Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century. Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed. Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.

This book examines the fascinating interplay of party and media behavior to explain one of the most important phenomena in Western Europe: the rise of far-right parties. To account for the divergent electoral fortunes of these parties, the book examines how political parties and the mass media have dealt with growing public concerns over national identity. Mainstream politicians chose to "play the nationalist card," creating opportunities for the entry of far-right parties into the political system. In some cases, the media gave outsized exposure to such parties, allowing them to capitalize on these opportunities; in other cases, they ignored them, blocking their entry into the political system. Using elite interviews, content analysis, and primary documents to trace identity politics since the 1980s, this book presents an original interpretation of identity politics and media behavior in Austria, Germany, Greece, and France since the 1980s.

The issue of costing and pricing in the telecommunications industry has been hotly debated for the last twenty years and we are still wrestling over the cost of the local exchange for access by interexchange and competitive local exchange carriers, as well as for universal service funding. With the advent of competition, the historical costing schemes had to change. Federal regulators wanted to ensure that monopoly rates did not subsidize competitive offerings. As a result, various costing methodologies were devised to allocate costs among the dominant carriers' services. The issue of costs can be summarized as two-fold: the quantitative determination of the level of costs and the proper attribution of those costs. Both are fraught with questions. The amount of costs, for instance, can vary from book costs to marginal costs. The attribution of costs can vary from those that are directly attributable to those that are joint and common. Hence, the need for costing theories and models. The industry is constantly in search of theories and models that more accurately reflect the underlying costs of service.It is in this light that the papers have been compiled for The New Investment Theory of Real Options in Telecommunications. Real options theory attempts to consider management's flexibility in valuation analysis and corrects the deficiencies of the traditional discounted present-value and decision tree analyses. This book sets forth an introduction and overview of the subject, and then provides the reader with a primer on real options. The volume highlights the controversies that surround the application of real options in the telecommunications industry; however, the editors have effectively separated the issues of application from those of interpretation.

Aspiring radio and TV presenters will benefit from the informative and entertaining guidance provided by accomplished presenter, Janet Trewin. Presenting on TV and Radio is packed with illustrations, practical exercises and insider tips for improving your presentation skills and breaking into this competitive industry.
Based on the principle that all successful presentation on TV and radio is dependent on uniform skills applicable to both mediums, the book begins by explaining basics such as appearance, authority, body language, diction, scriptwriting, deadlines, technology and working with a co-presenter. Valuable insights into key employment issues such as sexism, ageism, racism and disability are also offered. The different requirements of TV and radio presentation are then examined, focusing on each specialist area in detail and with tips from professionals in the business. These include: presenting news in the studio as an anchor and as a reporter on the road; current affairs and features involving live and recorded material; DJ'ing; light entertainment (e.g. game shows and personality programmes); sports presentation; children's programmes; foreign broadcasters and those broadcasting to worldwide audiences.
* Top presenters tell what it's really like and offer insider tips.
* Packed with practical exercises to improve your presentation skills and advice on how to get in and get on in the industry.
* Covers a vast range of presentation styles from hard news and sport to light entertainment, DJ'ing, and children's programmes.

The diary of radio correspondent James Cassidy presents a unique view of World War II as this reporter followed the Allied armies into Nazi Germany. James Joseph Cassidy was one of 362 American journalists accredited to cover the European Theater of Operations between June 7, 1944, and the war's end. Radio was relatively new, and World War II was its first war. Among the difficulties facing historians examining radio reporters during that period is that many potential primary documents-their live broadcasts-were not recorded. In NBC Goes to War, Cassidy's censored scripts alongside his personal diary capture a front-line view during some of the nastiest fighting in World War II as told by a seasoned NBC reporter. James Cassidy was ambitious and young, and his coverage of World War II for the NBC radio network notched some notable firsts, including being the first to broadcast live from German soil and arranging the broadcast of a live Jewish religious service from inside Nazi Germany while incoming mortar and artillery shells fell 200 yards away. His diary describes how he gathered news, how it was censored, and how it was sent from the battle zone to the United States. As radio had no pictures, reporters quickly developed a descriptive visual style to augment dry facts. All of Cassidy's stories, from the panic he felt while being targeted by German planes to his shock at the deaths of colleagues, he told with grace and a reporter's lean and engaging prose. Providing valuable eyewitness material not previously available to historians, NBC Goes to War tells a "bottom-up" narrative that provides insight into war as fought and chronicled by ordinary men and women. Cassidy skillfully placed listeners alongside him in the ruins of Aachen, on icy back roads crawling with spies, and in a Belgian bar where a little girl wailed "Les Americains partent!" when Allied troops retreated to safety, leaving the town open to German re-occupation. With a journalistic eye for detail, NBC Goes to War unforgettably portrays life in the press corps. This newly uncovered perspective also helps balance the CBS-heavy radio scholarship about the war, which has always focused heavily on Edward R. Murrow and his "Murrow's Boys."

This volume contains many examples and applied methods explaining the basic architecture of the mobile terminals. It includes sufficient introductory material to enabling even non-expert readers to understand the topics and to make a step towards system integration of complex future applications.

This companion brings together scholars working at the intersection of media and class, with a focus on how understandings of class are changing in contemporary global media contexts. From the memes of and about working-class supporters of billionaire "populists", to well-publicized and critiqued philanthropic efforts to bring communication technologies into developing country contexts, to the behind-the-scenes work of migrant tech workers, class is undergoing change both in and through media. Diverse and thoughtfully curated contributions unpack how media industries, digital technologies, everyday media practices-and media studies itself-feed into and comment upon broader, interdisciplinary discussions. They cover a wide range of topics, such as economic inequality, workplace stratification, the sharing economy, democracy and journalism, globalization, and mobility/migration. Outward-looking, intersectional, and highly contemporary, The Routledge Companion to Media and Class is a must-read for students and researchers interested in the intersections between media, class, sociology, technology, and a changing world.

They Create Worlds: The Story of the People and Companies That Shaped the Video Game Industry, Vol. 1 is the first in a three-volume set that provides an in-depth analysis of the creation and evolution of the video game industry. Beginning with the advent of computers in the mid-20th century, Alexander Smith's text comprehensively highlights and examines individuals, companies, and market forces that have shaped the development of the video game industry around the world. Volume one, places an emphasis on the emerging ideas, concepts, and games developed from the commencement of the budding video game art form in the 1950s and 1960s through the first commercial activity in the 1970s and early 1980s. They Create Worlds aims to build a new foundation upon which future scholars and the video game industry itself can chart new paths. Key Features: The most in-depth examination of the video game industry ever written, They Create Worlds charts the technological breakthroughs, design decisions, and market forces in the United States, Europe, and East Asia that birthed a $100 billion industry. The books derive their information from rare primary sources such as little-studied trade publications, personal papers collections, and oral history interviews with designers and executives, many of whom have never told their stories before. Spread over three volumes, They Create Worlds focuses on the creative designers, shrewd marketers, and innovative companies that have shaped video games from their earliest days as a novelty attraction to their current status as the most important entertainment medium of the 21st Century. The books examine the formation of the video game industry in a clear narrative style that will make them useful as teaching aids in classes on the history of game design and economics, but they are not being written specifically as instructional books and can be enjoyed by anyone with a passion for video game history.

Fur ihn scheint heute kein Superlativ gewaltig genug: Einer der grossten Deutschen aller Zeiten wird er genannt, wichtigster Inspirator und Irritierer. Vielleicht war Max Weber vor 150 Jahren in Erfurt geboren einer der letzten Universalgelehrten. Sein Werk blieb ratselhaft. Doch er hinterliess eine Vielzahl einpragsamer Begriffe und Formeln: Idealtypus, Verantwortungsethik, Charisma, die harten Bretter, die der Politiker bohren muss und vor allem die Entzauberung der Welt . Zu den Themen seiner Analyse der modernen Gesellschaft gehorten auch die Massenmedien. Das grosse empirische Projekt, welches er 1910 der deutschen Soziologie zur Vermessung der Medienwelt in die Wiege gelegt hatte, scheiterte. Seine Anregungen aber haben sich seither in vielfaltiger Weise in den Diskursen uber Medien und Journalismus niedergeschlagen. Die Ergebnisse einer detaillierten Spurenlese werden in dieser Studie prasentiert, die erstmals mit bibliometrischen Methoden durchgefuhrt wurde. Sie mundet in eine aktuelle Zustandsbeschreibung der Kommunikationsverhaltnisse und ihrer Erforschung 100 Jahre nach Weber.

Stimmen zur Max Weber und die Entzauberung der Medienwelt

Man liest die 400 Seiten dieses grossformatigen Buches ... fasziniert. Mit einem oft geradezu erzahlerischen Duktus, sprechenden Zitaten, Assoziationen kultureller Bildung, munteren Polemiken, lockeren Formulierungen und einer jargonlosen Sprache bereitet Weischenbergs Buch eindeutig mehr Vergnugen als die real existierende Fachprosa. So nimmt man Teil an einer Synthese grosser Stoffmassen, erfreut sich an detailversessenen, faktenintensiven Anmerkungen, dem Assoziationsreichtum geistiger Bezuge, der Kennerschaft in der Kontextualisierung, den wissenssoziologischen Tiefenbohrungen, aber auch dem bezeichnenden Klatsch, der sich in diversen Briefwechseln findet. ... Die Lekture vermittelt ... einen ganzen Kosmos von Ideen und Entwicklungen zu Max Weber und seiner Rezeption. ... Damit vermittelt das Buch auch die weitere sozialwissenschaftliche Fachgeschichte, die Jahrzehnte des Denkens und Streitens in einer souveranen Synthese nachzuvollziehen erlaubt.

Wolfgang R. Langenbucher (in: H-Soz-u-Kult)"

The digitisation of traditional media formats, such as text, images, video, and sound provides us with the ability to store, process, and transport content in a uniform way. This has led the formerly distinct industries of media, telecommunications, and information technology to converge. Cross-media publishing and service delivery are important new trends emerging in the content industry landscape. Mass-media organizations and content providers traditionally targeted content production towards a single delivery channel. However, recent economic and technological changes in the industry led content providers to extend their brands to cover multiple delivery channels. Following the content industry trend to "create once and publish everywhere"-COPE, a number of architectures, technologies, and tools are currently being developed and deployed to facilitate the automatic conversion of content to multiple formats, and the creation of innovative multi-platform services. This new approach enables the seamless access to information over different network infrastructures and client platforms. This work aims to bring together a cross-disciplinary core of contributors to address the technical and business issues of cross-media publishing and service delivery. The volume is based on papers presented at the conference on Cross-Media Service Delivery-CMSD-2003 that took place in Santorini, Greece in May 2003. Each contribution was reviewed by at least two reviewers-typically three. From the 30 papers that were submitted 20 were selected for presentation at the conference. Those were further "shepherded" by programme committee members to be improved according to the review suggestions.

The media industry is in transition. While some changes are readily apparent, we have not even begun to understand the impact of others. The result is one of the most fascinating times in the history of media. As digital technologies accelerate the pace of change in all facets of our lives, researchers and practitioners are exploring its impact on traditional media and social interaction. Transitioned Media brings together leading academics and media industry executives to identify and analyze the most transformative trends and issues. Themes include the effect of digital technologies on consumer behavior, new approaches to advertising and branding, social networks, the blogosphere and impact of "citizen" journalism, music and intellectual property rights, digital cinema, and video games. Underlying the chapters is an economic perspective, with an emphasis on how new business models are being developed that take the social dimensions of digital technologies into account. The result is a unique perspective on the digital media landscape and the forces that will shape it in the future.

This book explores how the television industry is adapting its production culture and professional practises of scheduling to an increasingly non-linear television paradigm, a testing ground where different communicative tools are tried out in a volatile industry. Based on four case studies the book argues that a new television paradigm is being produced from within the multiplatform television organisations themselves in order to adapt to changing viewer habits and the tensions between digital and broadcast television. Drawing on a unique genre and production studies approach that cuts across the humanities and sociology in television studies, chapters cover in-depth studies of: * The communicative changes to the on-air schedule as a televisual text phenomenon in the digital era, and how the conceptualisations of the audience are changing in scheduling and curation for multiplatform portfolios * The changing production culture of scheduling in companies for their multiplatform portfolios * The dilemmas of curation in multiplatform portfolios. Situated at the intersection of the humanities and sociology in media production studies, this book will be of key interest to scholars and students of television studies, media production studies and cultural studies and to researchers and media professionals and management in the television industry.

The Russian media are widely seen to be increasingly controlled by the government. Leaders buy up dissenting television channels and pour money in as fast as it haemorrhages out. As a result, TV news has become narrower in scope and in the range of viewpoints which it reflects: leaders demand assimilation and shut down dissenting stations. Using original and extensive focus group research and new developments in cognitive theory, Ellen Mickiewicz unveils a profound mismatch between the complacent assumption of Russian leaders that the country will absorb their messages, and the viewers on the other side of the screen. This is the first book to reveal what the Russian audience really thinks of its news and the mental strategies they use to process it. The focus on ordinary people, rather than elites, makes a strong contribution to the study of post-communist societies and the individual's relationship to the media.

The Russian media are widely seen to be increasingly controlled by the government. Leaders buy up dissenting television channels and pour money in as fast as it haemorrhages out. As a result, TV news has become narrower in scope and in the range of viewpoints which it reflects: leaders demand assimilation and shut down dissenting stations. Using original and extensive focus group research and new developments in cognitive theory, Ellen Mickiewicz unveils a profound mismatch between the complacent assumption of Russian leaders that the country will absorb their messages, and the viewers on the other side of the screen. This is the first book to reveal what the Russian audience really thinks of its news and the mental strategies they use to process it. The focus on ordinary people, rather than elites, makes a strong contribution to the study of post-communist societies and the individual's relationship to the media.

In Atomic Bill, Vincent Kiernan examines the fraught career of New York Times science journalist, William L. Laurence and shows his professional and personal lives to be a cautionary tale of dangerous proximity to power. Laurence was fascinated with atomic science and its militarization. When the Manhattan Project drew near to perfecting the atomic bomb, he was recruited to write much of the government's press materials that were distributed on the day that Hiroshima was obliterated. That instantly crowned Laurence as one of the leading journalistic experts on the atomic bomb. As the Cold War dawned, some assessed Laurence as a propagandist defending the militarization of atomic energy. For others, he was a skilled science communicator who provided the public with a deep understanding of the atomic bomb. Laurence leveraged his perch at the Times to engage in paid speechmaking, book writing, filmmaking, and radio broadcasting. His work for the Times declined in quality even as his relationships with people in power grew closer and more lucrative. Atomic Bill reveals extraordinary ethical lapses by Laurence such as a cheating scandal at Harvard University and plagiarizing from press releases about atomic bomb tests in the Pacific. In 1963 a conflict of interest related to the 1964 World's Fair in New York City led to his forced retirement from the Times. Kiernan shows Laurence to have set the trend, common among today's journalists of science and technology, to prioritize gee-whiz coverage of discoveries. That approach, in which Laurence served the interests of governmental official and scientists, recommends a full revision of our understanding of the dawn of the atomic era.

HGTV has perfected stories about creating and capturing value in the housing market. But according to Robert Goldman, this lifestyle network's beloved flagship programs, Flip or Flop, Property Brothers, and Fixer Upper-where people revitalize modern spaces and reinvent property values-offer "fairy tales" in the wake of the 2008 economic crisis. The cable channel's seductive, bingeable programs may show how to find and extract value from properties, but, in fact, they insidiously ignore the realities of the real estate and mortgage markets, housing inequality, gentrification, economic insecurity, and even homelessness. In effect, HGTV has turned house flipping into a master narrative about getting ahead in America during an era of otherwise uneasy economic prospects. HGTV pictures its insular moral economy as an alternative to a crisis-ridden neoliberal finance system that shaped landscapes of foreclosure and financial uncertainty for millions of households. Renovating Value explores the circuitry of consumer credit and debt, and a rent-gap model of gentrification that charts a path to the rehabilitation of Value. Goldman shrewdly critiques the aspirational myth of adding value to a home simply by using imagination, elbow grease, and aesthetic know-how.

HGTV has perfected stories about creating and capturing value in the housing market. But according to Robert Goldman, this lifestyle network's beloved flagship programs, Flip or Flop, Property Brothers, and Fixer Upper-where people revitalize modern spaces and reinvent property values-offer "fairy tales" in the wake of the 2008 economic crisis. The cable channel's seductive, bingeable programs may show how to find and extract value from properties, but, in fact, they insidiously ignore the realities of the real estate and mortgage markets, housing inequality, gentrification, economic insecurity, and even homelessness. In effect, HGTV has turned house flipping into a master narrative about getting ahead in America during an era of otherwise uneasy economic prospects. HGTV pictures its insular moral economy as an alternative to a crisis-ridden neoliberal finance system that shaped landscapes of foreclosure and financial uncertainty for millions of households. Renovating Value explores the circuitry of consumer credit and debt, and a rent-gap model of gentrification that charts a path to the rehabilitation of Value. Goldman shrewdly critiques the aspirational myth of adding value to a home simply by using imagination, elbow grease, and aesthetic know-how.

This book brings together two very disparate areas, economics and culture, considering both the economic aspects of cultural activity, and the cultural context of economics and economic behavior. The author discusses how cultural goods are valued in both economic and cultural terms, and introduces the concepts of cultural capital and sustainability. The book goes on to discuss the economics of creativity in the production of cultural goods and services; culture in economic development; the cultural industries; and cultural policy. An important topic analyzed in a stimulating and nontechnical style.

In Tracking the Audience: The Ratings Industry From Analog to Digital, author Karen Buzzard examines the key economic, political, and competitive factors that have influenced ratings methods dominant in each of the markets for radio, TV, and the Internet, tracing the practice(1)s history from its early beginnings up to its most recent advances. Beginning with the birth of the industry in 1929, Tracking the Audience traces the establishment of a standardized ratings "currency" as it evolved to meet the needs of the analog broadcast system, and explores the search for new gold standards necessitated by the devastating effects of the digital revolution. Buzzard examines key challenges to the established system by discussing the movement from traditional sampling methods to new, more transparent measurements. More than a history of the ratings industry itself, it also tracks the evolving business model for the broadcast industry. Tracking the Audience: The Ratings Industry From Analog to Digital shows how the development of conceptual tools designed to measure and package radio, TV, and Internet audiences is the result of a variety of historical factors. With a detailed examination of ratings providers, their methods, and their attempts to adjust to meet new demands a digital age, this volume explains how a standardized broadcast system of audience measurement ratings has evolved, and where it is going in the future.

This book examines the economic, political, and technological forces that are shaping the future of broadcasting in advanced industrialized nations by comparing the transition from analog to digital TV in the US and Britain. Digital TV involves a major reordering of the broadcast sector that requires governments to rethink governance tools for the digital media era. By looking at how the transition is unfolding in these nations, the book uncovers the political underpinnings of the emerging governance regime for digital communications and explores the implications of the transition for the development of the Information Society in the US and Europe. The findings challenge much conventional wisdom about media deregulation and the globalization of communications. The transition to digital TV has not weakened but rather reinforced government control over broadcasting. Moreover, contrary to what many globalization theories would predict, it has reinforced preexisting differences in the organization of media across nations.

This new edition of the best-selling text has been fully revised and updated to take into account new developments in communication and media studies. More Than Words provides an introduction to both communication theory and practice. The authors cover essential elements of communication, including communication between individuals and groups, in organizations and through mass media and new technologies.

The fourth edition features:

• new case studies and assignments
• an updated series of key questions helping students to understand central concepts in communication studies
• expanded sections on mass media and on practical communication and media skills
• guidance on listening skills, interpersonal and social skills, writing skills, leaflet design, and planning, scripting, and producing audio and video material.

More Than Words is illustrated with new models and photographs and has checklist summaries for easy revision purposes. Clear and practical, it is an essential text for students of communication studies.

Celebrities can sell anything from cars to clothing, and we are constantly fascinated by their influence over our lifestyle choices. This book makes an important contribution to legal scholarship about the laws governing the commercial appropriation of fame. Exploring the right of publicity in the US and the passing off action in the UK and Australia, David Tan demonstrates how an appreciation of the production, circulation and consumption of fame can be incorporated into a pragmatic framework to further the understanding of the laws protecting the commercial value of the celebrity personality. Using contemporary examples such as social media and appropriation art, Tan shows how present challenges for the law may be addressed using this cultural framework. This book will be of interest to intellectual property law academics, judges, practitioners and students in the US and common law jurisdictions, as well as those in the field of cultural studies.

At its heart this book is about innovation and the innovation process. On the way, it considers culture and the cultural industries, aesthetics, creativity and the creative industries, and a number of other similar topics.
Much of the existing economic literature on innovation has taken a particularly technological or functional viewpoint as to what sort of new products and processes are to be considered innovations. One of the key things this book shows is that there is a type of innovation, here labelled "soft innovation," primarily concerned with changes in products (and perhaps processes) of an aesthetic or intellectual nature, that has largely been ignored in the study of innovation prevalent in economics. Examples of innovations that, as a result of this refocusing, are here placed at the centre of the analysis include: the writing and publishing of a new book, the writing, production, and launching of a new movie, the development and launch of a new advertising promotion, the design and production of a new range of furniture, and architectural activity in the generation of new built form designs. The realisation of the existence of soft innovation means that, not only is innovation more widespread than previously considered, but that it may also take a different form than commonly considered.
Soft Innovation addresses key issues such as:
* The measurement of the rate and extent of soft innovation,
* The determinants of the rate and direction of soft innovation and diffusion,
* The impacts of soft innovation and diffusion upon outputs, productivity, employment, firm performance, trade, and economic welfare,
* Policy, considering whether there is a rationale for government intervention in the soft innovation generation and diffusion processes, and if so what instruments can be used in such intervention?
Soft Innovation breaks new ground in the study of innovation, and will be key reading for academics and researchers of Innovation, Marketing, and Design, as well as consultants, practitioners, and policy-makers concerned with the creative industries.