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The Emerging Role of Social Media Editor in Germany TV News

Up next at ECREA 2016 are Oliver Hahn and Isabelle Brodeßer, whose interest is in the emergence of social media editors in German TV newsrooms. Such editors do not generate content, but are tasked with identifying user-generated content on social media that can be introduced into the broadcast news coverage. But there are problems here with verification, as well as with the identification of the original authors of such content, both of which are very important in news contexts.

Understanding the Rise of Media Nationalism through the History of Cold War Media

The second ECREA 2016 keynote this evening is by Sabina Mihelj, who begins by acknowledging the substantial growth in eastern European media research, which has challenged and surpassed Cold War frameworks. We now have a better understanding of how the Cold War affected media and communication in east as well as west, and there is much in this history to be optimistic about.

But the ground has shifted again: several European countries now no longer want to be part of a democratic Europe, and the United States have just democratically elected a leader who actively opposes many democratic principles. The notions of democracy, and of Europe, as strikingly different across the countries of this continent. There no longer is a great deal of reasons to be optimistic.

Second-Screen Engagement with Chilean Political Talk Shows

The next speakers at AoIR 2016 are Daniela Ibarra Herrera and Johann W. Unger, whose focus is on second-screen engagement with Chilean political talk shows. These shows often show tweets on screen, and promote their own hashtags as a form of engagement. There are current constitutional problems in Chile, as a hangover from the Pinochet dictatorship, and there are also ongoing issues with political corruption; this means that there is considerable engagement with current political debates.

Netflix and the Geoblocked Internet

The next speaker in this AoIR 2015 session is Nicole Hentrich, who shifts our focus to the problem of geoblocking in accessing televisual content online. Such Internet content is still controlled on a geographic basis; the Internet is thus not experienced the same by everyone, on both an individual, regional, and national basis.

The Commodity Flow of Netflix

The second session on this final day of AoIR 2015 starts with Camille Yale, whose focus is on Netflix. Netflix represents a rearticulation of the commercial media system, rather than a revolution: it has an intense commodity orientation, global ambitions, and oligopolistic practices; it claims for itself that it is democratising entertainment, however.

Introducing Telemetrics: The Weighted Tweet Index (AoIR 2014)

Association of Internet Researchers conference (AoIR 2014)

Introducing Telemetrics: The Weighted Tweet Index

Darryl Woodford, Katie Prowd, Axel Bruns, Ben Goldsmith, Stephen Harrington, and Jean Burgess

This paper introduces a new methodology for analyzing and measuring engagement with television content by users of Twitter. Drawing on factors such as the network, viewing audience, and date of broadcast to establish a baseline expectation for volume of tweets around a television show, and applying techniques from the field of sabermetrics to create neutral volume figures (‘weighted tweets’) which exclude these variables, our metrics provide new insights into television’s social media presence. The methodology provides a variety of new measures for analysing the social media strategies of individual television programs, channels and networks, for comparing users’ engagement with programs, channels or networks, and for predicting future volumes of tweets.

Mapping Social TV Audiences: The Footprints of Leading Shows in the Australian Twittersphere (AoIR 2014)

Association of Internet Researchers conference (AoIR 2014)

Mapping Social TV Audiences: The Footprints of Leading Shows in the Australian Twittersphere

Axel Bruns, Darryl Woodford, Tim Highfield, and Katie Prowd

Drawing on the results of a long-term research project into the network structure of the Australian Twittersphere, combined with an investigation of audience participation through social media in selected reality TV and political debate shows, this paper maps the location of the Twitter communities participating in the social TV components of the selected shows onto the underlying follower/followee network structure of the Australian national Twittersphere. In doing so, it addresses questions about the homology or distinctions between the social TV audiences for the different shows; the correlation between existing follower/followee relationships and participation in specific social TV activities; and the effects of Twitter activity related to specific shows in making these shows visible to the entire national Twitter network. The development of such network-based approaches to the quantification and visualisation of social TV engagement makes another important to the development of reliable and generally applicable metrics for social television.

Black Twitter's Engagement with #Scandal

The final presentation for AoIR 2015 is by Dayna Chatman and Kevin Driscoll, whose focus is on the communities and modes of social TV engagement with specific television texts. Their focus here is especially also on "black Twitter", a particular subset of the US Twitter population that has emerged in recent years: black American users on Twitter have been identified as a distinct group.

But black Twitter is actually a discursive phenomenon that is driven predominantly but not exclusively by black users in the US. The existence of this black Twitter community was detected especially through Twitter's trending topics, whose underlying algorithms were by accident especially well suited to detect the themes emerging from black Twitter, while "white Twitter" topics were not as prominently features.

Television Co-Creation with Social Media Users: #7DaysLater

The next speaker in our AoIR 2015 panel is Jonathon Hutchinson, who zooms in to a specific transmedia programme screened by the Australian Broadcasting Corporation, #7DaysLater. The premise of the show is to create comedy programming within seven days, and to incorporate social media engagement practices into the show.

Such viewing is more than just subsequent watercooler discussions – it's about viewer co-creation practices. The challenge is to break through the noise barrier on social media, and to find the techniques for encouraging audience participation, especially in the context of a public service broadcaster.

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