Since the mid-1980s, broadcasting in the Federal Republic of Germany has been extensively re-regulated. The traditional duopoly of the public broadcasters Ard and ZDF has been challenged by new private networks in both radio and television. In two historic judgements handed down in 1986 and 1987, the Federal Constitutional Court set out terms for a new dual order of private and public broadcasting. But how were the guidelines of the court interpreted in practice? Pluralism, Politics and the Marketplace traces the economic and political influences which shaped the emergence of a pluralistic broadcasting system in the federal republic, and examines the conflicts between public and private broadcasting, both in West Germany and in the European Community as a whole.

Originally published in 1985, this book surveys developments in cable television in the major industrialised countries with chapters specifically authored on each area. It looks at the technology, its potential, and how far it had been implemented, considering the reaction of governments, existing broadcasting corporations and licensing authorities. Going on to assess future trends, a discussion of the likely effects of cable on communications, society and economy is an enlightening read now.

In an effort to halt increasing media competition and decreasing audience shares, Branding has become the new mantra among television station and network executives. Branding TV: Principles and Practices second edition goes beyond the jargon of branding to explain the essential principles underlying successful branding and offers many practical strategies to measure, build and manage television brand equity. For instructional purposes, the book pays particular attention to the local commercial TV station and its news franchise. Written by broadcast professionals with years of experience, this book shows how the notions of branding are no more prevalent than in the battle for dominance in local news. The practical suggestions in the book will help the savvy manager understand and take advantage of branding in their efforts to move their property to the forefront in the marketplace.

Millions of people all over the world are avid members of the television audience. Yet, despite the central place television occupies in contemporary culture, our understanding of its complex and dynamic role in everyday life remains surprisingly limited. Focusing on the television audience, Ien Ang asks why we understand so little about its nature, and argues that our ignorance arises directly out of the biases inherent in prevailing official knowledge about it. She sets out to deconstruct the assumptions of this official knowledge by exploring the territory where it is mainly produced - the television institutions. Ang draws on Foucault's theory of power/knowledge to scrutinize television's desperate search for the audience, and to identify differences and similarities in the approaches of American commercial television and European public service television to their audiences. She looks carefully at recent developments in the field of ratings research, in particular the controversial introduction of the `people meter' as an instrument for measuring the television audience. By defining the limits and limitations of these institutional procedures of knowledge production, Ien Ang opens up new avenues for understanding television audiences. Her ethnographic perspective on the television audience gives new insights into our television culture, with the audience seen not as an object to be controlled, but as an active social subject, engaging with television in a variety of cultural and creative ways.

This bibliography lists more than 700 articles, books, dissertations, and theses on the participation of African American women in the television industry. Includes materials on specific television personalities and programs, and black women's involvement as producers, news anchors, and editorial directors (among other topics). Also provides an extensive essay on the history of black women in television since 1939, and includes photographs of prominent African American television personalities. The appendices list African American women as Emmy, NAACP Image, and Los Angeles Black Media Coalition Technical Achievement award winners and nominees, and black women in starring and co-starring television roles. Indexing of the text covers authors, subjects, programs, films, and stations. Originally published in 1990.

Radio's Digital Dilemma is the first comprehensive analysis of the United States' digital radio transition, chronicling the technological and policy development of the HD Radio broadcast standard. A story laced with anxiety, ignorance, and hubris, the evolution of HD Radio pitted the nation's largest commercial and public broadcasters against the rest of the radio industry and the listening public in a pitched battle over defining the digital future of the medium. The Federal Communications Commission has elected to put its faith in "marketplace forces" to govern radio's digital transition, but this has not been a winning strategy: a dozen years from its rollout, the state of HD Radio is one of dangerous malaise, especially as newer digital audio distribution technologies fundamentally redefine the public identity of "radio" itself. Ultimately, Radio's Digital Dilemma is a cautionary tale about the overarching influence of economics on contemporary media policymaking, to the detriment of notions such as public ownership and access to the airwaves-and a call for media scholars and reformers to engage in the continuing struggle of radio's digital transition in hopes of reclaiming these important principles.

TV Outside the Box: Trailblazing in the Digital Television Revolution explores the new and exploding universe of on-demand, OTT (Over the Top) networks: Netflix, Amazon, Hulu, Crackle, CW Seed, Vimeo, AwesomenessTV, and many more. Featuring in-depth conversations with game-changing content creators, industry mavericks, and leading cultural influencers, TV Outside the Box is essential reading for anyone interested in the dynamics of a global media revolution - while it's happening. Readers will discover: How the new "disruptors" of traditional television models are shaping the future of the television and feature film business. You'll hear directly from the visionaries behind it all - from concept genesis to predictions for the future of streaming platforms; their strategies for acquisitions and development of new original content; and how the revolution is providing unprecedented opportunities for both established and emerging talent. What's different about storytelling for the progressive, risk-taking networks who are delivering provocative, groundbreaking, binge-worthy content, without the restraints of the traditional, advertiser-supported programming model. Through interviews with the showrunners, content creators, and producers of dozens of trailblazing series - including Orange Is the New Black, House of Cards, Transparent, and many more - you'll learn how and why the best and the brightest TV content creators and filmmakers are defining the new digital entertainment age - and how you can, too.

"The editor freely admits the book is a snapshot, a 'spread of impressions', but the range of approaches and insights are its strength . . . these rich, varied and reflective, if not obviously connected, articles add to fascinating discussion of how we listen, what we got out of it and just what it is that makes radio, radio." - The Radio Journal Since the rise of television, much radio consists of 'capsule' news and music formats which are heard as background to other activities. However the medium offers a great deal more. This collection of essays shows how in North America, the United Kingdom, Europe, Australia and the South Pacific, radio continues to provide distinctive forms of content for the individual listener, yet also enables ethnic and cultural groups to maintain their sense of identity. Ranging from radio among the primordial communities to digital broadcasting and the internet, these essays suggest that the benefits and gratifications which radio confers remain unique and irreplaceable in this multi-media age. Andrew Crisell is Professor of Broadcasting Studies at the University of Sunderland. He is the author of Understanding Radio (2nd edition 1994) and An Introductory History of British Broadcasting (2nd edition 2002).

This fifth edition of the successful Promotion and Marketing for Broadcasting, Cable, and the Web, 4ed takes an important, timely look at the newest media venue, the Internet. Under its new title, Media Promotion and Marketing for Broadcast, Cable and the Internet, 5ed it takes a fresh look at the industry and the latest strategies for media promotion and marketing. The book explores the scope and goals of media production from the perspectives of network and local television, cable, Internet and radio, including public broadcasting. Topics include: goals of promotion; research in promotion; on-air, print, and Web message design; radio promotion; television network and station promotion and new campaigns; non-commercial radio and television promotion; cable marketing and promotion; research and budgeting for promotion; syndicated program marketing; global and international promotion and marketing; and online marketing and promotion.

As the dominant form of electronic mass communication in the United States from the 1930s into the 1950s, radio helped to forge a modern continental nation. It fused myriad subcultures?heavily rural, ethnic, and immigrant?into a national identity, unifying the nation in the face of the Depression and war. Later, federal deregulation allowed the radio of the ?Golden Age, ? 1926?1952, to devolve into a chain-dominated, satellite-fed plaything of Wall Street. Today, radio has the highest profit ratio of all the media outlets?and Golden Age traditions of programming taste, diversity, balance, and localism are a legacy squandered. This anecdote-rich sweep of radio history, from its birth as Marconi's ?wireless telegraph? through its current status under deregulation, analyzes the changing medium's social, political, and cultural impact. It casts new light on many topics, including the roles of women and African Americans, programming sources outside the Hollywood-Broadway nexus, and arguments about Amos ?n? Andy?once the hit that jump-started radio's young networks, now a controversial remnant of a bygone era. The book is augmented with more than sixty photos, extensive source notes, and a bibliography.

This succinct overview explains conglomeration and regulation in the film and television industries, covering its history as well as the contemporary scene. Former producer William M. Kunz shows how the current structure of these industries has evolved and how this structure impacts the production and distribution of cultural products. Providing a critical view without taking a political stance, Kunz focuses on film and TV in order to give an in-depth portrait of these industries and their dynamic relationship to each other. Ideal as a supplement for a variety of media courses_such as media and society, policy, economics, and criticism_this student-friendly text includes synopses of key media regulations and policies, discussion questions, a glossary, and interesting sidebars.

First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

This succinct overview explains conglomeration and regulation in the film and television industries, covering its history as well as the contemporary scene. Former producer William M. Kunz shows how the current structure of these industries has evolved and how this structure impacts the production and distribution of cultural products. Providing a critical view without taking a political stance, Kunz focuses on film and TV in order to give an in-depth portrait of these industries and their dynamic relationship to each other. Ideal as a supplement for a variety of media courses_such as media and society, policy, economics, and criticism_this student-friendly text includes synopses of key media regulations and policies, discussion questions, a glossary, and interesting sidebars.

This book traces how the channel came about, and provides an account of its eventful history through a focus on key figures including Jeremy Isaacs, Liz Forgan, Phil Redmond, Michael Grade, Andrea Wonfor and Michael Jackson. It covers signature and stand-out (for good and bad reasons) C4 programs such as "Right To Reply," "The Tube," "The Comic Strip Presents," "The Big Breakfast," "The Word," "Brookside," "Wife Swap" and "Faking it"; the channel's success with American imports such as "Hill Street Blues," "Friends" and "Sex and the City," and the rise and fall of Film Four. Luke Johnson, Chairman of C4, has contributed a foreword for this book.

Television Brandcasting examines U. S. television's utility as a medium for branded storytelling. It investigates the current and historical role that television content, promotion, and hybrids of the two have played in disseminating brand messaging and influencing consumer decision-making. Juxtaposing the current period of transition with that of the 1950s-1960s, Jennifer Gillan outlines how in each era new technologies unsettled entrenched business models, an emergent viewing platform threatened to undermine an established one, and content providers worried over the behavior of once-dependable audiences. The anxieties led to storytelling, promotion, and advertising experiments, including the Disneyland series, embedded rock music videos in Ozzie & Harriet, credit sequence brand integration, Modern Family's parent company promotion episodes, second screen initiatives, and social TV experiments. Offering contemporary and classic examples from the American Broadcasting Company, Disney Channel, ABC Family, and Showtime, alongside series such as Bewitched, Leave it to Beaver, Laverne & Shirley, and Pretty Little Liars, individual chapters focus on brandcasting at the level of the television series, network schedule, "Blu-ray/DVD/Digital" combo pack, the promotional short, the cause marketing campaign, and across social media. In this follow-up to her successful previous book, Television and New Media: Must-Click TV, Gillan provides vital insights into television's role in the expansion of a brand-centric U.S. culture.

The importance of contemporary television broadcasting for the shaping and development of national cultures and identities is increasingly evident. Television as the privileged medium for the dissemination of information and for mass entertainment has irreversibly altered the manner in which nations perceive themselves and each other. This volume explores the multiple and complex ways in which audiovisual developments in two important European states have impacted on the life styles and attitudes of the population at large and its governing elites. This is the first study that is devoted to the highly significant roles played by France and Britain in the formulation of European audiovisual policy and that provides a truly comparative analysis of the contemporary audiovisual scene in the two countries. It consists of four complementary sections: an overview of the audiovisual landscapes in Britain and France; an analysis of television programming; an account of the new cable and satellite media, and an assessment of European audiovisual integration. Overall, this volume offers a constructive contribution to the continuing debate on national and European broadcasting.

At last, a collection in one volume informing the citizenry about a phenomenon that has existed for nearly a quarter century: community television represents our single source for media access in the United States. With more than 2,000 community groups providing some 15,000 hours of original programming each week--more than the annual output of ABC, CBS, and NBC combined--Community Television compares and contrasts broadcasting and grassroots cablecasting in the form of public, educational, and government (PEG) access. Fuller describes community television in terms of its history, its technical characteristics, and its legal, economic, political, and social concerns, highlighting the work of more than 150 related organizations and local television efforts from 100 cities and towns. She analyzes how competing exigencies and emerging communication technologies might threaten access in the future. Students, scholars, and professionals in television, communications, and public policy will find this reference a definitive one.

ABC, NBC, CBS are the three names commonly associated with network television. The fourth name, Du Mont, is not usually recognizable by those younger than 50 or those who are not communications students. The Du Mont Television Network tells the story of the rise, the development, and the failure of this fourth network. Bergmann and Skutch present the Du Mont network's story in a dramatic, narrative style, from its days in the basement of an old pickle factory to its collaborations with the Paramount company. The story of the network's founder, Dr. Allen Du Mont, as well as details about management, programs, new technologies, and the network's fall from grace are a fascinating read. Bergmann, a former managing director of the Du Mont network, provides a rare insider's view of the network's history and its eventual demise. The Du Mont Television Network will intrigue television history fans, as well as communications students and media professionals.

You can present to camera, speak to time, read autocue, conduct an interview, write and memorise scripts; you have a showreel, headshots and a CV but what next? How do you decide which genre to go for, market yourself and establish your career?" The TV Presenter s Career Handbook" is full of information and advice on how to capitalise on your presenter training and contains up-to-date lists of resources to help you seek work, market yourself effectively, and increase your employability. Contents include raising your profile, what kinds of companies to aim for and how to contact them, what to do with your programme idea, video and radio skills, creating your own TV channel, tips from agents, specialist genres such as News, Sports, Technology, Children s and Shopping channels, breaking into the US, and more

Features interviews and case studies with over 80 experts so you can learn from those who have been there first, including:

Maxine Mawhinney and Julian Worricker BBC News anchors, Jon Bentley and Jason Bradbury presenters The Gadget Show, Melvin Odoom KISS FM, Gemma Hunt presenter Swashbuckle, Matt Lorenzo presenter Premier League, Tony Tobin chef/presenter Ready Steady Cook and Saturday Kitchen, Alison Keenan and Marie-Francoise Wolff presenters QVC, Maggie Philbin and Jem Stansfield presenters Bang Goes the Theory, Kate Russell presenter BBC Click, Sarah Jane Cass Senior Talent Agent Somethin Else Talent, Emma Barnett award-winning radio presenter, David McClelland Technology presenter Rip Off Britain, Louise Houghton and Tina Edwards presenters London Live, Fran Scott presenter Absolute Genius with Dick and Dom, and Claire Richmond founder findatvexpert.com"

This is an authoritative dictionary, with a distinguished editorial board representing all facets of communications and broadcasting. A solid purchase for public, academic, or special libraries serving media programs. "Choice"

This revised and expanded third edition of Diamant's now-classic "The Broadcast Communications Dictionary" contains almost three times as many entries as the original volume, providing both beginning and experienced communications personnel with an invaluable lexicographical tool. Hailed as highly recommended by "Millimeter" and a must by "Television/Radio Age," "The Broadcast Communications Dictionary" is a unique guide to the technical, slang, and commonly-used words that broadcast communicators and engineers use in English-speaking countries everywhere. Here--completely cross-referenced to British terminology--are more than 5,000 terms currently in use in all areas of radio and television programing and production; network and station operations; broadcast equipment and engineering; audio and video tape recording; performing talent; agency and client advertising procedures; media usage; research; defense, government, trade, and allied groups.

Among the entries new to the third edition are several hundred items generated by the development of computerization and satellite technology and a host of fresh definitions spawned by the accelerating expansion of cable television. As in previous editions, all entries are in alphabetical order. Extensive cross-referencing offers additional information where appropriate. A brief up-to-date bibliography lists more detailed technical reference works in individual fields. Logically organized, easy to use, and now extensively revised and expanded, "The Broadcast Communications Dictionary" underlines the complex interrelationships among all spheres of contemporary communications activity. It will be an indispensable resource for broadcasting and communications students, as well as for those employed in production and broadcasting facilities nationwide.

Radio's Digital Dilemma is the first comprehensive analysis of the United States' digital radio transition, chronicling the technological and policy development of the HD Radio broadcast standard. A story laced with anxiety, ignorance, and hubris, the evolution of HD Radio pitted the nation's largest commercial and public broadcasters against the rest of the radio industry and the listening public in a pitched battle over defining the digital future of the medium. The Federal Communications Commission has elected to put its faith in "marketplace forces" to govern radio's digital transition, but this has not been a winning strategy: a dozen years from its rollout, the state of HD Radio is one of dangerous malaise, especially as newer digital audio distribution technologies fundamentally redefine the public identity of "radio" itself. Ultimately, Radio's Digital Dilemma is a cautionary tale about the overarching influence of economics on contemporary media policymaking, to the detriment of notions such as public ownership and access to the airwaves-and a call for media scholars and reformers to engage in the continuing struggle of radio's digital transition in hopes of reclaiming these important principles.

"Computers in Broadcast and Cable Newsrooms: Using Technology in Television News Production" takes readers through the use of computers and software in the broadcast/cable newsroom environment. Author Phillip O. Keirstead began writing about television news technology decades ago in an effort to help television news managers cope with technological change. In this text, he demonstrates the myriad ways in which today's journalism is tied to technology, and he shows how television news journalists rely on varied and complex technologies to produce timely, interesting, and informative broadcasts. Using a hands-on, practical approach to cover the role computers play in various parts of the newsroom, the volume will be of great practical value to undergraduate and graduate students in advanced broadcast/news television courses.

"Genuinely transnational in content, as sensitive to the importance of production as consumption, covering the full range of approaches from political economy to textual analysis, and written by a star-studded cast of contributors" - Emeritus Professor Graeme Turner, University of Queensland "Finally, we have before us a first rate, and wide ranging volume that reframes television studies afresh, boldly synthesising debates in the humanities, cultural studies and social sciences...This volume should be in every library and media scholar's bookshelf." - Professor Ravi Sundaram, Centre for the Study of Developing Societies Bringing together a truly international spread of contributors from across the UK, US, South America, Mexico and Australia, this Handbook charts the field of television studies from issues of ownership and regulation through to reception and consumption. Separate chapters are dedicated to examining the roles of journalists, writers, cinematographers, producers and manufacturers in the production process, whilst others explore different formats including sport, novella and soap opera, news and current affairs, music and reality TV. The final section analyses the pivotal role played by audiences in the contexts of gender, race and class, and spans a range of topics from effects studies to audience consumption. The SAGE Handbook of Television Studies is an essential reference work for all advanced undergraduates, graduate students and academics across broadcasting, mass communication and media studies.

The anti-Communist hysteria that began in the 1930s was further empowered in 1938 when the House of Representatives established the House Committee on UnAmerican Activities. Soon thereafter, the creation of the blacklist in the late 1940s brought the Hollywood film and television community into the fold. Provocatively capturing the controversy and sentiments surrounding this period of political imbalance, Actors on Red Alert explores the repercussions of the blacklist through career interviews with five prominent actors and actresses.

During World War II, radio broadcasts were fundamental to the morale of the allied troops. When Americans attempted to establish their own network, the Armed Forces Network (AFN), the BBC initially resisted. This documented account of the disputes between Britain and the United States in regard to the airwaves illustrates how, despite the tensions and with the intervention of General Eisenhower and Winston Churchill, the relationship succeeded. It details the political machinations with which the BBC attempted to thwart the development of the AFN and the strategies by which the Americans established and operated the network. It was not long before the AFN captivated a wide British audience and introduced it to the American big bands, such as the Glenn Miller orchestra, and entertainers like Jack Benny and Bob Hope. The tensions and compromises between the two broadcasting networks reflected the disagreements and concessions characteristic of the overall Anglo-American alliance.

This lively chronicle of the frictions between the BBC and the AFN, and the portrait it paints of wartime Britain will appeal to a number of audiences, from scholars of the history of broadcasting, to wartime music buffs, to those interested in the politics of World War II, and to the veterans who served in the war.