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aThe phenomenal success of Nickelodeon reveals a great deal about the changing nature of the modern media, and about changing conceptions of childhood. Nickelodeon Nation offers a comprehensive account of the channelas evolution, providing fascinating insights into production and programming, and the responses of children themselves.a
--David Buckingham, Institute of Education, University of London

aWith both dispassionate market analyses and insidersa personal accounts, Nickelodeon Nation covers the channelas history and evolving philosophies thoroughly--like a bucket of Nick's signature green slime! Even aNickspertsa will find new insights and understanding.a
--David W. Kleeman, Executive Director, American Center for Children and Media

Nickelodeon is the highest rated daytime channel in the country, and its cultural influence has grown at an astounding pace. Why are Nickelodeon shows so popular? How are they developed and marketed? And where do they fit in the economic picture of the children's media industry? Nickelodeon Nation, the first major study of the only TV channel just for children, investigates these questions.

Intended for a wide range of readers and illustrated thorughout, the essays in Nickelodeon Nation are grouped into four sections: economics and marketing; the production process; programs and politics; and viewers. The contributors--who include a former employee in Nick's animation department, an investigative journalist, a developmental pyschologist who helped develop "Blue's Clues," and television and cultural studies scholors--show how Nickelodeon succeeds, in large part, by simultaneouslysatisfying both children and adults. For kids, Nick offers gross-out jokes and no-holds-barred goofiness, while for adults it offers a violence-free world, ethnic and racial diversity, and gender parity. Nick gives kids the fun they want by gently violating adult ideas of propriety, and satisfies adults by conforming to their vision of "quality" children's programming.

Nickelodeon Nation shows how, in only twenty years, Nickelodeon has transformed itself from the "green vegetable network"--distasteful for kids but "good for them," according to parents--into a super-cool network with some of the most successful shows on the air. This ground-breaking collection fills a major gap in our understanding of both contemporary children's culture and the television industry.

Contributors include: Daniel R. Anderson, Sarah Banet-Weiser, Henry Jenkins, Mark Langer, Vicki Mayer, Susan Murray, Heather Hendershot, Norma Pecora, Kevin S. Sandler, Ellen Seiter, Linda Simensky, and Mimi Swartz.

Volume two of British Literary Magazines begins its coverage at the dawn of the Romantic Age, when the publication of Blake's Songs of Innocence signalled the change of an era. Its coverage extends beyond what some scholars consider the end of the Romantic Age (1798 and the publication of Lyrical Ballads) and includes periodicals published through the date of Queen Victoria's accession to the British throne in 1837. Volume two includes historical essays, publication details, and bibliographic sources for eighty-five reviews, journals, illustrated magazines, and periodicals available during the period.

As the US contends with issues of populism and de-democratization, this timely study considers the impacts of digital technologies on the country's politics and society. Timcke provides a Marxist analysis of the rise of digital media, social networks and technology giants like Amazon, Apple, Facebook and Microsoft. He looks at the impact of these new platforms and technologies on their users who have made them among the most valuable firms in the world. Offering bold new thinking across data politics and digital and economic sociology, this is a powerful demonstration of how algorithms have come to shape everyday life and political legitimacy in the US and beyond.

This volume brings together a range of voices from across the global environmental media community to build a comparative international set of perspectives on 'green' film and television production. Through this, it provides a necessary intervention in environmental media studies that actively foregrounds media infrastructure, production, policy, and labour - that is, the management and practice of media production cultures. Due to its immense sociocultural influence and economic resources, the global screen media industry is at the forefront of raising awareness for the political and social issues resulting from accelerated environmental instability. However, the 21st century relationship between screen media and the environment has another face that demands urgent scrutiny. The advent of the digital age and the vast electrical and Information and Communication Technologies (ICT) infrastructures required to support digital production, distribution, and archiving has resulted in the rapid expansion and diversification of the industry's resource use, infrastructure construction, energy dependency, and consequent waste and emissions production. Addressing these structures is essential to alleviating their environmental and social impact and ensuring that the industry's rhetoric on environmental responsibility is reflected in its practice. As a mitigating counterbalance to the above trends, there has been a heightenedpush for sustainability measures along various lines of industry management, policy, and practice. These initiatives-including the cultural values they reflect, the political economies that form their logic, the managerial and marketing tactics that orchestrate them, and the environmental realities of their implementation-form the central object of inquiry for this collection.

This book presents a study of remembrance practices emerging after the 2005 London bombings. Matthew Allen explores a range of cases that not only illustrate the effects of the organisation of remembrance on its participants, but reveal how people engaged in memorial culture to address difficult and unbearable conditions in the wake of 7/7.

Transforming Media Coverage of Violent Conflicts offers a fresh view of contemporary violent conflicts, suggesting an explanation to the dramatic changes in the ways in which war and terror are covered by Western media. It argues that viewers around the globe follow violent events, literally and metaphorically, on "wide" and "flat" screens, in "high-definition." The "wide-screen" means that at present the screen is wide enough to include new actors - terrorists, 'enemy' leaders, ordinary people in a range of roles, and journalists in the field - who have gained status of the kind that in the past was exclusive to editors, army generals and governmental actors. The "high-definition" metaphor means that the eye of the camera closes in on both traditional and new actors, probing their emotions, experiences and beliefs in ways that were irrelevant in past conflicts. The "flat-screen" metaphor stands for the consequences of the two former phenomena, leading to a loss of the hierarchy of the meanings of war. Paradoxically, the better the quality of viewing, the less the understanding of what we see. Through these metaphors, Kampf and Liebes systematically analyse changes in the practices, technologies, infrastructures and external institutional relationships of journalism.

Do the news media have any role in the transformation of war and warfare? A constellation of labels by academics and practitioners have been coined in the last twenty years to describe the new forms of a phenomenon as old as the human race. However, this book claims that it remains to be fully understood what the specific role of the news media is in this process. It argues that the news media, old and new alike, alter the cognitive and strategic environment of the actors of war and politics and change the way these interact with one another. Building on a four-dimensional definition of power and focusing on the role of television, this book recognises the importance of interactions upon the understanding of any social phenomenon. It suggests that the nature of war is changing partly because it is no longer just a matter of linear strategic interactions but also, and mainly, of 'mediated' ones.

What is the real nature of television, and what is its place in contemporary society and culture? In a provocative rethinking of the medium and its ensuing effects, this book argues that we have misunderstood television and have thus contributed to a distorted view of art and culture in the 20th century. During the final quarter of this century both in academic and popular circles, we have spread wildly exaggerated claims about television's undermining of human consciousness and behavior. Television has become a scapegoat for all sorts of societal and cultural ills. The arguments presented by many researchers on behalf of the ill-effects of TV are fundamentally weak and flawed. On the eve of the 21st century, the claimed distinctions between high art and popular culture have become a final, hopeless repository of pedantry. Television can be understood only by viewing it as an art form, and measuring its role in society and culture in concert with the first principles of human reason and liberty.

Globalization and technological advances have had a dramatic impact on the relationship between media and politics. How can we understand the connection between the two in the present day? Alexa Robertson argues that we cannot understand the power of the one without taking the other into account. This exciting and accessible book provides fresh insight into our contemporary media landscape, adopting a truly comparative global approach. In Media and Politics in a Globalizing World, Robertson encourages the reader to explore the relationship from different perspectives those of the politician, the journalist, the activist and the ordinary citizen and how the relationship between media and politics varies across cultures. Illustrated with contemporary examples throughout, the book weighs up arguments for seeing new developments in terms of change or continuity, as empowering or debilitating, and as promoting or undermining democracy. Suitable for undergraduates and postgraduates studying politics, media and sociology, it also will be of interest to the general reader wishing to understand the complex role of the media in political life the world over. For additional support and information visit this book's companion website at http://mediapolitics.net/

Everything but the Script: Professional Writing in the Entertainment Industry introduces readers to the lesser known yet critically important forms of writing within the industry. The book offers insight into how these "hidden" but potentially lucrative writing practices determine the way in which creative work is understood, discussed, and "processed" as a potential sale or green light, as well as the role it plays in the development and marketing of a project. The book is divided into two main sections that mirror the filmmaking process. The first section covers acquisition, development, and preproduction; the second is devoted to production, distribution, and exhibition. Readers learn how to create an effective synopses, draft productive critical comments for script coverage, develop and refine story notes to help writers progress from draft to draft, write effective pitch letters to potential collaborators, and generate dynamic written materials to support a successful publicity campaign. Drawing from the author's extensive experience within the entertainment industry, Everything but the Script is an excellent resource for courses and programs in film and media studies.

Crime and criminals are a pervasive theme in all areas of our culture, including media, journalism, film and literature. This book explores how crime is constructed and culturally represented through a range of areas including Spanish, English Language and Literature, Music, Criminology, Gender, Law, Cultural and Criminal Justice Studies.

The twenty-first century exploded into the global imagination with unforgettable scenes of death and destruction. An apocalyptic 'clash of civilizations' seemed to be waged between two old foes - 'the West' and 'Islam.' However, the decade-long and ruinous 'war on terror' has prompted re-assessments of the militaristic approach to Western-Muslim relations. A growing number of academics, policymakers, religious leaders, journalists, and activists view the struggles as resulting from a 'clash of ignorance.' Re-imagining the Other examines the ways in which knowledge is manipulated by dominant Western and Muslim discourses. Authors from several disciplines study how the two societies have constructed images of each other in historical and contemporary times. The complexities and subtleties of their mutually productive relationship are overshadowed by portrayals of unremitting clash, thus serving as encouragement for the promotion of war and terrorism. The book proposes specific approaches to re-imagine the Other in order to mitigate Western-Muslim conflict.

Examining how the press in Britain, Sweden and Finland responded to the Holocaust immediately after the Second World War, Holmila offers new insights into the challenge posed by the Holocaust for liberal democracies by looking at the reporting of the liberation of the camps, the Nuremberg trial and the Jewish immigration to Palestine.

This history of public television over the last twenty years shows how powerful political actors and the budget process in the United States have severely restricted the strategic behavior and programming of public TV. This hard-hitting story fills a real void in the literature on the subject and should be required reading for station managers, broadcasters, students and professionals in communications, and public policymakers. The ancillary text with its analysis of organizations theory and models is intended also for undergraduate and graduate students in mass media and communications, public policy, and organizational behavior. This practical analysis of public television funding, organization, and programming opens with an overview of organizations theory and a discussion of two models of organizational behavior. A brief history of public TV policy follows with a description of critical developments under the last four American presidents. The legislative history of the Corporation of Public Broadcasting demonstrates the effects of the budgetary process in TV programming, employment diversity, and services to different audiences. The case study closes with an evaluation of public television in terms of organizational strengths and weaknesses and offers practical suggestions for reform.

"Justice Performed: Courtroom TV Shows and the Theaters of Popular Law" is the first study of the reality TV genre to trace its theatrical legacy, connecting the phenomenon of the daytime TV shows to a long history of theatrical trials staged to educate audiences in pedagogies of citizenship. It examines how judge TV fulfills part of law's performative function: that of providing a participatory spectacle the public can recognize as justice. Since it debuted in 1981 with "The People's Court," which made famous its star jurist, Judge Joseph A. Wapner, dozens of judges have made the move to television. Unlike the demographics in actual courts, most TV judges are non-white men and women hailing from diverse cultural and racial backgrounds. These judges charge their decisions with personal preferences and cultural innuendos, painting a very different picture of what justice looks like. Drawing on interviews with judge TV judges, producers and production staff, as well as the author's experience as a studio audience member, the book scrutinizes the performativity of the genre, the needs it meets and the inherent ideological biases about race, gender and civic instruction.

An examination of how the US military in Hawaii is depicted by museum curators, memorial builders, film makers, and newspaper reporters. These mediums convey information, and engage their audiences, in ways that, together, form a powerful advocacy for the benefits of militarism in the islands.

This provocative book takes a look at children's consumption of sexualized media messages while providing parents, teachers, and professionals with strategies for abating their influence. In this eye-opening book, experienced child psychologist Jennifer W. Shewmaker contends that the manner in which a child is raised influences how they respond to media messages, particularly those shaded by sexual overtones. This text takes a hard look at the impact of advertisements, products, and entertainment on a child's psyche and offers strategies for helping kids become critical, active media consumers. Drawing from research in a wide variety of disciplines, this book explores the interpersonal factors within children's lives that impact how they learn to process sexualized media messages. The book argues that an increase in marketing to children along with media-based fabrications of beauty, masculinity, and femininity impact the confidence and character of young children who are often greatly affected by what they see and hear. The author shares invaluable tips for promoting strengths in children and adolescents of both genders and presents the protective influence of communities to help children dismiss distorted media images. Provides a quick overview of previous works in child development, communication, and education Discusses four mediating variables influencing children's values: culture of celebrity, family factors, gender, and community systems Includes an "In Their Voices" section featuring specific responses from children, adolescents, parents, and professionals Covers television, movies, music, and other media Demonstrates the impact of both positive and negative media messages

The question of the representation of women in the media has been an important one for feminists over the past three decades. This diverse collection of essays represents three major trends in feminist media studies: the liberal feminist perspective, which focuses on the media's tendency to misrepresent and oppress women; the postmodern perspective, which illustrates the ways in which women can participate in, enjoy, and sometimes subvert the dominant media; and the more recent attempts to identify and challenge the subtle backlash that threatens to obliterate feminist gains. The contributors cover a wide range of subjects, from advertisements for women's stockings to the life and death of Princess Diana.

The news media has become a key arena for staging environmental conflicts. Through a range of illuminating examples ranging from climate change to oil spills, Media, Environment and the Network Society provides a timely and far-reaching analysis of the media politics of contemporary environmental debates.

Media Boundaries and Conceptual Modelling forms part of the humanities tradition by facing one of the fundamental problems since antiquity: how different media represent the world we live in. It intersects also with the digital by addressing the problem with the help of a digital humanities method: computer assisted conceptual modelling. And it acknowledges the spatial turn by investigating the boundary between what has traditionally been the two main media for representation of geospatial information: texts and maps. It contributes to the further development of digital humanities and bridges the two areas of digital humanities and intermedia studies. Further, it strengthens the theoretical foundation for research and teaching in spatial digital humanities. The book meets the lack of critical discussion of the practice of digital mapping, offering a theoretically based understanding of such practices from a humanities perspective. More generally, it contributes to the theoretical discussion of modelling in digital humanities.

The history of HVJ, Vatican Radio, is discussed in this work along with its role in propagating church policies in all areas. Central to the discussion is the interrelation between leadership and social change as well as the necessity of creating a propaganda machine to maintain the existing system or to create a new order. Vatican Radio has served as one of the major media instruments of the Pope and the Roman Catholic Church since its beginning in 1931. Scholars in either media or religion will be interested in this ground-breaking work.

The book sets out to examine the concept of 'chav', providing a review of its origins, its characterological figures, the process of enregisterment whereby it has come to be recognized in public discourse, and the traits associated with it in traditional media representations. The author then discusses the 'chav' label in light of recent re-appropriations in social network activity (particularly through the video-sharing app TikTok) and subsequent commentary in the public sphere. She traces the evolution of the term from its use during the first decade of the twenty-first century to make sense of class, status and cultural capital, to its resurgence and the ways in which it is still associated with appearance in gendered and classed ways. She then draws on recent developments in linguistic anthropology and embodied sociocultural linguistics to argue that social media users draw on communicative resources to perform identities that are both situated in specific contexts of discourse and dynamically changing, challenging the idea that geo-sociocultural varieties and mannerisms are the sole way of indexing membership of a community. This volume contends that equating 'chav' with 'underclass' in the most recent uses of the concept on social networks may not be the whole story, and the book will be of interest to sociocultural linguistics and identity researchers, as well as readers in anthropology, sociology, British studies, cultural studies, identity studies, digital humanities, and sociolinguistics.

In a world defined by and lived through media spectacle, nearly every part of human existence can now be documented, watched, and scrutinised. When mass media has the power to make the mundane not only visible but also entertaining, how have issues surrounding criminal justice, crime, and death taken centre stage in this media-saturated social world? Presenting for the first time in a published work the concept of Spectacular Justice, which was developed during the author's doctoral research, Smith delves into how institutions of justice, such as criminal trials, as well as public expressions of justice, such as rage and grief, are played out in the media. Using media archival data, this book examines four murder case studies to develop a conceptual toolkit, designed to help the reader make sense of the complex position of justice in the spotlight. Taking the cases of Charles Lindbergh Jr, James Bulger, Jodi Arias, and Anders Breivik, Smith examines each through the lens of three key characters (Victim, Perpetrator, and Expert), and explores how human stories contribute both to the visibility of the case, and the thriving of justice spectacle. Highlighting the value of bridging the disciplinary divide between criminology and death studies, this book also demonstrates how spectacular justice is often most conspicuous at the intersection between crime and death. It is appealing reading for scholars interested in Criminology, Sociology, Death studies, and Media.