Cable TV

Digitisation of cable television in India is an important and necessary step for regulating cable television sector in India and to bring transparency in the system to benefit all stakeholders, including consumers and cable operators.

The Cable Television Networks (Regulation) Amendment Bill, 2011 mandated that all Cable companies should convert their analogue systems to digital in four metros by 31 March 2012 and whole country should go digital by 31 December 2014. The Act also requires the cable operators to submit reports on the total number of subscribers, subscription rates, and the number of subscribers for free-to-air and pay channels.

In analogue systems, it was difficult to ascertain how many households are subscribing to cable services. The actual number was known only to the local cable operators who also worked as bill collection agents. TRAI mandated that revenues gathered by cable operators should be split among broadcasters, Multi Service Operators and Local Cable Operators. But cable operators undervalue the amount collected which was great loss for broadcasters.

With the digitisation of cable television every household accessing signals is counted and cable operators are forced to share their collections with MSOs and broadcasters. Consumers are also able to select and pay only for the channels they wish to see.

This research paper will study the impact of digitisation on broadcasters, MSOs, LCOs and viewers. Its advantages and disadvantages to various stakeholders, changes it will bring into television sector.

Os cabos submarinos de fibra óptica e os satélites de comunicações – representação e desconstruções. Curiosamente, e apesar da sua enorme e crescente importância para comunicações contemporâneas de inúmeros tipos, os cabos de fibras ópticas, e sobretudo os cabos submarinos de entre os quais são de sublinhar os que ligam entre si as costas litorais das bacias oceânicas e marítimas – e a partir daí os interiores das massas continentais – não têm nem por sombras recebido a atenção pública e/ou académica que merecem. Como tantas vezes é o caso ao abordarmos questões tecnológicas, as representações espontâneas da importância que lhes atribuímos são enganadoras: talvez em resposta à publicitação das corridas ao espaço encetadas pelo Sputniks soviéticos, no quadro de uma corrida espacial que se prolongou pela Guerra Fria adentro, culiminando com a vitória norte-americana com o seu pico na alunagem do módulo Eagle da Apollo 11, a 20 de Julho de 19692. Uma vitória acompanhada e depois seguida por um número cada vez maior de objectos colocados em órbita para garantir melhores comunicações bem como missões espaciais de todo o tipo que vemos crescer vertiginosamente, levadas a cabo pela Rússia, pelo Japão, pela União Europeia, pela Índia, pela China, entre vários outros, supostamente criando redes físicas de suporte tecnológico que servem de garante para as nossas comunicações. No entanto, esse suporte tecnológico não está no espaço, acima, mas antes nos fundos marítimos e oceânicos. Vários actos relevantes há que falam por si na desconstrução deste mito. Segundo dados, relativos a 2016, fornecidos pela US Federal Communications Commission, apenas 0,37% da capacidade norte-americana para estabelecer comunicações com o exterior depende de satélites. Ou seja, virtualmente toda essa capacidade corre nos cabos submarinos3. No resto do mundo a situação não é muito diferente, com excepção, claro está, para os Estados ditos " encravados " , a saber, sem costa (que também usam cabos de fibra óptica, mas terrestre). Tem sido através deles que passam as comunicações áudio e vídeo de telecoms variados, todo o tipo de operadores móveis, Estados e empresas transnacionais, motores de busca, fornecedores de dados, bancos e banca, i.e. informação e instruções relacionadas com investimentos públicos e privados. Neste artigo abordo a importância da centralidade crescente de Portugal na rede global de cabos, nas suas diversas fases e com as suas dificuldades e vantagens próprias.

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The universal problematic of market definition poses peculiar challenges in multilingual and fragmented media markets, like in India. This article engages with this problematic by taking up the case of the TV distribution in India. Amidst the heightened expansion of the TV distribution business during the last decade, we notice a series of cases at the Competition Commission of India (CCI) pertaining to ‘relevant market’. This paper provides a critical appraisal of CCI’s engagement with ideas of relevant geographical market and relevant product market between 2011 and 2015. Focusing on key ideas deployed in debating relevant markets, viz. substitutability and service area, the paper unravels conceptual and methodological challenges provoked by market definition in complex media landscapes.

The existing literature on ESPN tends to explain the network’s phenomenal success as a function of savvy executives, charismatic talent, and Americans’ insatiable appetite for sports. Each of these factors has certainly been important; however, ESPN did not achieve its dominance in a vacuum. This chapter identifies several key law and policy developments that since the 1960s have shaped the sports, cable, and satellite television industries in ways that were fortuitous for ESPN. Yes, ESPN’s executives recognized Americans’ demand for live sports and witty banter; however, there is nothing natural or inevitable about the markets for sports or media. They are products of struggle over law and policy, and ESPN has been a clear beneficiary of those struggles.

Keywords: ESPN, Political Economy of the Media, Cable Television, Media History, Media Policy

The cable television network VH1 uses 1980s popular music-heavy metal music, specifically-to target audiences from across generations. Whereas older viewers who are familiar with heavy metal music are courted with the many music videos, interviews, and documentary programs that chronicle the genre's performers across VH1's content, younger viewers are courted with tongue-in-cheek modes of address that play on the stylistic and gendered excesses of heavy metal. Moreover, VH1 rearticulates for largely female audiences a genre most closely identified with young men, unsettling some of the subject-object dynamics at work in their repackaging of 1980s popular music. Reading the reality program Rock of Love amidst other elements of VH1's 1980s-themed programming, the author demonstrates how television recalls its own history to court ever-more viewers. In doing this, the network reifies some "old" gender politics in "new" texts. At the same time, the network issues some rejoinders and revisions to these politics. Television's narration of history is thus fragmented and contradictory, offering multiple points of entry to assorted viewerships.

This thesis explores the current pervasiveness of conspiracy-themed shows on American television. It argues that such shows should not simply be regarded as symptomatic expressions of widely shared cultural anxieties in post-9/11 America, but circulate because of a shared narrative structure which provides unique appeals and invites 'forensic' audiences practices. Discussing prominent examples like The X-Files, Lost, Fringe, and Homeland, this thesis sketches the narrative logics of what I call 'the conspiratorial mode of storytelling' and the audience practices it invites - arguing that these shows encourage their audiences to engage with their narrative material in a manner that parallels the paranoid hermeneutics of conspiracy theorists. As such, they provide audiences with a pop-cultural playground to engage with conspiracy theory - and allow them to 'try out' the paranoid interpretive logics of conspiracy theorists in the attempt to unravel their central narrative enigmas. These shows thus become culturally 'productive' by promoting conspiratorial thought. My thesis furthermore offers an overview of recent work on conspiracy theory (as ideology, as a mode of interpretation, and as a narrative structure),  relates the latter to popular television series and engages critically with recent academic appraisals of narratively complex television and participatory culture.
In developing its argument, it tries to offer some answers to the question how increasingly complex television series maintain their accessibility and audiences' active engagement despite increasingly dense narrative developments and their stories' tendency to careen towards incoherence. Accordingly, this thesis relates their current prominence to the media environment of the post-television (or convergence) era, and its digital fora that allow for the discussion, interpretation, and analysis of TV texts. It furthermore reads the increasing complexity of television series as indicating a further permeation of the boundaries between work and leisure under advanced capitalism.

U.S. basic cable channels are increasingly directing their brands toward millennials due to the increased economic importance of this demographic group. This article contributes to scholarship on basic cable economics and scripted programming by providing insight into how the institutional prioritization of millennials is shaping commissioning and marketing strategies in the sector. Using the USA Network drama series Mr. Robot(2015–present) as a case study, it demonstrates how widespread assumptions within media culture concerning millennial viewers' personalities, preferences, and behaviors are influencing approaches to basic cable series narrative and promotion, and—accordingly—informing channel brand identities. It argues that these assumptions are influencing channels to (1) develop brands around programming that can be perceived to have social value, (2) amplify stereotypes of millennials as " digital natives " and " snowflakes, " and (3) circulate marketing material that presumes millennials' familiarity with online technology and deemphasizes the promotional purpose of such content.

Our team project is about the working of flight control surfaces by using mechanical system. In mechanical flight control system the control stick is moved by external force of pilot to deflect the primary and secondary control surface. The prototype of flight control surface was made from Cessna-172 aircraft by reducing scale ratio of it. The movement of control surface is obtained by the applied force on the control stick or pedal is transmitted to pulleys by cable. Then the tension of cable to make the control surface deflection. Demonstrate the mechanism of mechanical flight control system and their components. Understand the concept of force transfer through the pulleys, cables, gears and chain.

Cable TV Law, which designed a competitive market with five licenses issued in each area, was touted as a victory for democracy by the opposition parties. In less than a decade, however, drastic merger movements led to a monopolistic structure. The abuse of monopolistic power has become pervasive. This article studies this unexpected historical twist by examining the industry's market dynamics during the country's democratization in the 1990s. To show the path-dependent mechanisms in the nonlinear development trajectory of the market, a sociological approach is applied that emphasizes firms' competitive strategies in controlling the multiple dimensions of uncertainties and rules that induce this competition.

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It is always wise to choose bundles than individual plans, which helps you save your time and money. Most popular internet service providers offer various kinds of bundle plans which will help you save your money. Tripleplay helps you compare the deals and choose the best for you.

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In all the buzz surrounding Video on Demand, with scores of executives and mounds of data predicting certainty of success, questioning the value proposition borders on heresy. But with hundreds of channels and thousands of programs already available, offering more programs over VOD is like trying to sell sand in a sandstorm. Movies-on-Demand seems like an obvious winner, but is 'order, pause & rewind' enough to inspire viewers to spend more money on Cable TV?

As new technologies find new markets, the telecommunications field must deal with definitional problems and with challenges to existing regulation. This paper looks at the fields of cable television and telecomputing, and approaches to their regulation, in order to shed light on the question of telephone companieS' (telcos) potential involvement in electronic publishing. Following an introductory section, the first section deals with the First Amendment and the media. The cable television monopoly is the topic of the second section; a third section discusses telecomputing. The telephone monopoly is treated in the fourth section, and the future of electronic publishing in the fifth. The conclusion asserts that telco exclusion from electronic publishing is no longer constitutional, and that telcos should be free to enter electronic publishing with any regulations on that freedom narrowly tailored to suit the specific threats telcos pose in the communications marketplace. Fifty-seven notes are included. (SR)

As new technologies find new markets, the telecommunications field must deal with definitional problems and with challenges to existing regulation. This paper looks at the fields of cable television and telecomputing, and approaches to their regulation, in order to shed light on the question of telephone companieS' (telcos) potential involvement in electronic publishing. Following an introductory section, the first section deals with the First Amendment and the media. The cable television monopoly is the topic of the second section; a third section discusses telecomputing. The telephone monopoly is treated in the fourth section, and the future of electronic publishing in the fifth. The conclusion asserts that telco exclusion from electronic publishing is no longer constitutional, and that telcos should be free to enter electronic publishing with any regulations on that freedom narrowly tailored to suit the specific threats telcos pose in the communications marketplace. Fifty-seven notes are included. (SR)

Pada saat ini pola konsumsi TV mengalami pergeseran terutama di kota-kota besar yang sebelumnya menikmati siaran TV melalu saluran free to Air atau pun melalu TV berbayar beralih menggunakan perankat atau gadget dengan memanfaatkan saluran internet. Layanan Over-The-Top (disingkat OTT) adalah layanan dengan konten berupa data, informasi atau multimedia yang berjalan melalui jaringan internet. Bisa dikatakan juga layanan OTT adalah “menumpang” karena sifatnya yang beroperasi di atas jaringan internet milik sebuah operator telekomunikasi. Beberapa contoh perusahaan yang beroperasi di layanan OTT adalah Facebook, Twitter, Viber, Whatsapp, Youtube, Iflix, Netflix, MNC Now, Video,  dan lain-lain. Perusahaan-perusahaan layanan OTT seperti Whatsapp dan lainnya umumnya tidak memiliki bentuk kerjasama resmi dengan para penyelenggara telekomunikasi. Beberapa asosiasi seperti ATSI (Asosiasi Telekomunikasi Seluruh Indonesia) menganjurkan para operator untuk mengembangkan layanan OTT masing-masing, dengan pengembangan Aplikasi OTT pada masing-masing operator internet ini terutama OTT berbasis TV akan berdampak pada layanan TV Berbayar baik lewat satelit maupun melalu jaringan kabel (Fiber Optic atau HFC), dengan perkembangan applikasi OTT TV sudah menggeser beberapa kebiasaan pelanggan TV berbayar menggunakan kabel TV beralih ke applikasi OTT TV terutama pada masyarakan perkotaan yang juga didukung dengan ketersediaan infrastruktur telekomunikasi berupa internet broadband sehingga semakin mudah untuk mendapatkan koneksi internet yang memiliki lebar bandwith yang memadai sehingga semakin mudah untuk akses applikasi OTT TV

Kata Kunci: OTT, IPTV, TV Berbarm PayTV

Metástasis, a Colombian remake of the award-winning 5 season series created by Vince Gillian, Breaking Bad, will premiere in Latin America in the second semester of 2014 on the basic-cable television channel MundoFOX. The remake's success is still to be seen, but Internet blogs and news sites commenting upon it reveal that fans of the original series are really upset, predicting it to be a complete failure. While identifying and explaining the process of adapting both the particular character and the "world" portrayed in Breaking Bad to make them as believable as possible for the Latin American audience, this essay will discuss whom its target audience might be. Thus, based on an analysis on cable television, it will propose that a stronger reason for the realization of this remake is to setup a new audience in Latin America for the future benefit of United States television networks. A teaser trailer of what Metástasis will be can be found in the following YouTube link: https://www.youtube.com/watch?v=PoH2gu7snwc

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This is an interaction between me and the FCC who approve secret block contracts between a cable provider and the owner of a multiple dwelling unit.  Their response says that the contract cannot be exclusive but do not explain the term.  The contract is secret between brighthouse networks and my complex, windrift in Orlando Florida

How does one find out if it is an exclusive contract? The contract is with Brighthouse-who said they cannot disclose the contract. when I went to the landlord Windrift LLC-they never showed me the contract and it appears that the two are in collusion-How does the FCC determine when an exclusive contract exists? Effectively, the FCC is allowing a third party Possibly, to set rates even though they are not a cable provider.-=-=