This book explores how the television industry is adapting its production culture and professional practises of scheduling to an increasingly non-linear television paradigm, a testing ground where different communicative tools are tried out in a volatile industry. Based on four case studies the book argues that a new television paradigm is being produced from within the multiplatform television organisations themselves in order to adapt to changing viewer habits and the tensions between digital and broadcast television. Drawing on a unique genre and production studies approach that cuts across the humanities and sociology in television studies, chapters cover in-depth studies of: * The communicative changes to the on-air schedule as a televisual text phenomenon in the digital era, and how the conceptualisations of the audience are changing in scheduling and curation for multiplatform portfolios * The changing production culture of scheduling in companies for their multiplatform portfolios * The dilemmas of curation in multiplatform portfolios. Situated at the intersection of the humanities and sociology in media production studies, this book will be of key interest to scholars and students of television studies, media production studies and cultural studies and to researchers and media professionals and management in the television industry.

This book explores how the television industry is adapting its production culture and professional practises of scheduling to an increasingly non-linear television paradigm, a testing ground where different communicative tools are tried out in a volatile industry. Based on four case studies the book argues that a new television paradigm is being produced from within the multiplatform television organisations themselves in order to adapt to changing viewer habits and the tensions between digital and broadcast television. Drawing on a unique genre and production studies approach that cuts across the humanities and sociology in television studies, chapters cover in-depth studies of: * The communicative changes to the on-air schedule as a televisual text phenomenon in the digital era, and how the conceptualisations of the audience are changing in scheduling and curation for multiplatform portfolios * The changing production culture of scheduling in companies for their multiplatform portfolios * The dilemmas of curation in multiplatform portfolios. Situated at the intersection of the humanities and sociology in media production studies, this book will be of key interest to scholars and students of television studies, media production studies and cultural studies and to researchers and media professionals and management in the television industry.

Hvad er satire for en form for humor, og er det underholdning? Hvordan har satiren udviklet sig i dansk tv og hvorfor? Hvorfor g r tv-satiren grin med almindelige mennesker, og hvad blev der egentlig af den politiske satire i dansk tv? Hvorfor bliver tv-satiren n sten altid sendt p DR2? Det er nogle af de sp rgsm l, som Dansk tv-satire. Underholdning med kant besvarer. Den belyser og diskuterer tv-satirens programudvikling siden 1968, og den fremh ver den danske tv-satires s rlige karakteristika. Den ser p, hvordan tv-satiren er blevet produceret, og den beskriver og modstiller to produktionskulturer, der har pr get dansk tv-satire og dermed de programmer, seerne er blevet tilbudt. Bogen er det f rste, st rre samlede bidrag om en dansk tv-satire. Den bygger p en omfattende genreanalyse af den danske satiretradition i sp ndingsfeltet mellem tradition og fornyelse. Den bygger desuden p interviews med producenterne af tv-satiren, fra tekstforfattere og komikere til redakt rer og kanalchefer. P den baggrund diskuteres konsekvenserne af udviklingen for dansk public service-tv's underholdningsprofil og de udfordringer, programtraditionen st r overfor i et konkurrenceudsat mediemilj .