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Ricky Telg - One of the best experts on this subject based on the ideXlab platform.
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The "Mindset Evolution" of Television Production Specialists in Distance Education
International Journal of e-Learning and Distance Education, 2008Co-Authors: Ricky TelgAbstract:The purpose of this study is to examine the process by which, during the development of distance education Television programs, technical specialists move from focusing solely on technical aspects of the Production to include in their considerations an appreciation for content. The sample consists of 12 full-time Television Production specialists from American universities. All participants had at least one year's experience producing live, interactive, video-based educational programs at their respective institutions. None, however, had previous experience with distance education, nor did any have a background in education. Qualitative methods, including semi-structured interviews, observation, and concept maps, were used to collect data during the study. Findings from this study show that Television Production specialists undergo a change of "mindset" over time as they design and develop more distance education programming. They come to view themselves more as distance education producers. This mindset change occured as they altered their criteria for judging the quality of their work and as they became aware of the primacy of content over "form," the needs of the audience, and the relationship between the instructor and students. Cette etude se penche sur le processus selon lequel les techniciens specialises debordent de leur role purement technique de Production de programmes televises d'education a distance pour s'interesser au contenu des programmes. Douze techniciens de universites americaines ont ete etudies. Tous les participants occupaient un emploi a plein temps et avaient au moins une annee d'experience dans la Production de programmes pedagogiques interactifs, diffuses en direct. Les participants n'avaient, par contre, ni experience en education a distance, ni formation pedagogique. Les donnees ont ete recueillies a l'aide de methodes qualitatives, telles que des entrevues semi-dirigees, des sessions d'observation et des schemas conceptuels. Les resultats obtenus demontrent que, plus les specialistes de Productions televisees concoivent et realisent des programmes d'education a distance, plus leur attitude mentale change, de sorte qu'ils en viennent a se considerer comme des realisateurs dans ce domaine. Ce changement d'attitude se produit a mesure que les specialistes modifient la facon dont ils evaluent la qualite de leur travail, lorsqu'ils commencent a prendre conscience de l'importance du contenu d'un programme plutot que de sa forme, ainsi que des besoins du public et du rapport entre l'instructeur et ses etudiants.
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Skills and knowledge needed by Television Production specialists in distance education
Educational Technology Research and Development, 1996Co-Authors: Ricky TelgAbstract:The purpose of this study was to examine what distance education-related skills and knowledge Television Production specialists had to learn in order to perform their jobs. The purposive sample for this study consisted of 12 full-time Television Production specialists who develop live, interactive, video-based educational programs at American universities. However, prior to employment at their respective universities, these Television Production specialists had no experience or educational background in the field of distance education. Qualitative methods were used to collect data. The analysis gave rise to the finding that Television Production specialists had to learn skills in two major areas—technical skills and personal/interpersonal skills—and knowledge of instructional design methods.
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The roles of Television Production specialists in distance education programming
American Journal of Distance Education, 1996Co-Authors: Ricky TelgAbstract:Abstract The purpose of this study was to examine the roles that Television Production specialists play in the development of live, interactive, video‐based distance education programs. The sample for this study consisted of twelve full‐time Television Production specialists who 1) were employed for at least one year at four‐year universities across the United States to produce live, interactive, video‐based educational programs, and 2) had no experience or educational background in the field of distance education prior to employment at their respective universities. Qualitative methods, including semi‐structured interviews, observation, and concept maps, were used to collect data. Findings show that Television Production specialists fill multiple roles, many of which go far beyond their Television Production training.
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How Television Production specialists learn distance education skills and knowledge
Distance Education, 1996Co-Authors: Ricky TelgAbstract:The purpose of this study was to examine how Television‐Production specialists, who had no previous experience or educational background in the field of distance education, learned the distance education‐related skills and obtained the knowledge necessary to perform their jobs. The purposive sample for this study comprised 12 full‐time Television Production specialists who were employed for at least one year at universities across the United States to produce live, interactive, video‐based educational programs, but who, prior to employment at their respective universities, had no experience or educational background in the field of distance education. Qualitative methods, including semi‐structured interviews, observation, and concept maps, were used to collect data. This study found that Television Production specialists used both incidental and informal learning strategies to learn the necessary skills and knowledge they needed to perform their jobs. Participants learned predominantly by three means: ass...
Irene Berkowitz - One of the best experts on this subject based on the ideXlab platform.
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business capabilities of small entrepreneurial media firms independent Production of children s Television in canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
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Business Capabilities of Small Entrepreneurial Media Firms: Independent Production of Children’s Television in Canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
Gillian Doyle - One of the best experts on this subject based on the ideXlab platform.
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Public policy, independent Television Production and the digital challenge
journal of digital media & policy, 2019Co-Authors: Gillian DoyleAbstract:Television Production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector ‐ attributable partly to historic policy interventions ‐ is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK Production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent Production sector to flourish in an increasingly globalized and competitive digital environment for Television. Although preserving indigenous Television Production and associated audience access to locally made content remain important goals for media policy, achieving these has become more difficult in the face of trends towards consolidated ownership and ‘the emergence of powerful transnational platforms commercialising cultural goods and services online’ (Garcia Leiva and Albornoz 2017: 10). This article examines the challenges raised for public policy as ownership structures in the Television Production sector adjust in response to new distribution technologies and to the transformative forces of digitalization and globalization. Focusing on the United Kingdom as an example, it asks do we still need Television Production companies that are indigenous and independent in a digital world and if so why? What role can and should public policy play in supporting the sustainability of an ‘indie’ sector? Drawing on recent original empirical research into the association between corporate configuration, business performance and content in the Television Production sector, it reflects critically on historic and recent approaches to sustaining independent producers and it considers how, in a digital world, public policy may need to be re-imagined for a rapidly evolving Television landscape.
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Television Production configuring for sustainability in the digital era
Media Culture & Society, 2018Co-Authors: Gillian DoyleAbstract:Over recent years leading independent Television Production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to t...
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Value creation and Sustainability in the Television Production Sector
2017Co-Authors: Gillian DoyleAbstract:Crucial transformations in the structure of ownership of the UK Television Production industry are taking place, characterized by increasing consolidation and the growing controlling presence of non-domestic parent groups. This paper sets out to explore to what extent the corporate configurations which conduce to economic success in the Television Production industry are undergoing change. Why are these changes occurring, what are the implications and – in particular - which factors need to be examined in order to better understand the evolving relationship between corporate configuration and performance? Media industries are strongly characterized by technological and market changes and the implications of such change for ownership arrangements and, in turn, for the orientation, performance and output of media firms have long interested scholars in the academic field of media management. Some earlier work in media economics and media management has focused specifically on links between ownership strategies and economic or financial performance often relying on industrial organisation (IO) (e.g. Albarran and Dimmick, 1996; Doyle, 2002; Kung, Picard and Towse, 2008; Picard, 2006; Sanchez-Tabernero and Carvajal, 2002; Wildman, 2006; Wirth and Bloch, 1995). But the progressive blurring of market boundaries caused by digital convergence and growth of the internet has made relationships between structure, strategic behaviour and performance in the media more complex. This paper sets out to develop a new analytical approach that combines analysis of factors which traditional economic theories have highlighted together with relevant insights from areas such as the RBV of strategic management and theories of industrial renewal and globalization which also appear highly relevant in the context of contemporary re-structurings of ownership in the TV Production sector. This paper argues that, in addition to ability to create compelling content, economic success in the Television Production sector is dependent on effective strategies for management and exploitation of IPRs and on the corporate configuration. It draws on empirical findings from recent research into the experience of London-based international Production companies to examine and report on how prevailing strategies to manage and maximize returns from intellectual property rights (IPRs) in content are changing because of technological and market developments, including in particular the growth of SVOD services such as Netflix. In exploring the factors that affect economic success and sustainability in Television content Production, this paper aims to contribute to scholarship by developing the conceptual basis for further empirical research that builds understanding of the nature and implications of linkages between corporate configuration and performance in this sector. The support of the UK Economic and Social Research Council for ‘Television Production in Transition: Independence, Scale and Sustainability’ (ES/N015258/1) is gratefully acknowledged. This contribution fits closely with the broad theme for the EMMA 2017 conference of disruption and transformation in the dynamics of value creation in media industries.
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Television Production, Funding Models and Exploitation of Content
Revista ICONO14. Revista científica de Comunicación y Tecnologías emergentes, 2016Co-Authors: Gillian DoyleAbstract:The rise of digital platforms has transformative implications for strategies of financing media Production and for exploitation of the economic value in creative content. In the Television industry, changes in technologies for distribution and the emergence of SVOD services such as Netflix are gradually shifting audiences and financial power away from broadcasters while at the same time creating unprecedented opportunities for programme-makers. Drawing on findings from recent RCUK-funded research, this article examines how these shifts are affecting Production financing and the economics of supplying Television content. In particular, it focuses on how changes in the dynamics of rights markets and in strategic approaches towards the financing of Television Production might mean for markets, industries and for policies intended to support the economic sustainability of independent Television content Production businesses.
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Public Policy and Independent Television Production In the U.K.
Journal of Media Business Studies, 2008Co-Authors: Gillian Doyle, Richard PatersonAbstract:AbstractThe structure and performance of the independent TelevisionProduction sector in the UK have been strongly affected by public policy interventions. Such interventions have introduced more competition andhave generally sought to strengthen the position of ‘indies’ by, forexample, raising levels of demand for their output amongst domesticvertically integrated broadcasters. However, the efficacy of such policies in terms of developing a thriving and economically successful independent Television Production sector is open to question. This article provides an analysis of the effects of recent policy initiatives on the creative work environments and on the business circumstances and behaviors of UK independent program-makers.
Charles H. Davis - One of the best experts on this subject based on the ideXlab platform.
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business capabilities of small entrepreneurial media firms independent Production of children s Television in canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
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Business Capabilities of Small Entrepreneurial Media Firms: Independent Production of Children’s Television in Canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
Florin Vladica - One of the best experts on this subject based on the ideXlab platform.
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business capabilities of small entrepreneurial media firms independent Production of children s Television in canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
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Business Capabilities of Small Entrepreneurial Media Firms: Independent Production of Children’s Television in Canada
Journal of Media Business Studies, 2008Co-Authors: Charles H. Davis, Florin Vladica, Irene BerkowitzAbstract:AbstractThis article investigates business capabilities of Canadian independent Television Production firms that produce children’s Television, an entertainment product area in which Canadian firms have achieved relative success in domestic and international markets. The Canadian independent Television Production industry is populated by many precarious micro-enterprises. Competition is intense, and the domestic market provides limited opportunities for growth. The authors use the Davidsson-Klofsten model (2004) of a business platform as a framework for organizing enquiry into the capabilities of eight Canadian producers. The research shows that, contrary to much of what is said about firms that engage in project-based Production, firm-level capabilities are critically important, and small organizational size does not necessarily imply small capabilities. Furthermore, among successful independent Television Production firms, project execution is a taken-forgranted business capability, and is not considere...
