Decisions in the process of television programming focus on choosing unique content that the viewer can identify with the specific media. Investing in unique content is a long-term goal.
The unique content in the television media is a set of productions – author’s projects, reality shows, series or film productions, which correspond to the corporate image of the media and the content values correspond to the editorial responsibility.
All national televisions claim to create unique content – something new, something only they are willing to invest in. There are no practices to invest in projects that competitive media promotes among viewers.
Cross-media projects that continue in online TV platforms are referred to as unique content.
Production with original script, distributed through license rights. The most commonly cited examples of original content are iconic series, but also celebrity columns or shows, as well as sports content. The scripts of the series are based on popular works of art and are widely recognizable to the audience.
News programs identify to their audiences as exclusive content journalistic findings of their editorial team – they find topics, stories, characters and present them with a degree of sensation. Exclusive content is defined as any additional information that can be found on the media platforms on a given “hot” topic. Exclusive are also the materials or footage that only one media has.
Content that the media produces or buys for online consumption – for example: studio series, web series and freely available on the online platforms. Series are an example of an original and dynamic script of productions aimed at a youth audience and active online users.
These productions bring the best qualities of investments in web series. The short dramatic form reflects the value culture of digital generations (Y, Z, “Alpha”) according to Mark McCrindle’s classification – perceive the world, learn and communicate through technology and the use of various devices.
Unmoderated online content
Content that is hosted on various types of platforms and disseminated through social media. The creation of such content does not pass through the professional filter of journalism and in very rare cases is a production result. Generated online content on the idea and inspiration of active users – amateur videos, filmed personal stories, “problematic reports” on the idea of citizens.
Depending on the attractiveness, the importance of the content and the consistency to keep it updated, the authors manage to attract the attention of a loyal group of users and followers in the free digital space. By creating and promoting content in their own channels, they find different artistic expression in the so-called microfluencers, influencers and vloggers – opinion leaders in a given field, who establish themselves in a certain consumer circle and through their creativity and initiative gain critical attention. Part of the unmoderated content can be defined as risky content because it is created and distributed outside regulatory rules and principles.
Long Lasting Trends
In the global trend of increasing video consumption, global consumer audiences seek, use and pay through various types of audiovisual services professionally produced original content, in which the most significant share are series – television productions distributed on online platforms, series such as digital original content or web series.
Regular surveys of market services show the crucial choice of the young and active consumer group, which through consumption through various devices gives a positive assessment of the hit series of global media companies – television organizations or platforms.
The production of original content, close to television genres, according to the preferences of consumer audiences is divided into three leading areas – series and forms of news and sports content. Entertainment formats continue to occupy a large part of the investor’s content. The short genre form of the series compared to a traditionally long film work, the dynamically developing dramatic action, the interesting stories and the well-written scripts are the audiovisual product expression of the modern media empathy.
The new series are commercial-quality, interpret contemporary issues problematic for humans and rely on the formula for creating universal values. The most influential approaches are the lines of identification with destinies and situations between audience and characters.
The Rise of TV Series & TV Digitalization
The rise of series production began in the early 20th century, when there was a reorganization of huge budgets and creative potential of famous producers, directors and star actors from the film to television industry. The first major competitors in the US television market to concentrate series production on television were the corporations HBO and SHOWTIME.
As part of the structure of Time Warner, HBO is extremely well positioned in the market and the production of series for broadcast on its own television and cinema network, brings many times more return on investment. HBO has established itself as a production unit of modern high-budget series, which form genre trends in series production – “Game of Thrones” – a triumph of fantasy-drama series.
The trend of TV series production is explained by a series of economic factors – the turbulence of world markets and segmentation of audiences in digital societies. The process of digitalization of television viewing increases the quality of the created production, increases the opportunities for access and distribution of content for the benefit of users – at any time and place through a television set, in the Internet environment, mobile services, prepaid services, etc.
Digitization creates a basis for digital preservation of cultural heritage, part of which are the series – the short genre form is not only liked by viewers because it is convenient to watch in the dynamic everyday life, but also because it favors the preservation of culture in a compact digital format. They are a “smart” investment, because they are distributed through established communication channels, where television viewers are users of content, brought up on loyalty and expectation of something new.
Another wave of restructuring of world markets reflects on investment opportunities in the creative industries – the implementation of large-scale film projects takes place over time, and from the point of view of viewers, a three-hour film requires significant personal time and buying a ticket is an additional cost. From the point of view of the investor and the distributor, the shrinking of household budgets inevitably affects the chances of large revenues from the created films.