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The New Television Ecosystem

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Edited By Alberto Abruzzese, Nello Barile, Julian Gebhardt and Jane Vincent

This highly topical book deals with the new frontiers of digital television addressing the challenges it faces as a result of the upsurge of new and converging digital technologies. In a world which has developed online interactivity and new roles for its users, a new scenario of the domestic sphere is emerging where television has lost its dominance within audiovisual products to the Internet, videogames, tablets, mobile phones, and more. Contemporary digital television is thus a field where different platforms, languages and formats compete in order to become the dominant standard for the future. In this new TV ecosystem audiences are negotiating their identities and are implementing practices of use which are redesigning the entire processes for TV production and consumption.

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Part I The Role of Emotion in the New Television Ecosystem

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21 Leopoldina Fortunati & Sakari Taipale Adoption of New Forms of Television and Emotion in Five European Countries Introduction Digitalisation of broadcasting techniques is transforming the landscape of televi- sion across the world. In Europe, the regulation and adoption of terrestrial televi- sion broadcasting in particular have received a lot of public attention within the last few years. Along with terrestrial television, Internet Protocol TV (IPTV) is considered to have remarkable market potential as broadband connections have become faster and easier to access (Thompson, 2007; Simpson and Greenfield, 2007). Despite the emerging forms of TV, a remarkable number of Europeans are still watching analogue terrestrial television or making use of cable and satellite technologies based on analogue or digital solutions. It is our intention to look at the extent to which the populations of the five of the most populated and affluent European countries – Italy, France, Germany, the United Kingdom and Spain – have adopted these new forms of television. The first aim of the study is to explore how the television audience has split into sev- eral different audiences according to the various platforms now available and identify the socio-demographic structures of these different TV audiences. There- fore, although the history of television studies has developed largely around the question of the medium’s influence (Silverstone, 1994, p. 132), in this paper we want to focus on viewers’ identity by drawing portraits of the audiences of the new forms of television. Our first hypothesis is that the oft-discussed fragmenta- tion and individualization...

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