Using journalists' own standards as the measure, an exhaustive analysis of nearly 3000 network news reports from the Reagan, Bush, and Clinton administrations reveals that the networks may do more to misinform than inform on a whole range of complex issues related to national defense. This study paints a disturbing picture of the inadequate coverage ABC World News Tonight, CBS Evening News, and NBC Nightly News provide to millions of viewers each night. Aubin concludes that network coverage of defense issues was too often tainted by preconceived attitudes and lapses in journalistic standards. While as much as twenty-five cents of every dollar went to the defense budget during some of the periods reviewed, the networks hardly covered the key issues surrounding the Reagan defense buildup or the dramatic cuts that followed the end of the Cold War. In addition to their inadequate coverage, the networks also deprived Americans of balanced coverage of the investments made in high-tech weapons that ultimately prevailed in the Gulf War. Though the networks receive good marks for foreign policy coverage, they need to improve the quality of defense reports. This book provides them with the lessons and prescriptions for doing so, and it serves as a primer for all Americans who want to know just what it was that the networks failed to tell them.

* Provides an unusually pluralistic discussion of cinematic digital television that presents a less value-laden set of definitions than other books in the field have; * Breaks new ground in the much-contested field of cinematic television but will also be accessible enough to be used for teaching upper-level undergraduate and postgraduate students; * Each chapter includes contemporary case studies from a variety of global contexts, including Midnight Diner, Sacred Games, Twin Peaks and Russian Doll to clearly demonstrate the ideas discussed.

* Provides an unusually pluralistic discussion of cinematic digital television that presents a less value-laden set of definitions than other books in the field have; * Breaks new ground in the much-contested field of cinematic television but will also be accessible enough to be used for teaching upper-level undergraduate and postgraduate students; * Each chapter includes contemporary case studies from a variety of global contexts, including Midnight Diner, Sacred Games, Twin Peaks and Russian Doll to clearly demonstrate the ideas discussed.

Reasserting the Disney Brand in the Streaming Era investigates the evolution of the Disney brand at a pivotal moment – the move from content creation to acquisition and streaming – and how the company reasserted its brand in a changing marketplace. Exploring how Disney’s acquisition of Pixar, Marvel, Lucasfilm and Fox positioned the company to launch the Disney+ streaming service, the chapters look at the history of those acquisitions, and the deployment of the content, brands, and intellectual property from those acquisitions, through an analysis of the original content that appeared on Disney+. Offering a focused investigation of how the content offered from these various media brands was adapted for Disney+ so that it reflects the Disney brand, the authors illustrate through close textual analysis how this content reflects elements of the "Classic Disney Style." The analysis positions these texts in relation to their industrial contexts, while also identifying important touchstone texts (both television and film) in Disney's catalog. This comprehensive and thoughtful analysis will interest upper-level students and scholars of media studies, political economy, Disney studies, media industries and new technology.

This book discusses various aspects of radio spectrum management. The radio spectrum is a natural resource vital in everyday life and for the economic well-being of society. Most chapters in the book concentrate on the mathematical and computational issues related to radio channel assignment and network design, with the first two chapters providing background in terms of the role of regulation and the history of spectrum management.

This edited collection is the first book to offer a wide-ranging examination of the interface between American independent film and a converged television landscape that consists of terrestrial broadcasters, cable networks and streaming providers, in which independent film and television intersect in complex, multifaceted and creative ways. The book covers the long history of continuities and connections between the two sectors, as seen in the activities of PBS, HBO or Sundance. It considers the movement of filmmakers between indie film and TV such as Steven Soderberg, Rian Johnson, the Duplass brothers, Joe Swanberg, Lynn Shelton and Gregg Araki; details the confluence of aesthetic and thematic elements seen in shows such as Girls, Breaking Bad, Master of None, or Glow; points to a shared interest in regional sensibilities evident in shows like One Mississippi or Fargo; and makes the case for documentaries and web series as significant entities in this domain. Collectively, the book builds a compelling picture of indie TV as a significant feature of US screen entertainment in the twenty-first century. This interdisciplinary landmark volume will be a go-to reference for students and scholars of Television Studies, Film Studies and Media Studies.

Sensory scientists are often faced with making business decisions based on the results of complex sensory tests involving a multitude of variables. "Multivariate and Probabilistic Analyses of Sensory Science Problems" explains the multivariate and probabilistic methods available to sensory scientists involved in product development or maintenance. The techniques discussed address sensory problems such as panel performance, product profiling, and exploration of consumer data, including segmentation and identifying drivers of liking.

Applied in approach and written for non-statisticians, the text is aimed at sensory scientists who deal mostly with descriptive analysis and consumer studies. Multivariate and Probabilistic Analyses of Sensory Science Problems offers simple, easy-to-understand explanations of difficult statistical concepts and provides an extensive list of case studies with step-by-step instructions for performing analyses and interpreting the results. Coverage includes a refresher on basic multivariate statistical concepts; use of common data sets throughout the text; summary tables presenting the pros and cons of specific methods and the conclusions that may be drawn from using various methods; and sample program codes to perform the analyses and sample outputs.

As the latest member of the IFT Press series, "Multivariate and Probabilistic Analyses of Sensory Science Problems" will be welcomed by sensory scientists in the food industry and other industries using similar testing methodologies, as well as by faculty teaching advanced sensory courses, and professionals conducting and participating in workshops addressing multivariate analysis of sensory and consumer data.

This book is the first authoritative account of the UK's independent television production sector, following the creation of Channel 4 in 1982. It examines the rise of a global industry, increasingly interconnected through format development, distribution, ancillary sales and rights. Drawing on case studies, interviews and policy analysis; the author considers the cultural politics behind the growth of the 'indies', the labour conditions for workers in this sector, and some of the key television programmes that have been created within it. Filling an important gap in our understanding, this book constitutes a comprehensive account of this vital cultural industry for students, academics and researchers working in the areas of the cultural and creative industries, media and cultural policy and television studies.

Latin American Television makes English speakers aware of the dimensions, operation, and significance of the globalization of television in the Spanish-speaking world. Second only in scale to the market for English-language programming, the Spanish-language market embraces not just most nations of South and Central America but also Spain, and even the United States-the sixth largest Spanish-speaking country in the world. This intercontinental space is connected physically by satellite communication, and culturally by a common language and heritage which binds it as both a `geolinguistic region' and an `imagined community' which certain media corporations, Latin American and North American, seek to exploit. A similar phenomenon with regard to Brazil and the Portuguese-speaking world is also examined, with special attention to its comparable features and points of exchange with the Spanish-speaking world. The book chronicles and analyses the development and structure of the globalization of these markets as a `Latin world'.

This edited collection is the first book to offer a wide-ranging examination of the interface between American independent film and a converged television landscape that consists of terrestrial broadcasters, cable networks and streaming providers, in which independent film and television intersect in complex, multifaceted and creative ways. The book covers the long history of continuities and connections between the two sectors, as seen in the activities of PBS, HBO or Sundance. It considers the movement of filmmakers between indie film and TV such as Steven Soderberg, Rian Johnson, the Duplass brothers, Joe Swanberg, Lynn Shelton and Gregg Araki; details the confluence of aesthetic and thematic elements seen in shows such as Girls, Breaking Bad, Master of None, or Glow; points to a shared interest in regional sensibilities evident in shows like One Mississippi or Fargo; and makes the case for documentaries and web series as significant entities in this domain. Collectively, the book builds a compelling picture of indie TV as a significant feature of US screen entertainment in the twenty-first century. This interdisciplinary landmark volume will be a go-to reference for students and scholars of Television Studies, Film Studies and Media Studies.

The Live Event Video Technician covers terms, format types, concepts, and technologies used in video production for corporate meetings, concerts, special events, and theatrical productions. The book begins by providing a history of the industry and an overview of important roles and functions therein. It then discusses various display technologies such as LED walls and video projection, as well as video systems for converting and switching of various types of sources. Presenting the cornerstone formats, connectors, and methodologies of visual technology, this book offers a strong foundation to help readers navigate this ever-changing field. Written in an accessible tone, the book clarifies jargon and is an overarching source of knowledge for the role of the video technician, for which there has previously been little formal training. The Live Event Video Technician provides a wealth of practical information for students of media and communications courses, readers with a novice or entry-level understanding of video and AV production, and anyone with an interest in working as technical personnel in live event production.

The only book to focus on sport broadcasting as a key aspect of sport business and management Introduces the history and theory of sport broadcasting, as well as examining the practical aspects of broadcasting as part of sport business Covers core functional areas of sport management that are impacted by broadcasting, such as strategy, negotiation, logistics, regulation Explains the central importance of digital media in contemporary sport broadcasting Surveys the international sport broadcasting landscape

The only book to focus on sport broadcasting as a key aspect of sport business and management Introduces the history and theory of sport broadcasting, as well as examining the practical aspects of broadcasting as part of sport business Covers core functional areas of sport management that are impacted by broadcasting, such as strategy, negotiation, logistics, regulation Explains the central importance of digital media in contemporary sport broadcasting Surveys the international sport broadcasting landscape

Now available in five volumes, Asa Briggs' History of British Broadcasting in the UK provides an exhaustive chronicle of the BBC's activities, achievements, and personnel - from the early days of wireless broadcasting and the Corporation's foundation, through its establishement as a part of home life and role in the Second World War, to the end of its monopoly and attempts to reflect the needs of a changing society.
Competition, the latest volume in Asa Briggs' monumental history, covers a period of 20 years, from the end of the BBC's monopoly in 1955 to the mid 1970s and the volumes it looks at the history of the BBC in an age of competition, so inevitably contains much fascinating material on the independent' radio and television companies as well as the BBC. There are chapters on the reporting of the Suez Crisis, the Pilkington Committee, the governorship of Hugh Greene (the man Mary Whitehouse said was responsible for the collapse which characterized the sixties and seventies'), Radio Piracy, the introduction of new technologies, and the BBC Jubilee.

This is the first part of a five-volume history of broadcasting in the UK. Together the volumes give an authoritative account of the rise of broadcasting in this country. Though naturally largely concerned with the BBC it does give a general history of broadcasting, not simply an institutional history of the BBC.
The Birth of Broadcasting covers early amateur experiments in wireless telephony in America and in England, the pioneer days at Writtle in Essex and elsewhere, and the coming of organized broadcasting and its rapid growth during the first four years of the BBC's existence as a private Company before it became a public Corporation in January 1927. Briggs describes how and why the Company was formed, the scope of its activities and the reasons which led to its conversion from a business enterprise into a national institution.
The issues raised between 1923 and 1927 remain pertinent today. The hard bargaining between the Post Office, private wireless interests, and the emergent British Broadcsting Company is discussed in illuminating details, together with the remarkable opposition with which the Company had to contend in its early days. Many sections of the opposition, including a powerful section of the press, seemed able to conceive of broadcasting only as competing with their own interests, never as complementing or enlarging them. One of the main themes of this volume is that of the gradual forging of the instruments of public control, and particular attention is paid to the Crawford Report (1926) from which the Corporation arose. During this period all the characteristics of the Corporation first appeared - particularly its reputation for publc service and impartiality.
Briggs also examines the background of wireless as an invention and considers its impact on society. He has much to say about personalities and programmes as well as policies.

This is the third part of a five-volume history of broadcasting in the UK, giving an authoritative account of the rise of broadcasting in this country.
This volume covering the period from 1939 to 1945, is concerned not only with the impact of the Second World War on the structure, organization, and programmes of the BBC, itself a fascinating subject; it also deals directly with the role of the BBC outside as well as inside Britain within the context of the general political and military history of the war; an exciting, complicated, sometimes controversial role, strangely neglected by historians.

The Live Event Video Technician covers terms, format types, concepts, and technologies used in video production for corporate meetings, concerts, special events, and theatrical productions. The book begins by providing a history of the industry and an overview of important roles and functions therein. It then discusses various display technologies such as LED walls and video projection, as well as video systems for converting and switching of various types of sources. Presenting the cornerstone formats, connectors, and methodologies of visual technology, this book offers a strong foundation to help readers navigate this ever-changing field. Written in an accessible tone, the book clarifies jargon and is an overarching source of knowledge for the role of the video technician, for which there has previously been little formal training. The Live Event Video Technician provides a wealth of practical information for students of media and communications courses, readers with a novice or entry-level understanding of video and AV production, and anyone with an interest in working as technical personnel in live event production.

This book discusses the use of authorship discourses and author figures in the promotion and marketing of media content, dealing with the U.S. mainstream media, including franchise film, network television, and triple-A video games. The research takes a unique approach studying ideas of authorship in promotion, diverging from extant approaches looking at the text, production, or reception. Conceptualizing authorship within the logic of media branding, the book studies the construction of ideas around creativity and the creative person in marketing and publicity content where media industries communicate with audiences. A cross-media approach allows the book to take a broad look and make comparisons across the increasingly integrated media industries. The book will be of great relevance to academics in the fields of film, television, and media studies, including postgraduate students, conducting teaching and research around authorship, media industries, and media promotion.

Friends, Lovers, Co-Workers, and Community analyzes how television narratives form the first decade of the twenty-first century are powerful socializing agents which both define and limit the types of acceptable interpersonal relationships between co-workers, friends, romantic partners, family members, communities, and nations. This book is written by a diverse group of scholars who used a variety of methodological and theoretical approaches to interrogate the ways through which television molds our vision of ourselves as individuals, ourselves as in relationships with others, and ourselves as a part of the world. This book will appeal to scholars of communication studies, cultural studies, media studies, and popular culture studies.

This comprehensive work presents a thorough exploration of celebrity 'bromances,' interrogating how bromances are portrayed in media and consumed by audiences to examine themes of celebrity persona, performativity, and authenticity. The authors examine how the performance of intimate male friendships functions within broadly 'Western' celebrity culture from three primary perspectives: construction of persona; interactions with audiences and fans; and commodification. Case studies from film and television are used to illustrate the argument that, regardless of their authenticity (real or staged), bromances are useful for engaging audiences and creating an extension of entertainment beyond the film the actors originally sought to promote. The first truly interdisciplinary study of its kind, this book will be of great interest to scholars and students of communications, advertising, marketing, Internet studies, media, journalism, cultural studies, and film and television.

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio – and the act of listening – has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's ‘Rock & Roll’ said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was ‘ga ga’, even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented ‘The Last DJ’. This book explores the cultural fascination with radio; the act of listening as a cultural expression – focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio – as created by these contemporary writers, filmmakers, and musicians.

The Middle East has been a particular focus of global crisis reporting. Yet, international coverage of these conflicts has historically been presented through a 'Western' perspective. The absence of Arab voices in the global public sphere has created a discursive gap between the Middle East and the rest of the world. The arrival of Al Jazeera English might, therefore, be regarded as an attempt to bridge this gap by broadcasting discourses from and about the Arab world. Using a framing analysis of selected news reports by Al Jazeera English before and after the so-called 'Arab Spring' protests, this book considers Al Jazeera English's position in the global news environment and identifies the extent to which it addresses this gap between the Arab and global spheres.

This book launches a comprehensive detailing of the dramatic expansion of the geography of television production into new cities, states, provinces, and countries, and how those responsible for shaping the "landscape" of television have been forced to adapt, taking established strategies for engaging with space and place through mediated representation and renegotiating them to account for the new map of television production. Modelling media studies research that considers the intersection of production, textuality, distribution, and reception, Myles McNutt identifies how the expansion of where television is produced has intersected with the kinds of places represented on television, and how shifts in the production, distribution, and consumption of television content have shifted the burden of representing cities and countries both locally and internationally. Representing a cross-section of media industry studies, television studies, and cultural geography, this book will appeal to scholars and students within multiple areas of media studies, including media industry studies, production studies, and audience studies, in addition to television studies broadly In addition, the book also serves discussions of media within cultural geography

Studs Terkel was an American icon who had no use for America's cult of celebrity. He was a leftist who valued human beings over political dogma. In scores of books and thousands of radio and television broadcasts, Studs paid attention - and respect - to "ordinary" human beings of all classes and colours, as they talked about their lives as workers, dreamers, survivors. Alan Wieder's Studs Terkel: Politics, Culture, But Mostly Conversation is the first comprehensive book about this man. Drawing from over fifty interviews of people who knew and worked with Studs, Alan Wieder creates a multi-dimensional portrait of a run-of-the-mill guy from Chicago who, in public life, became an acclaimed author and raconteur, while managing, in his private life, to remain a mensch. We see Studs, the eminent oral historian, the inveterate and selfless supporter of radical causes, especially civil rights. We see the actor, the writer, the radio host, the jazz lover, whose early work in television earned him a notorious place on the McCarthy blacklist. We also see Studs the family man and devoted husband to his adored wife, Ida. Studs Terkel: Politics, Culture, But Mostly Conversation allows us to realize the importance of reaching through our own daily realities - increasingly clogged with disembodied, impersonal interaction - to find value in actual face-time with real humans. Wieder's book also shows us why such contact might be crucial to those of us in movements rising up against global tyranny and injustice. The book is simply the best introduction available to this remarkable man. Reading it will lead people to Terkel's enormous body of work, with benefits they will cherish throughout their lives.

This interdisciplinary and international volume offers an innovative and critical exploration of the impact of motherhood on the engagement of women in media and creative industries across the globe. Diverse contributions critically engage with the intersections and overlap between the social categories of worker and mother, and the work of media production and maternal caregiving. Conflicting ideas about, and expectations of, mothers are untangled in the context of the working world of radio, film, television and creative media industries. The book teases out commonalities between experiences that are evident across a number of countries, from Hollywood to Bollywood, as well as examining the differences between class, religion, maternal status and cultural frameworks that surround working mothers in various nation states. It also offers some possibilities for ways forward that can improve the lives of women workers who are also mothers. A timely and valuable contribution to international debates on equality, mothers and motherhood in audiovisual industries, this book will be of interest to scholars and students of media, communication, cultural studies and gender, programmes engaged with work inequalities and motherhood studies, and activists, funders, policymakers and practitioners.