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

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 pioneering study examines regional British television drama from its beginnings on the BBC and ITV in the 1950s to the arrival of Channel Four in 1982. It discusses the ways in which regionalism, regional culture and regional identity have been defined, outlines the history of regional broadcasting in the UK, and includes two detailed case studies - of Granada Television and BBC English Regions Drama - representing contrasting examples of regional television drama during what is often described as the 'golden age' of British television. The conclusion brings the study up to date by discussing recent developments in regional drama production, and by considering future possibilities. Written in a scholarly but accessible style, the book uncovers a forgotten history of British television drama that will be of interest to lecturers and students of media and cultural studies, as well as the general reader with an interest in the history of British television. -- .

Since 1948 when television began its rapid--almost exponential--growth, America has literally focused on TV, but the average viewer has been unaware of the key behind-the-scenes role of the TV director. In Take One, Jack Kuney shows what the director does in his equipment-filled twilight zone--the TV control room. The author identifies the crucial aesthetic contribution of the director who in selecting shots determines not only what millions of viewers will see but also how closely they will see them and in what sequence. More important, Kuney's interviews affirm that generally the director's talent, aesthetic judgements, and instincts set the tone of the program and determine a show's impact on its audience. The volume consists of a series of ten interviews, collected over a period of four years, with directors of television programs, each a specialist in a different field, who show a diversity that ranges from New York to Hollywood, the Metropolitan Opera to the Super Bowl. Their insights explain that various types of programs dictate the degree of the director's involvement: the director's role changes with the nature of the program, be it concert, game show, news, discussion, documentary, special event, drama, panel show, or the Miss America Pageant. In each interview the author's commentary acts as a guide and summation to the observations of the director. Dealing with the unique aesthetics of contemporary television, Take One is the most up-to-date work in the field and will be important and useful reading for students of production, and aspiring directors in the field.

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.

Spanning several years of research, this book compares and contrasts how public and commercial TV stations present foreign, domestic, and hybrid news from a number of different countries. It examines what viewers of television news think about foreign news, their interest in it, and what sense they make of it. The book also assesses what the gatekeepers of foreign news - journalists, producers, and editors - think about what they produce, and about their viewers. This book shows that while globalization is a dominant force in society, and though news can be instantaneously broadcast internationally, there is relatively little commonality throughout the world in the depiction of events occurring in other countries. Thus, contrary to McLuhan's famous but untested notion of the "global village", television news in the countries discussed in this book actually presents more variability than similarity. The research gathered here is based on a quantitative content analysis of over 17,000 news items and analysis of over 10,000 survey respondents. Seventeen countries are included in this research, offering a rich comparative perspective on the topic.

The authors of this book have made an in depth study of the strategies and management practices of leading media companies and have identified the core competences media companies need to have to win in the new world. The book is strongly focused on applicability and combines long standing best practice principles with innovative approaches for staying ahead. It systematically discusses competences needed in each of the key functional areas in the media companies drawing on examples from all main media sectors.

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.

During the first fifty years of the twentieth century, ham radio went from being an experiment to virtually an art form. Because of the few government restrictions and the low monetary investment required, the concept of ham radio appealed to various people. More than just a simple hobby, however, ham radio required its operators to understand radio theory, be able to trace a schematic and know how to build a transmitter and receiver with whatever material they might have available. With the advent of World War II and the increased need for cutting-edge communications, the United States government drew upon the considerable knowledge and skill of these amateur ham radio operators, validating the fact that ham radio was here to stay. This book explores the history of ham radio operators, emphasizing their social history and their many contributions to the technological development of worldwide communications. It traces the concept of relays, including the American Radio Relay League, from contacts as close as 25 miles apart to operators anywhere in the world. The book highlights the part played by ham radio in many of the headlined events of the half century, especially exploration and aviation ""firsts"". The ways in which these primarily amateur operators assisted in times of disaster including such events as the sinking of the Titanic and the 1937 Ohio River flood, are also examined.

Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

Reading Contemporary Serial Television Universes provides a new framework-the metaphor of the narrative ecosystem-for the analysis of serial television narratives. Contributors use this metaphor to address the ever-expanding and evolving structure of narratives far beyond their usual spatial and temporal borders, in general and in reference to specific series. Other scholarly approaches consider each narrative as composed of modular elements, which combine to create a bigger picture. The narrative ecosystem approach, on the other hand, argues that each portion of the narrative world contains all of the main elements that characterize the world as a whole, such as narrative tensions, production structures, creative dynamics and functions. The volume details the implications of the narrative ecosystem for narrative theory and the study of seriality, audiences and fandoms, production, and the analysis of the products themselves.

What is it like to make television comedy? How do writers get their ideas made, and how do commissioners and producers decide what to make? How do members of the comedy industry work with large broadcasters and production companies, and what does it mean to be creative - and stay creative? Drawing on interviews with many key writers such as Sam Bain, Paul Doolan, Graham Linehan, David Mitchell, Simon Nye and Sue Teddern, producers including Ash Atalla, Lisa Clark, Michelle Farr, Ali McPhail, Jon Plowman and Adam Tandy, and commissioners, the BBC's Shane Allen, Channel 4's Nerys Evans and Sky's Lucy Lumsden, Creativity in the British Television Comedy Industry explores the creative processes that lead to successful programme-making. With detailed discussion of the processes by which series such as People Just Do Nothing and After Hours came to our screens, this book examines how members of the comedy industry maintain careers, manage failure, develop their craft, and stay creative. Creativity in the British Television Comedy Industry is essential reading for students and researchers with an interest in comedy studies, television production, and the creative/media industries.

Radio is the most widespread electronic medium in the world today. As a form of technology that is both durable and relatively cheap, radio remains central to the everyday lives of billions of people around the globe. It is used as a call for prayer in Argentina and Appalachia, to organize political protest in Mexico and Libya, and for wartime communication in Iraq and Afghanistan. In urban centres it is played constantly in shopping malls, waiting rooms, and classrooms. Yet despite its omnipresence, it remains the media form least studied by anthropologists. Radio Fields employs ethnographic methods to reveal the diverse domains in which radio is imagined, deployed, and understood. Drawing on research from six continents, the volume demonstrates how the particular capacities and practices of radio provide singular insight into diverse social worlds, ranging from aboriginal Australia to urban Zambia. Together, the contributors address how radio creates distinct possibilities for rethinking such fundamental concepts as culture, communication, community, and collective agency.

Radio Man tells the story of C.O. Stanley, the unconventional Irishman who acquired Pye Radio at the beginning of the broadcasting age. Although he started with little experience and even less money, he was to make Pye a major player in the British electronics industry - only to crash it spectacularly forty years later. From the romance of early radio to the birth of the mobile, Stanley and Pye were players in some of the key moments of twentieth century Britain. His obsession with the infant medium of television allowed Pye to provide the equipment that put radar into planes in time for the Battle of Britain. His energy also drove Pye's pioneering work on the proximity fuse - work that would revolutionise antiaircraft warfare - and the company's manufacture of the war's most successful army radios. In the 1950s Stanley led the offensive against the BBC's monopoly of television in a battle that split the British establishment. When his son, John, took Pye into mobile radio Stanley fought and defeated the bureaucrats who then controlled Britain's airwaves. Stanley's loss of Pye in 1966 illustrated British industry's inability to withstand foreign competition. It also brought tragedy. Stanley himself escaped with honour more or less intact, but left his son to face public humiliation on his own. This revealing and meticulously researched text is written within the broad context of the political, technological and business changes of the time, and shows how a very ambitious businessman was brought down by the qualities that made him so successful.

The Daily Show with Jon Stewart and The Colbert Report have attracted much interest in recent years from popular audiences as well as scholars in various disciplines. Both Jon Stewart and Stephen Colbert have been named on Time magazine's list of the most influential people in the world. The ten essays in this interdisciplinary collection explore the issues engendered by the popularity of entertainment news, including the role of satire in politics, the declining level of trust in traditional sources of media, the shows' cathartic or informational function, and the ways in which these shows influence public opinion. It is a vital addition to the scholarship on the collision of pop culture and politics.

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.

A new guide to Spain's most popular and dynamic medium, which celebrates its fiftieth anniversary in 2006. Any follower of Spanish cinema who turns to television finds that the locally produced programs most appreciated by both audiences and critics are as creative and original as any feature film. This book, the first of its kind, gives close readings of TV programmes broadcast from the 1970s to the present day. They embrace drama, comedy, and talk/reality shows and are currently available on DVD. It also treats the obsessive theme of television in Almodovar, Spain's most celebrated film director, arguing for a re-reading of his work in the light of TV studies. In addition to analysing particular programmes, this book examines TV channels, production companies, governments, and the role of the press, academy, and audience. PAUL JULIAN SMITH is Professor of Spanish at the University of Cambridge.

As the only independently Black-owned radio station in South Central Los Angeles, KJLH-FM was thrust into the national and international media spotlight in the aftermath of the Rodney King trial. During the ensuing riots, KJLH introduced the world to South Central Los Angeles as only those who lived and worked there could. Owned by musician Stevie Wonder since 1979, the station upheld his legacy of community commitment, becoming an essential hub for the African American community and earning a Peabody Award along the way. This book explores the social, political, and economic impact of KJLH, drawing heavily upon more than 200 pages of interview and program transcripts from the 1992 radio coverage.

The occupational world of electronic news-gathering photographers is the focus of this study, which seeks to reveal their perceptions of their work and the knowledge and competence that underlie it. These goals are accomplished through the ethnographic analysis of qualitative data gathered through participant observation in their natural setting--at work. A reflexive description of the data explores the emerging nature of the occupation, the context of markets within which it exists, the people involved, and the practical skills required for the work.

This book covers a variety of topics on newspaper and television coverage including the media and voting in presidential elections, coverage of the 1980 debates, the primaries, polls, economics and energy issues, print and broadcast coverage as compared with the 1976 and 1972 elections, and the influence of TV treatment of the campaign on voting behavior.

It is often said that the greater Los Angeles area is the largest movie set in the world. Film and television series filming sites are, however, located all over the United States. This guidebook documents over 1500 locations where 1,106 movies and 48 television series have been filmed. Arranged by state and then alphabetically by movie title, each entry includes the year of release, the two main stars, a plot line and a description of the location. Filming sites located in Los Angeles are excluded. All sites are accessible to the public. The indexes make it possible to quickly locate a favorite star, favorite movie or favorite location.

This book, first published in 1974, is the story of BBC Audience Research, a behind-the-scenes activity that has always been the subject of some curiosity. It describes the early, tentative experiments, designed both to develop ways of applying the techniques of social research to broadcasting and to win the confidence of BBC staff. The way World War II, which deprived programme planners of many of their familiar landmarks, acted as a fillip to audience research, which emerged at the end of the war as an established and accepted adjunct to broadcasting, is described in detail.

This book, first published in 1990, offers an in-depth analysis of the 'fundamental beliefs' of radio. This refers to the common understanding of what the radio enterprise is - and should be - about: entertainment and information. A major thrust of this book is to arrive at a set of fundamental beliefs about the values and the realities of the radio business in regard to entertainment programming - a set of beliefs that may or may not be right, or forever, but that might at least provide a basis for developing programming strategies. Most other books on radio programming describe the formats and programming that already exist. This one starts with a clean sheet of paper and the question 'What do listeners really want from radio?'

Britain VS China: A comparison between competing television channels exploring how cultural values and world views bear upon the business of news production. Despite similarities in technology and organisation, and the rapid development of trans-nationalism, globalisation has its limits. At a time of radical economic and technological change, Rong Zeng in Television News and the Limits of Globalisation goes inside the newsrooms to analyse their products and bulletins first hand in order gain a deeper understanding of the limits and opportunities for global journalism in today's rapidly changing world. This project is the first and only study which compare broadcast journalists and their working practices in the UK and China. Zeng's findings will contribute to the field of comparative journalism by endeavouring to understand global journalism in different national and cultural settings.