This book presents a collection of chapters that focus on the convergence of television today, approached using an interdisciplinary perspective. Clearly, the importance of technological advances describes only one aspect of this evolutionary process. In this book, convergence is also examined from other equally important perspectives, which include a historical case study on convergence and culture-viewer evolution and the changes that interactivity has introduced as opposed to static content. Because this publication focuses on all aspects that transform the medium, users, content, broadcasting, and interactive technology, it becomes evident that convergence is a highly interdisciplinary subject that must always be addressed from various perspectives.

A guide to the nature, purpose, and place of public service television within a multi-platform, multichannel ecology. Television is on the verge of both decline and rebirth. Vast technological change has brought about financial uncertainty as well as new creative possibilities for producers, distributors, and viewers. This volume from Goldsmiths Press examines not only the unexpected resilience of TV as cultural pastime and aesthetic practice but also the prospects for public service television in a digital, multichannel ecology. The proliferation of platforms from Amazon and Netflix to YouTube and the vlogosphere means intense competition for audiences traditionally dominated by legacy broadcasters. Public service broadcasters—whether the BBC, the German ARD, or the Canadian Broadcasting Corporation—are particularly vulnerable to this volatility. Born in the more stable political and cultural conditions of the twentieth century, they face a range of pressures on their revenue, their remits, and indeed their very futures. This book reflects on the issues raised in Lord Puttnam's 2016 Public Service TV Inquiry Report, with contributions from leading broadcasters, academics, and regulators. With resonance for students, professionals, and consumers with a stake in British media, it serves both as historical record and as a look at the future of television in an on-demand age. Contributors include Tess Alps, Patrick Barwise, James Bennett, Georgie Born, Natasha Cox, Gunn Enli, Des Freedman, Vana Goblot, David Hendy, Jennifer Holt, Amanda D. Lotz, Sarita Malik, Matthew Powers, Lord Puttnam, Trine Syvertsen, Jon Thoday, Mark Thompson

This book analyzes the phenomenal growth of television as an information, entertainment, and marketing medium based on interviews with more than 45 leading television executives throughout the world.

A decade before, this book predicted that by the year 2010, interactive TV would be a fixture in every American household. The author also predicted that interactive movies would soon allow the audience to change the outcome of films.

The book shows how digital-interactive television (digiTV) will affect the relation between the broadcaster and the consumer. Standardization processes, technological paradigms, and application development issues will be discussed. The emerging applications, innovations, and future concepts are described in detail. The triangle: content - end-user - technology will be conceptualized to create a vision and to overview provision of services that will be major innovative elments in the world of digital television. From the technical side, eXtensible Markup Language (XML)-based metadata standards are a major element in realizing new innovative concepts in the world of digital, interactive television. This book clearly shows by the introduction of applications and use-scenarios, which conceptual requirements and metadata models are applicable, which metadata subsets are applicable due to resource limitations, which metadata aspects are needed for nonlinear content viewing, etc. The book gives a broad and detailed both visionary and technical overview useful for graduates, engineers, and scientists; and last but not least decision-makers in the broadcasting industry.

Global Television (1993) looks at how satellites, fibre optics, compressed digital transmission, and interactive and high-definition television have converged with computer technology to revolutionise TV and film production, TV sets and even the smart home in which TV is viewed. Its provides valuable insight into how new technologies and viewer demands have combined to transform television into a truly global medium.

Seminar paper from the year 2014 in the subject Communications - Movies and Television, grade: 1,0, University of Applied Sciences Hamburg, language: English, abstract: The media sector is changing and TV is right at the centre of this development. Everybody is or wants to be "connected" with their friend, so TV has to be too. The world is moving fast and people want to watch TV when and where they have time for it. The flood of information swamps the audience. For TV to become more targeted it has to be personalized. Finally, TV should not just be an "incidental medium" as is common to- day. TV should be an experience, so it has to be more interactive (Neef, Schroll & Hirsch, 2011). But what will happen in 20 years? There has to be an innovation that combines all these needs. Time to take a look at a science fictional future: Star Trek - and their one idea that combines all these aspects - the holodeck. "A holodeck is a room that creates objects, people and images on the fly and has no restriction on time and space" (Rhodes, 2008, p. 1) Going first a couple of steps back, the following paragraphs will then explain the hypothesis: "holodeck, the ultimate idea of future television in 20 years" by looking at the four main innovations in the television industry, the reasons for their use and their connection to the ultimate idea of future television - the holodeck. Finally, taking into consideration how advanced the technology is and what lies ahead to create the holodeck? The voyage starts by looking at the current developments and what lies ahead to boldly go where no one has gone before. This research paper is based on a review of literature.

In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee.