International in scope, this handbook provides an overview of the historical developments and current status of the terrestrial radio industry in some of the largest and most populated countries throughout the world, with insightful and global perspectives by prominent international media scholars and examinations of over 20 countries.

Interest in the management of creative and cultural organisations has grown at pace with the size of this sector. This textbook uniquely focuses on how innovation in these industries transforms practice. Uncovering the strategic role of innovation for organizations in the creative and cultural sector, the book provides readers with practical guidance to help traverse seismic disruptions brought about by global health and economic crises. The authors examine how innovation in business models, products, services, and technology has disrupted the competitive landscapes of the arts world. Innovations are characterized as deriving from other industries as well as via exogenous shocks that privilege some companies over others. Case studies bring to life how innovation is used strategically in different ways around varying competitive forces. Enhanced by conceptual tools and replete with industry examples, this textbook is an ideal resource for students and reflective practitioners to understand how innovation can be a productive tool for transforming their own creative and cultural industry practice and performance during a period of rapid technological change and unprecedented societal challenge.

Interest in the management of creative and cultural organisations has grown at pace with the size of this sector. This textbook uniquely focuses on how innovation in these industries transforms practice. Uncovering the strategic role of innovation for organizations in the creative and cultural sector, the book provides readers with practical guidance to help traverse seismic disruptions brought about by global health and economic crises. The authors examine how innovation in business models, products, services, and technology has disrupted the competitive landscapes of the arts world. Innovations are characterized as deriving from other industries as well as via exogenous shocks that privilege some companies over others. Case studies bring to life how innovation is used strategically in different ways around varying competitive forces. Enhanced by conceptual tools and replete with industry examples, this textbook is an ideal resource for students and reflective practitioners to understand how innovation can be a productive tool for transforming their own creative and cultural industry practice and performance during a period of rapid technological change and unprecedented societal challenge.

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.

The concentration of private power over media has been the subject of intense public debate around the world. Critics have long feared waves of mergers creating a handful of large media firms that would hold sway over public opinion and endanger democracy and innovation. But others believe with equal fervor that the Internet and deregulation have opened the media landscape significantly. How concentrated has the American information sector really become? What are the facts about American media ownership? In this contentious environment, Eli Noam provides a comprehensive and balanced survey of media concentration with a methodical, scientific approach. He assembles a wealth of data from the last 25 years about mass media such as radio, television, film, music, and print publishing, as well as the Internet, telecommunications, and media-related information technology. After examining 100 separate media and network industries in detail, Noam provides a powerful summary and analysis of concentration trends across industries and major media sectors. He also looks at local media power, vertical concentration, and the changing nature of media ownership through financial institutions and private equity. The results reveal a reality much more complex than the one painted by advocates on either side of the debate. They show a dynamic system that fluctuates around long-term concentration trends driven by changing economics and technology. Media Ownership and Concentration in America will be essential reading and a trove of information for scholars and students in media, telecommunications, IT, economics, and the history of business, as well as media industry professionals, business researchers, and policy makers around the world. Critics and defenders of media trends alike will find much that confirms and refutes their world view. But the next round of their debate will be shaped by the facts presented in this book.

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.

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.

Expatriates posing as detached yet patriotic American commentators, and using the news-of-the-day voice of the stereotypical radio announcer, sought to turn U.S. opinion against the British and achieve the political objectives of their media-savvy employer--master propagandist Paul Josef Goebbels. Riveting biographies in "Berlin Calling" put real names and faces behind the voices of The Georgia Peach, Mr. O.K., Paul Revere, and others. Were they motivated by antipathy towards New Deal programs or were they simply hucksters in search of a payroll check? Ten years on historical research have culminated in a landmark book with intriguing answers to these puzzling questions.

Published to coincide with the 50th anniversary of America's entry into World War II, this volume chronicles the careers of eight U.S.A. Zone commentators who worked for Nazi propagandist Josef Goebbels. Drawing upon a variety of documentary sources--letters written by the subjects to family, friends, and colleagues; treason trial transcripts; the contents of the BBC's wartime monitoring service; and FBI case files on the broadcasters--the author explores each broadcaster's political and personal motivations, and the influence of their broadcasts.

* 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.

The 21st century is already seeing fundamental changes in broadcasting. No longer are audiences limited to watching or listening to television and radio at the times and places dictated by the broadcasters, or on radio or TV 'sets'. Broadcasting in the 21st Century demonstrates how 'traditional' television and radio is being both challenged and supported by technological developments, including convergence and social media. Drawing on interviews with industry personnel and featuring case studies and research from many countries, including that from the UK, USA, China, India and South Africa, Richard Rudin explains not only the significance of these changes but also how many of the functions and pleasures of broadcasting that were established in the 20th century are being enhanced by new media. Opening with a substantial account of how broadcasting developed in the 20th century, the author goes on to explore how new media forms are changing audiences' pleasures, expectations and demands. Rudin's illuminating study highlights the changing relationship between audiences and broadcast output to examine a range of subjects including: - The impact of citizens' journalism - Political coverage - International TV formats and news output - The continuing appeal of radio as a distinct medium - Debates over bias, truth and trust in broadcasting and broadcasters In addition, Broadcasting in the 21st Century addresses a range of broadcast forms and genres including the coverage of general elections, Reality TV and pirate radio.

A recent Times-Mirror survey has shown that 65 percent of Americans prefer television over other news media for news coverage, an increase of 10 percent in just over a decade. To understand the enormous impact television news has had on American life, it is important to define the contributions made by various individuals in the field, as well as to recognize the news programs and broadcast journalism issues that have captivated, enlightened, and informed our nation. Never before have the forces and individuals of television news been so thoroughly and authoritatively examined.

Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences' responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions - relish and anguish - which structure audiences' reactions to controversial elements in the series. -- .

Turkish Cinema and Television Industry in the Digital Streaming Era addresses three main comprehensions: aesthetic transformation in the Turkish Cinema and television industry, new authors and changing filmmaking ways in the Turkish Cinema's SVOD age, and Turkish originals on national and international SVODs. The book is a collection of contemporary studies and research to explore the current scene in the Turkish Cinema and television industry's ways of production, features of the contents, and structures of the SVOD catalogs. Featuring coverage of a broad range of topics and studies, including production and post-production, independent and arthouse filmmaking, immersive sound, local narratives, digital watching experiences, quality tv, digital auteurism, and participatory culture, the collection of chapters is designed in a specific structure for academics, researchers, scholars, students, and media professionals.

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.

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.

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 new book examines whether television can be used as a tool not just for capitalism, but for democracy. Throughout television's history, activists have attempted to access it for that very reason. New technologies-cable, satellite, and the internet-provided brief openings for amateur and activist engagement with television. This book elaborates on this history by using ethnographic data to build a new iteration of liberalism, technoliberalism, which sees Silicon Valley technology and the free market of Hollywood end the need for a politics of participation.

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

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.

Often overlooked in the history of broadcast television, The CW became a top-rated cable network in primetime during the mid-2000s, at a moment when many critics predicted the death of the medium. Launched as a joint venture and successor to The WB and UPN, The CW focused programming on an 18 to 34-year-old, predominantly female audience and soon won over viewers with shows like Gossip Girl, Jane the Virgin and the DC Arrowverse franchise. Nimbly adapting to the streaming services era, the network has strengthened new series development and its innovative distribution system. This collection of new essays examines The CW's business model, marketing strategies and most popular series.

This book reveals the value and significance of pirate radio, with a special focus on local radio stations that broadcast illegally in Poland in the early 90s. It shows that many of them, like in other countries from the region, began as non-commercial, community-oriented initiatives. Several sources of information were used to maximize the potential of the study, especially documents gathered from public institutions, press articles, interviews with radio representatives, and decision-makers who influenced the shape of the broadcasting system. The analysis of these sources supports the conclusion that, although the pirates left a lasting legacy, they lost out in the licensed regime driven by market logic.

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.

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