<p>Användandet av strömmande medier har ökat explosionsartat under de senaste åren. Oavsett om det sker märkbart för användaren eller inte använder sig gemene man i princip dagligen av någon form av tjänst som distribueras via strömmande medier över Internet. Det kan röra sig om allt från att lyssna på webbradio till att titta på videoklipp från nyhetsportaler eller sportsidor på Internet. </p><p>I denna rapports första del görs en kartläggning över strömmande medier rent generellt. Den läsekrets som inte är särskilt insatt i ämnet får reda på vad strömmande medier är, vilka aktörer som finns på marknaden, möjliga distributionssätt, historik med mera. </p><p>Fortsättningsvis kommer rapporten att behandla hur införandet av strömmande medier går till i teorin: hur distributionskedjan ser ut, vilka krav som konsument och producent ställer och hur man försöker att lösa problem som uppstår. Det senare leder vidare till en genomgång av bland annat streamingprotokoll, bredbandstekniker och komprimeringsstandarder för ljud och bild. </p><p>I rapportens senare del ges exempel på hur strömmande medier införs i praktiken. Här läggs speciellt fokus på användningsområdet sport och direktsändningar av sportevenemang. Konkreta exempel beskrivs och vi får även reda på hur det går till att genomföra en direktsänd sportsändning via strömmande medier. Som avslutning diskuteras tänkbara framtidscenarion och en utredning av en unikInternetsändning av en elitishockeymatch görs.</p>

Användandet av strömmande medier har ökat explosionsartat under de senaste åren. Oavsett om det sker märkbart för användaren eller inte använder sig gemene man i princip dagligen av någon form av tjänst som distribueras via strömmande medier över Internet. Det kan röra sig om allt från att lyssna på webbradio till att titta på videoklipp från nyhetsportaler eller sportsidor på Internet. I denna rapports första del görs en kartläggning över strömmande medier rent generellt. Den läsekrets som inte är särskilt insatt i ämnet får reda på vad strömmande medier är, vilka aktörer som finns på marknaden, möjliga distributionssätt, historik med mera. Fortsättningsvis kommer rapporten att behandla hur införandet av strömmande medier går till i teorin: hur distributionskedjan ser ut, vilka krav som konsument och producent ställer och hur man försöker att lösa problem som uppstår. Det senare leder vidare till en genomgång av bland annat streamingprotokoll, bredbandstekniker och komprimeringsstandarder för ljud och bild. I rapportens senare del ges exempel på hur strömmande medier införs i praktiken. Här läggs speciellt fokus på användningsområdet sport och direktsändningar av sportevenemang. Konkreta exempel beskrivs och vi får även reda på hur det går till att genomföra en direktsänd sportsändning via strömmande medier. Som avslutning diskuteras tänkbara framtidscenarion och en utredning av en unikInternetsändning av en elitishockeymatch görs.

La presente investigación busca reconocer el discurso radiofónico sobre los mitos del amor romántico en el podcast híbrido Se regalan dudas. Esto, por la vinculación entre los mitos del amor romántico y la violencia contra la mujer; la creciente importancia del podcast dentro de la parrilla de consumo mediático en el Perú; que es uno de los podcasts más escuchados en el Perú; y las pocas investigaciones existentes en el Perú sobre podcast, especialmente en cuanto al discurso radiofónico. Para identificar la forma en la que se tratan los mitos románticos en el podcast, se aplica el análisis de discurso radiofónico a los tres episodios que tratan el tema; en cada uno de los episodios, se determinan las dimensiones: referencial, enunciativa y estética. En cuanto a los mitos, se desarrolla su clasificación, su relación con el enfoque de género y su relación con la violencia de género, y sobre podcast, sus diferencias con la radio, sus características y su taxonomía. El discurso radiofónico del podcast es crítico sobre los mitos del amor romántico, menciona 9 de los 10 mitos, la mayor cantidad de intervenciones son explicativas o ejemplos personales con una profundidad media o alta, utiliza bromas y presenta el contenido emocional de manera neutral. Además, en el contenido, se observa la influencia de la sociedad en la perpetuación de los mitos, que la base de estos son los roles de género, que el intentar cambiar las cosas genera violencia y la necesidad de actualizar la clasificación de los mitos. / This research seeks to recognize the radio discourse on the myths of romantic love in the hybrid podcast Se regalan dudas. This, due to the link between the myths of romantic love and violence against women; the growing importance of the podcast within the grid of media consumption in Peru; which is one of the most listened to podcasts in Peru; and the few existing investigations in Peru on podcasts, especially regarding radio speech. To identify the way in which romantic myths are treated in the podcast, radio discourse analysis is applied to the three episodes that deal with the subject; in each one of the episodes, the dimensions are determined: referential, enunciative and aesthetic. As for the myths, it develops: its classification, its relationship with the gender approach and its relationship with gender violence, and on podcasts, its differences with radio, its characteristics and its taxonomy. The radio speech of the podcast is critical about the myths of romantic love, it mentions 9 of the 10 myths, the largest number of interventions are explanatory or personal examples with a medium or high depth, it uses jokes and presents the emotional content in a neutral way. In addition, in the content, the influence of society in the perpetuation of myths is observed, that the basis of these are gender roles, that trying to change things generates violence and the need to update the classification of myths.

This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be examined.

This case study evaluated Major League Baseball's (MLB) media product portfolio to identify how broadcast revenues have evolved over the past decade. This research looked back across baseball's long, dysfunctional history with broadcasters in order to recognize the significance of its ambitious use of online content. While MLB had failed to fully utilize the potential of broadcasting, the league's aggressive online strategy through its Advanced Media (MLBAM) division made it the industry leader in broadcasting live streaming sports video. MLBAM expanded its online streaming video to mobile phones and iPad, further expanding the distribution of its content. This research compared MLBAM revenue to traditional broadcast revenue while analyzing the online division's role in promoting the MLB brand. This case study concluded that while MLBAM had made a number of groundbreaking developments, the league could still improve its use of embedded, shared video clips, archived footage and international marketing in order to further extend the brand equity of the MLB, its thirty individual brands and its media product portfolio.

The live video streaming market is, as some research suggests, a difficult one to develop.Comparing it to other media it has the disadvantage of being available during a limitedperiod of time. This thesis explores how mobile devices can be used as an exploratorytool through live video streaming. The opportunity of control in the moment is studiedand examined in this report. This research will suggest a mobile device platform in whichpeople can assist other people exploring new environments around the globe. It also triesto evaluate whether this exploring interaction can occur between unacquainted people andat the same time not be hindered by any language barriers. The motivation behind thissubject is the human need and curiosity of exploring new environments and places.The foundation of the research approach was based on interaction design principles andmethods. This created a chain of methods used with the intent of better understandingwhat is to be considered when designing for live video experiences focusing onenvironments. The process lead to important understandings and key aspects to beconsidered when designing live experiences focusing on environments. The results thatemerged, showed that the most important encouragement is; to be presented with anenvironment that includes novel elements. Furthermore, the results could also concludethat by giving access to directional controls, and some means of expressing appreciation,can help to influence and shape exploration with live video.

La diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles, comme les sites Internet des télédiffuseurs ou des webdiffuseurs, la vidéo sur demande, la télévision mobile ou la webdistribution, modifie les risques que les producteurs audiovisuels doivent gérer normalement sur les plateformes traditionnelles, comme la télévision. La mutation des risques découle de quatre sources en particulier, soit du marché, des pratiques d’affaires, des lois et règlements et des techniques elles-mêmes. Ces sources peuvent également induire des normes pouvant constituer un cadre juridique afin de moduler ou éliminer les risques. Le présent mémoire analyse les risques encourus lors de la diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles du point de vue des producteurs par l’entremise du processus de gestion de risques. Il identifie et recense ainsi les risques en mutation et les nouveaux risques auxquels les producteurs sont confrontés. Puis, les risques identifiés y sont définis et le cadre juridique est abordé dans le contexte de la mise en œuvre d’une stratégie de gestion de risques et des mesures afin d’atténuer ou d’éviter les risques encourus par les activités de production et d’exploitation des producteurs. / The broadcasting of audiovisual works over new media platforms (for example : broadcasters’ websites, video on demand, mobile television or the distribution over the Internet) alters the risks producers usually face when broadcasting over traditional platforms like television. The transformation of risks has four main sources: the market, the business practices, the laws and regulations and the technologies themselves. These sources may also engender standards to create a legal framework that can modulate or eliminate the risks. This thesis will analyze, from the point of view of audiovisual producers, the risks incurred by broadcasting audiovisual works over new media platforms. This analysis will be made under the theory of risk management. First, the modified risks will be identifying as well as the new risks the producers are confronted with. Then, these risks will be defining and the legal framework will be studied as well as the risk management strategy that could help producers limit or avoid risks incurred by their productions and their exploitation activities.

La diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles, comme les sites Internet des télédiffuseurs ou des webdiffuseurs, la vidéo sur demande, la télévision mobile ou la webdistribution, modifie les risques que les producteurs audiovisuels doivent gérer normalement sur les plateformes traditionnelles, comme la télévision. La mutation des risques découle de quatre sources en particulier, soit du marché, des pratiques d’affaires, des lois et règlements et des techniques elles-mêmes. Ces sources peuvent également induire des normes pouvant constituer un cadre juridique afin de moduler ou éliminer les risques. Le présent mémoire analyse les risques encourus lors de la diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles du point de vue des producteurs par l’entremise du processus de gestion de risques. Il identifie et recense ainsi les risques en mutation et les nouveaux risques auxquels les producteurs sont confrontés. Puis, les risques identifiés y sont définis et le cadre juridique est abordé dans le contexte de la mise en œuvre d’une stratégie de gestion de risques et des mesures afin d’atténuer ou d’éviter les risques encourus par les activités de production et d’exploitation des producteurs. / The broadcasting of audiovisual works over new media platforms (for example : broadcasters’ websites, video on demand, mobile television or the distribution over the Internet) alters the risks producers usually face when broadcasting over traditional platforms like television. The transformation of risks has four main sources: the market, the business practices, the laws and regulations and the technologies themselves. These sources may also engender standards to create a legal framework that can modulate or eliminate the risks. This thesis will analyze, from the point of view of audiovisual producers, the risks incurred by broadcasting audiovisual works over new media platforms. This analysis will be made under the theory of risk management. First, the modified risks will be identifying as well as the new risks the producers are confronted with. Then, these risks will be defining and the legal framework will be studied as well as the risk management strategy that could help producers limit or avoid risks incurred by their productions and their exploitation activities.

Il webcasting come strumento per la distribuzione di prodotti educational e la circolazione dei saperi. / The webcasting as a tool for the distribution of educational products and circulation of knowledge.

近年來，寬頻網路與數位內容的興起，受到世界先進國家的注意。在台灣，寬頻網路與數位內容不僅是產業界及學術界熱門的研究及發展課題，也是政府既定的產業政策方向，但卻少有研究同時針對兩者進行完整的討論和其關連之研析。 本研究旨在針對科技、產製、市場、經營與政策五個面向，透過文獻分析與深度訪談法，從趨勢發展的角度探討數位內容與寬頻網路彼此的前景和關連。 本研究認為，寬頻網路與數位內容在科技、產製、市場、經營及政策等面向上的發展關連緊密，彼此相輔相成，並可以產生整合的效果： （一）科技面：寬頻網路傳輸效能與效率的提升，加上科技匯流與IP網路的整合，提供內容已成為寬頻網路必然的發展趨勢。 （二）產製面：數位內容可以發展多元創新的應用，主要仍是寬頻網路的推波助瀾，因此寬頻網路未來勢必成為數位內容最重要的傳輸通路。 （三）市場面：寬頻網路與數位內容的市場需求彼此重疊。提供加值內容可以創造寬頻市場的範疇經濟優勢，透過寬頻傳輸則可以擴大數位內容的市場規模。 （四）經營面：寬頻網路與數位內容經營者的核心能力不同，彼此價值鏈的關連緊密，並可以提供創新和多元的經營模式。 （五）政策面：世界重要國家都很重視寬頻網路與數位內容的推展，同時推展寬頻網路和數位內容可以滿足彼此在政策上的供給和需求關連。 在台灣，近年來寬頻網路和數位內容產業發展迅速，但少有相互合作以發揮整合優勢的成功案例，另外在寬頻連線速率和線上內容的品質方面，也還有進步的空間。因此，政府除應持續加強寬頻網路和數位內容的推展，也可以同時思考寬頻網路與數位內容產業政策之間的支援與整合。 / While the upsurge of broadband and digital content has attracted considerable attention in developed countries recently, in Taiwan, despite the fact the fixed official policy has propelled the R&D on the subject either in the field of industry or academia respectively, integrated program researches are inadequate. This research aims to explore the prospects and correlation of digital content and broadband through literature analysis and intensive interviews, focusing on five dimensions of technology, production, market, operation, and policy. In conclusion, the broadband and digital content developing cooperatively and coordinately results in synergy out of the five facets as below： A.Technology：The upgrade of transmission effect and efficiency, as well as the digital convergence and IP network integration, broadband entrepreneurs offering content has inevitably become a trend. B.Production：Broadband fostering the growth of digital content enables it be applied in an innovative way, making it definitely a significant transmission material for digital content. C.Market：The market demand of broadband and digital content overlaps, and the economy scope advantages in broadband market is reachable when broadband is provided with value-added content. D.Operation：Broadband operators and digital content operators, closely correlating with each other in value chains, vary in core competence, which may innovate and variegate business models. E.Policy：Most advanced countries have been making efforts to promote broadband and digital content, while the policies of broadband and digital content are both enforced, the supply and need of both industries can be fulfilled. Despite of broadband and digital content industries developing in Taiwan in recent years, successful synergy cases out of cooperation between broadband and digital content run short. The speed rate of broadband access and the quality of online content issues remain to be strengthened. It is suggested that the government persist in popularizing broadband and digital content, besides working out interdisciplinary policies for broadband and digital content.