Breaking In: Tales from the Screenwriting Trenches is a no-nonsense, boots-on-the-ground exploration of how writers REALLY go from emerging to professional in today's highly saturated and competitive screenwriting space. With a focus on writers who have gotten representation and broken into the TV or feature film space after the critical 2008 WGA strike and financial market collapse, the reader will learn from tangible examples of how success was achieved via hard work and specific methodology. This book includes interviews from writers who wrote major studio releases (The Boy Next Door), staffed on television shows (American Crime, NCIS New Orleans, Sleepy Hollow), sold specs and television shows, placed in competitions, and were accepted to prestigious network and studio writing programs. These interviews are presented as Screenwriter Spotlights throughout the book and are supported by insight from top-selling agents and managers (including those who have sold scripts and pilots, had their writers named to prestigious lists such as The Black List and The Hit List) as well as working industry executives. Together, these anecdotes, learnings and perceptions, tied in with the author's extensive experience in and knowledge of the industry, will inform the reader about how the industry REALLY works, what it expects from both working and emerging writers, as well as what next steps the writer should engage in, in order to move their screenwriting career forward.

Examining the role of transnational radio broadcasting in the 20th century, this study compares and contrasts the goals and objectives of six broadcast networks: the BBC, Radio Free Europe, Voice of America, Radio Marti, Radio Free Asia, and Vatican Radio. The work traces the evolution--technical and programmatic--at each institution through world events such as World War II, the Cold War, the Solidarity Movement, the democratization of the Eastern bloc, and Tiananmen Square. Utilizing a series of case studies provided by selected authorities, the study demonstrates the effect of radio upon differing societies. Also, it explores options for alternative programming for each network, emphasizing their relationships to the evolving international political and media community in the late 20th century. The work will be of interest to scholars and students of mass media and international relations.

This essential text provides a detailed account of the complex character of modern television. Covering issues ranging from television's historical development to its impact on culture and society in general, the text provides an insightful analysis of television's strengths and limitations. The book's scope and clarity make it an ideal text for all media students as well as others interested in the historical, cultural and social contexts of broadcasting.

Network radio from 1932 to 1953 was commercial broadcasting at its highest level: a high-stakes competition embracing technology, industry, government and advertising, ruled by dollars and dictated by ratings. This comprehensive almanac provides a fascinating account of broadcasting's most colorful era, when four nationwide networks dominated American media as no concerted communications force ever had. Early chapters chronicle the development of the broadcasting, advertising and entertainment industries, with an explanation of the ratings system and its evolution. Each subsequent chapter focuses on a specific year of radio's golden age, with industry statistics, daily program ratings and a chart of the year's 50 top programs. A summary lists the era's most successful programs within the five major formats.

Radio Modernism marries the fields of radio studies and modernist cultural historiography to the recent 'ethical turn' in literary and cultural studies to examine how representative British writers negotiated the moral imperative for public service broadcasting that was crafted, embraced, and implemented by the BBC's founders and early administrators. Weaving together the institutional history of the BBC and developments in ethical philosophy as mediated and forged by writers such as T. S. Eliot, H. G. Wells, E. M. Forster, and Virginia Woolf, Todd Avery shows how these and other prominent authors' involvement with radio helped to shape the ethical contours of literary modernism. In so doing, Avery demonstrates the central role radio played in the early dissemination of modernist art and literature, and also challenges the conventional assertion that modernists were generally elitist and anti-democratic. Intended for readers interested in the fields of media and cultural studies and modernist historiography, this book is remarkable in recapturing for a twenty-first-century audience the interest, fascination, excitement, and often consternation that British radio induced in its literary listeners following its inception in 1922.

Essential reading for anyone involved in broadcasting. The Business of Digital Television presents an overview or the digital television industry. Chris Forrester examines the key technologies and developments of the marketplace, with comments on the future from leading industry experts. Written in an accessible style for the non-engineer, Forrester covers the issues that are most pertinent to strategic direction, providing, broadcasting professionals with essential facts, data and commentary in one single source. You will: Discover trends in digital TV technology Gain knowledge about the international marketplace See an analysis of the financial models Understand the importance of partnerships Find out the key drivers for change Gain an insight into emerging technologies in the future

From on-air talent contracts and FCC regulations to syndicated program amortization to music licensing fees, electronic media deal with financial principles and jargon that are unique to American business. Understanding Broadcast and Cable Finance helps explain all the financial complexities of a modern electronic media enterprise. Whether you are a news director, sales manager, engineer or any other non-accounting professional that has a stake in the success of your company, this book will bring you up-to-speed on the essentials of financial management for broadcasting and cable.

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.

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.

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.

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.

"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).

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.

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 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.

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.

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.

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.

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.