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TV PROGRAMMING

TV PROGRAMMING. LATAR BELAKANG. Sistim Kelembagaan Televisi Lingkungan Makro Televisi Manajemen Siaran (Programming) Televisi. SISTIM KELEMBAGAAN. Mengenal Sistem Kelembagaan Televisi PENDEKATAN KONTROL PEMERINTAH. Authoritarian Paternalistic Permissive Demokrasi.

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TV PROGRAMMING

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  1. TV PROGRAMMING

  2. LATAR BELAKANG • Sistim Kelembagaan Televisi • Lingkungan Makro Televisi • Manajemen Siaran (Programming) Televisi

  3. SISTIM KELEMBAGAAN

  4. MengenalSistemKelembagaanTelevisiPENDEKATAN KONTROL PEMERINTAH • Authoritarian • Paternalistic • Permissive • Demokrasi

  5. MengenalSistemKelembagaanTelevisiKATEGORISASI LEMBAGA TELEVISI • Commercial • Free TV / Terestrial TV • Pay TV • TV Cable • TV Satelite • Pay per View • Non Commercial • Public Broadcasting • Community Broadcasting • Government Broacasting

  6. MengenalSistemKelembagaanTelevisiKATEGORISASI LEMBAGA TELEVISI Sistim Penyiaran • Network / Affiliate / Berjaringan • Independent

  7. MengenalSistemKelembagaanTelevisiKATEGORISASI LEMBAGA TELEVISI • Government Broadcasting • Public Broadcasting • Private Broadcasting

  8. LINGKUNGAN MAKRO

  9. DinamikaLingkunganMakro Media penyiaran INTERNAL FORCES Ownership Budget and financing policies Organizational structure Staff / employee factors Programming policies Promotional and public relation policies EXTERNAL FORCES Consumer tastes and preferences Programming and sales policies of competitors Federal, state and local regulation Commercial backers ( adv. Agencies, advertisers ) Networks, syndicators Industry support groups ( ratings services, equipment suppliers ) Lobbyists and trade associations Labor unions

  10. DinamikaLingkunganMakro Media penyiaran EXTERNAL CHANGES Technological Changes Economic Change Demographic Change Civil Rights Audience Fragmentation

  11. ORGANISASI

  12. Organisasi Media PenyiaranTelevisi

  13. Organisasi Media PenyiaranTelevisi • DEPARTEMEN UTAMA • Departemen Programing • Departemen Produksi • Departemen News & Current Affairs • Departemen Teknik • Departemen Marketing & Sales

  14. Organisasi Media PenyiaranTelevisi • DEPARTEMEN PENDUKUNG • Departemen Keuangan • Departemen HRD dan GA • Departemen PR / Corporate Communication

  15. WHAT IS TV PROGRAMMING

  16. TV Programming • Programming is one of the most important department in a television station – it is the heart of the station. • What we sell is program – and what we give to the viewers is program. • From programming the “personality” of the station will be determined. • From programming is where the master plan is made, acquisition is purchased, materials is delivered and on-air ‘look’ is formed.

  17. Defining TV Programming • Selecting, finding and developing new shows that will attract the most appropriate audience; • Schedulling shows on the air for particular day part to compete effectively against all competition; • To maximize the size of an audience targeted by advertisers.

  18. TV Programming Main Issues • Audience Gratification • Business Gratification • Good Programs

  19. Logic of Programming PROGRAM AUDIENCE SIZE PROGRAM COST ADVERTISING OPPORTUNITY AUDIENCE NEED TV STATION / FTA CONSUMER AWARENESS ADVERTISER AUDIENCE PROGRAM PREFERENCES

  20. The Logic of Programming PROGRAM SOURCE OF VALUES CREDIBILITY & TRUSTWORTHY AUDIENCE NEED PROGRAM VIEWERSHIP & LOYALTY TV STATION / PBS PUBLIC OPINION & EXPRESSION STATE/SOCIETY AUDIENCE PUBLIC SPHERE

  21. The Logic of Programming: Breakdown

  22. S-T-PSegmenting-Targeting-Positioning

  23. S-T-P • Segmenting • Suatu proses untuk membagi-bagi atau mengelompok-kelompokkan konsumen ke dalam kotak-kotak yang lebih homogen berdasarkan kesamaan karakter dan atau kebutuhan • Targeting • Menyeleksi dan memilih segmen yang akan menjadi fokus atau sasaran pemasaran

  24. S-T-P • Contohsegmentasi by demografi • Contoh target by demografi

  25. S-T-P • Positioning • Positioning is not what you do to a product. It is what you do to the mind of the prospect • Positioning bukanlah strategi produk, tetapi strategi komunikasi, tentang bagaimana konsumen menempatkan produk anda di dalam otak dan daya imajinasinya serta mengidentifikasikan dirinya dengan produk itu.

  26. TUJUAN S-T-P • Pada kenyataannya mass marketing (undifferentiated marketing strategy) tidak berlaku karena pasar tidak homogen • Melakukan deferensiasi pasar • Melakukan deferensiasi produk

  27. Contoh Positioning

  28. At National Geographic, we believe in the power of science, exploration and storytelling to change the world

  29. Discovery Channel is dedicated to creating non-fiction content that informs and entertains its viewers about the world in all its wonder. The network offers a signature mix of high-end production values and cinematography across genres including science and technology, exploration, adventure and history and in-depth, behind-the-scenes glimpses at the people, places and organizations that shape and share our world.

  30. We are CNN This is our story We are the now and the next. The power behind the people building the future. We are born from the spirit of innovation. We are created from the idea that people around the world want more, need more, deserve more. We are the home of the global digital revoluti

  31. We are Programmers We are the newsroom ninjas skilled in many crafts. This is the home for the tech talent that wants to own a stake in the industry uprising. This is not business as usual.

  32. We are Storytellers Forget what you know, this is a new video experience. Mobile, social, global - there is no platform untouched and no boundary unbroken. We ideate. We innovate. We create.

  33. We are Journalists We tell the stories people want to hear and listen to the stories people want to tell. It isn’t just the heart of what we do, it’s the heart and soul of who we are. We are journalists and we are here to do a job, but this is not work. This is our common bond. It is our purpose.

  34. Genre dan Format

  35. Genre: Drama • Actioan Adventure • Biopics • Comedy • Contemporary Crime (Detective, Gangster, Suspens Thriller) • Epic and Spectacles • Horror and Science Fiction • Musical • Social Problem • Teenpics • War Film • Western • Melodrama

  36. Genre: News and Information • Hard News • News Features • Current Affair / Daily Magazine • Weekly Magazine / soft documentaries • Talkshow • Court Show • Criminal Poster • Video Verite • Keyhole Shows • Pseudosport

  37. Genre: Nielsen Categories • A01 SERIES: DRAMA • A02 SERIES: ACTION/ADVENTURE • A05 SERIES: SITCOM/COMEDY • A07 SERIES: HORROR/MYSTERY/THRILLER • B01 MOVIE: DRAMA • B02 MOVIE: ACTION/ADVENTURE • B05 MOVIE: SITCOM/COMEDY • B07 MOVIE: ANIMATION/PUPPET • B08 MOVIE: HORROR/MYSTERY/THRILLER

  38. Genre: Nielsen Categories • C02 ENTERTAINMENT: TRADITIONAL • C04 ENTERTAINMENT: LIGHT ENTERTAINMENT • C05 ENTERTAINMENT: MUSIC • C06 ENTERTAINMENT: VARIETY SHOW • C07 ENTERTAINMENT: QUIZ • C08 ENTERTAINMENT: GAME SHOW • C09 ENTERTAINMENT: REALITY SHOW • C10 ENTERTAINMENT: COMEDY • C11 ENTERTAINMENT: TALK SHOW • D02 CHILDREN: SERIES • D03 CHILDREN: SERIES ANIMATION/PUPPET • D06 CHILDREN: QUIZ/GAME SHOW • D08 CHILDREN: MUSIC/VARIETY/LIGHT ENTERTAINMENT • D09 CHILDREN: EDUTAINMENT

  39. Genre: Nielsen Categories • E03 INFORMATION: TALKSHOW • E04 INFORMATION: DOCUMENTARY • E05 INFORMATION: INFOTAINMENT • E06 INFORMATION: INFOMERCIAL • E08 INFORMATION: TV MAGAZINE • E10 INFORMATION: SKILL/HOBBIES • E11 INFORMATION: TRAVEL/LIFESTYLE/LEISURE • F03 NEWS: SPECIAL NEWS • F04 NEWS: HARD NEWS • F05 NEWS: TALKSHOW • F06 NEWS: FEATURE • F07 NEWS: CRIME

  40. FORMAT Miniseries

  41. FORMAT

  42. LONGRUN SERIES (SOAP OPERA ETC.)

  43. SERIES

  44. EPISODIC

  45. ANTHOLOGY

  46. SPIN OFFS

  47. CROSSOVER

  48. Good Program

  49. Good Programs • There are two levels of how TV transforms a condition from “lesser to better”: • Healing experience (from aversive to positive). • To provide presence, not feeling alone. • Less information  Being informed OR Less entertainment  Being entertained, amused, not sad, not stressed. • Deriving Meaning (from ordinary to meaningful). • Deriving a deeper meaning from the experience.

  50. Good ProgramsFulfilling the meaning through appeling execution APPEAL THE BAIT – Appealing execution The way in which the program is presented THE HOOK – Meaningful fulfillment A deeper meaning derived from the program LOYALTY

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