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Webisodes have become increasingly common in the midst of the post-broadcast era, which implies that audiences are drifting away past free-to-use television design. The post-broadcast era has been influenced by new media formats such as the
Internet. Contemporary trends indicate that the Internet has
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Some of the most notable webisodes are original comedies generated for an audience online viewers. Original comedies have become the preferred genre for webisodes because they deliver a low budget format for experimentation and prompt results. These original web comedies are a means to monetize the
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started this initiative with their series of webisodes about a vulgar two-year-old landlord. The series was streamed over 50 million times on Funny or Die and led the site to earning over $ 50 million annually. Funny or Die received serious attention from major television outlets, resulting in a
156:. The post-broadcast era is best defined as embodiment by a complex mediascape that cannot be maintained by broadcast television; in its wake, the popularity of webisodes has expanded because the internet has become a potential solution to television's ailments by combining
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this transitional audience and produce new celebrities, both independently on the web and working in accordance to the previous media industry standards. Content has moved onto the web not through the conventional media's branded websites, but through video services like
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initiated an online marketing campaign to promote their new line of vehicles. The campaign consisted of six webisodes that were each four minutes in duration. Each week a new webisode went up on sites like YouTube. The series was a spoof on the retro television show,
219:, aka P. Diddy, started his own YouTube channel called "DiddyTV," which he used to post webisodes and blog about his life on tour. Combs built hype around the web series by using his social media sites, such as
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and was titled "Hammer & Coop." The series told the story of a 1970s based character named Hammer and his car named Coop, while highlighting the improvement of new Mini Cooper's interior.
109:. While there is no set standard for length, most webisodes are relatively short, ranging from 3–15 minutes in length. It is a single web episode, but collectively is part of a
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reported that the number of
American households with television access has diminished for the second straight year, showing that viewers are transitioning away from
204:, which is growing due to the increased demand for marketers to find new methods to reach consumers in an era where the traditional media is losing viewers to the
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192:. Webisodes are also noted for their use of the Internet for further exchange of information, news and gossip about the series on various social networks.
101:. A webisode may or may not have been broadcast on TV. What defines it is its online distribution on the web, or through video-sharing web sites such as
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with a digital marketing scheme based around webisodes. The campaign followed
Schroeder around the world in 100 days using only his phone and netbook.
132:
515:
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Christian, Aymar Jean (October 31, 2012). "The Web as
Television Reimagined? Online Networks and the Pursuit of Legacy Media".
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291:, which aired its first episode on HBO in February 2010 and featured recycled footage that had already run on the website.
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to generate branded community-based destinations. Webisodes are regularly used by marketers to form these destinations.
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1996: Earlier usage by the textually based seaQuest 2047 to describe their periodic publications, beginning circa 1996.
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Young, Sherman (2011). "Review - Television studies after TV: Understanding television in the post-broadcast era".
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97:. The format can be used as a preview, promotion, part of a collection of shorts, commercial, or raw
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Marx, Nick (July 27, 2011). ""The
Missing Link Moment": Web Comedy in New Media Industries".
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274:, is based entirely on distributing a variety of original comedy web series. Comedians
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It was used to describe the series. Derived words also created at the time: Webisodic.
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89:. It is available either for download or in streaming, as opposed to first airing on
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Marketing to the Social Web: How
Digital Customer Communities Build Your Business
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Television studies after TV: understanding television in the post- broadcast era
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223:, to direct users to the YouTube channel. Combs' webisodes were sponsored by
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is introduced as a word into the
Merriam-Webster's Collegiate Dictionary.
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Please try to keep recent events in historical perspective and
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1998–99: First public use of the word webisode, attributed to
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1995: Created by the first
Internet serialized fiction called
456:"Webisodes Cure Mid-Season Blues for 'Heroes', 'Office' Fans"
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176:; the distribution of television increasingly occurs through
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227:, which used the web series to generate a brand community.
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For Web TV, a
Handful of Hits but No Formula for Success
706:Sean Combs Models Himself as a Master of Marketing
516:"Nielsen Reports a Decline in Television Viewing"
755:
429:"NBC Bridges Series Gaps With Online Minidramas"
678:. Hoboken, New Jersey: John Wiley & Sons.
208:. Companies create a social buzz online using
164:elements alongside entertainment programing.
81:of a series that is distributed as part of a
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325:online superhero series created by Stan Lee.
144:become the dominant mechanism for accessing
248:, known for his role in the reality series
215:In 2006, for example, hip-hop entrepreneur
184:, networks such as those available through
77:(portmanteau of "web" and "episode") is an
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167:These original web series are a means to
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481:Journal of Media & Cultural Studies
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133:Merriam-Webster's Collegiate Dictionary
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402:"Webisodes return, now as advertising"
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200:Webisodes are part of a trend called
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652:Shows Online, Brought to You by ...
618:Turner, Graeme; Tay, Jinna (2009).
19:For the digital comics produced by
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321:in the marketing and promotion of
270:The model for the popular website
16:Episode of a web television series
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739:Cardona, Mercedes (2011-11-01).
542:Journal of Communication Inquiry
400:Graham, Jefferson (2005-10-23).
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454:Carlson, Meghan (2008-12-29).
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131:) was first introduced in the
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650:Elliot, Stuart (2009-11-23).
514:Stelter, Brian (3 May 2012).
380:Stelter, Brian (2008-08-31).
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56:related to non-recent events.
47:slanted towards recent events
723:Mini Cooper: Retro Webisodes
704:Stanley, T.J. (2006-10-16).
493:10.1080/10304312.2010.506950
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721:Voight, Joan (2007-03-19).
624:. New York, NY: Routledge.
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158:interpersonal communication
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741:Webisodes promote AT&T
390:. Retrieved on 2009-01-23.
190:social networking services
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487:(1). Routledge: 125–129.
427:Hale, Mike (2008-12-28).
554:10.1177/0196859912462604
262:Web-based comedy series
23:in the late 1990s, see
343:Original net animation
210:digitalmedia marketing
121:formed from the words
746:Direct Marketing News
672:Weber, Larry (2009).
594:10.1353/vlt.2011.0020
582:The Velvet Light Trap
289:Funny or Die Presents
202:branded entertainment
764:Streaming television
154:broadcast television
87:streaming television
238:Starsky & Hutch
657:The New York Times
434:The New York Times
387:The New York Times
25:Marvel CyberComics
631:978-0-203-87831-6
283:partnership with
196:Uses in marketing
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272:Funny or Die
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225:Burger King
119:portmanteau
113:. The term
691:2013-03-31
637:2013-02-19
465:2009-01-22
440:2009-01-22
413:2009-01-28
369:References
358:Web series
280:Adam McKay
267:audience.
217:Sean Combs
206:social web
162:multimedia
111:web series
83:web series
602:190948368
588:: 14–23.
562:145646723
501:144118960
407:USA Today
299:Origins:
295:Etymology
244:In 2011,
230:In 2007,
182:broadcast
135:in 2009.
91:broadcast
758:Category
525:10 March
337:See also
330:webisode
305:The Spot
256:AT&T
169:monetize
115:webisode
99:metadata
75:webisode
460:Buddytv
353:Webcast
221:Myspace
174:YouTube
139:History
129:episode
107:YouTube
79:episode
728:Adweek
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328:2009:
85:or on
21:Marvel
598:S2CID
558:S2CID
497:S2CID
186:blogs
178:viral
103:Vimeo
680:ISBN
626:ISBN
527:2013
348:Vlog
278:and
160:and
127:and
708:. "
590:doi
550:doi
489:doi
285:HBO
188:or
124:web
117:(a
105:or
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