Abstract
In Television 2.0. Viewer and Fan Engagement with Digital TV (Peter Lang, 2017), the Canadian media scholar Rhiannon Bury presents the results of an empirical study aimed at exploring the shift in viewing practices that emerge with the digitalization of TV. To do so, Bury designed an investigation combining online survey with semi-structured telephone or Skype interviews. In total, data from 671 survey respondents and 72 interviewees (mostly from Western and Anglo-Saxon countries) were collected from September 2010 to September 2011. By documenting an ‘instant history’ (Evans, 2011) of TV viewing, this book contributes to the understanding of the constant evolution of TV in the digital context.
The book is clearly written and well-structured, with the information distributed evenly over its 147 pages and 5 chapters. The emphasis on ‘Television 2.0’ in the title together with its connection to ‘Web 2.0’ (popularized by Tim O’Reilly) may create the impression that the book will be primarily focused on the convergence between TV and the social web. However, it has a much wider focus and touches upon a broad range of topics (e.g. the emergence of the radio).
In the introduction, Bury elaborates a nimble and accurate overview of existing bodies of work by distinguished scholars from the fields of sociology, communication, media and TV studies. Elihu Katz, Theodor Adorno, Raymond Williams, Roger Silverstone and John Fiske, among others, march together in the preface. After this, the first chapter explores the evolution of TV by paying special attention to the processes of assemblage, reassemblage and hybridization with, for example, the radio and the Internet. The second chapter ‘Household assemblers. Patterns of Multiscreen and Multimodal Viewing’ explores the role that TV plays in the context of the household. Viewers’ preferences in terms of the types of screen used (e.g. computer, TV set) and modes of viewing (e.g. live, time-shifted) are some of the aspects discussed. The imbrication of television and its viewers’ everyday lives are the nucleus of chapter three. There, Bury digs deeper into the use of television both as a mere background-filler and as a leisure activity enjoyed alone or in the company of others. It is in the distance mode of co-viewing (p. 69) where one of the most popular definitions of concept of ‘Television 2.0’, also known as the social web, emerges. Here, Bury presents excerpts where her interviewees narrate how the usage of Instant Messenger and Twitter allows them to co-view their shows with friends who may be in different time zones; a clear example of the convergence between TV and the social web.
‘Affect and the television text’ is the title of chapter four. There, Bury studies the affective relations and commitment between viewers and serial narratives. The motivations to engage in piracy, to rewatch or to binge (or marathon view) certain shows are some of the aspects discussed. The chapter also serves as an introduction to fannish viewing practices which seem to be closely related to, for instance, the act of collecting DVDs. Finally, fandom 2.0 and participatory culture are the backbone of chapter five. Drawing on the results of her empirical work, Bury proposes a novel continuum of participation that considers ‘information seeking’ as the lowest degree of involvement (e.g. searching for upcoming episodes’ previous) and ‘cultural production’ as the highest degree (e.g. fanfiction writers). ‘Reaction and collective interpretation’ (e.g. sharing one’s opinions about the shows on the internet) and ‘community making’ (e.g. the establishment of personal connections between viewers) are placed in the middle of the continuum. It is in this last chapter where one of the principal topics of the manuscript, previously announced in the subtitle of the book, fully blossoms.
Finally, the disclosure of the questionnaire used in the online survey is not to be missed. This annex not only allows the reader to reach a deeper understanding of Bury’s investigation, but it is also useful for those who want to know more about the construction of surveys in the field of media studies. The scales used for all of the questions would have also made a good addition to this annex. Moreover, and because of the usage of an online survey, enabling participation of respondents’ from non-Western countries would have further enhanced the relevance of the study.
All in all, Bury demonstrates the potential of qualitative interviews in the exploration of how digital TV is transforming viewing experiences. The summaries provided at the end of each chapter help the reader digest all the nuances of the data presented. The information provided is mostly descriptive and in some places would benefit from a more critical approach. Introduced with an attractive and original cover, Television 2.0. Viewer and Fan Engagement with Digital TV (Peter Lang, 2017) is Bury’s second book and is a brief and insightful study about the consumption of TV in (primarily) Western countries at the beginning of the XXI century. The book is an informative resource for both academics and students working on and interested in television, new media and fandom.