Broadcasting Hollywood: The Struggle Over Feature Films on Early Television uses extensive archival research into the files of studios, networks, advertising agencies, unions and guilds, theatre associations, the FCC, and key legal cases to analyze the tensions and synergies between the film and television industries in the early years of television. This analysis of the case study of the struggle over Hollywood’s feature films appearing on television in the 1940s and 1950s illustrates that the notion of an industry misunderstands the complex array of stakeholders who work in and profit from a media sector, and models a variegated examination of the history of media industries. Ultimately, it draws a parallel to the contemporary period and the introduction of digital media to highlight the fact that history repeats itself and can therefore play a key role in helping media industry scholars and practitioners to understand and navigate contemporary industrial phenomena.

Strengthen your understanding of the persuasive mechanisms used by terrorist groups and how they are effective in order to defeat them. Weaponized Words applies existing theories of persuasion to domains unique to this digital era, such as social media, YouTube, websites, and message boards to name but a few. Terrorists deploy a range of communication methods and harness reliable communication theories to create strategic messages that persuade peaceful individuals to join their groups and engage in violence. While explaining how they accomplish this, the book lays out a blueprint for developing counter-messages perfectly designed to conquer such violent extremism and terrorism. Using this basis in persuasion theory, a socio-scientific approach is generated to fight terrorist propaganda and the damage it causes.

Since the advent of the American toy industry, children’s cultural products have attempted to teach and sell ideas of American identity. By examining cultural products geared towards teaching children American history, Playing With History highlights the changes and constancies in depictions of the American story and ideals of citizenship over the last one hundred years. This book examines political and ideological messages sold to children throughout the twentieth century, tracing the messages conveyed by racist toy banks, early governmental interventions meant to protect the toy industry, influences and pressures surrounding Cold War stories of the western frontier, the fractures visible in the American story at a mid-century history themed amusement park. The study culminates in a look at the successes and limitations of the American Girl Company empire.  

Around the globe, people now engage with media content across multiple platforms, following stories, characters, worlds, brands and other information across a spectrum of media channels. This transmedia phenomenon has led to the burgeoning of transmedia studies in media, cultural studies and communication departments across the academy. The Routledge Companion to Transmedia Studies is the definitive volume for scholars and students interested in comprehending all the various aspects of transmediality. This collection, which gathers together original articles by a global roster of contributors from a variety of disciplines, sets out to contextualize, problematize and scrutinize the current status and future directions of transmediality, exploring the industries, arts, practices, cultures, and methodologies of studying convergent media across multiple platforms.

This set of essays offers new insights into the journalistic process and the pressures American front-line reporters experienced covering World War II. Transmitting stories through cable or couriers remained expensive and often required the cooperation of foreign governments and the American armed forces. Initially, reporters from a neutral America documented the early victories by Nazi Germany and the Soviet invasion of Finland. Not all journalists strove for objectivity. During her time reporting from Ireland, Helen Kirkpatrick remained a fierce critic of that country’s neutrality. Once the United States joined the fight after the Japanese attack on Pearl Harbor, American journalists supported the struggle against the Axis powers, but this volume will show that reporters, even when members of the army sponsored newspaper, Stars and Stripes were not mere ciphers of the official line. African American reporters Roi Ottley and Ollie Stewart worked to bolster the morale of Black GIs and undermined the institutional racism endemic to the American war effort. Women front-line reporters are given their due in this volume examining the struggles to overcome gender bias by describing triumphs of Thérèse Mabel Bonney, Iris Carpenter, Lee Carson, and Anne Stringer. The line between public relations and journalism could be a fine one as reflected by the U.S. Marine Corps’ creating its own network of Marine correspondents who reported on the Pacific island campaigns and had their work published by American media outlets. Despite the pressures of censorship, the best American reporters strove for accuracy in reporting the facts even when dependent on official communiqués issued by the military. Many wartime reporters, even when covering major turning points, sought to embrace a reporting style that recorded the experiences of average soldiers. Often associated with Ernie Pyle and Bill Mauldin, the embrace of the human-interest story served as one of the enduring legacies of the conflict. Despite the importance of American war reporting in shaping perceptions of the war on the home front as well as shaping the historical narrative of the conflict, this work underscores how there is more to learn. Readers will gain from this work a new appreciation of the contribution of American journalists in writing the first version of history of the global struggle against Nazi Germany, imperial Japan, and fascist Italy.

Global Cultural Economy critically interrogates the role cultural and creative industries play in societies. By locating these industries in their broader cultural and economic contexts, Christiaan De Beukelaer and Kim-Marie Spence combine their repertoires of empirical work across four continents to define the 'cultural economy' as the system of production, distribution, and consumption of cultural goods and services, as well as the cultural, economic, social, and political contexts in which it operates. Each chapter introduces and discusses a different theme, such as inclusion, diversity, sustainability, and ownership, highlighting the tensions around them to elicit an active engagement with possible and provisional solutions. The themes are explored through case studies including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, and the UN Creative Economy Reports. Written with students, researchers, and policy-makers in mind, Global Cultural Economy is ideal for anyone interested in the creative and cultural industries, media and cultural studies, cultural policy, and development studies.

Radical Media Ethics presents a series of innovative ethical principles and guidelines for members of the global online media community. Offers a comprehensive new way to think about media ethics in a new media era Provides guiding principles and values for practising responsible global media ethics Introduces one of the first codes of conduct for a journalism that is global in reach and impact Includes both philosophical considerations and practical elements in its establishment of new media ethics guidelines

For over a dozen years, the Vectors Lab has experimented with digital scholarship through its online publication, Vectors, and through Scalar, a multimedia authoring platform. The history of this software lab intersects a much longer tale about computation in the humanities, as well as tensions about the role of theory in related projects. Tara McPherson considers debates around the role of cultural theory within the digital humanities and addresses Gary Hall's claim that the goals of critical theory and of quantitative or computational analysis may be irreconcilable (or at the very least require "far more time and care"). She then asks what it might mean to design-from conception-digital tools and applications that emerge from contextual concerns of cultural theory and, in particular, from a feminist concern for difference. This path leads back to the Vectors Lab and its ongoing efforts at the intersection of theory and praxis.

This is the first-ever book on the rise of the new wave of independent Indian films that is revolutionising Indian cinema. Contemporary scholarship on Indian cinema so far has focused asymmetrically on Bollywood-India's dominant cultural export. Reversing this trend, this book provides an in-depth examination of the burgeoning independent Indian film sector. It locates the new 'Indies' as a glocal hybrid film form-global in aesthetic and local in content. They critically engage with a diverse socio-political spectrum of 'state of the nation' stories; from farmer suicides, disenfranchised urban youth and migrant workers to monks turned anti-corporation animal rights agitators. This book provides comprehensive analyses of definitive Indie new wave films including Peepli Live (2010), Dhobi Ghat (2010), The Lunchbox (2013) and Ship of Theseus (2013). It explores how subversive Indies, such as polemical postmodern rap-musical Gandu (2010) transgress conventional notions of 'traditional Indian values', and collide with state censorship regulations. This timely and pioneering analysis shows how the new Indies have emerged from a middle space between India's globalising present and traditional past. This book draws on in-depth interviews with directors, actors, academics and members of the Indian censor board, and is essential reading for anyone seeking an insight into a current Indian film phenomenon that could chart the future of Indian cinema.

Beloved TV host Bill Geist pens a reflective memoir of his incredible summers spent in the heart of America in this New York Times bestseller. Before there was tourism and souvenir ashtrays became kitsch, the Lake of the Ozarks was a Shangri-La for middle-class Midwestern families on vacation, complete with man-made beaches, Hillbilly Mini Golf, and feathered rubber tomahawks. It was there that author Bill Geist spent summers in the Sixties during his school and college years working at Arrowhead Lodge -- a small resort owned by his bombastic uncle -- in all areas of the operation, from cesspool attendant to bellhop. What may have seemed just a summer job became, upon reflection, a transformative era where a cast of eccentric, small-town characters and experiences shaped (some might suggest slightly twisted) Bill into the man he is today. He realized it was this time in his life that had a direct influence on his sensibilities, his humor, his writing, and ultimately a career searching the world for other such untamed creatures for the Chicago Tribune, the New York Times, and CBS News. In Lake of the Ozarks, Emmy Award-winning CBS Sunday Morning correspondent Bill Geist reflects on his coming of age in the American Heartland and traces his evolution as a man and a writer. He shares laugh-out-loud anecdotes and tongue-in-cheek observations guaranteed to evoke a strong sense of nostalgia for the good ol' days. Written with Geistian wit and warmth, Lake of the Ozarks takes readers back to a bygone era, and demonstrates how you can find inspiration in the most unexpected places.

Artists are creative workers who drive growth in the creative and cultural industries. Managing artistic talent is a unique challenge, and this concise book introduces and analyses its key characteristics. Artist Management: Agility in the Creative and Cultural Industries makes a major contribution to our understanding of the creative and cultural industries, of artistic and managerial creativities, and of social and cultural change in this sector. The book undertakes an extensive exploration of the increasingly pivotal role of artist managers in the creative and cultural industries and argues that agile management strategies are useful in this context. This book provides a comprehensive and accessible account of the artist-artist manager relationship in the twenty-first century. Drawing from research interviews conducted with artist managers and self-managed artists in five cities (New York, London, Toronto, Sydney and Melbourne), this book makes an original contribution to knowledge. Nation-specific case studies are highlighted as a means of illuminating various thematic concerns. This unique book is a major piece of research and a valuable study aid for both undergraduate and postgraduate students of subjects including arts management, creative and cultural industries studies, arts entrepreneurship, business and management studies and media and communications.

The study sets out (a) to give an in-depth account of the discursive implications of the complex terms 'Judaism', 'modern' and feuilleton (arts pages) against the background of present-day theories of modernity, alterity and the history of aesthetics, and (b) to demonstrate the interdependency of discourses on politics and literary aesthetics with reference to concrete texts. The analysis of selected Viennese feuilletons (the corpus comprises texts by Moritz Gottlieb Saphir, Ferdinand KA1/4rnberger, Sigmund Schlesinger, Friedrich SchlAgl, Karl Landsteiner, Betty Paoli, Daniel Spitzer, Ludwig Speidel and Theodor Herzl) concentrates on the strategies of literarization employed by bourgeois-liberal journalism in its persistently conservative phase to bolster the concepts of identity informing it.

In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications.

Offering a rare insight into the world of celebrity and media in China and beyond, Celebrity Culture and the Entertainment Industry in Asia deconstructs the dynamics of "stardom" and celebrity endorsement in East Asia, and examines its impact on marketing communications and media. Through first-hand interviews with celebrities and entertainment industry practitioners, the book discusses the social, cultural and economic influences of celebrity through topics such as self-identity, celebrity-driven consumer behaviour, gender and race stereotypes, idol worship, etc. Interviews with celebrities such as Kai-Wah Kwok, Bob Lam, Denise Ho, Hilary Tsui and Francis Mak present the reader with insider accounts of celebrity formation, management and marketing in Hong Kong and Mainland China, as well as South Korea and Taiwan. These untold inside stories of celebrity endorsement and advocacy will stimulate both academic and general readers' interest in rethinking the economic and cultural implications of the phenomenon of stardom.

This work looks at the functions of documentary in film and television. Its attempts to depict reality and to comment on it have provoked disagreement from the 1920s to the present day. Recent debates about knowledge and representation, and about the changing character of public culture have increased its interest and relevance. The author presents a clear view of the theoretical issues and critical debates about documentary, and discusses the development of the main styles and approaches, including dramadocs and fly-on-the-wall. The book also looks at the dual identity of work in documentary as both artefact and as a reference. This work provides an analysis of specific examples of powerful documentary films and programmes such as: Cathy Come Home (whose presentation of homelessness and young women had enormous impact); Life and Times of Rosie the Rivetter (depicting the treatment of women in US factories during World War II); and When the Dog Bites (a view of life in the previously industrial town of Consett following the closure of the steel works).

This book is open access under a CC BY license. Selfies, blogs and lifelogging devices help us understand ourselves, building on long histories of written, visual and quantitative modes of self-representations. This book uses examples to explore the balance between using technology to see ourselves and allowing our machines to tell us who we are.

The Routledge Companion to Asian American Media offers readers a comprehensive examination of the way that Asian Americans have engaged with media, from the long history of Asian American actors and stories that have been featured in mainstream film and television, to the birth and development of a distinctly Asian American cinema, to the ever-shifting frontiers of Asian American digital media. Contributor essays focus on new approaches to the study of Asian American media including explorations of transnational and diasporic media, studies of intersectional identities encompassed by queer or mixed race Asian Americans, and examinations of new media practices that challenge notions of representation, participation, and community. Expertly organized to represent work across disciplines, this companion is an essential reference for the study of Asian American media and cultural studies.

A goldmine of strategic insights and practical business guidance covering all aspects of media entrepreneurship in the Digital Age The media industry is facing epic upheaval. Revolutionary new technologies compel those in businesses as diverse as broadcasting to book publishing to radically recreate their business models or be left in history's wake. At the same time, those with the next big idea are eager to acquire the business know-how needed to make it in today's brave new world of media. Written by a uniquely well-qualified author team, this book addresses the concerns of both audiences. Penelope Muse Abernathy and JoAnn Sciarrino provide timely lessons on everything from media financing to marketing, business strategy to leadership, innovation to business accounting. They use numerous case studies and real-world vignettes to reveal the success secrets of today's hottest media entrepreneurs, as well as the fatal flaws that leads many promising new ventures down the road to ruin. They begin with a primer on digital entrepreneurship basics, covering how to create a winning digital business model, obtain financing, do business accounting, identify strategic challenges, and more. From there they show you how to: Develop sustainable customer-focused strategies while overcoming the unique leadership challenges of the Digital Age Define your company's unique value proposition, prioritize investments in key assets, and form strategic partnerships and alliances Understand and prepare to exploit the vast potential inherent in the next generation of digital technologies, including artificial intelligence, virtual reality, and blockchain, among others The two companion websites feature a wealth of supplemental material, including updates, instructional videos, essays by media leaders, as well as PowerPoint presentations and study guides for instructors. Packed with practical insights and guidance on all aspects of the business of media in the Digital Age, The Strategic Digital Media Entrepreneur is a must-have resource for professionals and students alike in advertising, marketing, business strategy, entrepreneurship, finance, social media, and more.

It began more than 30 years ago with a question at a dinner party at Joan Ganz Cooney's Manhattan apartment: Could the power of television be used to teach millions of pre-school children the basics of literacy? That question from Lloyd Morrisett, a young foundation executive, soon led to the launching of the most popular children's program in the world, Sesame Street, defying the odds in an industry that had long placed faith in selling soap rather than serving the educational needs of its audiences.

For Morrisett, the birth of Sesame Street was the beginning of an often-lonely, sometimes triumphant and occasionally futile struggle to make quality and equity count in the communications revolution that has so dramatically altered every aspect of life over the last half-century: from newspapers, radio, film and television to computers and the internet.

Big Bird and Beyond reveals the pivotal role Morrisett played since 1969, as president of The John & Mary R. Markle Foundation and as chairman of the Children's Television Workshop, in launching Peggy Charren's Action for Children's Television, rescuing the Columbia Journalism Review and the Fund for Investigative Journalism from bankruptcy, establishing the National News Council in Defiance of the nation's most powerful newspaper, and spurring Cable News Network to provide more-issue oriented presidential election coverage. It describes how Markle almost single-handedly promoted the idea of using computers and the Internet to enrich the lives of the elderly, and most recently, how electronic mail might connect citizens more effectively to government and other institutions affecting their lives.

For three decades, then, Morrisettbecame the Ralph Nader of the communications field, a tireless civic advocate who spent millions and tapped the talents of some of the best minds in America in an idealistic battle for the educational, cultural and political potential of both old and newer media.

Global Media Giants takes an in-depth look at how media corporate power works globally, regionally, and nationally, investigating the ways in which the largest and most powerful media corporations in the world wield power. Case studies examine not only some of the largest media corporations (News Corp., The Microsoft Corporation) in terms of revenues, but also media corporations that hold considerable power within national, regional, or geolinguistic contexts (Televisa, The Bertelsmann Group, Sony Corporation). Each chapter approaches a different corporation through the lens of economy, politics, and culture, giving students and scholars a thoughtful and data-driven guide with which to interrogate contemporary media industry power.