González Oñate, Cristina, y Fanjul Peyró, Carlos (2009): Television brands. The management of continuity in the Spanish television media. Revista Latina de Comunicación Social, 64.

Television brands. The management of continuity in the Spanish television media

Dr. Cristina González Oñate [C.V.] Assistant Lecturer in the Department of Communication Sciences,
Universitat Jaume I, Spain - onate@com.uji.es
Dr. Carlos Fanjul Peyró [C.V.] Assistant Lecturer (PhD) in the Department of Communication Sciences,
Universitat Jaume I, Spain - fanjul@com.uji.es

Abstract: The present study attempts to demonstrate how sector professionals manage television continuity within the Spanish context. The objective of the paper is to analyse how continuity is used to strengthen television channel brand values in order to make the brand visible to its audience. As audiovisual media, television brands must be dealt with in a particular way that combines image and sound, both of which are shaped by the criteria of brand identity and image that each television channel possesses. Some of the main conclusions drawn from our analysis of Spanish television channels refer to the conception of the brand, its strategic management, its link to programming and the classification of the elements that fall within the concept of the brand.

Keywords: Brand image; identity; promotion; digital television; Spanish context.

Sumario: 1. Introducción. 2 Metodologías de la investigación. 3. Justificación y selección de la muestra. 4. Análisis de resultados por bloques. 4.1. Concepto y tratamiento de Identidad televisiva. 4.2. Continuidad televisiva: Concepto, gestión, estrategia y clasificación. 4.3. Nivel de importancia de la continuidad versus contenidos y relación con la Imagen de cadena. 4.4. Televisión digital y sociedad: concepción de la continuidad en el contexto digital. 5. Conclusiones. 6. Referencias. 7. Notas.

Summary: 1. Introduction. 2. Research methodology. 3. Justification and selection of the sample. 4. Analysis of results by section. 4.1 Concept and management of television identity. 2. Television continuity: concept, nagement, strategy and classification. 4.3. Level of importance of continuity versus programmes and the relationship to the channel brand. 4.4. Digital television and society: the conception of continuity in the digital context. 5. Conclusions. 6. References. 7. Notes.

1. Introduction
Increased competition in the television sector has led companies to manage their brands more extensively. We are now immersed in the age of the information economy, the knowledge society and what is known as ‘service culture’, and it is in this culture that brands have become a company's most important asset (Costa, 2005). In addition to other aspects such as product price and quality, aspects such as corporate values and the relationship that the company cultivates with its social environment (Arras, 2008) are beginning to have a more profound impact on consumers’ purchasing decisions. Of a company’s intangible assets, brands are becoming an increasingly significant business strategy since they are presented to guide consumers in their purchasing decisions, and direct individuals’ behaviour, all of which they are able to do by transmitting values and emotions (Huertas, 2002).

The creation of a brand must emerge from the depths of the company, from where its values, philosophy and modus operandi are located. In other words, the brand must spring from its ‘identity’, understood as the deepest confines of the organisation where its exclusive attributes are established and generated: attributes that differentiate one company from another (Villafañe, 2004). Identity, more than a simple component of the company's personality, actually shapes it, and gives it characteristic traits that range from its physical constitution to the way it expresses itself in all its facets. From here, we move on to the condition of the business image, understood as the set of perceptions the public holds of an organisation in its entirety.

A company's image is the accumulation of each and every manifestation or expression the company makes to its public and to society in general. Communication therefore plays a crucial role in establishing strategies and action plans in each message the organisation transmits to its public.

Given the lack of competitive differentiation in programme quality and variety (Mendrano, Palaciones, Barandiaran, 2007), television companies are faced with a constant need to create and renovate the image they present to their audiences. Each channel must have a strong, differentiated identity capable of engendering an image that will make the brand and programme offer as attractive as possible to its audience. Identity, image and communication provide the linchpin television channels need to obtain identification-differentiation and a good business reputation. The purpose of this brand differentiation-identification with the viewer is to generate a positive image that will create an emotional bond with the audience and project a good reputation; this in turn will help increase and retain loyal audiences, which will lead to increased economic profits (Baraybar, 2006), since it must be remembered that audience ratings are the essential criterion on which the composition of the programme grid is finally made.

Television is just one part of the leisure offer available to today's consumers. When faced with such a wide variety and range of products and services to choose from, in most cases it is the brand (symbols, sounds, ideas, designs, words, etc.) that guides individuals’ decisions (Bassat, 1999), since when products and services are essentially indistinguishable from one another, consumers can only differentiate those with an outstanding personality, and with their own discourse and identifying style. As soon as the television is switched on, what the viewer consumes is perceptual, not material: all perceived data is transformed into information within a leisure context, where the viewer makes judgements from the most primordial subjectivity. The television viewer absorbs pleasurable stimuli and mental images from channels that seek to capture audiences (Costa, 2003).

On a daily basis, viewers face a situation in which they must choose from a range of options, from various television programmes, weigh up the offer, select one and reject the rest. Within this process, the brand represents a symbol of quality and can help sway purchasing or consumer decisions when there is very little to choose between the products on offer. Consequently, an established brand may even determine the choice of one product (programme) or another, depending on the values it transmits to the viewer.

A television channel’s corporate brand will emanate from the features of its identity it wants to highlight, and for that purpose it will incorporate the language typical of the television media (audiovisual language) together with a strategic configuration of the audiovisual elements used to compose its message (Galindo, 2004). In the television media, information is offered as a set of interventions in time (Pestano, 2008) composed of elements that repeat common linear patterns (Marrero 2008). The communication process of television discourse operates as though programming were a framework of a continuous series of autonomous and clearly differentiated actions (González Requena, 1999).

The communication process of television discourse operates as though When managing a television brand we must therefore take into account its specific characteristics that necessarily require the combination of image, sound and broadcasting time in the creation of the message (Morales, 2008), but at the same time both internal (identity) and external (actions) elements, since the combined total of all these ingredients will generate an image for the viewer that must be controlled, as far as possible, by the channel’s managers. The television brand, therefore, encompasses everything that the channel does both within the media itself and beyond its boundaries.

Behind these two elements and everything a channel undertakes off air (external), there is a brand that encompasses all the manifestations, messages and values transmitted to the audience. The values and conceptions a television channel transmits are adopted by viewers, to the extent that in specific cases, greater awareness of a social issue has been achieved through a television programme than through advertising campaigns (Montero, 2006).

The powerful influence of television on society and vice versa is corroborated by the vast amount of research that has been carried out into this relationship (Weaver, 2003; Lacalle, 2001; Hartley, 2000), as well as numerous studies on the television media and its different facets, whether economic, social or political (Prado, 2008; Bustamante, 2004; Palacio, 2001; De Moragas i Spa, 2000). We may point to research on the concept of television discourse in which continuity is linked to the idea of creative display and its capacity to integrate a multitude of genres within television's macro discourse (González Requena, 1999). In contrast, with the exception of Joan Costa, there are very few references to the specific manifestation of television brands through the study of continuity.

The present paper attempts to address this gap by offering a new vision into the management of television brands seen through the media itself, through continuity and through the lens of the professional sector. Our main aim is to analyse the set of elements that, apart from its programming, the channel uses to capture audiences. The main objectives leading to this analysis within the Spanish television media are the study of the strategies channels adopt and the elements encompassed in the concept of continuity. We start from the hypothesis that, according to the view of professionals in the sector, when a television brand is made public, continuity is one of the most important strategic advertising tools that the channel can use to promote itself within the media. Therefore the contents and their packaging graphics are two inseparable elements if what is pursued is a cohesive and positive audience reception.

The brand, therefore, adds value through television continuity. The programmes make up the offer, but their quality, management and variety will be essential in shaping the viewer’s decisions. The way in which they are presented and the sales and promotion strategy are also important within the television media. And the way a channel packages and publicises its product is through continuity.

In addition, the present context, namely the final months before analogue switch-off, considerably increases our interest in studying television brands; this study will be followed by a further analysis of brand management in the media once digitisation has taken place across the whole media [1]. These aspects justify the present study, the characteristics of which we now describe.

The aim of this study is to learn how television channels manage their brands through television continuity [2].

1. Discover what professionals in the television sector understand by the concept of continuity
2. Learn what kind of strategies television channels apply to strengthen the channel’s brand values
3. Learn what level of coherence there is between different elements of continuity and programming, and with the channel’s identity and image
4. Study the trends in television continuity that channels introduce over the next year once the digital context becomes a reality.

How is a television brand managed?
To what extent does continuity form part of the strategic management of a television brand?
What do we understand by television continuity and what are its main components?
How does continuity affect the identity and image of a television channel?
What are the trends in the new digital landscape?

We used qualitative methodology in this study, specifically in-depth interviews. This choice was based on the fact that in-depth interviews allow a phenomenon to be studied as a dynamic process and within its actual context. The in-depth interview is “a suitable method if the researcher wishes to generate proposals that can be tested through subsequent studies” (Losada and López, 2003). In the present research, we set out to study the management of television brands through continuity before the final analogue switch-off, to be followed up with a comparative analysis once the digital system is fully in place.

The interview was structured in four clearly differentiated sections, consisting of a series of questions separated according to subjects. Thus, although it was an open questionnaire, the questions were formulated identically for each interviewee. The first stage of the study consisted of designing the interview model with set questions in line with the proposed objectives. The sample for data collection and analysis was then selected; finally a set of conclusions was drawn by cross checking data obtained from each of the interview sections. This gave us each respondent’s view by subject area and thus enabled us to evaluate the management of each television brand included in the sample.

3. Justification and selection of the sample
The main national television channels were chosen, namely those with the longest broadcasting history. Channels that were already broadcasting digitally were excluded, since the objective of the study was to contrast the situation before and after analogue switch-off. We also considered the sample would be enhanced by including the channels from two of Spain’s most important autonomous regions: Telemadrid (Madrid) and Canal Nou (Valencian Community).

These two regional channels were included in order to reveal any pertinent variations or significant differences in the way television continuity is managed at national and regional levels, and to determine which of these variations were most significant if they did exist or, otherwise, to observe what elements the two channel models shared with regard to brand management through television continuity. Finally, following this reflection and to extend the interest of our results we opted to include two private pay channels, Canal Plus and Digital Plus, in order to observe any commonalities with other channel models.

Thus, the final sample comprised a total of 10 television channels distributed as follows:

This sample enables us to observe brand management in four different television models: free national, private national, pay national, and free regional.

The in-depth interviews were carried out with the main teams responsible for the image of each channel included in the sample. All were face-to-face interviews, and were carried out in the headquarters of each of the television channels. A total of eighteen in-depth interviews were undertaken.

4. Analysis of the results by section
We now report the main results from each of the subject sections included in the interview.

4.1. Television identity and image
From the sample as a whole, we observed a clear understanding of the concepts of corporate identity and image among professionals, the former defined as the personality and the unique values of each television channel, and the latter as the set of perceptions the audience has about each channel. The television channels clearly define their target audiences and adapt their style to match the characteristics of each one. All the interviewees claimed to have a clear identity, a definite image and a principal target audience to which both the channel’s programming and style are addressed.

Likewise, all the respondents reported that their channel brand was integrally associated with the corporate values of the channel as transmitted through its image. Most of the respondents affirmed that research was regularly undertaken to analyse how the channel’s image is perceived, and on the whole respondents considered that both quantitative and qualitative studies were key elements in identifying strengths and weaknesses and adapting brand strategies to their audiences and competitors. Respondents were therefore clearly concerned about the perception of the channel’s brand in the market, and the identifying values of each channel were seen to be carefully managed.

The subject matter of these studies varies according to the needs of the channel and the moment they are carried out. However, the four types of study most commonly used by television channels are perception of the channel brand, market analysis, audience profile and channel programmes. The use of this type of research shows the importance that today's channels attach to the management of their television identity and image.

All the interviewees considered the application of the channel’s brand in all its possible forms to be of utmost importance. This is borne out by the fact that 100% of the sample reported having a Corporate Visual Identity manual that covers the basic aspects of design and the correct graphic applications the brand must have in other fields. Following an analysis of each manual included in the sample, we report below the main sections from each one:

According to the interviewees, while the manual is necessary for the correct application of the brand, it is considered as a support and reference tool. Respondents stated that every member of the organisation learns and internalises the channel brand. It should be noted that with the exception of the two regional channels, the identity manuals analysed in the study do not cover application of continuity elements. This would suggest a certain lack of control in the application of the brand within the television media itself.

All respondents stated that the responsibility for and management of changes depended on what type of change was referred to: if the change concerned the evolution of the brand, it would be implemented by those responsible for managing the channel's image (supervised by top management), whereas if the change involved more deep-seated modifications that would affect the channel's identity, the decisions and actions would be determined by the channel’s CEO or executive board. In both situations, the change would be co-ordinated by teams from different areas, essentially those of image design and/or programming.

When questioned about what sort of profile was sought when hiring staff to work in areas related to the channel's image, respondents listed a set of minimum knowledge requirements needed to optimise resources and properly carry out the responsibilities associated with managing the channel brand.

4.2. Television continuity: Concept, management, strategy and classification
When defining the concept of television continuity, all the sample respondents distinguished between the technical angle, understood as a tool that contributes to broadcasting coherence and the order of the programme grid, and the perspective of how the channel's brand is expressed, defined as the set of audiovisual elements that transmit the personality, style and image of the channel as a whole. In both meanings, continuity must be understood as the resource that provides a logical order for viewers’ consumption. In other words, continuity is understood as the audiovisual linking of autonomous discourses broadcast by a television channel.

When displaying the channel’s brand, most respondents recognised continuity as one of the best tools to transmit the channel’s identifying values to the audience. Respondents ranked channel content as the second most important element in generating a brand image.

It should be taken into account that in addition to this approach provided by the professional sector, the concept of continuity goes far beyond simply coordinating elements to create a continuous discourse. Continuity forms part of the channel’s identity, as the hallmark of its character that will be determined by the strategy it employs to present its heterogeneous elements to its viewers.

Within the concept of continuity, respondents included programmes, continuity elements (wipes, self-promotion, opening and closing bumpers, sponsorship bumpers, etc.) and all the corporate and aesthetic elements that encourage the viewer to identify with the channel (on-screen bug or DOG, colours, typography, theme tunes). The professionals from our sample furnished us with many types of continuity elements. The terms used to refer to these elements vary greatly from one channel to another, even though they fulfil the same function. Figure 5 presents a classification of the continuity elements according to the level of importance and use:

Classification of continuity elements common to all channels

Term	Definition	Percentage of Importance	Percentage of use
On-screen bug or DOG	Channel logo placed in one of the corners on screen	100%	95%
Opening bumper	Element presenting the beginning of the programme	60%	75%
Copyright	Element closing the end of programmes	25%	30%
Corporate theme tune	Musical reference that helps to maintain an identity with the channel	60%	50%
Channel image spot	Advertising spot designed to highlight the channel’s positive values to the viewer	75%	30%
Self promotion	Advertising sequence used to promote specific channel programmes	100%	90%

As can be seen from figure 5, self-promotion and the on-screen bug are regarded as the most important and most frequently used elements. Other aspects also considered to influence the overall image of the channel include set designs, presenters and lighting. A high percentage of the respondents (56% of the sample) considered that the channel itself should be responsible for managing the design and execution of all continuity elements. Secondly, respondents considered that the departments or areas responsible for image, design and/or programming should be in charge of the daily execution and control of continuity elements (33% of the sample). And finally, outsourcing responsibility for continuity was only considered to be advisable if the channel did not have the necessary resources to take it on. The interviewees justified these responses by adding that if the technical means are available, it is always preferable for the channel itself to control the production and execution of elements broadcast in their own media since they had internalised the channel brand.

Although respondents placed a high value on continuity as a specific element of television language to project the channel brand and transmit intangible aspects to the viewer, adding value to programmes (product), only two of the channels from the sample (Cuatro and La Sexta) had a team of staff working exclusively on image through continuity. Most of the respondents reported that personnel responsible for image also carry out other tasks and as such, are not exclusively dedicated to managing the image.
Three main aspects are taken into account when creating strategies to use continuity elements:
1. It should be associated with the channel’s identity and style
2. It should generate brand awareness both on and off air

3. It must be able to give the viewer positive additional aspects relating to the channel brand

4.3. Level of importance of continuity versus programmes and the relationship to the channel image
Respondents stated that the channel’s image is essential in creating brand, but it must be relative to the quality and variety of the programmes offered. They consider continuity as packaging that helps to make programme content more attractive to the viewer, but in the final instance, viewers are swayed by the product on offer. Consequently, according to the opinions gathered from the sample, image and programme quality constitute the foundation for a successful channel brand.

Of the programmes offered, all respondents considered news programmes to be the pivot for all programming and to be the greatest transmitters of corporate values to the viewers, whether in the way the news is put over, the volume of resources deployed, sources used, selection of news or particularly, the presenters that represent the main image of the interlocutor between the news and the audience. The presenters are the news face of the channel and the way they express themselves conditions the way information is transmitted to the viewers. Furthermore, as all channels run their news broadcasts in the same time slot, news broadcasts are effectively the battleground for capturing audiences.

When new programmes are promoted, channel managers prioritise one programme over another according to its weight in the programme grid, its frequency (weekly/daily) and the channel’s commitment to that programme, in other words if it is known to be successful abroad, whether it is backed by studies, research, etc.

Promotion strategies will be determined by this type of criterion and will vary according to the needs of each channel. What is common to all channels is that once the leading programmes have been selected and the type of communication strategies decided on, self-promotion is the continuity element most frequently used in the media. Today, television also uses Internet to promote its programmes, in addition to other media, as reflected in the following figure:

4.4. Digital television and society: the conception of continuity in the digital context
The technological revolution that has led to the introduction of digital television will generate changes within the television environment. Respondents explained that the current instability of programme quality and variety with Digital Terrestrial Television was due to limited budgets and lack of financing available to enable channels to tackle this type of business project. At present, the sample’s respondents did not consider DTT as direct competition; in the medium term digital television would have a positive impact for viewers since more programmes will be offered and in the future interactive services will also be available to viewers.

On the other hand, respondents highlighted negative aspects of the arrival of complete digitisation by 3 April 2010, which would lead to audience fragmentation and therefore dramatically reduce the amount of TV advertising to go round, with the subsequent concern about what type of financing will be available to channels in the future. This situation demands an overhaul of business structures, a greater offer of thematic channels to streamline advertising effectiveness, and a challenge to the sector's professionals that will include major efforts to face extensive uncertainty in the television market.

In light of this approaching scenario, and in reference to the most direct consequences that will influence audiences, the professionals interviewed pointed to a greater need to inform viewers about the increasing number of channels through new more creative strategies and new tools specifically designed for the purpose.

The possibility of creating specific channels to act as programme guides, or publishing free magazines with information on programmes and broadcasting times, or encouraging the synergies between television and Internet to recapture audiences that opt for other leisure activities are some of the possible solutions suggested by sector professionals to tackle this issue. In spite of these measures, they still consider that the audience will take some time to adapt, and that the new system will therefore not become effective until the medium to long term.

With regard to continuity, digital television opens up new possibilities for programme promotion and strengthening the channel's brand. Continuity becomes more important as a result of the increased number of channels and because of the need to create a brand of reference for the audience. Consequently, there is a need to strengthen the area of continuity since, given the new technological possibilities, designers and those responsible for image will have to apply better and innovative creations in order to stand out from the competition.

Of the national and international channels noted as references by respondents and providing leader models in terms of continuity and brand trends and of adapting to market demands and business management, the British network, the BBC, was most highly valued by the majority of those interviewed.
Within the national sector, Cuatro and Antena 3 were recognised as offering the greatest brand coherence through television continuity, with clear and efficient strategies that have won greater fidelity than other channels.

5. Conclusions
In 2010 the television market is facing a proliferation of brands due to the increased number of channels made possible by digital technology in the media. This situation demands a greater dedication by television channels to strategically manage their brand to add value for their audience. As part of the management of television brands, we find that sector professionals recognise television continuity as an essential element to promote both the channel’s programmes and its brand.

Our findings show that continuity forms part of the future strategies television channels will adopt to face these approaching new contexts. Our results reflect the importance professionals give to brand management, and particularly, to more careful handling of image through continuity.

Although our sample covered four different audiovisual business models, no differences emerged in the way they manage their channel brands through continuity. Indeed, the issues dealt with in this research are striking in the similarities of the responses given by professionals in our sample.

In this study continuity is regarded as a necessary element on a technical level in helping to distribute and arrange the programme grid logically, but also as an essential element for promoting both the programmes offered and the channel brand. Continuity constitutes an essential part of the television discourse that contributes to publicising the brand and the personality of each channel. It should be noted that this situation will be exacerbated by the considerable growth in the number of channels.

Specifically, results reveal channels’ intentions to improve the management of television brands by using continuity as a strategic element. This is shown in the data gathered in the sample, which reflect the increase in the number of personnel and teams responsible for managing the channel's image in the face of the coming changes. Media experience combined with comprehensive, first-class training will be key facets taken into account when hiring these professionals.

Within the coming definitive digital context, viewers will need greater information and clarity in the presentation of programme content and television channels. This increased diversity demands more information that can administer the increased amount of messages addressed to the audience. The viewer’s pursuit of a brand as a vehicle to differentiate among the myriad offer becomes patently clear. Information presented to viewers must therefore be much more clearly organised; in other words information must be provided in such a way that at any given moment viewers know what programmes are on offer. At the same time, channels will need to rely on other tools and channels of communication to improve the distribution of information about their programmes. The increased number of channels will require new communication tools (in the form of programme guides) that are included in the sector's strategic plans. Creativity will therefore play an essential role in attracting audiences.

In the end, whether one television brand or another is consumed will depend on the decision taken by the viewer. The growing number of channels and the emergence of new consumer habits in television viewing (which will increasingly vary more progressively and rapidly), when choosing a television channel, continuity will be one of the key strategic tools in providing consumer ease of access to the selection available and above all, to publicise and coordinate the brand that will constitute a reference to the quality of the programme offered.

Programmes, and particularly news programmes, will continue to be the mainstay of the television channel’s offer. However because of the continual increase in competition and the scant variety and quality of the programmes on offer, the way in which products are presented and promoted to viewers will become an increasingly important part of a channel’s strategies.

Our results show that television channels will be obliged to resort to other mass media in the promotion of their contents. The television brand will therefore have to be applied and adapted to other screens. This will require an extension of the protocols for acting and applying television brands at an audiovisual level, as covered in the channels’ corporate visual identity manuals. Our research finds that only the regional channels thoroughly deal with these aspects in their manuals. In the near future, the above mentioned conditions will require that these manuals be extended and adapted in line with the particular features of each channel.

The ever more demanding viewer will expect higher levels of interaction and brand experience. Capitalising on the opportunities offered by digital media, the tendency among channels will be to provide new interactive services with the main objective of adding value to their brand and their offer. As a promotional element, the role of continuity will become more important in publicising these innovations to the audience, and may constitute an informational and educational tool for society on the interactivity of the media and all the possibilities it offers. The key lies in knowing how to correctly link these services with the brand of the channel promoting them if what the channel wants is to provide brand value for its audience. This will have positive repercussions on benefits across all channels, both intangible (brand, image, reputation) and tangible, since the possession of a reputable brand goes hand in hand with higher investments from advertisers. This approach will help to improve the current financing system operating in today's television channels.

Synergies among communication media will tend to rise if companies want to survive within the television system of the future: relationships with other media and the maximum use of the characteristics of each one will be vital to strengthening television brands. Elements, languages and codes of continuity will therefore tend to be tailored to each of the media in which the channel’s messages are promoted.

More than ever before, identity will be an original, unique reference point for each channel. Corporate communication will become more valuable in keeping the brand alive and the management of continuity will therefore need to be more strategic and creative in order to retain its audience levels, an audience that will become increasingly demanding in aspects that go beyond those of simply programming.

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[1] The final analogue switch-off will take place on 3 April 2010 across the whole country. A Fonsagrada, (Lugo), was the first Spanish town to cease all analogue television broadcasts, thus initiating the first pilot phase in the transition to digital television. The second pilot test began on 23 July 2009 in the province of Soria, organised by Red.es, a public body under the auspices of the Ministry of Industry, Tourism and Trade, set up to study consumer behaviour in response to this technological change.

[2] See González Oñate, C., 2008: Nuevas estrategias de televisión. El desafío digital. Identidad, marca y continuidad televisiva. Madrid: Ciencias Sociales.

[3] We had hoped to include the Catalonian television channel (TV3) in the sample, thereby representing the three main regional channels in the country; however TV3 was unable to form part of this research sample.