Hubbry Logo
TV AsahiTV AsahiMain
Open search
TV Asahi
Community hub
TV Asahi
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
TV Asahi
TV Asahi
TV Asahi
View on Wikipedia
from Wikipedia

Key Information

JOEX-DTV
Logo used since 2003
CityTokyo
Channels
BrandingTV Asahi
Programming
LanguageJapanese
AffiliationsAll-Nippon News Network
Ownership
OwnerTV Asahi Corporation
BS Asahi
Tele Asa Channel 1
Tele Asa Channel 2
History
First air date
February 1, 1959; 66 years ago (1959-02-01)
Former names
NET (1959–1977)
Former channel numbers
Analog: 10 (VHF, 1959–2011)
JOEX-TV (1959–2011)
Call sign meaning
Japan's
Original Free-to-Air
Educational TV Station
X (10, former channel assignment)
Technical information
Licensing authority
MIC
Power10 kW
ERP68 kW
Transmitter coordinates35°39′31″N 139°44′44″E / 35.65861°N 139.74556°E / 35.65861; 139.74556
Links
Websitewww.tv-asahi.co.jp
Corporate information
Company
Native name
株式会社テレビ朝日
Kabushiki-gaisha Terebi Asahi
Company typeKabushiki gaisha
IndustryMedia
FoundedOctober 15, 2013; 12 years ago (2013-10-15)
Headquarters6-9-1 Roppongi, Minato, Tokyo, Japan
Area served
Worldwide
Key people
ServicesTelevision broadcasting
RevenueIncrease¥267,928 million (2014)
Increase¥267,928 million (2014)
Increase¥11,678 (2014)
Total assetsIncrease¥317,239 million (2014)
Number of employees
4,021 (as of March 31, 2014)
ParentTV Asahi Holdings Corporation
SubsidiariesTV Asahi ASK Co., Ltd.
Shin-Ei Animation
TV Asahi Video Co., Ltd.
NJPW World
Telasa (50%)
TV Asahi Global Co., Ltd.
TV Asahi America
TV Asahi Create
TV Asahi Productions
Japan Cable Television
CS 110 Co., Ltd.
Flex Co., Ltd.
TV Asahi Music Co., Ltd.
TV Asahi Service Co., Ltd.
Websitecompany.tv-asahi.co.jp/e/

JOEX-DTV (channel 5), branded as TV Asahi[a], and better known as Tele Asa (テレ朝), is a Japanese television station serving the Kanto region as the flagship station of the All-Nippon News Network. It is owned-and-operated by the TV Asahi Corporation[b], a wholly-owned subsidiary of TV Asahi Holdings Corporation [ja][c], itself controlled by The Asahi Shimbun Company. Its studios are located in Roppongi, Minato, Tokyo. TV Asahi is one of the "Big Six" broadcasters based in Tokyo, alongside Nippon Television, TBS, TV Tokyo, NHK General TV, and Fuji Television.

History

[edit]

Pre-launch

[edit]

After NHK General TV, NTV, and Radio Tokyo Television were launched in 1953 and 1955, TV has become an important medium in Japan.[1]: 9–10  However, most of the programs that were aired at that time were vulgar which caused well-known critic Sōichi Ōya to mention in a program that TV made people in Japan "a nation of 100 million idiots"; those criticisms already gave birth to the idea of opening an education-focused TV station.[1]: 11  On February 17, 1956, the Ministry of Posts and Telecommunications issued frequency allocations, and the Kantō region obtained three licenses in total. Among the three, one of them is used by NHK Educational TV, while the other two were open for private bidding. Among those bidders are film production companies Toho and Toei Company, radio broadcasters Nippon Cultural Broadcasting and Nippon Broadcasting System, and educational publishing group Obunsha [ja].[1]: 11–13  On July 4, 1957, the Ministry of Posts and Telecommunications later decided to unify those applications into Tokyo Educational Television (as its tentative name) which was later obtained on July 8.[1]: 19–20 

On October 10, 1957, Tokyo Educational Television held its first shareholders meeting and changed its company name to Nippon Educational Television Co., Ltd. (NET).[1]: 22  On November 1 of the same year, the broadcaster was later established.[1]: 24  After Fuji Television obtained their broadcast licenses, they set an official start date of broadcast on March 1, 1959. NET advanced their start date of broadcast a month earlier (February 1, 1959).[1]: 33  On Christmas Eve 1958, NET began its test transmissions.[1]: 33  On January 9 of the following year, their broadcast license was approved, and test transmissions continued every night throughout the month.[1]: 34 

At the time of founding, the following locations were considered for the building of its headquarters:[1]: 25–26 

  • Ochanomizu Kishi Memorial Gymnasium
  • Adjacent to Hotel Okura in Toranomon
  • Land owned by a bank facing Aoyama Street in front of Jingumae
  • The site of the Fuji Television headquarters in Kawada Town (current location of Kawada Town Garden)
  • Toei Tokyo Studio Site
  • Toei site in Roppongi (current location of Roppongi Hills)

NET took these considerations:[1]: 25–26 

  • Convenient transportation
  • Possibility of future land expansion
  • Easy access to communication systems and electricity
  • Easy to build

After a careful consideration of these four conditions, a 9,100 square meter site at the location of the former Spanish embassy to Japan, was selected by Toei.[1]: 25–26 [2]

As Nippon Educational Television

[edit]
The first NET TV logo, used 1957-1960
NET TV "Channel 10" old logo, used 1960–1977
TV Asahi headquarters in 1961

At 9:55a.m. (JST) on February 1, 1959, NET signed on, airing at least 6.5 hours of programming per day.[1]: 39  By April, this figure was extended to 10 hours.[1]: 42  With the launch of the Mainichi Broadcasting System and Kyushu Asahi Broadcasting on March 1, 1959, NET programming started airing on those mentioned broadcasters. Shortly after the start of broadcasts, NET broadcast their first live program, which is the wedding of Crown Prince (now Emperor Emeritus) Akihito and Empress Michiko held on April 10 of the same year.[1]: 49–50 

At the time, its broadcasting license dictated that the network was required to devote at least 50% of its airtime to educational programming, and at least 30% of its airtime to children's educational programming.[3] However, the for-profit educational television model eventually proved to be a failure. In July 1959, average ratings of the network were less than 5%.[1]: 54 

In 1960, NET began its transformation into a general-purpose television station.[3] It began to broadcast anime and foreign movies (in the following years, the channel contains not only original anime but also foreign cartoons dubbed into Japanese). So as not to run afoul of the educational TV license requirements, NET justified the airing of these programs under the pretext of "nurturing a child's emotional range" (子供の情操教育のため, Kodomo no jōsō kyōiku no tame) and "introduction of foreign cultures" (外国文化の紹介, Gaikoku bunka no shōkai).[3] In December 1960, NET also changed its common name from Nippon Educational Television to NET TV (NETテレビ).[1]: 64–65  The change also made its ratings to reach about 10% after 1963. Although it still ranks at the bottom rank of other rival broadcasters, it has greatly narrowed the gap between it and the other three.[1]: 57 

The station began adding primetime programming in April 1961.[1]: 66  Two years later, NET announced its arrival into the anime race with the Toei produced Wolf Boy Ken. The first of many Toei Animation productions, its premiere began a long line of animated cartoons and series that the station has aired until today.

Kenichiro Matsuoka, born in America and fluent in English, joined the board of NET and was responsible for licensing Laramie and Rawhide from the US, gaining high ratings for the network. This would give them their first advantage over rivals NHK and Fuji TV. He would eventually go on to serve as an Executive Vice President and eventual founder of Japan Cable Television.[4][5][6]

In November 1963, NET joined forces with NHK General TV for the first live via satellite telecast in Japanese TV history.

Transition from educational to entertainment programming

[edit]

The switch to general programming also led to an infighting among the management. In contrast to the then-president of NET TV, Hiroshi Ogawa (from Toei Company), who was actively promoting entertainment programs, Yoshio Akao (from Obunsha) thought that too many entertainment programs were against the original purpose of the educational TV station and was strongly dissatisfied with the vulgar programs that filled NET TV's program schedule at that time.[7]: 61–62 In November 1964, Akao, together with shareholders other than Toei and Nikkei, Inc., succeeded in its major reorganization, forcing Ogawa to resign from the presidency.[7]: 61 Since then, Toei's influence in NET TV has been gradually replaced by Asahi Shimbun.[7]: 93 The following year, the Asahi Shimbun appointed to the post of station director Koshiji Miura (former Deputy Minister of Political Affairs).[7]: 86–92 

In the 1960s, NET TV also started airing foreign films as part of its schedule.[1]: 67  The NET TV premiere of The Morning Show in 1964 created a trend for a news-talk format on daytime Japanese TV, causing other networks to follow suit, it was the first Japanese morning program in its format.[1]: 116  Hyōten, NET TV's drama in 1966, had a 42.7% ratings in its finale.[1]: 121  The success of the drama made the network to adjust its target audiences to single and married females.[1]: 127  Despite heavily focusing on entertainment programs, they continued to broadcast educational programs, albeit on a limited number of hours every morning.[1]: 77  In 1967, NET TV launched The Minkyokyo [ja] to strengthen the production of educational programs.[1]: 74–75, 132  In April 1967, they started to broadcast in color TV, and by 1969, all of its programs were broadcast in color.[1]: 134–135  After 1968, many regional broadcasters in Japan began to pop up. This led to the broadcaster launching the All-Nippon News Network on April 1, 1970, the country's 4th national network, with NET producing national news and other nationally produced programming for the regional channels that had joined the network.[1]: 161–163  With the continuous network expansion, NET TV shifted its focus on its target audience again, this time from females, to being family oriented similar to the US PBS.[1]: 169–170 

But the best was yet to come. One year after ANN was launched, ground-breaking superhero series such as Kamen Rider, Metal Hero Series, and Super Sentai were produced by Toei, premiering on NET TV and the ANN network in April 1971 with the original Kamen Rider making its television debut. These programs ended the long-standing tokusatsu duopoly TBS and Fuji Television held with the then hit Ultra Series franchise for almost half a decade ago on TBS. Since 1958, TBS and Fuji TV were the only Japanese TV stations to air tokusatsu productions. With its hit premiere, a rivalry began to start between the three, with TBS seeing NET's tokusatsu programming as a threat. Toei's successful pitch was seen by its staff as a resurgence of their influence following the removal of Hiroshi Ogawa as president in 1964.

As Asahi National Broadcasting

[edit]
TV Asahi "Channel 10" old logo, used from 1977 to 1996. After the "Network Symbol" was introduced, this logo was still used on the sign-on/sign-off bumper until 2001.
TV Asahi Roppongi Center (old building, photographed in October 1989)

In November 1973, the Ministry of Posts revised its plans on how TV broadcasters would operate, including abolishing education-focused TV broadcasting. Therefore, NET's transformation into a general-purpose television station was complete by that same month, when NET, along with the educational channel "Tokyo Channel 12" (now TV Tokyo) in Tokyo applied and received a general purpose television station license.[1]: 200–201  In March of the following year, both ended their broadcasts of educational programming, completing the transition.[1]: 200–201  Japan's major newspapers are also sorting out their holdings in TV stations. The Nikkei transferred its stake in NET TV to The Asahi Shimbun, making the latter the largest shareholder of NET TV.[1]: 204–205  On April 1, 1975, the ANN affiliation in the Kansai region changed hands, from Mainichi Broadcasting System, ABC Television assumed the network affiliation slot.[1]: 209–214  Days later, the channel debuted another Ishinomori creation, Himitsu Sentai Gorenger, yet another Toei production, and it would be a stunning success (this was the same month when Kamen Rider jumped ship to rival TBS with the season premiere of Kamen Rider Stronger, the franchise would return to what is now TV Asahi in 2000). The series marked the beginning of the Super Sentai franchise and established NET as a force to be reckoned with regarding tokusatsu productions and anime.

On April 1, 1977, the corporate name of NET TV was renamed to Asahi National Broadcasting Co., Ltd.[d], with the name of its channel changed to TV Asahi.[1]: 240–241 This also symbolizes that the Asahi Shimbun has the right to operate TV Asahi both in name and in essence.[1]: 122–123  Since December 17, 1978, TV Asahi has been broadcasting programs with stereo audio.[1]: 267–268  The corporation also started entering into different ventures such as publishing in the late 70s to gain revenue other than advertising.[1]: 264–265 

In 1977, thanks to his close relationship with Ivan Ivanovich, head of the Japanese Section of the International Department of the Communist Party of the Soviet Union, Koshiji Miura was able to meet with Soviet leader Leonid Brezhnev and help TV Asahi obtain exclusive broadcasting rights for the 1980 Summer Olympics in Moscow. This was the first time that a private TV station in Japan was exclusively granted the broadcasting rights of the Olympic Games,[1]: 241–246  but this was controversial as rival broadcasters including NHK opposed the move.[1]: 302–303  Japan followed the Western countries in boycotting the 1980 Summer Olympics.[1]: 280–284  As a result, TV Asahi only aired high-profile Olympic events[1]: 284–287  and the broadcaster had significant losses in its revenue.[1]: 156 

Roppongi HQ Redevelopment

[edit]

As the broadcaster expanded its business, its HQ ran out of space. Since its HQ was located in a residential area, it became difficult to expand its existing infrastructure.[1]: 316  TV Asahi collaborated with property development firm Mori Building Company to redevelop the Roppongi area. While the new HQ was under development, TV Asahi temporarily moved to the newly built studios in Ark Hills.[1]: 315–317  In 1985, the Ark Broadcasting Center was officially completed.[8]: 225  As Japan entered into the economic bubble era, local residents around the Roppongi area had a negative perception towards the redevelopment of the said area, which resulted into delaying the redevelopment plan.[8]: 236–237  The old headquarters was demolished in 2000. Prior to the new headquarters being built on the site, offices of TV Asahi were located in multiple locations around Tokyo, including the studios in Ark Hills.[8]: 280–285 

Pre-transition to TV Asahi Corporation and Triple Crown ratings

[edit]
TV Asahi "Network Symbol" logo, designed by American designer Tim Girvin. Used from 1996 to 2003.

The launch of the evening news program "News Station" and "Super J Channel" in 1985 and 1997 helped TV Asahi establish its positive viewership advantage at 5pm and 10pm on weekdays, strengthening its position in news programs as a partnership with Turner-owned CNN and Capital Cities/ABC-owned ABC News from the US.[8]: 228–229  In 1987, ANN had a total of 14 regional affiliated stations, much smaller than the other 3 networks (JNN and FNN/FNS had 25 each and NNN/NNS had 27). However, affected by the economic bubble at that time, Kikuo Tashiro (then president of TV Asahi), announced that it wouldn't open more regional stations which resulted in protest from the existing stations. As a result, the decision was reverted and decided to open 10 more stations.[8]: 233  In response to the arrival of satellite TV, TV Asahi established TV Asahi Satellite Corporation in 1991.[8]: 237–238 

On November 22, 1995, TV Asahi premiered the American series The X-Files at an 8:00 pm prime time slot, the first since Knight Rider. The station began airing the series due to the success of The X-Files in the Japanese home video market with 200,000 cassettes sold beyond the threshold of 10,000. As part of the airing of the series, TV Asahi organized an "extensive promotional campaign" on the same month with a convention in Tokyo featuring screenings of episodes yet to release on home video and appearances by celebrity fans, Japanese translations of The X-Files books and an X-Files Mystery Tour to the filming locations of the series.[9]

After Iwate Asahi Television started broadcasting in 1996, the number of ANN stations reached 26, announcing that the broadcaster has already completed the establishment of its national network.[8]: 242  In June of the same year, media tycoon Rupert Murdoch and investor Masayoshi Son planned to buy a large stake of TV Asahi, jeopardizing the status of Asahi Shimbun as the major shareholder.[7]: 238–244  In this regard, Toshitada Nakae personally went to the US to meet Murdoch and asked him not to increase his shareholding to TV Asahi.[7]: 246–248  By the following year, Asahi Shimbun purchased the shares of TV Asahi held by Murdoch and Son.[7]: 262  TV Asahi is listed on the Tokyo Stock Exchange since October 3, 2000.[8]: 252  Multiple changes happened since 2000 after TV Asahi had been staying in the same 4th place for 10 consecutive years in TV ratings.[8]: 62–63, 253  In April 2000, major changes in its schedules, such as starting its programs a few minutes before the top of the hour and improving its entertainment programming at late-night.[8]: 254  TV Asahi launched its satellite channel BS Asahi in December 2000.[8]: 259–260 

Return to Roppongi and renaming to TV Asahi Corporation

[edit]

On September 29, 2003, TV Asahi moved back its head office from its Ark Hills Studio to Roppongi Hills.[8]: 261  On October 1, the company changed its name to TV Asahi Corporation, with the name presented as TV asahi on-screen, commemorating the 45th anniversary of the broadcaster.[8]: 260  As part of digital broadcasting, TV Asahi started to broadcast on digital TV, being designated to channel 5.[8]: 266–267  In 2004, TV Asahi's ratings reached 7.5% ranking third among the commercial broadcasters in the Kanto Region after a lapse of 32 years.[8]: 262  The ratings would further improve by the following year, ranking first in late-night TV ratings.[8]: 260  However, in 2008, affected by the global recession, TV Asahi recorded its first annual loss of revenue.[10]: 132  In 2009, Hiroshi Hayakawa became the president of the broadcaster, being the first president of TV Asahi who had been serving the broadcaster since its inauguration.[10]: 14  Between April and June 2012, TV Asahi won in the Triple Crown ratings for the first time with 12.3% in primetime, 12.7% in evening time, and 7.9% for whole day.[10]: 17 

On May 10, 2011, TV Asahi launched its mascot "Go-chan" which was designed by Sanrio.[10]: 122–123 

On April 1, 2014, TV Asahi became a certified broadcasting holding company "TV Asahi Holdings, Inc.", and newly founded "TV Asahi Corporation" took over the broadcasting business.

The transmission of international aquatics competitions, FIFA World Cup football matches, and creation of popular late-night TV programs contributed to a rise in ratings for TV Asahi and lifted the TV station from its popularly ridiculed "perpetual fourth place" finish into second place, right behind Fuji TV, by 2005. Disney-owned ABC signed a strategic alliance with former rival commercial broadcaster Fuji TV due to sluggish viewership ratings.

The station also launched its own mascot, Gō EX Panda (ゴーエクスパンダ, Gō Ekkusu Panda), also known as Gō-chan (ゴーちゃん。) Gō-chan is currently seen on TV Asahi's opening sign-on ID.

Partnership agreements with Zee Entertainment Enterprises Limited of India and the Kantana Group of Thailand were signed on March 31, 2015.[11]

Beginning April 11, 2022, TV Asahi's programs were made available on the TVer platform. It was initially scheduled for September 2021, but was delayed several times due to update problems.[12]

Branding

[edit]

Upon becoming TV Asahi in 1977, the station opted to use a red and green 10 mark. This was joined in October 1996 by a new special logo created following the launch of Iwate Asahi Television to represent the completion of the ANN network. It was designed by Tim Garvin, at the time known for his Hollywood works in movies such as Dances With Wolves and Unforgiven.[13]

TV Asahi's current branding were created by British design collective Tomato (some members work as the electronic music group Underworld) along with TV Asahi's in-house design department in 2003.[14] It comprises a set of computer-generated "sticks" in white background, which changes in colour and movement along with the background music that accompanies the idents. TV Asahi also uses a brief eyecatch of its sticks animation at the top-left of the screen after commercial breaks. The background music used for TV Asahi's sign-on and sign-off videos are Underworld's Born Slippy .NUXX 2003 and Rez. TV Asahi later updated its sign-on and sign-off video in 2008 with a revised version of computer-generated "sticks" animation and new background music. TV Asahi's slogan New Air, On Air. appears at the top of its name.[15] It can be seen on TV Asahi's YouTube channel, which in 2011–12, was replaced by its mascot, Go-Chan.

The company writes its name in lower-case letters, tv asahi, in its logo and public-image materials. Normally, the station branding on-screen appears as either "/tv asahi" or "tv asahi\". The station's watermark appearance is the stick at the top with the station's name at the bottom. The fonts used by TV Asahi for the written parts are Akzidenz Grotesk Bold (English) and Hiragino Kaku Gothic W8 (Japanese).[16]

From 1991 to 2001, TV Asahi was unique among the national television networks for its English language theme song, Join Us, which was used for both the startup and closedown sequences. Before that, from 1977 to 1987, another song (わが家の友だち10チャンネル, Wagaya no Tomodachi 10 channeru, Terebi Asahi, also the name of the relaunch event on April 1, 1977)[17] was used for these (instrumental only from 1978, formerly with vocals).

The broadcaster's official abbreviation is EX, taken from its callsign (JOEX), since October 1, 2003. During the Nippon Educational Television era, the English company name was Nippon Educational Television Co., Ltd. to NET, and during the National Asahi Broadcasting era, Asahi National Broadcasting Co., Ltd. to ANB. Initially, it was planned that NET would become All Asahi Broadcasting Co., Ltd., and that it would also use AAB as an abbreviation, but the name had already been registered as a trademark and there were doubts about adding "All" to the name of a single company. Because of this, the broadcaster selected ANB.[18][19] AAB is used as the English abbreviation for Akita Asahi Broadcasting, which opened in 1992.

Broadcasting

[edit]

Since 2004, the funding of this station is through sponsorship.

Analog

[edit]

(until July 24, 2011, only for 44 out of 47 prefectures)

JOEX-TV – TV Asahi Analog Television (テレビ朝日アナログテレビジョン)

Tokyo
  • Hachiōji – Channel 45
  • Tama – Channel 57
Islands in Tokyo
  • Chichijima – Channel 59
Ibaraki Prefecture
  • Mito – Channel 36
  • Hitachi – Channel 60
Tochigi Prefecture
  • Utsunomiya – Channel 41
Gunma Prefecture
  • Maebashi – Channel 60
Saitama Prefecture
  • Chichibu – Channel 38
Chiba Prefecture
  • Narita – Channel 59
  • Tateyama – Channel 60
Kanagawa Prefecture
  • Yokohama-minato – Channel 60
  • Yokosuka-Kurihama – Channel 35
  • Hiratsuka – Channel 41
Okinawa Prefecture
  • Kita-Daito – Channel 48
  • Minami-Daito – Channel 60

Digital

[edit]

JOEX-DTV – TV Asahi Digital Television (テレビ朝日デジタルテレビジョン)

Ibaraki Prefecture
  • Mito – Channel 17
Tochigi Prefecture
  • Utsunomiya – Channel 17
Gunma Prefecture
  • Maebashi – Channel 43
Kanagawa Prefecture
  • Hiratsuka – Channel 24

Programs

[edit]

Variety and music

[edit]

Dramas and TV series

[edit]
See also: Category:TV Asahi television dramas
  • Tuesday Drama (火曜21時, since 1987)
  • Wednesday Drama (水曜21時, since 1987)
  • Thursday Drama (木曜ドラマ, since 1982)
  • Friday Night Drama (金曜ナイトドラマ, since 2000)
  • Saturday Night Drama (土曜ナイトドラマ, since 2000)
  • Sunday Night Drama (日曜22時, since 2023)
  • Drama L (ドラマL, since 2018)
  • Kamen Rider (since 2000)
  • Super Sentai (since 1979)

Information and news programs

[edit]

Reliability

[edit]

According to the 2019 Reuters Institute Digital News Report, TV Asahi was the lowest-positioned among the news operations of five networks in Japan, with a score of 5.76 points, behind (in growing order) Fuji TV (5.79), TBS (5.86), NTV (5.95) and NHK (6.32, itself the most-reliable overall source according to the study).[21]

Anime programming

[edit]
Main page: Category:TV Asahi original programming

Foreign programming

[edit]

TV Asahi also occasionally broadcast a number of foreign movies and series, dubbed into Japanese (Police Academy: The Animated Series, The Smurfs, Adventures of the Gummi Bears, CatDog) and some movies and series with original language and Japanese subtitles (Bonkers, Freakazoid!, Iznogoud, The Wacky World of Tex Avery).

Sports coverage

[edit]

Current

[edit]

Football (Soccer)

[edit]

Basketball

[edit]

Baseball

[edit]

Golf

[edit]

Pro Wrestling

[edit]

Volleyball

[edit]

Multi-sport events

[edit]

Headquarters

[edit]
Sign of TV asahi in headquarters since 2003

In 2003, the company headquarters moved to a new building designed by Fumihiko Maki currently located at 6-9-1 Roppongi, Minato, Tokyo, Japan.

TV Asahi's Broadcasting Center at Ark Hills, not far from its headquarters since 2003

Some of TV Asahi's departments and subsidiaries, such as TV Asahi Productions and Take Systems, are still located at TV Asahi Center, the company's former headquarters from 1986 to 2003. It is located at Ark Hills, not far from its headquarters.

Networks

[edit]
Main article: All-Nippon News Network

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

TV Asahi

View on Grokipedia
from Grokipedia

TV Asahi Corporation (株式会社テレビ朝日, Kabushiki-gaisha Terebi Asahi) is a Japanese commercial television broadcaster headquartered at 6-9-1 Roppongi, Minato-ku, Tokyo.
Established on November 1, 1957, the company launched its broadcasting services on February 1, 1959, with paid-in capital of 100 million yen dedicated to television operations.
It operates as a wholly-owned subsidiary of TV Asahi Holdings Corporation, which is controlled primarily by The Asahi Shimbun Company as its largest shareholder holding 24.72% of shares, alongside other stakeholders like Toei Company.
As one of Japan's key private broadcasters, TV Asahi has maintained a prominent role in national programming distribution through its network affiliations.

History

Founding and Pre-Launch Period

In the aftermath of World War II, Japan's broadcasting landscape evolved under the Broadcast Law of 1950, which restructured the sector to promote public welfare and enable commercial operations alongside public service mandates. This framework supported the expansion of television as an educational tool, with NHK already providing one educational channel; policymakers envisioned a complementary private educational network to broaden access amid rapid post-war economic recovery and low television ownership rates. Nippon Educational Television Co., Ltd. (NET) was incorporated on November 1, 1957, as a for-profit entity focused on educational content, drawing initial support from Company and government funding to meet regulatory requirements for at least 50% educational programming in early operations. The station, tentatively named prior to formal establishment, secured concessions for Channel 10 in the Kanto region, reflecting consolidation of private investor applications by the Ministry of Posts and Telecommunications. Ties to Asahi Shimbun provided journalistic expertise and capital from affiliates, though specific founding figures remain undocumented in primary records; early staffing incorporated talent from newspapers like Nikkei Shimbun and production firms such as Toei. Pre-launch preparations from 1957 to 1959 emphasized infrastructure development, including basic studio facilities in for partial-schedule testing, amid challenges like limited household TV sets—only urban elites could receive signals initially. By late 1960, NET formalized alliances with emerging affiliates, contributing to the (ANN) structure for coordinated news distribution, setting the stage for nationwide reach while adhering to its educational charter before commercial shifts. These efforts aligned with Japan's policy push for media-driven development in a rebuilding .

Operations as Nippon Educational Television

Nippon Educational Television Co., Ltd. (NET) began operations on February 1, 1959, as Japan's fourth commercial broadcaster, transmitting on UHF channel 10 in the Kanto region with a focus on educational programming mandated by its licensing conditions. The station prioritized content in science, culture, and youth education to serve public interest, distinguishing it from entertainment-oriented rivals like Nippon Television and TBS. Early broadcasts included school-targeted educational series and general cultural programs aimed at fostering intellectual development, often developed in collaboration with academic institutions to ensure pedagogical accuracy. NET produced notable science-oriented programs such as "Everybody is a Scientist," a 30-minute series designed to engage audiences with experimental demonstrations and explanations accessible to broad demographics. Partnerships with schools and universities facilitated the integration of these programs into curricula, enhancing their utility for formal while promoting among youth. Cultural programming covered socially beneficial topics, including and , reflecting the network's commitment to non-commercial values despite its private ownership. Despite these initiatives, encountered significant challenges in attracting viewership, as audiences gravitated toward the dramas, variety shows, and sports offered by competitors, resulting in consistently lower ratings for the station. Regulatory requirements emphasizing educational content over profit-driven entertainment limited and commercial flexibility, exacerbating financial pressures in a market dominated by mass-appeal programming. By the mid-1960s, while color commenced and technical milestones like relays were achieved, NET's audience share remained modest compared to established networks.

Shift to Commercial Entertainment Programming

In November 1973, formally transitioned from an educational focus to general commercial programming, obtaining a license from Japan's to operate as a station for broad public and . This pivot addressed persistently low viewership for educational material, which had struggled against the entertainment-heavy schedules of rivals like TBS and , whose variety shows and dramas captured larger audiences in the expanding TV market. The regulatory approval followed years of to adapt to commercial realities, amid debates within NET's management over abandoning its foundational educational —established in 1957 under ties to and educational institutions—in favor of revenue-generating formats. Proponents argued that strict adherence to niche content limited financial sustainability and , while opponents feared dilution of public service ethos; the decision ultimately prioritized viability in a dominated by five major commercial broadcasters. Post-transition, NET's ratings began to rise from single-digit shares, enabling fiercer competition with incumbents by allocating airtime to high-appeal genres, though it initially trailed leaders in prime-time dominance. This shift intensified overall network rivalry, prompting strategic responses from competitors and contributing to a more fragmented broadcasting environment by the mid-1970s.

Era as Asahi National Broadcasting

On April 1, 1977, Nippon Co., Ltd. rebranded to Asahi National Broadcasting Co., Ltd., reflecting its transition to a general broadcaster following the acquisition of a full commercial license in 1973. This change aligned the company with the (ANN), bolstered by affiliate switches such as ABC in joining ANN in 1975, enabling broader nationwide content distribution through key stations like Television, Miyagi Television, and others. The rebranding emphasized expansion beyond educational programming, with the channel adopting the TV Asahi name to signal a focus on diverse genres including , dramas, and imported series. In March 1977, ahead of the name change, Asahi National Broadcasting secured exclusive Japanese rights to broadcast the 1980 Olympics, marking a significant in high-profile international content to attract wider audiences. That October, the network aired the American miniseries , which drew massive viewership and boosted its profile amid the shift to entertainment-oriented scheduling. Programming diversified with increased output in dramas and news bulletins via ANN, alongside variety shows and , sustaining a formula of costly productions through the that prioritized prime-time appeal over niche education. Headquartered at 1-1-1 in Tokyo's Minato ward, the company invested in production facilities to support growing operations, though space constraints in the foreshadowed later relocations. These efforts facilitated steady infrastructure enhancements, including studio expansions, to handle expanded series and production, contributing to competitive household ratings in key time slots during the late 1970s and 1980s.

Renaming to TV Asahi Corporation and Key Restructuring

In the wake of Japan's asset price bubble collapse in the early , Asahi National Co., Ltd. (ANB), operating as TV Asahi, encountered reduced revenues and intensified market competition as the entered a prolonged stagnation period. The industry faced additional pressures from regulatory reforms during the decade, which facilitated the growth of (BS) and cable services, eroding the traditional of terrestrial networks and prompting adaptations in programming and operations. These challenges culminated in strategic overhauls, including schedule revisions in April 2000 to bolster viewer ratings after a decade of fourth-place standing among key networks. By the early , ANB pursued comprehensive restructuring to enhance efficiency and competitiveness, aligning with broader media sector shifts toward diversification and technological upgrades. On October 1, 2003, ANB formally restructured and renamed itself TV Asahi Corporation, coinciding with the relocation of its headquarters from Ark Hills to a state-of-the-art facility within the complex. This return to —its original base before a mid-1980s move—incorporated modernized studios and production infrastructure designed to support advanced amid digital transitions and rising content demands. The reorganization aimed to streamline corporate functions, optimize costs in a post-bubble fiscal environment, and position the company for sustained viability against evolving revenue streams and regulatory landscapes.

Developments in the 2010s and 2020s

In the , TV Asahi adapted to the rise of internet-distributed television by enhancing its strategies, including expanded online streaming and integration to counter declining traditional viewership amid broader industry shifts toward "terebi banare" or detachment from linear TV. The broadcaster launched the "TV Asahi for the New Era Management Plan 2023-2025" on , 2023, aligning with its 65th anniversary initiatives and prioritizing across multiple platforms to drive IP exploitation in digital and experiential formats. This plan builds on prior digital enhancements, focusing on diversified revenue streams from content beyond broadcast. A cornerstone of this strategy is the Tokyo Dream Park project, an entertainment complex in Ariake, Tokyo, scheduled for completion in 2025 and grand opening in spring 2026, designed to offer immersive media experiences, event spaces, and IP-based attractions to expand into non-traditional business areas. To bolster international co-productions, TV Asahi signed a Memorandum of Understanding with SLL, a Korean content studio affiliated with JoongAng Group, on May 17, 2024, enabling joint planning and development of dramas for global audiences; this has yielded projects including the Japanese remake of the series SKY Castle, set to premiere in July 2024, and the original romance thriller Monster (also titled Mamul), slated for 2025 broadcast. In and IP expansion, TV Asahi Corporation invested in HIKE Holdings on October 1, 2025, supporting the startup's efforts in cross-media IP development, digital transformation of production environments, and project investments to cultivate scalable content ecosystems.

Corporate Structure and Ownership

Ownership and Governance

TV Asahi functions as a wholly-owned of TV Asahi Holdings , the holding entity established in 2006 under Japan's regulatory framework for separating and broadcasting operations in certified holding companies. This structure ensures operational autonomy for TV Asahi while centralizing strategic oversight at the holdings level, with no direct government ownership or influence, distinguishing it as a private commercial broadcaster regulated solely by the Broadcasting Act. Major shareholders of TV Asahi Holdings as of March 31, 2025, are led by The Asahi Shimbun Company (24.72%) and Toei Company, Ltd. (17.51%), both classified as controlling shareholders that provide strategic alignment without compromising editorial or operational independence through formalized separation agreements and governance protocols. Additional key holders include The Master Trust Bank of Japan, Ltd. (7.12%), Kosetsu Museum of Art (4.75%), Dai Nippon Printing Co., Ltd. (3.81%), and KBC Group Holdings Co., Ltd. (3.15%), reflecting a diversified base of financial institutions and corporate investors. The incorporates independent outside directors selected under strict criteria to avoid conflicts with major shareholders or partners, promoting diverse expertise in and strategy while adhering to independence standards; the Audit and Supervisory Committee features a majority of such outside members to enhance oversight. practices include and Compensation Committees to support transparent . To maintain certification as a broadcasting holding company, TV Asahi Holdings enforces limits on foreign voting rights below 20%, issuing notifications upon approaching 15% thresholds; foreign ownership stood at 15.37% as of March 31, 2025, rising to 19.8% by September 30, 2025, necessitating vigilant compliance to avert regulatory revocation.

Financial Performance and Strategy

TV Asahi Holdings Corporation reported consolidated net sales of approximately 327 billion yen for the trailing twelve months as of recent data, with and content production forming the core segments, supplemented by events and . Operating profit margins stood at around 9%, while net profit margins were approximately 8.3%, reflecting stable profitability amid competitive media landscapes. For the ended March 31, 2024, the company achieved operating profit of about 19.7 billion yen in interim periods, driven by recovery and content licensing. In response to declining traditional viewership and trends, TV Asahi has pursued a "360° Strategy" emphasizing diversification into digital platforms, distribution, and live events to sustain streams. This includes bolstering initiatives and establishing a dedicated events unit in April 2025 to capitalize on experiential content, aiming to offset broadcasting declines through multi-channel monetization. Early results showed promise, with first-quarter net sales for 2026 (ended June 30, 2025) rising 3.7% year-over-year, supported by these non-linear sources. Capital allocation strategies underscore financial discipline, including share buybacks completed in 2025—such as the acquisition of 1,108,200 shares by June 30 for 2.9 billion yen—to enhance and optimize . maintains stability, with an annual payout of 60 yen per share for 2025 (payout ratio of 25.4%), prioritizing consistent returns without aggressive increases that could strain liquidity. These measures, combined with cost controls in content production, position the company for long-term despite sector headwinds like streaming .

Facilities

Headquarters and Roppongi Redevelopment

TV Asahi's headquarters are situated at 6-9-1 , Minato-ku, , within the urban complex. The Roppongi 6-chome district, centered on TV Asahi's original facilities, served as the company's operational base from its formative years following establishment in 1957. By the , expansion needs and the site's location in a residential area necessitated to accommodate growing broadcasting infrastructure. In November 1986, the designated the 6-chome area as a inducement zone, initiating a major private-sector project involving Mori Building Co., Ltd. and TV Asahi as key landowners. This collaboration amalgamated over 400 lots and addressed topographic challenges, such as a 17-meter , through comprehensive . Planning spanned the late and , with construction commencing around 2000 after TV Asahi temporarily relocated operations to the nearby Ark Hills Studio. The project represented Japan's largest private at the time, integrating commercial, residential, and media facilities. The resulting TV Asahi Building, completed in 2003 and designed by architect , functions as both headquarters and broadcast center along the eastern edge of . Spanning eight stories, it houses production studios, offices, and meeting facilities optimized for modern television operations, including space for high-definition content creation post-Japan's shift. As of 2025, the facility remains integral to TV Asahi's core activities, supporting integrated studio production amid ongoing technological upgrades, though no large-scale physical expansions have been announced for the site itself.

Other Key Facilities

TV Asahi operates the Ark Broadcasting Center in Ark Hills, Akasaka, Tokyo, which supports ongoing production and broadcasting activities distinct from the main headquarters. Completed in 1985, this facility houses specialized studios and has been integrated into sustainability initiatives, including renewable energy certificate adoption for its operations. For news gathering, TV Asahi established satellite news gathering (SNG) capabilities in April 1989, incorporating a heliport and helicopter deployments to enable rapid live reporting from remote locations across Japan. These mobile assets facilitate logistical support for nationwide coverage through the All-Nippon News Network's affiliate structure. In sports production, TV Asahi utilizes advanced remote production technologies to cover international events without extensive on-site infrastructure. In 2020, the network employed TVU Networks' Remote Production System and mobile transmitters for live U.S. Open golf broadcasts, minimizing physical deployments while ensuring high-quality feeds. Similar investments supported localized coverage of the 2021 Open Championship, allowing flexible transitions between scenes via cloud-based workflows. The Wakabadai Media Center in serves as a secure archival facility for video tape storage, relocated post-2011 Tōhoku earthquake to reduce vulnerability and preserve historical content. These elements collectively enable efficient content feed-in and distribution beyond central operations.

Branding and Visual Identity

Evolution of Logos and Slogans

TV Asahi's logos originated during its time as Nihon Educational Television (NET), emphasizing an educational mission with simple, functional designs. From 1957 to 1960, the initial NET logo featured a stylized emblem reflecting its founding as Japan's second commercial focused on instruction. This was succeeded by the "Channel 10" logo from 1960 to 1977, incorporating the channel number to highlight its UHF allocation and growing national reach. The 1977 rebranding to TV Asahi, amid a shift from educational to general programming, introduced a distinctive and "10" mark symbolizing channel identity and vibrant entertainment. This persisted until 2003, with a supplementary added in October 1996 by graphic designer , integrating a motif alongside the "TV ASAHI" to evoke growth and organic development, aligning with perceptions of renewal post-regulatory . On October 1, 2003, following the relocation to and corporate restructuring, TV Asahi unveiled a new primary : an origami-inspired "10" formed by a vertical stick for the "1" and a for the "0," paired with a lowercase "tv asahi" . This dynamic form, created by design collective , represents and evolution, adapting to sound inputs for fluidity in digital broadcasts and enhancing global visual appeal. Slogans have complemented these visual shifts, underscoring content freshness. The phrase "New Air, On Air" emerged prominently in the late , positioning the network as a source of innovative amid competition, and persisted into the digital transition to signal ongoing adaptation. Rebrands, such as the 2003 update, correlated with milestones like upgrades, fostering perceptions of and for diverse viewers transitioning from analog to HD formats.
PeriodLogo DescriptionKey Context
1957–1960Initial emblemEducational founding focus
1960–1977"Channel 10" designExpansion beyond
1977–1996Red/green "10" markShift to
1996–2003 motif with Brand refresh for growth
2003–present "10" and lowercase Digital-era dynamism

Branding Strategies and Changes

In the mid-1970s, TV Asahi's predecessor, Nippon Educational Television (NET), undertook a pivotal branding shift from an education-mandated broadcaster to a general entertainment network, driven by regulatory from the Ministry of Posts and ' November 1973 revisions that eliminated quotas requiring at least 50% educational content. This transition, formalized with the April 1, 1977, to Asahi National Broadcasting Co., Ltd. (ANB), repositioned the network to prioritize commercially viable genres like dramas, variety shows, and sports, aiming to bolster audience share against dominant competitors such as Nippon Television and TBS in a maturing market. The strategy emphasized broad appeal to urban demographics, leveraging Asahi's newspaper affiliations for cross-promotional synergies, though it initially sparked internal management conflicts over programming direction. Responding to competitive pressures from cable, streaming, and rival terrestrial networks, TV Asahi adopted multi-platform branding tactics in the and , including reactive cross-media identities designed to unify on-air, online, and print elements for heightened visibility. A notable re-launch campaign integrated dynamic visual systems across channels, reportedly yielding a 300% surge in by fostering interactive viewer engagement. These efforts extended into digital realms, with investments in app-based content delivery and partnerships like for catch-up streaming, which drove digital ad revenue to ¥5,873 million—a 29.7% year-over-year increase—in the fiscal year ending March 31, 2025, amid broader TV ad market contraction. Critics have pointed to inconsistencies in these strategies during ratings downturns, such as the structural TV advertising slump from 2017 to 2019, where despite select program successes, overall net sales declined due to fragmented that diluted the network's entertainment-focused identity against more agile digital natives. Observers argued that ad-hoc responses, including temporary refreshes without sustained thematic cohesion, hindered differentiation, prompting internal calls for streamlined to align branding with viewer migration to on-demand platforms. TV Asahi countered by enhancing digital integration in subsequent years, though persistent revenue pressures underscored the challenges of maintaining a unified in a fragmented media landscape.

Broadcasting Operations

Analog Broadcasting Era

TV Asahi, initially operating as , launched its analog television service on February 1, 1959, transmitting on VHF channel 10 in the metropolitan area using Japan's variant of the color television system. This marked the beginning of commercial educational and general programming broadcasts, with initial coverage focused on urban centers where line-of-sight reception was feasible. As the network grew, TV Asahi expanded its reach through the establishment of affiliated regional stations starting in the late 1960s, utilizing both VHF and UHF frequencies to serve smaller markets and extend signals beyond . Analog transmissions operated at standard resolutions of interlaced, but were prone to technical limitations including multipath interference causing ghosting in densely built urban environments and weak signal strength in remote areas due to over distance and obstacles like mountains. To address coverage gaps, particularly in rural , the broadcaster relied on a network of over 10,000 stations nationwide by the , which rebroadcast signals to improve accessibility. These analog operations persisted until , 2011, when TV Asahi ceased VHF channel 10 transmissions as part of Japan's complete terrestrial analog switch-off, transitioning all services to digital ISDB-T standards.

Digital Transition and Current Standards

TV Asahi initiated digital terrestrial broadcasting on December 1, 2003, aligning with the national rollout of the ISDB-T standard mandated by Japan's Ministry of Internal Affairs and Communications. This marked the beginning of a phased transition from analog signals, with test transmissions preceding full commercial operations to ensure compatibility and infrastructure readiness. The government enforced a nationwide analog shutdown on July 24, 2011, compelling broadcasters like TV Asahi to complete upgrades, including transmitter installations and signal segmentation for enhanced efficiency. ISDB-T's layered modulation allowed TV Asahi to deliver primary high-definition (HD) content in format alongside subsidiary services, such as the one-segment (1seg) mode optimized for mobile and handheld devices, thereby expanding accessibility beyond fixed receivers. This multi-channel capability improved utilization, enabling simultaneous HD video, multiple standard-definition subchannels, and data services without the interference common in analog systems. Currently, TV Asahi maintains ISDB-T as its core terrestrial standard, broadcasting in with robust error correction for reliable reception in urban and suburban areas. In the , while full terrestrial 4K ultra-high-definition (UHD) remains limited due to bandwidth constraints and tuner requirements, TV Asahi has advanced higher-resolution capabilities through its BS Asahi satellite channel, launching 4K broadcasts in 2017 for select programs like sports and events. These implementations leverage ISDB-T extensions for improved compression and quality, supporting ongoing enhancements in viewer experience amid evolving display technologies.

Technical Specifications and Coverage

TV Asahi serves as the key station for the (ANN), which comprises 26 affiliated stations providing terrestrial broadcast coverage across . These affiliates relay TV Asahi's programming, ensuring signal reach to virtually all populated areas through a combination of high-power transmitters and regional repeaters. The network employs 's ISDB-T standard for transmissions, supporting high-definition resolution. In the area, TV Asahi's flagship signal, JOEX-DTV, operates on UHF physical channel 24 with virtual channel 5, utilizing as a primary transmission site. Affiliated stations transmit on varying UHF channels tailored to local allocations, with effective radiated powers typically ranging from 10 to 50 kilowatts to overcome terrain and achieve broad regional penetration. Broadcast reliability is supported by advanced infrastructure, including (SDN) for dynamic traffic management and IP-based KVM systems for redundant monitoring and control across facilities. Additionally, cloud-integrated switchers provide capabilities to minimize downtime during live operations. Internationally, TV Asahi distributes select feeds via , including on JCSAT 3A and JCSAT 15 at Ku-band frequencies, enabling access for overseas affiliates and viewers in and beyond. Complementary BS and CS channels, operated through affiliates like BS Asahi, extend premium content delivery to subscribers outside terrestrial coverage.

Programming Content

Variety, Music, and Entertainment Shows

TV Asahi's variety programming shifted toward interactive quiz and talk formats in the 1970s as the network transitioned from its earlier educational focus under to broader commercial entertainment following the 1975 rebranding to Asahi National Broadcasting (ANB). Flagship quiz shows emphasized competitive trivia mechanics to engage audiences, with Panel Quiz Attack 25 debuting on April 6, 1975, via the ANN network (including TV Asahi affiliates). This program innovated with a 5x5 illuminated panel board where civilian contestants answered questions to claim and flip squares, aiming to control the majority for victory, and sustained weekly broadcasts for 46 years until its finale on September 26, 2021, due to its reliable format driving repeat viewership among families. Talk varieties complemented quizzes by leveraging celebrity panels for humorous banter and challenges, becoming ratings drivers through unscripted interactions. Shows like London Hearts, airing since 1992, pioneered confrontational dating and confession segments that capitalized on scandalous revelations to attract younger demographics, often achieving prime-time slots with guest idols and comedians. These formats prioritized live audience reactions and rapid pacing, which pre-digital era metrics showed boosted household ratings above 10% in competitive slots by fostering communal viewing events. Music entertainment programs have anchored TV Asahi's non-scripted lineup since the 1980s, with launching on October 24, 1986, as a Friday night staple from 9:00 p.m. to 10:00 p.m. This live-broadcast series promotes idols and artists through high-energy performances, serving as a launchpad for debuts and comebacks by featuring up to 60 acts per special episode, including international guests, and integrating chart rankings to reflect real-time popularity. Its role in idol promotion stems from exclusive stage access that amplifies visibility, historically tying into live events like annual countdown specials that drew peak audiences exceeding 15% share in the via synchronized broadcast hype. Post-2011 digital transition, engagement trends incorporate streaming clips and tie-ins, extending reach beyond linear TV while maintaining core live appeal for event-driven spikes.

Drama Series and Televised Fiction

TV Asahi produces a diverse array of serialized drama series, including contemporary narratives and historical set in feudal , typically aired in weekly prime-time or late-night slots. These productions emphasize character-driven stories with large-scale sets, elaborate costumes for period pieces, and collaborations with prominent actors such as and . series, focusing on , assassins, and ronin, have formed a core of the network's fiction output since the 1970s, with franchises like the Hissatsu (Sure Death) saga depicting Edo-period retribution narratives across multiple installments. The Hissatsu series, originating in 1973, exemplifies TV Asahi's commitment to serialized , blending action, moral dilemmas, and historical realism in episodes that often run 45-60 minutes. Similarly, Sanbiki ga Kiru! (Lethal Three), featuring a trio of skilled swordsmen combating , spanned seven series from 1987 to 1995, attracting dedicated audiences through recurring themes of loyalty and vengeance. These period dramas peaked in popularity during the and , coinciding with a broader resurgence in viewership amid economic prosperity and nostalgia for lore, though specific ratings data from that era remains less documented than for modern series. Modern dramas on TV Asahi, shifting toward urban thrillers, medical procedurals, and romantic comedies, saw viewership highs in the 2000s and 2010s. The flagship medical series Doctor-X, which premiered on October 18, 2012, achieved the highest average ratings (19.2%) among all commercial broadcasters' dramas that year, driven by its portrayal of a defiant freelance surgeon challenging institutional corruption. Later seasons, including the seventh in 2019, sustained ratings above 15%, underscoring the network's production scale with budgets supporting high-profile casts and intricate plotlines. Hits like BORDER (2014), a supernatural detective drama averaging 13.5% ratings, further highlighted collaborations with actors such as Takuya Kimura, boosting domestic appeal and limited international syndication. Into the 2020s, TV Asahi has adapted to by co-financing series with streaming partners, including the TELASA SVOD platform launched on , , in collaboration with Corporation, which prioritizes exclusive access to its dramas for on-demand viewing. This model extends to vertical short-form dramas tailored for smartphones, initiated with in 2025, enhancing production efficiency and global export via digital catalogs that promote select titles like Doctor-X abroad. Such partnerships mitigate declining linear TV ratings while amplifying cultural reach, with exported dramas contributing to Program Catalog sales.

Anime and Animation Block

TV Asahi has broadcast series since the network's early years, establishing dedicated slots that evolved from daytime children's programming to late-night blocks catering to broader demographics. A flagship example is , which debuted on April 2, 1979, in a Sunday morning time slot and has aired over 1,000 episodes, focusing on themes of friendship and invention for young audiences. This long-running series exemplifies TV Asahi's emphasis on family-oriented , with episodes continuing production as of 2025. In the 1990s, TV Asahi introduced earlier experimental late-night anime slots, marking a shift toward content for older viewers amid growing otaku culture. By the 2020s, the network formalized blocks like ANiMAZiNG!!!, a collaborative late-night programming initiative with affiliate Asahi Broadcasting Corporation, debuting in October 2020 with series such as Iwa Kakeru! Sport Climbing Girls, airing Saturdays at 26:00 JST (effectively Sunday 2:00 a.m.). This block features original anime not always tied to manga sources, targeting adult enthusiasts with mature narratives. Complementing it, the IMAnimation block launched in October 2024 on Saturdays from 23:30 JST, premiering titles like the upcoming Akane-banashi adaptation in 2026. These expansions increased late-night slots from one to three by 2024, boosting viewership and contributing to anime's role in TV Asahi's revenue growth through domestic ratings and content exports. Licensing agreements for TV Asahi's portfolio, including syndication of to over 100 countries, generate substantial international revenue, with -related sales forming a key segment of the network's content monetization strategy. However, these blocks have faced scrutiny for demographic targeting and content intensity; daytime series like and expose children to occasional violence, while late-night offerings permit edgier themes, reflecting Japan's relatively permissive broadcast standards compared to stricter Western regulations. Critics argue this approach risks normalizing aggressive elements for impressionable viewers, though empirical data on causal links to remains contested, with Japanese regulators prioritizing parental over preemptive . TV Asahi's emphasis has amplified Japan's , exporting cultural motifs globally via dubbed and subtitled syndication deals.

Sports Broadcasting Coverage

TV Asahi holds for select events within Japan's Olympic coverage as part of the Japan Consortium, which collectively manages Summer and transmissions through 2032, allocating specific competitions to members including TV Asahi for high-national-interest sports like and football. For the Paris 2024 Olympics, TV Asahi aired live coverage of events in the women's 52kg and men's 66kg categories, along with the women's football quarterfinal between and the , achieving elevated viewership ratings amid the consortium's divided event assignments. Production for such multi-sport events involves deploying extensive on-site teams, as demonstrated by TV Asahi's dispatch of 100 staff to the 2008 Olympics for comprehensive live and off-field reporting. In , TV Asahi provides coverage of select (NPB) postseason games, including portions of the , where it collaborates with other networks like TBS and Fuji TV for 2025 broadcasts across three of seven games. The network has also aired international competitions such as the () , combining with TBS for transmission of Japan's matches in the opening and super rounds. Viewership for events on TV Asahi has set benchmarks, with Japan's quarterfinal victory over Italy drawing approximately 38 million viewers, equivalent to nearly one-third of Japan's population and marking the tournament's highest-rated game domestically. For soccer, TV Asahi secures rights to selected (AFC) matches, including availability of certain games alongside primary streaming partner under a deal covering events through 2028. This includes the , where TV Asahi broadcasts as part of broader AFC rights arrangements. While domestic matches predominantly stream on under an exclusive 12-year pact initiated in 2016 valued at ¥223.9 billion, TV Asahi's AFC focus contributes to its soccer portfolio, with recent qualifiers like the 2026 Asian finals yielding strong first-half fiscal 2025 ratings. TV Asahi maintains a longstanding partnership with (NJPW), airing weekly programs such as World Pro-Wrestling (30 minutes) and World Pro-Wrestling Returns (60 minutes) on its network and satellite channels. In a notable revival, the network broadcast NJPW's 20 event on January 4, 2026, nationwide for the first time since 2004, featuring Hiroshi Tanahashi's retirement match and Olympic judo medalist Aaron Wolf's debut. This coverage underscores TV Asahi's role in pro wrestling production, leveraging studio analysis and live event logistics to sustain viewer engagement in a genre with dedicated domestic followings. In basketball, TV Asahi acquired domestic free-to-air rights for the 2023 FIBA World Cup alongside Nippon TV, enabling live broadcasts of Japan's participation and contributing to broader event visibility amid shifting rights toward paid platforms. Sports viewership on TV Asahi, particularly for marquee events, has driven revenue through high ratings; for instance, prime-time averages reached 12.5% annually in recent years, outperforming some commercial rivals, while Olympic and international fixtures bolster ad shares despite competition from streaming services.

Foreign and Imported Content

TV Asahi has occasionally aired dubbed imports of American television series and films, particularly during periods of limited domestic production capacity in its early decades. In the post-war era through the and , the network relied on U.S.-sourced programs such as soap operas to fill schedules, adapting them via Japanese dubbing to align with local viewer preferences for serialized narratives. These imports faced adaptation challenges, including tonal adjustments to mitigate cultural mismatches in and themes, as direct translations often resulted in viewer disengagement due to differing social contexts. In slots, foreign content remains sparse, with U.S. and European series typically relegated to late-night or filler programming rather than flagship hours dominated by domestic productions. practices emphasize that conveys emotional intensity familiar to Japanese audiences, sometimes altering humor or references for relatability, though this can dilute original intent. European imports, such as select British dramas, have appeared infrequently, often subbed rather than dubbed, but lack the volume of U.S. content due to licensing costs and lower demand. Recent shifts emphasize co-productions and remakes over straight imports, particularly with South Korean partners, to facilitate bilateral content exchange while addressing localization hurdles. On May 17, , TV Asahi entered a with SLL, a leading Korean studio, to co-develop dramas and formats, enabling adaptations that incorporate Japanese sensibilities into Korean storylines. This partnership yielded projects like the Japanese remake of the Korean hit , which modifies elite education critiques to resonate with domestic exam pressures, and an original thriller The Monster Within, blending romance elements across cultural lines. Remakes mitigate risks by creating localized versions less vulnerable to unauthorized streaming, though challenges persist in balancing fidelity to source material with viewer expectations for culturally attuned pacing and character motivations. Expanding westward, TV Asahi announced its first U.S. co-production in January 2025 with Smart Dog Media for Song vs. Dance, a masked format merging and challenges, adapted to appeal to Japanese prime-time variety tastes through ensemble performances and anonymity tropes. Such ventures highlight a strategic pivot toward hybrid , where imported concepts undergo rigorous localization to counter historical low uptake of unadapted foreign , prioritizing empirical audience data over rote importation.

News and Information Services

Major News Programs

Super J Channel is TV Asahi's flagship evening news program, which debuted on April 1, 1997, and airs live weekdays from approximately 4:48 p.m. to 7:00 p.m. across ANN affiliates, delivering , updates, and topical segments in an accessible format emphasizing real-time reporting and visual aids. The program has maintained strong viewership, achieving an average annual rating of 8.5% in certain years by surpassing competitors like in the evening slot. Preceding this in TV Asahi's news lineup, News Station launched on October 1, 1985, as an innovative weekday evening broadcast featuring on-location reporting and debate-style analysis, which ran for 4,795 episodes until its finale on March 26, 2004, hosted by Hiroshi Kume. It transitioned into Hōdō Station (Reporting Station), a late-night counterpart airing weekdays from 9:54 p.m. to 11:10 p.m., continuing the emphasis on in-depth news coverage and interviews. The (ANN), TV Asahi's affiliate system, enables round-the-clock news dissemination through streaming platforms like ANNnewsCH, complementing prime-time on-air slots with continuous updates on events, press conferences, and forecasts. This structure has supported expanded digital delivery since the network's evolution, aligning main broadcasts with broader 24-hour accessibility.

Journalistic Practices and Reliability Assessments

TV Asahi, as a major Japanese broadcaster, adheres to self-imposed program standards emphasizing political impartiality and truth conveyance, yet its news operations are constrained by systemic reliance on kisha clubs, semi-closed press associations that facilitate access to official sources but limit independent scoops and foster uniform reporting. Membership in the News Kisha Club, shared with other key networks like Nippon TV and TBS, obligates TV Asahi reporters to operate within these clubs' guidelines, which prioritize government and corporate briefings over adversarial investigation, thereby reducing opportunities for original sourcing and empirical verification outside official narratives. This structure, prevalent across Japanese media, has been critiqued for enabling self-censorship and pack journalism, as clubs exclude freelancers and foreign outlets, channeling information through filtered channels that align with institutional interests rather than rigorous, first-hand fact-checking. Fact-checking at TV Asahi follows internal protocols aimed at accuracy, but empirical instances reveal occasional lapses requiring public , often prompted by external rather than proactive auditing. For example, in response to pressure following critical coverage, TV Asahi has reprimanded staff for content deemed overly confrontational, illustrating tensions between and alignment with ruling Liberal Democratic Party expectations. While specific retraction data is not systematically disclosed, broader Japanese media patterns—including affiliated Asahi outlets—show arising from overstated claims in politically sensitive areas, underscoring a reactive rather than embedded verification process influenced by kisha club dependencies. Reliability assessments from international watchdogs position TV Asahi within 's overall middling press freedom ranking, hampered by kisha club dynamics and political intimidation that prioritize balanced, non-disruptive coverage over probing empiricism. has highlighted declining media independence in Japan, attributing it partly to such clubs' role in homogenizing output and deterring government-critical reporting, with TV Asahi occasionally bucking trends through liberal-leaning exposes but facing backlash that erodes credibility. Domestic surveys indicate stable but low in broadcasters like TV Asahi, with audiences favoring outlets perceived as less sensational yet critiquing uniformity under governmental pressures for conformity over diverse sourcing. Comparative analyses note TV Asahi's edge in watchdog efforts during events like the 2011 Fukushima crisis rebound, though compromised by initial pack reliance on official data, revealing causal trade-offs where access trumps depth in causal accountability.

Controversies and Criticisms

Content and Programming Disputes

In the early 1960s, TV Asahi, operating then as , encountered significant criticism for programming elements deemed vulgar, particularly in comedic content featuring coarse speech and physical gags. Literary critic Sōichi Ōya, known for his attacks on mass culture's debasing effects, highlighted shows like those involving humor as eroding societal standards, sparking broader debates on television's role in shaping public morals amid rapid media expansion. These complaints reflected parental and intellectual concerns over content accessibility to children, though NET defended its educational mandate while experimenting with entertainment formats to boost viewership. More recently, TV Asahi has faced disputes over aggressive copyright enforcement related to its sports programming, notably (NJPW) broadcasts. Starting around October 2021, the network issued takedown notices and strikes against fan-shared clips, GIFs, and videos on platforms like and , even for non-monetized, promotional content. This crackdown, aimed at protecting broadcast rights held jointly with NJPW, drew backlash from international fans and creators who argued it stifled and hype-building for events, with commentators like broadcaster Kevin Kelly expressing sympathy for affected users while acknowledging the network's legal prerogatives. Viewer complaints have also targeted specific promotional content for perceived . In one case, an online advertisement for TV Asahi's Hodo Station news program was pulled after public outcry labeled it sexist, citing portrayals that reinforced in professional settings. Such incidents underscore ongoing tensions between creative expression and audience expectations for equitable representation, prompting internal reviews but no formal admissions of fault from the network. In response to industry-wide scrutiny following Fuji Television's 2023 sexual misconduct revelations, TV Asahi initiated surveys in late 2023 and 2024 assessing relationships between production staff and on-air talent, aiming to identify potential ethical lapses influencing content decisions. These measures, covering all employees and including departmental interviews by September 2024, focused on power dynamics that could lead to coercive environments affecting program integrity, though no widespread violations were publicly detailed. Critics viewed the proactive steps as damage control amid viewer demands for accountability in talent handling, which indirectly impacts programming quality and public trust.

Allegations of Bias and Political Interference

In April 2015, the Liberal Democratic Party (LDP) summoned executives from TV Asahi and to a parliamentary committee, accusing TV Asahi of "inaccurate" and biased coverage on political matters, including economic policies and Abe's administration, prompting concerns over retaliation against critical reporting. This followed a TV Asahi program featuring commentary critical of Abe's office, which LDP officials deemed a violation of laws, nearly resulting in license revocation threats. By 2016, amid this pressure, TV Asahi dismissed several news anchors and a producer associated with such coverage, part of a broader pattern where at least three critical anchors from Asahi-affiliated outlets were removed, fueling allegations of enforced to appease ruling party demands. Critics from conservative perspectives have long alleged TV Asahi exhibits left-leaning tendencies, rooted in its affiliation with the liberal Asahi Shimbun, manifesting in disproportionate scrutiny of LDP policies on security, historical revisionism, and Fukushima recovery compared to opposition shortcomings. For instance, in 1993, LDP lawmakers probed TV Asahi's election coverage for alleged anti-LDP favoring opposition narratives, echoing recurring complaints of selective framing that amplifies missteps while downplaying structural media- interdependence via kisha clubs. Such claims contrast with TV Asahi's occasional aggressive reporting challenging LDP positions, yet underscore perceptions of ideological tilt influencing topic selection and tone. Japanese media, including TV Asahi, faces critiques for systemic on politically sensitive issues like the imperial family's activities and wartime history, where coverage avoids controversy to maintain access and evade backlash, differing from bolder stances on LDP economic or nuclear policies. This reticence stems from historical precedents and kisha club dynamics fostering uniformity, with reporters shunning stories on war crimes or imperial matters despite evidence, prioritizing harmony over investigative depth. In contrast, TV Asahi has pursued critical angles on Abe-era historical reinterpretations, yet broader industry patterns reveal compliance with power structures, as seen in delayed reporting on the —known since the 1990s but largely ignored until 2023—where broadcasters like TV Asahi issued apologies for pandering to agency influence amid fears of reprisal. This underreporting exemplifies how media coziness with entrenched interests, including those intertwined with political , hampers scrutiny, though not exclusively political in nature.

Corporate and Ethical Scandals

In February 2022, TV Asahi President Keiji Kameyama resigned following revelations of his personal misuse of company funds, including expenditures on dinners and gifts uncovered during an internal investigation into expense irregularities within the sports news department. The probe, prompted by reports of lax oversight in departmental spending approvals, highlighted systemic failures in financial controls that allowed such abuses to persist undetected for years, eroding internal accountability mechanisms. In March 2021, TV Asahi discontinued an online advertisement for its Hōdō Station news program after public backlash for depicting gender stereotypes, with imagery showing men relaxing while a performed chores, prompting accusations of reinforcing discriminatory norms. This incident underscored lapses in advertising ethics review processes, where content alignment with societal expectations on equality was inadequately vetted prior to release. Amid broader Japanese broadcasting industry scrutiny following Fuji Television's 2025 , TV Asahi conducted internal surveys in early 2025 to evaluate potential issues in relationships between on-air talent and staff, aiming to identify risks of or exploitation. No major violations were publicly reported from these assessments, but they contributed to heightened focus on . In February 2024, the company formalized its TV Asahi Group Policy, emphasizing prevention of abuses through training and reporting channels, with internal audits now prioritizing compliance as a core oversight function. These measures reflect management reforms from 2023 to 2025, including enhanced governance under the "BREAKOUT STATION!" plan, to address prior ethical gaps via proactive monitoring rather than reactive probes.

Cultural and Industry Impact

Achievements and Contributions

TV Asahi has played a pivotal role in advancing Japanese anime and tokusatsu programming, broadcasting the long-running Doraemon series since 1979 and establishing it as a cornerstone of its content portfolio with enduring global appeal, often likened to Japan's equivalent of Mickey Mouse and serving as a cultural ambassador through international dubbing and distribution in markets including France and Vietnam. The network's anime slate, including titles like Mobile Suit Gundam premiering in 1979, has contributed to pioneering dedicated programming blocks that elevated viewer engagement and influenced the medium's evolution from niche to mainstream entertainment. Through its partnership with Toei Company, TV Asahi has produced and aired the Super Sentai franchise since its inception in 1975, providing stable programming that has underpinned ratings growth and spawned international adaptations such as Power Rangers, thereby extending Japanese storytelling to global audiences via licensing and syndication. As the flagship station of the All-Nippon News Network (ANN), TV Asahi has ensured nationwide dissemination of live coverage for landmark events, including allocated daily broadcasts for the Tokyo 2020 Olympics and ongoing transmission of Olympics, FIFA World Cup, and other major sports competitions. In the 2020s, TV Asahi has innovated by expanding and , with platforms like driving a 29.7% year-over-year increase in digital ads-related revenue to ¥5,873 million, bolstering resilience against trends in traditional television. Overseas further underscore its content's export success, generating ¥8.6 billion in fiscal 2023 from international sales of dramas and animations. TV Asahi secured its inaugural Triple Crown in key viewership metrics during the April–June 2012 quarter, topping competitors in (12.3%), evening, and all-day averages among individual viewers. This marked a peak era for the network, with annual prime-time household ratings averaging 12.5% for 2012 overall. Subsequent achievements included household Triple Crowns in fiscal 2022 (7.2% all-day average) and 2024 (6.4% all-day, 9.0% golden time, 9.1% ), the latter representing four consecutive years of strong competitive performance despite lower absolute figures. Absolute viewership has trended downward in the 2020s, aligning with industry-wide erosion driven by streaming platforms and mobile on-demand consumption, which fragmented audiences and reduced live TV engagement since 2017. Demographic shifts favor younger viewers migrating to digital alternatives, pressuring traditional broadcasters like TV Asahi amid intensified competition from Nippon Television and , though the network retained top rankings in select periods. Genre performance varies, with anime slots showing episodic highs—such as compilation films earning 7.2% ratings in August 2025—bolstered by long-running franchises, while news programs exhibit steadiness, consistently capturing elevated daily averages. A June 2025 nationwide survey found 69% of respondents expressing trust in media outlets including TV news, indicating resilient audience confidence pre-2025 amid these transitions.

International Expansion and Partnerships

TV Asahi has pursued international expansion primarily through the syndication and licensing of its and drama content to overseas markets, with notable successes in and . The series was licensed for distribution in these regions as part of broader global sales efforts. In , the network has initiated projects in and to adapt and distribute variety shows, dramas, and . A key partnership milestone occurred on May 17, 2024, when TV Asahi signed a with South Korean studio SLL to collaborate on global content planning, development, and co-production. This agreement emphasizes joint initiatives in dramas and other formats to appeal to international viewers, building on SLL's expertise in Korean content production. The partnership yielded co-productions such as the romance thriller drama Mamono (also known as The Monster Within), co-planned and produced with SLL, which premiered on TV Asahi in 2025. In , TV Asahi has focused on format adaptations and syndication, with its programs airing regularly in approximately 20 countries. The sports variety format Beat the Champions was localized and broadcast in , demonstrating successful adaptation for regional audiences. Additional formats have been remade in markets including , , and , enhancing the network's presence beyond Japan. TV Asahi maintains an overseas footprint through subsidiaries like TV Asahi America, which operates bureaus in New York, , and , to facilitate content distribution and market engagement in the United States. These efforts support broader strategies, including investments in content technology startups via a ¥5 billion corporate venture fund launched in July 2025, aimed at enhancing international IP development.

References

  1. https://company.tv-asahi.co.jp/e/profile/
  2. https://www.tv-asahihd.co.jp/e/stockinfo/
  3. https://www.tv-asahihd.co.jp/e/report/data/2025/20250331.pdf
  4. https://www.tv-asahihd.co.jp/e/
  5. https://www.japaneselawtranslation.go.jp/en/laws/view/4509/en
  6. https://company-histories.com/Asahi-National-Broadcasting-Company-Ltd-Company-History.html
  7. https://www.soumu.go.jp/main_sosiki/joho_tsusin/eng/Resources/laws/ministerial/020624_2.pdf
  8. https://www.tv-asahi.co.jp/ips/info/img/ips_english.pdf
  9. https://files.eric.ed.gov/fulltext/ED011993.pdf
  10. https://www.jstor.org/stable/44423971
  11. https://www.cambridge.org/core/journals/journal-of-asian-studies/article/nation-of-a-hundred-million-idiots-a-social-history-of-japanese-television-19531973-by-jayson-makoto-chun-new-york-routledge-2009-xi-356-pp-12000-cloth-3995-paper/304DCB69C3CD2A730108D3EED7E03A9D
  12. https://www.fundinguniverse.com/company-histories/asahi-national-broadcasting-company-ltd-history/
  13. https://www.encyclopedia.com/books/politics-and-business-magazines/asahi-national-broadcasting-company-ltd
  14. https://www.avid.wiki/TV_Asahi
  15. https://logo-timeline.fandom.com/wiki/TV_Asahi
  16. https://www.company-histories.com/Asahi-National-Broadcasting-Company-Ltd-Company-History.html
  17. https://www.jstor.org/stable/133392
  18. https://www.westminsterpapers.org/article/id/82/download/pdf/
  19. https://journals.sagepub.com/doi/10.1177/13678779231197698
  20. https://www.tv-asahihd.co.jp/e/presentation/data/2023/20230302Eng.pdf
  21. https://koreajoongangdaily.joins.com/news/2024-05-20/business/industry/SLL-JoongAng-signs-MOU-with-TV-Asahi-to-jointly-develop-dramas-other-content/2050671
  22. https://koreajoongangdaily.joins.com/news/2025-03-06/entertainment/television/SLL-collaborates-with-Japans-TV-Asahi-on-new-romance-thriller-series/2256368
  23. https://www.tv-asahihd.co.jp/e/pdf/announcement/2025/20251001Eng.pdf
  24. https://thebridge.jp/en/2025/10/hike-holdings-secures-series-a-funding-from-tv-asahi-and-others-to-support-digitalization-of-animation-production-environment
  25. https://www.tv-asahihd.co.jp/e/company/governance.html
  26. https://www.tipranks.com/news/company-announcements/tv-asahi-strengthens-ties-with-major-shareholders-for-strategic-growth
  27. https://www.marketscreener.com/news/foreign-ownership-of-tv-asahi-holdings-shares-nears-20-ce7d5adcd98bf027
  28. https://www.tv-asahihd.co.jp/e/pdf/announcement/2025/20251016Eng.pdf
  29. https://finance.yahoo.com/quote/TVAHF/key-statistics/
  30. https://www.tv-asahihd.co.jp/e/earnings/data/2025/20250513Eng.pdf
  31. https://www.marketscreener.com/news/tv-asahi-holdings-investing-in-innovation-led-expansion-ce7d5bd8db8cf327
  32. https://www.theglobeandmail.com/investing/markets/stocks/TVAHF/pressreleases/33949841/tv-asahi-holdings-reports-strong-q1-2025-financial-results/
  33. https://www.marketscreener.com/quote/stock/TV-ASAHI-HOLDINGS-CORPORA-6493506/news/TV-Asahi-Holdings-Corporation-s-Equity-Buyback-announced-on-April-14-2025-has-closed-with-1-108-20-50403448/
  34. https://www.marketscreener.com/quote/stock/TV-ASAHI-HOLDINGS-CORPORA-6493506/news/TV-Asahi-Announcement-of-Revision-to-Year-End-Dividend-Forecast-49265850/
  35. https://www.tv-asahihd.co.jp/e/profile/index.html
  36. https://www.mori.co.jp/en/projects/roppongihills/?modal=richard-doone
  37. https://casestudies.uli.org/wp-content/uploads/2015/12/C033017.pdf
  38. https://www.rieti.go.jp/en/china/03082201.html
  39. https://www.kpf.com/project/roppongi-hills
  40. https://www.maki-and-associates.co.jp/projects/TVA?lang=en
  41. https://architecture-history.org/architects/architects/MAKI/OBJECTS/2003%2C%2520TV%2520Asahi%2520Headquarters%2C%2520Minato-ku%2C%2520Tokyo%2C%2520JAPAN.html
  42. https://www.gotokyo.org/en/spot/586/index.html
  43. https://www.tv-asahihd.co.jp/sustainability/english/
  44. https://www.sportsvideo.org/2020/11/03/tv-asahi-leverages-tvu-networks-gear-to-deliver-live-coverage-of-u-s-open-to-japan/
  45. https://www.sportsvideo.org/2021/09/01/japans-tv-asahi-leverages-tvu-networks-for-localized-live-coverage-of-the-open-championship/
  46. https://pro.sony/ue_US/insight/video-archive/asahi-tape-storage
  47. https://logos.fandom.com/wiki/TV_Asahi
  48. http://www.dirkvandooren.com/tv-asahi
  49. https://www.tv-asahihd.co.jp/e/presentation/data/2020/English_0005_202007SDGs.pdf
  50. https://www.medialaws.eu/japan-farewell-analog-welcome-digital/
  51. https://dvb.org/news/analogue-broadcasting-ends-in-most-of-japan/
  52. https://www.bloomberg.com/news/articles/2011-07-24/japan-ends-analog-tv-broadcast-after-58-years-first-in-asia
  53. https://www.yorku.ca/osgoode/iposgoode/2011/08/23/japan-farewell-analog-welcome-digital/
  54. https://www.researchgate.net/publication/261329855_At_the_Digital_Watershed_Terrestrial_Television_Broadcasting_in_Japan
  55. https://www.dvbit.com/faq.htm
  56. https://www.dibeg.org/wp/wp-content/uploads/news/0802Philippines_ISDB-T_seminar/Presentation8.pdf
  57. https://www.advanced-television.com/2025/09/11/major-japanese-broadcasters-quit-satellite/
  58. https://ideas.fandom.com/wiki/All-Nippon_News_Network
  59. https://en.namu.wiki/w/%25EC%2595%2584%25EC%2582%25AC%25ED%259E%2588%2520%25EB%25B0%25A9%25EC%2586%25A1%2520%25ED%2585%258C%25EB%25A0%2588%25EB%25B9%2584
  60. https://www.scribd.com/document/769520384/TV-Asahi
  61. https://www.avid.wiki/JOEX-DTV_%28TV_Asahi%29
  62. https://www.nec.com/en/press/201311/global_20131112_02.html
  63. http://www.blackbox.com/insights/case-studies/details/broadcaster-uses-emerald-ip-kvm-to-optimize-system-configuration
  64. https://cloud.google.com/customers/tvasahi
  65. https://www.lyngsat.com/tvchannels/jp/TV-Asahi-Channel-1.html
  66. https://www.tv-asahicontents.com/en/top/aboutus.html
  67. https://www.buzzerblog.com/2018/10/18/tbt-panel-quiz-attack-25/
  68. https://www.tv-asahi.co.jp/ips/contents/Entertainment/
  69. https://www.tv-asahicontents.com/en/program/musicstation
  70. https://www.themoviedb.org/network/103?language=en-US
  71. https://tv.apple.com/ca/show/lethal-three/umc.cmc.4tsleuwxv9iejg7bzv8tpblzq
  72. https://www.japantimes.co.jp/life/2018/01/22/language/learning-japanese-tv-samurai-tales-wild-east/
  73. https://www.tv-asahi.co.jp/ips/contents/Drama/
  74. https://worldscreen.com/tvdrama/atf-spotlight-tv-asahi-corporation/
  75. https://mydramalist.com/list/PLpW6Xn1
  76. https://www.tv-asahihd.co.jp/e/annual/data/2021_IG/IG2021.pdf
  77. https://www.telecompaper.com/news/kddi-and-tv-asahi-launch-short-drama-series-for-smartphones--1532039
  78. https://www.tv-asahicontents.com/animation/
  79. https://animetics.net/2014/09/03/timeslot-history-anime-on-tv-asahi-1994-2000/
  80. https://www.crunchyroll.com/news/latest/2020/8/12/iwa-kakeru-sport-climbing-girls-lead-news-tv-anime-block-animazing-on-october-3
  81. https://www.animenewsnetwork.com/news/2025-08-04/akane-banashi-rakugo-manga-gets-tv-anime-in-2026-by-studio-zexcs/.227338
  82. https://worldscreen.com/variety-shows-drama-anime-drive-tv-asahis-gains/
  83. https://risingsunpost.com/archives/519
  84. https://omdia.tech.informa.com/om123335/the-paris-2024-olympic-games-will-be-the-most-streamed-olympic-event-across-multiple-international-regions-so-far
  85. https://www.tv-asahihd.co.jp/e/presentation/data/2025/20241112Eng.pdf
  86. https://www.pico.com/en/work/tv-asahi-at-international-broadcasting-centre
  87. https://www.wbsc.org/en/events/2014-u21-baseball-world-cup/news/unprecedented-tv-and-radio-coverage-for-wbsc-premier12-in-japan
  88. https://www.sportsbusinessjournal.com/Daily/Global/2023/04/04/world-baseball-classic/
  89. https://www.the-afc.com/en/more/afc_news/news/afc_agrees_extensive_rights_deal_with_dazn_in_japan_with_selected_matches_also_available_on_tv_asahi.html
  90. https://en.everybodywiki.com/Sports_broadcasting_contracts_in_Japan
  91. https://www.nippon.com/en/in-depth/d00805/
  92. https://www.tv-asahicontents.com/en/program/newjapanprowrestling
  93. https://www.postwrestling.com/2025/06/23/tv-asahi-to-broadcast-wrestle-kingdom-20-in-january/
  94. https://www.fightful.com/wrestling/tv-asahi-broadcast-njpw-wrestle-kingdom-first-time-2004/
  95. https://www.sportcal.com/media/tv-asahi-nippon-tv-secure-japan-rights-to-2023-fiba-world-cup/
  96. https://www.tv-asahi.co.jp/ips/contents/Topics/
  97. https://www.tv-asahihd.co.jp/e/earnings/data/2024/20240510Eng.pdf
  98. https://d.lib.msu.edu/etd/25770
  99. https://dubdb.fandom.com/wiki/Category:TV_Asahi
  100. https://www.asahi.com/ajw/articles/15295524
  101. https://variety.com/2024/tv/news/sky-castle-korean-drama-japan-remake-1236033051/
  102. https://senalnews.com/en/content/koreas-sll-and-japans-tv-asahi-join-forces-on-love-thriller-series-the-monster-within
  103. https://variety.com/2025/tv/news/smart-dog-media-tv-asahi-competition-series-song-vs-dance-masked-singer-1236280024/
  104. https://theankler.com/p/tv-japan-co-productions-sales-formats-unscripted
  105. https://www.tv-asahihd.co.jp/e/annual/data/2013_IG/final.pdf
  106. https://www.japantimes.co.jp/culture/2004/04/04/tv/news-station-becomes-hodo-station-on-tv-asahi-and-more/
  107. https://www.youtube.com/user/ANNnewsCH
  108. https://company.tv-asahi.co.jp/e/programstandards/
  109. https://www.tofugu.com/japan/kisha-clubs-and-japanese-newspapers/
  110. https://apjjf.org/2016/20/mcneill
  111. https://www.nytimes.com/2015/05/21/opinion/the-threat-to-press-freedom-in-japan.html
  112. https://apjjf.org/2016/24/fackler
  113. https://rsf.org/en/rsf-concerned-about-declining-media-freedom-japan
  114. https://reutersinstitute.politics.ox.ac.uk/digital-news-report/2024/japan
  115. https://www.researchgate.net/publication/329461105_Watchdog_Journalism_in_Japan_Rebounds_but_Still_Compromised
  116. https://knowledge.uchicago.edu/record/1602/files/Feeney_uchicago_0330D_14497.pdf
  117. https://www.youtube.com/watch?v=TPluvlxTs14
  118. https://411mania.com/wrestling/kevin-kelly-shows-support-for-fans-receiving-copyright-strikes-for-njpw-clips-media/
  119. https://x.com/allan_cheapshot/status/1922663911095955934
  120. https://www.business-humanrights.org/en/latest-news/japan-asahi-corp-discontinues-online-ad-after-it-is-criticized-as-discriminatory-against-women/
  121. https://www.business-humanrights.org/en/latest-news/japan-tv-asahi-conducted-surveys-to-assess-issues-in-relationships-between-show-casts-and-employees-following-fuji-tvs-sexual-misconduct-scandal/
  122. https://apnews.com/8607222b76934d978ecadf957a44772e
  123. https://www.theguardian.com/world/2016/feb/17/japanese-tv-anchors-lose-their-jobs-amid-claims-of-political-pressure
  124. https://blogs.nottingham.ac.uk/asiapacificstudies/2016/07/11/controlling-the-media-in-japan/
  125. https://www.sgi-network.org/docs/2017/country/SGI2017_Japan.pdf
  126. https://hrn.or.jp/eng/news/2017/04/12/upr-report/
  127. https://www.washingtonpost.com/archive/politics/1993/10/26/tokyo-legislators-probe-press-bias/a34e0b2b-05c2-450b-af4b-8b0f1b836ce2/
  128. https://www.opendemocracy.net/en/article_43jsp/
  129. https://www.reuters.com/article/world/japanese-media-self-censorship-grows-in-pm-abes-reign-idUSKBN0LS0SS/
  130. https://www.reuters.com/world/asia-pacific/japan-broadcasters-issue-rare-apologies-past-silence-over-j-pop-agency-sex-abuse-2023-09-08/
  131. https://www.asahi.com/ajw/articles/15021959
  132. https://japantoday.com/category/national/tv-asahi-president-resigns-over-misuse-of-company-funds
  133. https://sp.m.jiji.com/english/show/17913
  134. https://mainichi.jp/english/articles/20210325/p2a/00m/0na/013000c
  135. https://www.tokyoweekender.com/entertainment/anime-and-manga/what-is-doraemon-japanese-anime-guide/
  136. https://www.animenewsnetwork.com/press-release/2025-09-30/tv-asahi-to-launch-new-french-dubbed-episodes-of-global-phenomenon-doraemon/.229486
  137. https://www.animenewsnetwork.com/encyclopedia/company.php?id=160
  138. https://www.tv-asahihd.co.jp/e/pdf/announcement/2024/20240515Eng.pdf
  139. https://english.kyodonews.net/articles/-/14652
  140. https://dcfmodeling.com/blogs/history/9409t-history-mission-ownership
  141. https://www.tv-asahihd.co.jp/e/annual/data/2022_IG/IG2022.pdf
  142. https://en.mantan-web.jp/e_article/20250331dog00m200015000c.html
  143. https://www.tv-asahihd.co.jp/e/annual/data/2023_IG/IG2023_A4.pdf
  144. https://japantoday.com/category/features/opinions/japanese-media-giants-falling-behind-in-digital-age
  145. https://corp.asahi.co.jp/en/ir/library/research_report/main/00/teaserItems1/00/linkList/00/link/SponsoredEN_202303.pdf
  146. https://reutersinstitute.politics.ox.ac.uk/digital-news-report/2025/japan
  147. https://www.animenewsnetwork.com/news/2025-08-24/japanese-animation-tv-ranking-august-11-17/.228016
  148. https://www.tv-asahihd.co.jp/e/presentation/data/2025/20250207Eng.pdf
  149. https://japannews.yomiuri.co.jp/society/general-news/20250611-262610/
  150. https://worldscreenings.com/showcase/tv-asahi-takes-animation-formats-from-japan-to-a-global-stage/
  151. https://tv-asahicontents.com/en/news/TV%2520Asahi%252C%2520a%2520major%2520broadcaster%2520in%2520Japan%2520and%2520SLL%252C%2520a%2520leading%2520studio%2520in%2520Korea%252C%2520signed%2520a%2520%25E2%2580%259CMemorandum%2520of%2520Understanding%25E2%2580%259D%2520to%2520promote%2520initiatives%2520in%2520global%2520content%2520planning%252C%2520development%252C%2520and%2520co-production%2520both%2520in%2520Japan%2520and%2520Korea.
  152. https://en.mantan-web.jp/e_article/20250305dog00m200070000c.html
  153. https://japan-programcatalog.com/en/company/tvasahi
  154. https://worldscreen.com/showcase-tv-asahi/
  155. https://www.tv-asahi.net/about-us-english/
  156. https://globalventuring.com/corporate/asia/tv-asahi-holdings-new-cvc-fund/
Add your contribution
Related Hubs
User Avatar
No comments yet.