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.

By any standards, the most eclectic form of broadcasting in the U.S. today is called low-power television (LPTV). Not an insignificant blip in the industry, LPTV offers true local and community programming to tens of thousands of U.S. viewers. Because it can go where the cable industry doesn't go, LPTV tends to serve either outlying rural communities or disenfranchised communities such as gangs and new immigrant groups who have no other way to stay connected. One trend Keith notes is the proliferation of stations in the Northwest owned by right-wing, militia, or Christian fundamentalist groups that broadcast to their select audience of like-minded fringe groups.

This is the first book available that tells the complete story of this unique and powerful movement from its inception to the formidable challenges it faces today.

This book is for anyone starting out or hoping to work in the ever-expanding world of television and video. Everyone involved in a TV or video production is contributing to the program making process. They all need to know and understand how it happens. Whatever you want to end up doing, whether you are part way through a course or starting from scratch, this book gives you all the essential information you will need. It takes a practical, step-by-step approach, based on the author's own 25-year experience of producing, writing and directing for broadcast television and the corporate sector on both video and film. It describes the roles people perform, the equipment they use and what it does. In simple, easy-to-read language it explains the grammar of shooting and editing and offers first-hand advice on treatments, scripts and budgets. As well as covering the technical aspects of both single and multi-camera production, it also looks at the editorial elements that create a successful program. With practical examples it demonstrates how best to turn ideas into reality, how to obtain successful interviews and how to put together programs that work. Colin Hart has his own production company making programs for corporate clients. He trained as a single and multi-camera director in local televison news and for ten years worked in BBC Current Affairs producing and directing for Nationwide and The Money Programme.
Practical, step-by-step approach with many useful flowcharts, checklists and practical examples
Written by experienced professional producer/director
Covers technical and editorial elements of successful programme-making

Screening Protest brings together a range of scholarly perspectives on the study of protest mediations on television and in film. Arguing that the screen is a fruitful, if overlooked, analytical focus, the book explores how visual narratives of protest wander across borders - territorial, temporal and generic. Chapters compare coverage of major protests in recent history by global news channels like Al Jazeera English, BBC World, CNN International and RT. They consider how geopolitical agendas, newsroom culture and the ubiquity of eyewitness footage shape the narration of events such as the 'Umbrella Revolution' in Hong Kong, anti-austerity protests in Greece, pro-EU mobilizations in the Ukraine and clashes in Ferguson. A focus on narrative allows authors to compare such news stories with popular cultural depictions of the protester, in films and television series such as The Hunger Games, Robin Hood and Suffragette. Although focussed on the screen, the scope of the book is broad, given its exploration of images distributed worldwide. Written with both scholars and students in mind, Screening Protest will interest researchers in political science, sociology, media and film studies, as well as the general reader interested in current affairs.

Consuming Television is a textbook designed to introduce students to the role of television in contemporary society and to encourage an understanding of what contemporary audiences are all about.* Written clearly and simply, and devoid of jargon * Covers both the empirical and theoretical ground in a lively manner * Unlike most books on the television audience, this volume looks at the programmes themselves, as well as the production process (including policies which affect television production)

Consuming Television is a textbook designed to introduce students to the role of television in contemporary society and to encourage an understanding of what contemporary audiences are all about. Although the central focus of the book is on audiences, the coverage is extended to offer a unique examination of the actual programmes themselves. In addition, the production process - including the policies which affect television production - is explored. Clearly written and supported by unique and interesting data, including the most recent findings about the future prospects of both terrestrial and satellite/ cable broadcasts, cultural studies and the sociology of culture.

In 1982 satellite broadcasters delivered the first pan-European television services to European viewers. European Unionists saw in this new communication technology a means of eroding national differences and uniting a fragmented continent, while others saw satellite television as a malign force which threatened to destroy European public service broadcasting. Satellite television also introduced competition and commercial services to television markets previously controlled by monopoly public service broadcasters. With the assistance of the European Broadcasting Union, public broadcasters launched their own public service channels - Eurikon, Europa, Eurosport and Euronews - as alternatives to commercial satellite television. This text explores television's role in fostering European cultural identity and the extent to which European public service broadcasters were able to meet the challenges posed by the introduction of new communication technologies. It is based on extensive primary research, interviews with participants and analysis of key European programmes. The book documents the lessons learned by public broadcasters, their alliance with Rupert Murdoch's commercial Sky netw

Series Information:
Routledge Research in Cultural and Media Studies

Between 1988 and 1992 a technologically sophisticated entrepreneurial leadership at the Christian Science Monitor led a costly campaign to diversify beyond the failing newspaper into radio, the Internet, multimedia publishing, and the highest ticket item of all -- a CNN-style, 24-hour news and public affairs cable TV channel. In 1992, the entire enterprise came crashing down. Sue Bridge tells the whole story here, setting it in the historical context of Monitor journalism, beginning with the paper's founding in 1908, through the rise of television in the fifties and sixties, and ending with the effective loss of the Monitor as a significant voice in American journalism, at a time when thoughtful and balanced sources of information are increasingly lost in the mass communications marketplace

Radio's niche marketing revolution evolved to address the problems of market fragmentation. These problems are responsible for steep declines in traditional media revenues. Market fragmentation, happening in every market across the globe, has led marketers and media into the new era of niche marketing. Mass-marketing strategies are obsolete. Radio, cable (wired and unwired), and television are being forced to alter the way they present their products, promotions, and marketing strategies. FutureSell provides radio professionals with the advanced skills and systems to turn niche marketing into a profitable approach for their own stations. Your clients don't want to buy advertising|period. They do, however, want to sell their products and services. Your advertisers' markets are also fragmenting. Cutting-edge companies now seek ways to learn their customers' smallest needs and cater to their customers' perceptions. Yet, very few businesses or ad agencies know how to conduct niche or one-to-one marketing. With the techniques introduced in this book, you can create new revenue streams while upgrading your largest advertisers. The ideas you'll encounter work for multi-national media conglomerates, stations in small markets, and duopolies in any market size. Owners, group heads, managers, salespeople, programmers, copywriters, and office staff will gain valuable insight to make their jobs easier and more productive. Radio people, ad agency executives, and advertisers will discover a money-making glimpse into the future. Godfrey W. and Ashley Page Herweg are radio management consultants, international seminar leaders, sales trainers, and researchers specializing in niche marketing and focus group studies. They have successful backgrounds in, radio, television, and print production, and media buying and sales at the international, national, regional, and local levels. The Herwegs have owned, operated, and managed radio stations in small, medium, and large markets. The Herwegs have also co-authored, Making More Money Selling Radio Advertising Without Numbers and Recruiting, Interviewing, Hiring, and Developing SUPERIOR SALESPEOPLE

The Transformation of Television Sport: New Methods, New Rules examines how developments in technology, broadcasting rights and regulation combine to determine what sport we see on television, where we can see it and what the final output looks and sounds like.

In this volume, Charlotte Brunsdon analyzes a wide range of contemporary film and television programmes, from British soap operas and crime series such as "Crossroads" and "Widows" to Hollywood movies such as "Working Girl" and "Pretty Woman".;As well as interpreting the pleasures and meanings that these programmes offer - particularly for women viewers - the book is concerned with the nature of media criticism, particularly feminist criticism, and the problematic aesthetics of popular culture. Why have feminist media critics been so interested in the soap opera viewer? What are the "race" politics of the TV crime series? What is meant by "quality" in television? And was the fuss about the erection of satellite dishes on British homes really about architectural values?;The book brings together Charlotte Brunsdon's key writings on film and television and its criticism, with new introductions which contextualise and update the arguments, and recent work on the "post-feminist girly" in recent Hollywood cinema. Brunsdon's focus is on the tastes and pleasures of the female consumer as she is produced by popular film an television - and by feminist criticism.

This text examines four nationally syndicated television talk shows - Donahue, The Oprah Winfrey Show, Geraldo and Sally Jessy Raphael - which are primarily devoted to feminine culture and issues. These programmes have recently surpassed soap operas as the most popular daytime programming (Oprah with 19 million viewers per show). They serve as one of the few public forums where women from the working class and with different sexual orientations have a voice. In many ways, these talk shows represent American television at its most radical as they popularize feminist identity politics. Without adopting an overly naive view of the benevolence of corporate captialism, the author examines the tension between talk's feminist politics and the television industry. In their need to appeal to women and channel the female desires, the television institution trades on sensation, stereotypes and fears in order to engender product consumption. However, this genre is not a simple, one way form of social interaction. The female audience complies and resists in a complex give-and-take, and it is this relationship which is discussed in this book.

Charlotte Brundson's key writings on film and television are bought together with new introductions which contextualise and update the arguments. The focus is on the tastes and pleasures of the female consumer as she is produced by popular film and television.

Children with attention-deficit hyperactivity disorder create unique challenges within the family setting. While mothers are still the primary caregivers, the father-son relationship is a special one. As fathers contribute more as caregivers, as well as role models and mentors, they need to understand what their sons are going through as they cope with ADHD, and they most bond with their sons in channelling their often unfocused energy in productive and fulfilling ways. This is the first book written specifically to help fathers navigate the complex world of ADHD. It encourages personal growth while providing fathers with strategies for guiding their sons. Building on first person accounts, this book strikes the unique balance of offering factual information about ADHD and at the same time focusing on the personal impact on the father-son relationship. An essential guidebook, Voices from Fatherhood helps fathers enhance and broaden their relationships with their sons and their entire family. Because it is highly supportive, factual, and practical, mothers will find it useful for understanding the complexities of the father-son relationship. Educators and mental health professionals will find it indispensable in helping families cope with the various aspects of ADHD.

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Media Production Agreements is an invaluable reference tool for film, television and video producers and has been written specifically for all those involved in the media industry. Providing legal information and sound advice on the structuring of deals and negotiated agreements, this authoritative guide identifies potential pitfalls in the drafting and arrangement of contracts and proposals. Media Production Agreements contains legal agreements which independent producers, writers and all those involved in the film and television industry are faced with at the outset of a project. Typical agreements and sample contracts are presented in the text and practical explanatory notes provide clarification, caveats and advice. Contracts and agreements discussed include: * option and literary purchase * writer's and director's agreement * co-production agreement * distribution agreement * location agreement * non-disclosure agreement * release from a living person * release for extras * name product and logo release agreement * licence to reproduce still photographs.

Television is about saving time and money, hitting deadlines and making the best of what is available. Anticipating the problems is essential when shooting on location - keep this book handy and avoid the dangers! Television is about saving time and money, hitting deadlines and making the best of what is available. Anticipating the problems is essential when shooting on location - keep this book handy and avoid the dangers! In order to work in television you need a sound grasp of the practical realities. This book is a handy reference source for anyone involved in location shooting. It details the organisational and legal requirements that programme makers are likely to encounter, telling you which authorities to approach, what legal procedures need to be observed and a wealth of tips for health and safety. Formerly A Production Handbook, this book has now been completely revised to include the latest programme making procedures. Its new layout offers the reader a more practical and user friendly text. If you are a: - director - producer - pa - production manager - location manager - researcher - TV journalist ...you will find this book essential in helping each shoot run more smoothly. Peter Jarvis is currently a Director of Television Training International and is a freelance producer/director. He has worked for 25 years as Senior Instructor in BBC Elstree's television Training Department.

This volume examines the expanded governmental funding of scientific research and technological development for the institutional and intellectual organization of life sciences in the 20th century. It studies the history of natural historical investigations of insects in the light of the growing institutional organization of the agricultural sciences in the United States and Canada, exploring how this context has shaped the emergence of economic entomology and ecology - two quite different but related disciplines. This study is facilitated by following economic entomologists' and ecologists' changing ideas about different pest control strategies, chiefly "chemical", "biological" and "integrated" control, The author then follows the efforts of one specific group of entomologists, at the University of California, over three generations from their advocacy of "biological" controls in the 1930s and 40s, through their shifting attention to the development of an "integrated" strategy in the 1950s to their final establishment of "integrated pest management" in the context of "big biology" during the 1970s.

Using conversation analysis to explore the nature of argument, asymmetry, and power on talk radio, this book focuses on the interplay between the structures of talk in interaction and the structures of participation on talk radio. In the process, it demonstrates how conversation analysis may be used to account for power as a feature of institutional discourse.
To address a number of key issues in the study of institutional communication and conflict talk, a case study of a British talk radio show is presented, stimulating some penetrating questions:
* What is distinctive about interaction on talk radio?
* What is the basis of the communicative asymmetries between hosts and callers?
* How are their arguments constructed, and in what ways does the setting enable and constrain the production of conflict talk?
These questions are answered through the detailed study of conversational phenomena, informed by a critical concern for the relationship between talk and social structure.
This book will be of interest to a wide readership consisting of academics, advanced undergraduates, and postgraduate students in a range of courses in sociology, linguistics, media/communication/cultural studies, anthropology, and popular culture.

In August 1981, Music Television-now popularly known as MTV-was launched. Within a matter of years it revitalized a struggling record industry; made the careers of leading pop stars like Madonna, Boy George, Cyndi Lauper, and Duran Duran; infiltrated traditional network television and the movie industry; revolutionized the advertising industry; and stimulated purchases in several markets, most notably fashion apparel. The reach of MTV has proven long and profitable. In this book, Jack Banks examines the historical development of music video as a commodity and analyzes the existing structures within which music video is produced, distributed, and exhibited on its premier music channel, MTV. Who controls MTV? What part do record companies play in the financing and production of music video? How do the power brokers in the business affect the ideological content of music video? Given the tight sphere of influence within the music industry, what are the future trends for music video and for artistic freedom of expression? Banks tackles these questions in an intelligent, lively, and sophisticated investigation into one of the most influential media enterprises of our society.

Although television is now dominant, radio surprisingly remains a medium of unparalleled power and importance. Worldwide, it continues to be the communications vehicle with the greatest outreach and impact. Every indicator--economic, demographic, social, and democratic--suggests that far from fading away, radio is returning to our consciousness, and back into the cultural mainstream.

Marilyn J. Matelski reviews radio's glory days, arguing that the glory is not all in the past. B. Eric Rhoads continues Matelski's thoughts by explaining how and why radio has kept its vitality. The political history of radio is reviewed by Michael X. Delli Carpini, while David Bartlett shows how one of radio's prime functions has been to serve the public in time of disaster. Other contributors discuss radio as a cultural expression; the global airwaves; and the economic, regulatory, social, and technological structures of radio.

Collectively, the contributors provide an intriguing study into the rich history of radio, and its impact on many areas of society. It provides a wealth of information for historians, sociologists, and communications and media scholars. Above all, it helps explain how media intersect, change focus, but still manage to survive and grow in a commercial environment.

From live sports coverage to situation comedy, British television is producer-driven. Television Producers presents a comprehensive survey of the entire spectrum of television broadcasting, focusing on seven key programming areas - documentaries, news, sport, infotainment, drama, comedy and game shows. Jeremy Tunstall discusses the main concerns of the producers, including money, the type of performers available, organizing studio, location and film, and the kinds of expectations which each particular genre is expected to fulfil. Television Producers provides an in-depth look at the work of individual producers including the Top People in British broadcasting - producers of leading programmes and the network barons. Over 250 producers across the range of British television - BBC, ITV, Channel 4 and the independents - were interviewed for the book, as well as the Hollywood executive producers of Dallas, Kojak, MASH and CHIPS. The final chapter considers the possibilities for the future of broadcasting as it faces the 20th century.

This exciting and comprehensive text takes students, trainees and professionals into the world of the modern-day newsroom, covering both key techniques and theory in detail. The second edition has been revised and updated to include all the technical, regulatory and theoretical advances in recent broadcast custom and practice and is influenced by newsrooms around the country.

Main features:

Complete coverage of all the key skills: news gathering, interviewing, writing and story-telling, live/location-reporting, online, editing, graphics and presentation.

Expert advice and contributions from leading broadcast journalists from the BBC, ITV and Sky News.

The Essential Guide, a section on how to get a job, the law and an up-to-date glossary of broadcasting terms.

Workshops and Exercises, which provides the opportunity to practise key skills.

Case Study, A Closer Look and Thinkpiece boxes help put the theory into context.

Remember and Tip boxes summarise key concepts and offer guidance.

Downloadable resources demonstrating filming techniques and editing ideas.

New for the second edition:

Greater emphasis on online elements of broadcast journalism and the role of social media in news gathering.

A focus on the interactive nature of the contemporary news process - how to find user-generated content, empower audiences and engage listeners and viewers.

The key skills required for students taking the new NCTJ Broadcast Journalism exams.

Ideal for students on journalism courses at all levels, this text is also useful for professionals and trainees working in broadcast, print and other media, and those looking at broadcast journalism in the wider context of media studies.

Table of Contents

Part One: The Job 1. Introduction 2. What’s the story? 3. Finding the news 4. The interview 5. News writing 6. Location reporting and production 7. Location video and sound 8. Sports reporting and commentary 9. Foreign reporting 10. Going live 11. The package 12. Editing 13. Graphics 14. Presentation 15. The programme Part Two: The Essential Guide Getting a job The Law and broadcast journalists Broadcast journalism courses Part Three: Workshops and Exercises Glossary Index

This volume of collected essays provides a wide-ranging survey of the state of radio and television, especially the idea of public service broadcasting, and of news, current affairs and documentary programming in America, Australia, the UK and the rest of western Europe. Among the key issues it addresses are the 'dumbing down' of TV news, the infotainment factor in current affairs shows and the disappearance of the documentary. Using contemporary cases and examples - from the row over the scheduling of News at Ten in the UK to the creation of ABC News Online in Australia -- the essays link the performance of radio and television at the turn of the millennium with the processes of deregulation, liberalisation and digitalisation which have been evident since the 1980s. Working from a much needed and original comparative approach which encompasses complex and well-established public broadcasting in the USA as well as emerging and vulnerable participatory radio stations in El Salvador, the book sets a variety of experiences of factual radio and television programming within wider political and cultural contexts. It offers analyses of not only the 'problems' associated with news, current affairs and documentary broadcasting in an era of a declining public service ethos and the apparent triumph of the market, however. The essays also explore the potential of alternative radio and television, new forms of communication, such as the internet, and changing practices among journalists and programme makers, as well as the resilience of public broadcasting and the powers of the public to ensure that the media remain relevant and accountable. A companion text to the bestselling Sex, Lies and Democracy: The Press and the Public, this volume presents a multi-faceted approach to the tumultuous present and the uncertain future of news, current affairs and documentary in radio and television.

What does the future hold for broadcasting in Britain? What revenues will be available for funding programming in the 1990s and beyond? British broadcasting stands on the threshold of immense change. The BBC is reviewing its purpose and funding in an era of deregulation, mixed funding and multiple services. The independent television companies have staked their futures on advertising revenues which may not materialise, meanwhile, broadcasters face increasing competition for viewers and revenue from satellite television channels. There is much agreement about what the audience wants in the 1990s: quality programmes, diversity, home grown entertainment, comprehensive cultural coverage and reliable information at the flick of a switch. There is less agreement about how these needs are to be met and what balance is required between commercial and public broadcasting to ensure that they are satisfied. "Paying for Broadcasting: The Handbook" takes these debates on board through a wide-ranging discussion of funding options open to broadcasters.