beyond the tv borders_light

David Campelo – [email protected]

University of Porto/Aveiro – ICPD 2015-2016

BEYOND THE TV BORDERSUsing the Second-screen as a tool for audience

engagement

Context/Motivation

Information technology revolution (Castells, 2011)

Convergence participatory culture (Jenkins, 2006)

Appearance of new media followed by

smart multimedia mobile devices

World of fragmented content and non-

sequential viewing (Scolari, 2009)

David Campelo – [email protected] University of Porto/Aveiro – ICPD 2015-

2016

Image: DrAfter123/Getty

mailto:[email protected]

84% of U.S. smartphone and tablet owners use these devices as companion screens while watching TV.

Source: Nielsen Digital Consumer Report (2014)

However, they

are not always

used for

browsing things

related to the TV

content.

Context/Motivation


2016


Context/Motivation

Challenge to the television industry

Keep the audience engaged and avoid distraction (Geerts

et al., 2014; Lochrie & Coulton, 2012)

So, how could second screen solutions be applied to

different scenarios to foster the viewer and consumer

engagement?David Campelo – [email protected] University of Porto/Aveiro – ICPD 2015-

2016


“Water cooler effect”

TV viewing experienced

transformed by the connected

devices

Information exchanged in

social media networks

DURING the transmission

Television advertisers and

producers to receive live

feedbacks about their

programming

Second screen as an engagement

tool


2016


Shazam second screen experience

Mobile application

Song identification service evolved to an interactive

advertising provider

Audience is encouraged to access additional

information as they are stalled at the commercial

breaks.


2016


Shazam second screen experience

A report developed by Frank N. Magid Associates

(2012) attests the efficacy of using Shazam for TV

advertising.

People bookmarked the ad for later use

Increased future intent to take action

Promoted social activity – users talking about the brand


2016


Second screen transmedia

Alternative to bring the viewers back to real live

transmission

Provides deeper experiences, motivates participation

and induce to more content consumption (Scolari, 2013)

Complementary self-contained narratives on different

platforms (Jenkins, 2006)

Source: Anorak Digital Agency, 2015.


2016


‘The Walking Dead’ transmedia

experiences

From comic books series to television

“The Talking Dead” talk show works as an episode

extension where audiences, actors and members of the

production take part in interviews

Webisodes, Facebook and Twitter profiles, social

games, etc.


2016


‘The Walking Dead’ transmedia

experiences

High exposure to the contents leads

to emotionally linked fans

Survival training courses

Fans promoting zombie events as

participatory culture (Jenkins, 2006)


2016


The impact of Social TV

Creation of parallel narratives on Twitter – Participative culture(Lochrie & Coulton, 2012)

Using hashtags increases the amount of tweets by 20% of TV shows

A higher level of engagement with the content entices the audience to generate more content. Extensions, parodies, recaps, alternate endings, spoilers, mashups (remixes) and adaptations are some of the content generated proactively by the fans (Scolari, 2013).

Interactivity and sociability are driving viewers back to primetime, making appointment viewing relevant again


2016


Conclusions

The growing usage of mobile connected devices at home has unveiled opportunities for media consumption never seen before.

While the majority of viewers already split their attention between the TV and another screen, the average gaze on the TV decreases drastically (Holmes et al., 2012).

TV industry is seeking options to strengthen audience engagement at a time of viewers are increasingly avoiding advertising

Clear focus on viewers’ involvement rather than on passive consumption.


2016


Conclusions

Higher engagement leads to new revenue streams

Scenario of systematic audience erosion and illegally accessed content

A must-do for broadcasters, marketers and producers is to better understand the viewers’ requirements and habits so strategies involving second screen are more efficient, promoting viewers’ loyalty and generating more revenue flows.


2016


References

AMC. (2015). The walking dead series. Retrieved November 11, 2015, from http://www.amc.com/shows/the-walking-dead

Castells, M. (2011). The Rise of the Network Society: The Information Age: Economy, Society, and Culture, Volume 1. John Wiley & Sons. Retrieved from

https://books.google.com/books?id=FihjywtjTdUC&pgis=1

Crunch, M. (2013). Shazam Pulls In $40M From America Movil To Take On Latin America. Retrieved November 11, 2015, from http://techcrunch.com/2013/07/07/shazam-pulls-in-

40m-from-america-movil-to-take-on-latin-america/

Ericsson ConsumerLab. (2013). TV and Media - Identifying the needs of tomorrow’s video consumers. Retrieved from http://www.ericsson.com/res/docs/2013/consumerlab/tv-and-

media-consumerlab2013.pdf

Frank N. Magid Associates. (2012). Research: Shazam Extends Ad Engagement. Retrieved November 11, 2015, from http://www.magid.com/node/239

Geerts, D., Leenheer, R., De Grooff, D., Negenman, J., & Heijstraten, S. (2014). In Front of and Behind the Second Screen - Viewer and Producer Perspectives on a Companion

App. In Proceedings of the 2014 ACM international conference on Interactive experiences for TV and online video - TVX ’14 (pp. 95–102). New York, New York, USA: ACM Press.

http://doi.org/10.1145/2602299.2602312

Holmes, M. E., Josephson, S., & Carney, R. E. (2012). Visual attention to television programs with a second-screen application. In Proceedings of the Symposium on Eye Tracking

Research and Applications - ETRA ’12 (p. 397). New York, New York, USA: ACM Press. http://doi.org/10.1145/2168556.2168646

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. Journal of Chemical Information and Modeling (Vol. 53).

http://doi.org/10.1017/CBO9781107415324.004

Lochrie, M., & Coulton, P. (2012). Sharing the viewing experience through Second Screens. Proceedings of the 10th European Conference on Interactive Tv and Video - EuroiTV

’12, 199–202. http://doi.org/10.1145/2325616.2325655

Nielsen. (2014). What’s Empowering the New Digital Consumer? Retrieved November 11, 2015, from http://www.nielsen.com/us/en/insights/news/2014/whats-empowering-the-

new-digital-consumer.html

Nielsen. (2105). Screen Wars - The battle for eye space in a TV-everywhere world. Retrieved from http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2015-

reports/nielsen-global-digital-landscape-report-march-2015.pdf

Reiss, S. (2006). His Space. Wired Magazine 14.07. Retrieved from http://www.wired.com/2006/07/murdoch-2/

Scolari, C. A. (2009). The Grammar of Hypertelevision: An Identikit of Convergence-Age Fiction Television (Or, How Television Simulates New Interactive Media). Journal of Visual

Literacy, 28(1), 28–49.

Scolari, C. A. (2013). Narrativas transmedia: Cuando todos los medios cuentan. Barcelona: Deusto. Retrieved from https://books.google.com/books?id=TkLbMpQbK0YC&pgis=1

Shazam. (2015). Auto Shazam Automatically Recognizes Music and TV Around You.

Skybound LLC. (2015a). The Waking Dead. Retrieved from http://www.thewalkingdead.com/category/comics/

Skybound LLC. (2015b). The Walking Dead Escape. Retrieved from http://thewalkingdeadescape.com/

Twitter. (2015). Best practices from the TVxTwitter Playbook. Retrieved from https://blog.twitter.com/2015/best-practices-from-the-tvxtwitter-playbookDavid Campelo – [email protected] University of Porto/Aveiro – ICPD 2015-

2016

https://blog.twitter.com/2015/best-practices-from-the-tvxtwitter-playbook


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