A webisode is an episode of a series that is distributed as Internet television. It is available as either for download or in streaming, as opposed to first airing on broadcast or cable television. The format can be used as a preview, a promotion, as part of a collection of shorts, or a commercial.
A webisode may or may not have been broadcasted on TV. What defines it is its online distribution through video-sharing web sites such as Vimeo or YouTube, or its availability for download through peer-to-peer protocols, such as BitTorrent. While there is no set standard for length, most webisodes are relatively short, ranging from 3–15 minutes in length. It is a single web episode, but collectively is part of a web series, a form called web television that characteristically features a dramatic, serial storyline, where the primary method of viewership is streaming online over the Internet.
Webisodes have become increasingly common in the midst of the post-broadcast era, which implies that audiences are drifting away past free-to-use television design. The Post-Broadcast era has been influenced by new media formats such as the internet. Contemporary trends indicate that the Internet has become the dominant mechanism for accessing Media Content. In 2012, the Nielsen Company reported that the number of American households with television access has diminished for the second straight year, showing that viewers are transitioning away from broadcast television. The post-broadcast era is best defined as an era embodied by a complex mediascape that cannot be maintained by broadcast television. In the wake of the post-broadcast era, the popularity of webisodes has expanded because the internet has become a potential solution to television's ailments by combining interpersonal communication and multimedia elements alongside entertainment programing.
These original web series are a means to monetize this transitional audience and produce new celebrities, both independently on the web and working in accordance to the previous media industry standards.:15 Content has moved onto the web through the conventional media's branded websites, but through video services like YouTube; the distribution of television increasingly occurs through viral, rather than broadcast, networks such as those available through blogs or social networking services. Webisodes are also noted for their use of the Internet for further exchange of information, news and gossip about the series on various social networks.:2
Web 2.0 Era 
The Web 2.0 era is defined by the development of web technologies that encourages two-way communication characterized by user openness and user freedom. This environment has produced suitable conditions for interactive media tools, like webisodes, to thrive online. These tools allow marketers to collaborate with consumers to generate an online brand community.
Uses In Marketing 
Webisodes are part of a trend called branded entertainment, which is growing due to the increased demand for marketers to find new methods to reach consumers in an era where the traditional media is losing viewers to the social web. Companies create a social buzz online using digitalmedia marketing to generate branded community-based destinations. Webisodes are regularly used by marketers to form these destinations. :81
In 2006, for example, hip-hop entrepreneur Sean Combs, aka P. Diddy, startd his own YouTube channel called "DiddyTV," which he used to post webisodes and blog about his life on tour. Combs built hype aroud the web series by directing his using social media sites, such as, Myspace to direct users to the YouTube channel. Combs' webisodes were sponsored by Burger King, which used the web series to generate a brand community.
In 2007, Mini Cooper initiated an online marketing campaign to promote their new line of vehicles. The campaign consisted of six webisodes that were each four minutes in duration. Each week a new webisode went up on sites like YouTube. The series was a spoof on the retro television show, Starsky and Hutch and was titled "Hammer & Coop." The series told the story of a 1970's based characher named Hammer and his car named Coop, while highlighting the improvement of new Mini Cooper's interior.
In 2011, Jeff Schroeder, known for his role in the reality series The Amazing Race, assisted AT&T with a digital marketing scheme based around webisodes. The campaign followed Schroeder around the world in 100 days using only his AT&T phone and netbook.
Original Web Comedy 
Some of the most notable webisodes are original comedies generated for an audience online viewers. Original comedies have become the preferred genre for webisodes because they deliver ae low budget format for experimentation and prompt results. These original web comedies are a means to monetize the audience :15
The model for the popular website Funny or Die, is based entirely on distributing a variety of original comedy web series. Comedians Will Ferrell and Adam McKay started this initiative with their series of webisodes about a vulgar two-year-old landlord. The series was streamed over 50 million times on Funny or Die and led the site to earning over $50 million dollars annually. :17 Funny or Die received serious attention from major television outlets, resulting in a partnership with HBO and the program Funny or Die Presents, which aired its first episode on HBO in February 2010 and featured recycled footage that had already run on the website.:14
- 2009: webisode is introduced as a word into the Merriam-Webster's Collegiate Dictionary.
- 1998-99: First public use of the word webisode, attributed to Stan Lee Media in the marketing and promotion of The 7th Portal online superhero series created by Jesse Stagg and Steven Salem.
- 1996: Earlier usage by the textually based seaQuest 2047 to describe their periodic publications, beginning circa 1996.
- 1995: Created by the first Internet serialized fiction called The Spot created by Scott Zakarin It was used to describe the series. Derived words also created at the time: Webisodic.
- Stelter, Brian (2008-08-31). For Web TV, a Handful of Hits but No Formula for Success. The New York Times. Retrieved on 2009-01-23.
- Graham, Jefferson (2005-10-23). "Webisodes return, now as advertising". USA Today. Retrieved 2009-01-28.
- Hale, Mike (2008-12-28). "NBC Bridges Series Gaps With Online Minidramas". The New York Times. Retrieved 2009-01-22.
- Carlson, Meghan (2008-12-29). "Webisodes Cure Mid-Season Blues for 'Heroes', 'Office' Fans". Buddytv. Retrieved 2009-01-22.
- Young, Sherman (2011). "Review - Television studies after TV: Understanding television in the post-broadcast era". Journal of Media & Cultural Studies (Routledge) 25 (1): 125–129.
- Stelter, Brian (3 May 2012). "Nielsen Reports a Decline in Television Viewing". New York Times. Retrieved 10 March 2013.
- Aymer Jean Christian
- Nick Marx
- [Graeme Turner, Jinna Tay] Turner, Graeme; Tay, Jinna (2009). Television studies after TV: understanding television in the post- broadcast era. New York, NY: Routledge. ISBN 0-203-87831-0. Retrieved 2013-02-19.
- Tuten, Tracy L (2008). Advertising 2. 0: Social Media Marketing in a Web 2. 0 World. Westport, CT: Greenwood Publishing Group.
- Parise, Salvatore (2008). "The Secrets of Marketing in a Web 2.0 World". The Wall Street Journal.
- Elliot, Stuart (2009-11-23). Shows Online, Brought to You by .... The New York Times
- [Larry Weber] > Weber, Larry (2009). Marketing to the Social Web: How Digital Customer Communities Build Your Business. Hoboken, New Jersey: John Wiley & Sons. Retrieved 2013-03-31.
- Stanley, T.J. (2006-10-16). . "Advertising Age"
- Voight, Joan (2007-03-19). . Adweek
- Cardona, Mercedes (2011-11-01). Webisodes promote AT&T. Direct Marketing News
See also 
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