HOB Essays

Gimme a Break!
"Accelerating the Flow: A Transition Effect in Programming
Theory?" A review by J. Piasek

See

Journal of Broadcasting & Electronic Media. Vol. 41, No. 2. Spring 1997. Susan Tyler Eastman, Gregory D. Newton, Karen E. Riggs, and Jeffrey Neal-Lunsford
"Accelerating the Flow:
A Transition Effect in
Programming Theory?"

eMail your submissions.

Within the theoretical framework that identifies television audiences as active participants in the medium simply because they have the ability to choose what they watch, Eastman, et al, have completed a detailed, statistical analysis of primetime network programming transitions to identify and indicate which techniques used by the networks were most effective in maintenance of viewership from one show to the next.

Classified by type, time and context, and correlated with network affiliation and program genre, network transitional strategies were examined quantitatively-- using Nielsen flow-and-profile ratings data, and qualitatively-- in relation to other recent viewership studies, critical accounts, and cognitive theories of perceived time.

The study also uncovers other factors that may impact viewing patterns between programs, but which were not controlled for here due to the focused nature of this research, centered on typical primetime network programming practices from 1993-1995, with project relevance for subsequent TV “seasons.”

ABC, CBS, NBC and Fox all utilize transitional strategies as an attempt to seamlessly transition into and out of programs. But each network has had different emphasis, and with apparently differing results as all four have designed methods that affect the "flow," or sequence of contextual connectivity throughout the daypart.

Within that flow the researchers have gauged transition length as a synthesis of density and "psychological time," and have identified an operant condition in which accelerated flow affects perceived length. Accordingly, dense flow-- fast cuts, much information and/or action, a busy visual and aural environment-- was seen to accelerate a viewers sense of time. Their hypotheses essentially tested the theory that networks use high acceleration transitions at an increasing rate, with inference that such strategies have had a positive effect on duplication of viewership from show to show, particularly when the shows are “new,” i.e., from a new season of episodes.

The effects of three flow factors were tested for positive transition effect:
Closing credits, length of the break between programs, and program starts.

ABC and CBS used "cold" program starts: immediate story line with little or no opening credits sequences or breaks; Fox concentrated on live-action end-credits that included some continuing narrative or crunched credits sharing the screen with other action; and NBC primarily instituted shortened breaks.

Two other significant variables were also factored: the compatibility/genre of the adjacent program (viewers of one show may have an inherent interest in watching the next show due to some synergistic content appeal); and the competition (concurrently scheduled programs on the other channels that increased audience choice).

While all of the network strategies were shown to have a positive effect on viewership (live end-credits, cold program starts, and shorter breaks-- in that order) the other factors of genre and competition were re-confirmed (from previous studies) to have a primacy affect. In fact, when the data from the Spring schedule of "familiar" programs was compared to the Fall schedule of “new” shows the only significant factors [in holding viewers were] adjacent genre match and competing options (p. 276).

Perhaps most importantly, Eastman's findings in "Accelerating the Flow: A Transition Effect in Programming Theory?" portray a competitively accelerating television environment in which the structural strategies broadcast networks use to lure viewers face off at each break with viewers' own structural device: the remote control (primarily provided by the cable company). It appears that this viewer-centered "locus of control" is the critical factor that compelled the authors to put the question mark at the end of this study's title.

Some of the findings and implications:

- Blocks or dayparts that favor genre and content compatibility have built-in audience flow opportunities, although audiences may need to be explicitly informed of this content compatibility.

- Sitcoms have the most lead-in potential, entertainment specials the least.
Variety shows and news programs are essentially stand-alone events.

- Broadcast networks are increasingly shortening, and busy-ing, their breaks. Although this shortens perceived length and therefore assists audience maintenance, it may also be perceived "as annoying as it is unintelligible" (p. 276), driving tune-out.

- Programs that end with narrative end-credits hold viewers. Content messaging during program end-credits is considerably valuable inventory for audience maintenance, particularly when specific stay tuned information is within the context of a narrative flow.

- Viewers appear to have more control over their choices than industry manipulators do.
The weapons are the remote control vs. production tricks.

-Viewers can tune into "previously viewed programs... without loss" (p. 282) at any time. Ironically, this indicates that when a program is "familiar" to the audience the show essentially becomes its own self-promotion; changing formatics and structural manipulations have a positive effect on viewership, but when become “familiar” techniques to the audience, the busied production environment may have a marginal, or even negative impact.

-Maintaining the narrative or program environment from a show through its credits and the break is essential to audience maintenance. The first opportunity for tune-out occurs at credits. “Live action end-credits” are distinguished from “packaged end-credits” by where they play. Live action alludes to the program narrative, important in continuing the fiction of sitcoms or the reality of reality-based shows; packaged end-credits have been used to structurally enhance serious genre programming (e.g., news, drama, sports).

- Innovative production techniques hold audience, but not when the “innovative” technique is perceived as non-innovative (i.e., the same thing other channel are doing).

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	Gimme a Break! "Accelerating the Flow: A Transition Effect in Programming Theory?" A review by J. Piasek
See Journal of Broadcasting & Electronic Media. Vol. 41, No. 2. Spring 1997. Susan Tyler Eastman, Gregory D. Newton, Karen E. Riggs, and Jeffrey Neal-Lunsford "Accelerating the Flow: A Transition Effect in Programming Theory?" eMail your submissions.	Within the theoretical framework that identifies television audiences as active participants in the medium simply because they have the ability to choose what they watch, Eastman, et al, have completed a detailed, statistical analysis of primetime network programming transitions to identify and indicate which techniques used by the networks were most effective in maintenance of viewership from one show to the next. Classified by type, time and context, and correlated with network affiliation and program genre, network transitional strategies were examined quantitatively-- using Nielsen flow-and-profile ratings data, and qualitatively-- in relation to other recent viewership studies, critical accounts, and cognitive theories of perceived time. The study also uncovers other factors that may impact viewing patterns between programs, but which were not controlled for here due to the focused nature of this research, centered on typical primetime network programming practices from 1993-1995, with project relevance for subsequent TV “seasons.” ABC, CBS, NBC and Fox all utilize transitional strategies as an attempt to seamlessly transition into and out of programs. But each network has had different emphasis, and with apparently differing results as all four have designed methods that affect the "flow," or sequence of contextual connectivity throughout the daypart. Within that flow the researchers have gauged transition length as a synthesis of density and "psychological time," and have identified an operant condition in which accelerated flow affects perceived length. Accordingly, dense flow-- fast cuts, much information and/or action, a busy visual and aural environment-- was seen to accelerate a viewers sense of time. Their hypotheses essentially tested the theory that networks use high acceleration transitions at an increasing rate, with inference that such strategies have had a positive effect on duplication of viewership from show to show, particularly when the shows are “new,” i.e., from a new season of episodes. The effects of three flow factors were tested for positive transition effect: Closing credits, length of the break between programs, and program starts. ABC and CBS used "cold" program starts: immediate story line with little or no opening credits sequences or breaks; Fox concentrated on live-action end-credits that included some continuing narrative or crunched credits sharing the screen with other action; and NBC primarily instituted shortened breaks. Two other significant variables were also factored: the compatibility/genre of the adjacent program (viewers of one show may have an inherent interest in watching the next show due to some synergistic content appeal); and the competition (concurrently scheduled programs on the other channels that increased audience choice). While all of the network strategies were shown to have a positive effect on viewership (live end-credits, cold program starts, and shorter breaks-- in that order) the other factors of genre and competition were re-confirmed (from previous studies) to have a primacy affect. In fact, when the data from the Spring schedule of "familiar" programs was compared to the Fall schedule of “new” shows the only significant factors [in holding viewers were] adjacent genre match and competing options (p. 276). Perhaps most importantly, Eastman's findings in "Accelerating the Flow: A Transition Effect in Programming Theory?" portray a competitively accelerating television environment in which the structural strategies broadcast networks use to lure viewers face off at each break with viewers' own structural device: the remote control (primarily provided by the cable company). It appears that this viewer-centered "locus of control" is the critical factor that compelled the authors to put the question mark at the end of this study's title. Some of the findings and implications: - Blocks or dayparts that favor genre and content compatibility have built-in audience flow opportunities, although audiences may need to be explicitly informed of this content compatibility. - Sitcoms have the most lead-in potential, entertainment specials the least. Variety shows and news programs are essentially stand-alone events. - Broadcast networks are increasingly shortening, and busy-ing, their breaks. Although this shortens perceived length and therefore assists audience maintenance, it may also be perceived "as annoying as it is unintelligible" (p. 276), driving tune-out. - Programs that end with narrative end-credits hold viewers. Content messaging during program end-credits is considerably valuable inventory for audience maintenance, particularly when specific stay tuned information is within the context of a narrative flow. - Viewers appear to have more control over their choices than industry manipulators do. The weapons are the remote control vs. production tricks. -Viewers can tune into "previously viewed programs... without loss" (p. 282) at any time. Ironically, this indicates that when a program is "familiar" to the audience the show essentially becomes its own self-promotion; changing formatics and structural manipulations have a positive effect on viewership, but when become “familiar” techniques to the audience, the busied production environment may have a marginal, or even negative impact. -Maintaining the narrative or program environment from a show through its credits and the break is essential to audience maintenance. The first opportunity for tune-out occurs at credits. “Live action end-credits” are distinguished from “packaged end-credits” by where they play. Live action alludes to the program narrative, important in continuing the fiction of sitcoms or the reality of reality-based shows; packaged end-credits have been used to structurally enhance serious genre programming (e.g., news, drama, sports). - Innovative production techniques hold audience, but not when the “innovative” technique is perceived as non-innovative (i.e., the same thing other channel are doing).
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