In the following work, current topics of the changed media landscape in the TV sector are described. In the further course of the work, the latest interactive film example from Netflix will be explained. And finally, there are forecasts for what recipients
must expect in the future.
As soon as we get used to social networks and Internet-enabled smartphones, the cosiness of the living room is over. The leading medium TV is dethroned, Bill Gates even says: consecrated to death. In fact, television is upgrading and becoming a super-medium: highly networked, social and interactive, often in 3D, omnipresent, multifunctional and tailor-made.
More and more people are doing without a television set. They consume moving images via new channels, that have become available in the last ten years. The Internet makes TV reception on computers and mobile devices (smartphones, tablets, notebooks) possible and paves the way for two new developments: TV as a mobile experience is becoming reality; the parallel use of TV and the Internet is increasing.
This simultaneous use of media has risen rapidly in recent years and shows the need for additional information for the TV experience. Usage patterns established on the Internet, are transferred to television. Compared to the many services, that dock to the moving image on the Internet, the linear television program as we know it today looks rather old-fashioned.
Table of Contents
1 Introduction
2 TV in upheaval: New usage patterns
2.1 Main driver convergence: Social TV
2.2 The glory of uniqueness
2.3 The end of stagnation
3 Interactive Television
3.1 With tweets on television
3.2 How apps enhance the television experience
3.3 Netflix Black-Mirror movie Bandersnatch
4 Future Television
4.1 Four future scenarios for 2030
4.1.1 Universal Supermarket
4.1.2 Content Endgame
4.1.3 Revenge of the Broadcasters
4.1.4 Lost in diversity
5 Conclusion
Objectives and Research Focus
This work examines the transformation of the television industry in the digital age, focusing on how increased convergence, interactivity, and changing user behaviors are reshaping the medium. It explores how traditional broadcasting is evolving into a highly networked, social, and tailor-made experience, and analyzes potential future scenarios for the sector by 2030.
- The impact of Internet convergence on traditional TV usage patterns.
- The rise of Social TV and the phenomenon of "second screen" interaction.
- Interactive formats and their potential to deepen viewer engagement.
- Case studies of interactive content, such as Netflix’s "Black Mirror: Bandersnatch".
- Long-term strategic outlook and potential future market scenarios for 2030.
Excerpt from the Book
3.3 Netflix Black-Mirror movie Bandersnatch
In the movie the remote control becomes a joystick: Netflix makes the border between viewer and screen disappear. The movie "Black Mirror Bandersnatch" (since 28 December) is an interactive format for adults.
The highlight is, that you can control the plot of the movie from the couch via remote control or smartphone. The viewer lets the protagonist Stefan go either in one direction or the other - decisions of fate.
It starts with a decision: Sugar Puffs or rather Frosties? The viewer has barely ten seconds to decide by clicking, while a time display runs out at the bottom of the screen. What should 19-year-old Stefan Butler eat for breakfast?
The decision in Netflix's interactive film "Black Mirror: Bandersnatch" is up to the audience. Not all of them are as banal as the choice of the morning snack (see DerTagesspiegel.de, 2019).
Should Stefan take the job at a video game company or should he rather program in isolation from home? Talk to a psychotherapist about his feelings of guilt about his mother's death or suppress the topic? Jumping off a balcony during an LSD trip or persuading his work colleague Colin to commit suicide? This means that at certain forks the viewer chooses how to proceed. Then the selected storylines are played in. According to "Esquire", a total of 312 minutes of footage were shot for this. The actual length of the film at the end depends on the viewer's choice and can vary greatly. The "Independent" reports that the shortest version lasts 40 minutes, the longest two hours. In the end, there are five possible closing scenarios (see Meier, 2019).
Chapter Summaries
1 Introduction: Provides an overview of the shifting media landscape, noting that television is evolving into a "super-medium" despite predictions of its decline.
2 TV in upheaval: New usage patterns: Discusses how Internet accessibility and mobile devices are driving a move away from linear broadcasting toward a personalized, multi-functional viewing experience.
3 Interactive Television: Examines methods of increasing viewer engagement through social media, companion apps, and interactive cinematic narratives.
4 Future Television: Outlines four distinct industry scenarios for 2030 based on a study by Deloitte, highlighting different potential power dynamics among market players.
5 Conclusion: Summarizes the technological drivers of change while emphasizing the ongoing resilience of live, linear television.
Keywords
Television, Social TV, Convergence, Interactive Media, Streaming, Digital Platforms, Viewer Engagement, Media Landscape, On-demand, Broadcasting, Second Screen, Future Scenarios, Content Distribution, Bandersnatch, Digital Transformation.
Frequently Asked Questions
What is the primary focus of this publication?
This work explores the current transformation of the television industry, focusing on how technical convergence and interactivity are changing how audiences consume media.
What are the main thematic areas covered?
The core themes include the shift in user patterns, the rise of Social TV, the role of interactive technology in films and quizzes, and strategic future scenarios for the TV and video industry.
What is the central research question?
The paper investigates how television is adapting to the challenges posed by the internet and digital platforms to remain relevant as a "super-medium."
Which scientific approach is utilized?
The author uses a descriptive analysis based on existing trend studies, industry reports (such as Deloitte), and case studies of contemporary interactive media projects.
What topics are analyzed in the main part?
The main part covers the convergence of the internet and TV, the evolution of social interaction via second screens, specific interactive TV formats, and future industry development models.
Which keywords best characterize this work?
Relevant keywords include Television, Convergence, Interactive Media, Social TV, and Digital Transformation.
How does the author define the "glory of uniqueness"?
It refers to the idea that despite the infinite choices of the internet, the medium of television remains special because it provides communal experiences, such as live events and shared viewing.
What is the significance of the "Bandersnatch" example?
It serves as a primary example of how interactive, non-linear storytelling for an adult audience can turn the viewer into a decision-making participant, effectively merging video games with cinematic content.
- Citation du texte
- Hanna Treyer (Auteur), 2019, Television as a Social Medium. New Usage Patterns and Future Scenarios, Munich, GRIN Verlag, https://www.grin.com/document/502349
