Science & Technology

Brazil: Dynamics of Television Fiction in the Multichannel Transition

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Within a scenario of slow economic recovery combined with the worsening of the political crisis, the audiovisual overview in 2017 repeated the contradiction and it even strengthened the dynamics verified the previous year. Investments in the areas of
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  Maria Immacolata Vassallo de LopesGuillermo Orozco Gómez General Coordinators Morella Alvarado, Gustavo Aprea, Fernando Aranguren, Catarina Burnay, Borys Bustamante, Giuliana Cassano, James Dettleff, Francisco Fernández, Gabriela Gómez, Clarice Greco, Pablo Julio, Mónica Kirchheimer, Charo Lacalle, Pedro Lopes, Guillermo Orozco Gómez, Juan Piñón, Rosario Sánchez, Luisa Torrealba, Maria Immacolata Vassallo de Lopes  National Coordinators I BERO -A MERICAN  O BSERVATORY   OF  T ELEVISION  F ICTION O BITEL  2018I BERO -A MERICAN  TV F ICTION   ON  V IDEO   ON  D EMAND  P LATFORMS  I12 Ibero-American TV fiction on video on demand platforms    / general co- ordinators Maria Immacolata Vassallo de Lopes and Guillermo Orozco Gómez. -- Porto Alegre: Sulina, 2018. 410 p. ISBN: 978-85-205-0824-4 1. Video on demand. 2. Streaming – Television programs. 3. Communication – Technology – Ibero-American television. 4. Fiction – Television – Video on de- mand. 5. Television programs – Ibero-America. 6. Social Communication. I. Lopes, Maria Immacolata Vassallo de. II. Gómez, Guillermo Orozco.CDU: 654.19 659.3 CDD: 301.161 791.445Bibliotecária responsável: Denise Mari de Andrade Souza – CRB 10/960 © Globo Comunicação e Participações S.A., 2018Capa:  Letícia Lampert  Projeto gráco e editoração:  Niura Fernanda Souza Produção editorial e revisão do texto: Felícia Xavier Volkweis Revisão gráca:  Niura Fernanda Souza Editores:  Luis Antônio Paim Gomes, Juan Manuel Guadelis Crisafulli Foto de capa:  Louie Psihoyos. High-denition televisions in the information era . Av. Osvaldo Aranha, 440 cj. 101 – Bom Fim Cep: 90035-190 – Porto Alegre/RSFone: (0xx51) 3311.4082www.editorasulina.com.bre-mail: sulina@editorasulina.com.br Agosto/2018 Direitos desta edição adquiridos por Globo Comunicação e Participações S.A. Editora Meridional Ltda.  2 B RAZIL : DYNAMICS   OF   TELEVISION   FICTION   IN   THE   MULTICHANNEL   TRANSITION 1  Authors: Maria Immacolata Vassallo de Lopes, Clarice Greco Team:  Fernanda Castilho, Ligia Prezia Lemos, Lucas Martins Néia, Mariana Lima, Tissiana Pereira, Andreza Almeida Santos, Daniela Ortega 1. Brazil’s audiovisual context in 2017 Within a scenario of slow economic recovery combined with the worsening of the political crisis, the audiovisual overview in 2017 repeated the contradiction and it even strengthened the dy-namics verified the previous year. Investments in the areas of cre-ation, production, distribution, and marketing have led to a rapid and growing presence of fictional products and formats in differ-ent channels, whether in open or pay television, digital channels, streaming and mobile devices.It would be possible to call this a scenario of multichannel tran-sition, which is characterized by the coexistence of television fiction (its genres and formats) in broadcasting/post-broadcasting channels and in network/post-network channels. We exemplify with the pro-duction of a series that premieres on Globo Play with a start allocation in out-of-network (or post-network) channel with all the episodes of the first season, which allows watching it in a marathon or at the time the user wants to. After a while, we check its reallocation in a nar-rowcasting network – Mais Globosat – a paid channel, already with a time slot and some advertising breaks. Soon after, the same series has 1  Obitel Brazil team thanks Kantar Ibope Media, whose information, kindly provided, made it possible to carry out the analyses presented here.   100 | Obitel 2018 other open channel relocation (broadcasting) – Globo –, with weekly frequency and extended commercial intervals. We observe this new production logic (Martín-Barbero, 2001), to be implemented in the country, based on the dynamics of the audiovisual context in 2017. 1.1. Open TV in Brazil The Brazilian television system started being composed of sev-en national networks, with the entry, in 2017, of a public station, TV Cultura. Thus, there are five private and two public broadcasters. Only RedeTV! did not produce national premiere fiction in the year. Chart 1. Open national television broadcasters in Brazil Private broadcasters (5)Public broadcasters (2) GloboRecord TVSBTBandRedeTV!TV BrasilTV Cultura Total broadcasters = 7  Source: Obitel Brazil Graph 1. Audience and TV  share  by broadcaster in 2017 234 Broadcaster Home audienceShare (TLE) Globo13.8839.00SBT 5.2715.44Record TV 5.1214.35Band 1.464.17Rede TV! 0.411.13TV Brasil 0.160.47Others 2  0.140.35OPC 3  7.9721.55OOC 4  1.745.00 TOTAL37.82- Fonte: Kantar Ibope Media – Media Workstation – 15 Markets 2  Other: data from Record News, TV Câmara, TV Justiça, TV Senado and channels not identied or registered by Kantar Ibope Media. 3  OPC: Other Paid Channels: pay TV broadcasters that do not have individually published audience. 4  OOC: Other Open Channels: open TV broadcasters that do not have individually pub-lished audience. GloboOthersSBTRecordBandRedeTV!OOCOPCTV Brasil45.040.035.030.025.020.015.010.05.00.0Home audienceShare (TLE)  Brazil: dynamics of television fiction in the multichannel transition | 101 The national audience for open TV grew compared to 2016, from 37.41 to 37.82. Globo is still leading, with an increase of 0.54 points (from 13.34 to 13.88), and SBT and Record keep the fight for second place, which is SBT’s position since 2015, despite a de-crease of 0.21 points (from 5.48 to 5.27) and Record’s increase of 0.07 points (from 5.05 to 5.12). Band, in the third position, had a decrease from 1.52 to 1.46 points. There was a decrease in the audi-ence of RedeTV! (from 0.47 to 0.41) and TV Brasil (from 0.17 to 0.16).Meanwhile, the growth in pay TV (OPC), registered since 2013 by Obitel, was interrupted. Even with a loss of 2.32% in audience, OPC maintains the second position (it decreased from 8.16 points in 2016 to 7.97 in 2017). It is not possible to compare the index to that of the open channels since it reflects the sum of the audiences of the pay TV broadcasters.When analyzing the domestic share of televisions connected in television channels (TLE), the so-called “pure audience” of TV, we observed an increase of 2.8% in Globo’s share in TLE of 2016 (from 37.93% to 39%), as well as a decrease in the share of OPC, from 23.23% to 21.55%. As for the other broadcasters, the share on TLE remained stable (fluctuations below one percentage point).The penetration of the audience in the year decreased in all means 5 , except for the internet. The ranking had only one change (in the last positions), and open TV remained the leader, with 89%, followed by the expansive media, which includes media such as out-door, with 78.9%. In third place, we have the internet, which, with an increase of 3.3 percentage points, reached a 76.1% penetration. Next, in order, radio, pay TV, cinema and magazines, which started occupying the last position. 5  Decrease in the media penetration index from 2016 to 2017: open TV, 92.3% to 89%; extensive media, 83.1% to 78.9%; radio, 67.9% to 62.9%; pay TV, 47% to 39%; news-papers, 31.7% to 17.2%; cinema, 15.5% to 15.2%, magazines, 24.7% to 17.8%. Internet was the only means with an increase, going from 72.8% to 76.1%. Source: Kantar Ibope Media.
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