FORMATS, PLATFORMS, CROSS-OVERS

 The yearning for intimacy = broadcast television as bringing private and public space together  Broadcast –to sow, widespread distribution  Essential for creating a national imagined community  ‘Shared cultural menu’

 CCTV – recording public behaviour  Televisions in waiting rooms, airports, airplanes - embedded  Internet, satellite, cable – make television technology mobile – blurring the boundaries between private and public spaces  Similar to Raymond William’s notion of mobile privatization, but here the mobility is emphasized.

 As texts/programs move from one platform to another – they also reference each other  Product placement – also ties these texts  Transmedia storytelling – content designed to appear across different platforms  Intertextuality also becomes intertechnological  Multidirectional flow  Result = Redomestication of TV

 Content is now multiplatform  Convergence made possible by content being shared by diverse platforms made possible by digitization  Convergence in its of production, distribution, and content  Convergence in the form of media ownership

 Divergent content tailored specifically to different media platforms, e.g. apps, hashtags, based on a particular medium’s capacity and parameters  Divergence also in terms of audiences – niches – based on class, gender, sexuality, nationality, language, geographic location, etc.

 Content is more dispersed across these platforms and our engagement with it is more fleeting. Our experience of contemporary media is fragmented rather than unified or centralized. Instead of our viewing habits being controlled through the ‘flow’ of schedules (Williams), our viewing is now clustered around events, and through technologies such as personal video recorders, DVDs, and subscription television services. Choice is the buzzword for both broadcasters and audiences. (Roscoe page 364)

 Audiences assumed to be tech savvy  To be able to use a variety of different media  Familiar with traditional TV codes  Understand how different platforms remediate these codes and conventions  Understand the relationship between different forms and styles of delivery  Be ‘playful’ and participate (assumed level of interactivity)

 Roscoe, Jane. "Multi‐Platform Event Television: Reconceptualizing Our Relationship with Television." The Communication Review 7, no. 4 (2004): 363‐69.  Reality shows – lend themselves to a multi-platform format  Easily transportable – they combine the local, regional culture within a format that cross global circuits   Viewers participate through the show’s website and through SMS messaging to the show’s producers.  Viewers become producers and consumers