billings and Averset (2016) provides a more ‘user generated’ view of technology.
One of the main arguments from the key reading is that when studying convergence media, you have to examine the way that institutions use them to ‘create space for new institutional practices and proprietary strategies’ (Everett and Caldwell, 2003). An example of this is the serialised programs released by Netflix, such as Orange is the New Black and House of Cards which are evidence of frequently binge-watched TV programmes used in my found reading (2016:155). Though this strategy of TV output is partially feeding the audience’s fear of missing out on hugely popular shows and the need for ‘social connectedness’, Everett and Caldwell would suggest that it is a method of “critically exploiting digital media aesthetics to leverage cultural capital, visibility and financial benefit” - all of which Netflix is extremely successful in.
Another point made in the key reading is that TV broadcasters have introduced “Second Shift Aesthetics”, where there is not just one allocated time for a TV show but after the episode is broadcast, the fictional world can continue through website features like games and riddles or other interactive components to engage the audience. I would disagree with the relevance of second shift aestheics in today’s society, as would the writers of my found reading, as I think audiences are now creating their own virtual spaces to connect with the programmes and (thanks to social media) create global communities surrounding TV). The authors call this a ‘second screen experience’, where viewers “use one screen for watching the TV programme and the other for communicating with others about it.” Rather than consumption patterns being totally controlled by the industry, I think audiences have more power over their viewing and engagement habits.
For my own research, I would like to focus on how children’s TV broadcasters utilise second shift aesthetics, such as Disney’s use of online websites with games and YouTube videos etc to interest their young audiences.
Conlin, L., Billings, A.C. & Averset, L. 2016, "Time-shifting vs. appointment viewing: the role of fear of missing out within TV consumption behaviors", Comunicación y Sociedad, vol. 29, no. 4, pp. 151-164.
Everett, A and Caldwell, J (Eds) (2003), New Media: Theories and Practices of Digitextuality, Routledge, London and New York - pp 127-144
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