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First few weeks of the course

by: Ryan Furness

First few weeks of the course BRC 320

Marketplace > State University of New York at Oswego > BRC 320 > First few weeks of the course
Ryan Furness
SUNY Oswego
GPA 2.69

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About this Document

These notes are on the first exam
David Moody
Class Notes
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This 6 page Class Notes was uploaded by Ryan Furness on Wednesday September 21, 2016. The Class Notes belongs to BRC 320 at State University of New York at Oswego taught by David Moody in Fall 2016. Since its upload, it has received 3 views.

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Date Created: 09/21/16
• Programs, Programming & Effects • Week One • What is programming? • Programming can be defined as the strategic use of programs arranged in schedules or tiers to attract target audiences. • The processes of selecting, scheduling, promoting and evaluating programs defines the work (or job) of a programmer. • Three major changes that have affected Media Programming 1. Digitalization 2. Internet Access 3. Media Competition Key Point: At least 90% of viewing time, Adv. Etc. still goes to traditional media. • What does Consolidation lead to? • Reduce • Reuse • Recycle The Three R’s • The Primary Goal of Programming advertiser-supported media is to… • Maximize the size of an audience targeted by advertisers. • The larger the size of the target audience the easier it is to make money. • Who is my target audience? • People choose what program they want to watch. • How is Programming Unique? What Does the Audience Want? • Ease of Delivery • There is no apparent direct cost to consumers for the most popular shows. • Broadcasters are not in the business of creating programs. • Understanding your Audience. • Audiences want to be entertained and they want to be informed. • Programming is like Food • Recipe for Successful Production (Page 11—1.4) • What is quality programming? • High Culture vs. Low Culture • The Fast Food Analogy • Broadcast programming is continuously available from various sources. • Distributors of media programs operate on three different levels: 1) Network distribution; 2) Program Syndication; 3) Local Programming • “Give the People What They Want: The Lure of Lore” • Dead Genre/Definition of Genre • Formula Approach to program development • Certain formats always fail • • Part Two: Jon Stewart Goes on the Attack, Tells Chris Wallace • v=nUfugJfsiyc&feature=related v=nUfugJfsiyc&feature=related • Program “Types” or “Genres” • Situation Comedies (Sitcoms) • Dramas • News/Talk • Music • Reality • Sports • Movies • Four Basic Program Sources • Network • Syndicated • Local • Online (Pages 14-16) • Syndicated Programs • Off-Net • First Run • Feature (Theatrical Release) • Local Production • Definition of local production • Amateur (public access cable) • Professional (local news) • The Uniqueness of Scheduling/Promotion • What constitutes an effective schedule for Radio, TV, and Cable? • Channel placement on cable • Network/Station Promotions (pp.17-18) • Websites for promotional purposes • Websites used to generate revenue in College Radio • “Branding—FOX Nineteen” • The Elements of Programming The Five categories used to select, schedule, promote, and evaluate programming are: (1) Compatibility (2) Habit formation (3) Control of Audience Flow (4) Conservation of program resources (5) Breadth of Appeal • Dayparts (TV) • 5A-7A (Early Morning) • 7A-9A (Early Morning News) • 9a-4p (Daytime) • 4p-6p (Early Fringe) • 6p-7p (Local/Network News) • 7P-8P (Prime Access) • 8P-11P (Prime) • 11p-11:30p Late News • 11P-2A (Late Fringe) • 2A-5A (Overnight) • Dayparts (Radio) • 6A-10A (Morning Drive) • 10A-3P (Midday) • 3P-7P (Afternoon Drive) • 7P-12Mid (Evening) • 12mid-CC (Overnights) • 6A-7P (Prime) • Weekends • Compatibility • Programming compatible with the lifestyles of an audience. • Narrowcasting (Cable) • Broadcast TV’s share erosion • Cable penetration in NYC is 91% • Habit Formation • Stripping • Syndication • “We are creatures of Habit” • Audience Flow • By definition: Audience flowing from one program to another. • Blocking or “Block Programming” –blocking similar programming in adjacent time periods. • Counterprogramming-scheduling programs with different appeals against the competitor. • Grazing, flipping, zapping, zipping. • Conservation of Program Resources/Breadth of Appeal • Getting the maximum mileage out of each program item. • Appeal=a wide range of audience interests. • Four-Part Programming Model • Four major parts: (1) Selection—50%; (2) schedule—30%; (3) Promote—20%; (4) Evaluate • Selection Factors (p.24; 1.13) • Selection-factors that influence the selection process • Scheduling Factors (1.14) • Promotion (1.15) • Evaluation (1.16) • External pressures that affect program decision • Technological • Economic • Ownership (Group owner & MSO P.29-34) • Regulatory • Ethical (pages 27-42) • The Big 6 (Who they are what they own) • Time Warner • Disney • NBCUniversal • Viacom • CBS • News Corp (page 30) • The Producers (Big 4 studios) • Columbia • NBC Universal • 20 Century Fox • Paramount (page 31—1.19)


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