"Poets at Bush House" seeks to draw attention to a comparatively little known aspect of English cultural life, the BBC World Service, at a time when it is about to leave its historic home on The Strand. The initial aim was to produce a book that would represent a substantial selection of the many languages in which the BBC broadcasts from Bush House (by the end of World War II the Corporation was already broadcasting in forty-five languages). As well as representing work by a few of the notable writers formerly associated with the service, the anthology also includes contributions by some currently at Bush House, including translations by David Constantine, Michael Scammel, Sasha Dougdale and Zinovy Zinik.

Presented in a single volume, this engaging review reflects on the scholarship and the historical development of American broadcasting A Companion to the History of American Broadcasting comprehensively evaluates the vibrant history of American radio and television and reveals broadcasting's influence on American history in the twentieth and twenty-first centuries. With contributions from leading scholars on the topic, this wide-ranging anthology explores the impact of broadcasting on American culture, politics, and society from an historical perspective as well as the effect on our economic and social structures. The text's original and accessibly-written essays offer explorations on a wealth of topics including the production of broadcast media, the evolution of various television and radio genres, the development of the broadcast ratings system, the rise of Spanish language broadcasting in the United States, broadcast activism, African Americans and broadcasting, 1950's television, and much more. This essential resource: Presents a scholarly overview of the history of radio and television broadcasting and its influence on contemporary American history Contains original essays from leading academics in the field Examines the role of radio in the television era Discusses the evolution of regulations in radio and television Offers insight into the cultural influence of radio and television Analyzes canonical texts that helped shape the field Written for students and scholars of media studies and twentieth-century history, A Companion to the History of American Broadcasting is an essential and field-defining guide to the history and historiography of American broadcasting and its many cultural, societal, and political impacts.

'"How did a short bald, man with a speech impediment have such an impact?" How indeed? Like his life, "Inside Story" is a pacy romp. Honest and heartfelt, it should be required reading.' Observer On 28 January 2004, four years to the day after becoming a much-loved Director-General of the BBC, Greg Dyke left his post and entered the public eye after the publication of the Hutton Report. But Greg Dyke's story started long before he reached the BBC. Written off as a failure at school, unemployed at thirty, his big break came as a current affairs researcher at London Weekend Television in 1977. From there he rose through the ranks of independent television, becoming the person responsible for briefly saving TV-am, thanks to Roland Rat, before running LWT, Channel Four and Pearson Television. In his riveting and frank autobiography, Dyke charts his astonishing and unconventional rise to the top, his unwavering determination and courage in improving the BBC and his defiant stand against Downing Street's campaign of harassment. His autobiography is the story of a man of our times and of the power of television: entertaining, funny and explosively revealing.

"I'm impressed! I had little idea that cable TV could be such a valuable resource for classroom instruction at all grade levels. It deserves a place alongside the computer as an essential means for learning and communicating in our technological society." Jim Palavras, Principal, Paul P. Gates Elementary School, Acton, Massachusetts "This timely book offers educators an introduction, as well as a æhow-to' on using cable television in the classroom. Anyone with an academic interest in using cable television should read this encouraging book." Linda J. Miles, Library Media Specialist, Nottingham West Elementary School, Hudson, New Hampshire "Randi Stone has given educators a æpath to follow.' Provides a thorough yet practical approach for all us nontechnical classroom teachers." Elaine Driscoll Connolly, Teacher, Andover Public Schools, Massachusetts New Ways to Teach Using Cable Television is a unique guide that helps you unlock the riches of cable television in your classroom. Randi Stone, a 1996 Continental Cablevision National Cable Educator Award Winner, shares her experience in teaching with cable TV. Caters to techno-phobes as well as teachers already using cable who are looking for hot new ideas. Written in an easy-to-read, conversational style, this guide describes the programming offered to educators and the wealth of free support materials you can receive. Provides you with winning lesson plans, dozens of tips from award-winning teachers using cable in the classroom, and Internet connections. Use this time-saving guide to: *

This fascinating book explores the tensions behind the greatest era in BBC radio broadcasting ? the Home Service. Despite evacuation, air-raids and the closure of the fledgling TV service, the BBC rose magnificently to the challenge of informing, entertaining and inspiring a nation at war.

The war years were to transform religious broadcasting beyond recognition. Under the persistent and innovative James Welch, the BBC began to invent new formats and take large risks in trying to communicate Christian truth to a generation whose faith was on the rack of war. Out of this came the broadcast talks of CS Lewis and the first ever dramatic portrayal of Christ in Dorothy L Sayers? Man Born to be King.

The response to C S Lewis? first broadcast was so overwhelming that a second programme had to be arranged to answer listeners? questions. Lewis? hugely popular BBC talks were published as Mere Christianity and have been a classic ever since, selling over 11 million copies worldwide.

As a layman, Lewis? critics initially claimed that he was not qualified to talk on Christian matters. For Lewis this was all part of the challenge of reaching a new audience. But his initial enthusiasm for broadcasting waned as it began to interfere with his work at Oxford, and he turned down many of the BBC?s invitations to appear on the radio, including a chance to be on The Brains Trust, the Any Questions of its day.

This is a chapter in Lewis? life which has received very little attention from biographers and commentators, who have focussed on his achievements as a writer and academic. Yet C S Lewis? work on the radio made him a household name.

Since first going on the air in 1972, HBO has continually attempted to redefine television as we know it. Today, pay television (and HBO in particular) is positioned as an alternative to network offerings, consistently regarded as the premier site for what has come to be called "quality television." This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies' interests in market positioning, style, content, technology, and political economy. The contributors focus on pioneering areas of analysis and new critical approaches in television studies today, highlighting unique aspects of the "HBO effect" to explore new perspectives on contemporary television from radical changes in technology to dramatic shifts in viewing habits. It's Not TV provides fresh insights into the "post-television network" by examining HBO's phenomenally popular and pioneering shows, including The Sopranos, The Wire, Six Feet Under, Sex and the City as well as its failed series, such as K Street and The Comeback. The contributors also explore the production process itself and the creation of a brand commodity, along with HBO's place as a market leader and technological innovator. Contributors: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa Williamson Foreword by Toby Miller Marc Leverette is Assistant Professor of Media Studies at Colorado State University. He is author of Professional Wrestling, the Myth, the Mat, and American Popular Culture and co-editor of Zombie Culture: Autopsies of the Living Dead and Oh My God, They Deconstructed South Park! Those Bastards! Brian L. Ott is Associate Professor of Media Studies at Colorado State University. He is author of The Small Screen: How Television Equips Us to Live in the Information Age. Cara Louise Buckley is a lecturer at Emerson College.

By looking at a range of different European Public Television (PTV) broadcasters, this book investigates the challenges that these broadcasters encounter in a competitive digital broadcasting environment and reveals the different policies and strategies that they are adopting in order to remain accountable, competitive and efficient.

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.
*Covers financial statements, systems, planning and budgeting, and much more
*Written by experts from the Broadcast Cable Financial Management Association
*Up-to-date with information about new revenue streams from Internet, digital, on-demand and mobile content

This book, first published in 2000, examines the BBC's campaign to raise cultural awareness of British mass audiences in the early days of radio. As a specific case, it focuses on policies and plans behind transmissions of music by composers associated with Arnold Schoenberg's circle between 1922, when the BBC was founded, and spring 1936, when Edward Clark, a former Schoenberg pupil and central figure in BBC music, resigned from the Corporation. This study traces and analyses the BBC's attempts to manipulate critical and public responses to this repertory. The book investigates three interrelated aspects of early BBC history. Policy decisions relating to contemporary music transmissions are examined to determine why precious broadcast time was devoted to this repertory. Early personnel structures are reconstructed to investigate the responsibilities, attitudes and interests of those who influenced music broadcasting. Finally, broadcasts of Second Viennese School works are examined in detail.

Local television newscasts around the country look alike and are filled with crime, accidents, and disasters. Interviews with more than 2,000 TV journalists around the country demonstrate that news looks this way because of the ingrained belief that 'eye-ball grabbers' are the only way to build an audience. This book contradicts the conventional wisdom using empirical evidence drawn from a five-year content analysis of local news in more than 154 stations in 50 markets around the country. The book shows that 'how' a story is reported is more important for building ratings than what the story is about. Local TV does not have to 'bleed to lead'. Instead local journalists can succeed by putting in the effort to get good stories, finding and balancing sources, seeking out experts, and making stories relevant to the local audience.

Unique, readable first hand accounts of one of the most significant periods in British television history. Introductory essay from leading academic Julia Hallam (University of Liverpool), sets the creation of Granada in the context of British broadcasting history and of television as it is today. Provides an insight into the culture of Granada TV during its pioneering early years, from the perspectives of writers, producers, directors, technicians and presenters.. An illustrious collection of contributors, to name a few; Lord Isaacs, Lord MacDonald, Lord Birt, Michael Parkinson, Michael Apted, Stan Barstow, Nick Elliott, Victoria Wood, Kenith Trodd, Jack Rosenthal, Charles Sturridge, Anna Ford, Chris Kelly and Alan Plater. Concerns the production of such legendary programmes as World in Action,'Brideshead Revisited, Coronation Street, A Family at War and What the Papers Say. -- .

"You can't win races without working harder than the other guy."

A blazing ball of contradictions and a genuine original, Ted Turner has been labeled a philanthropist and humanist, a fascist and a racist, a madman and one of the canniest entrepreneurs of all times. Hard-driving and hypercompetitive, he has amassed one of the world's largest personal fortunes, only to give much of it away to liberal causes, including $1 billion to the United Nations.

As "Terrible Ted" has proven time and again, behind his outrageous public persona lies one of the most highly disciplined and creative business minds ever. Beginning with a family billboard advertising company, Turner forged a global media empire, and in the process revolutionized television broadcasting. He pioneered the Superstation concept and founded CNN-the first 24-hour, all-news network-along with more than a half-dozen cable channels. Starting with the Atlanta Braves baseball team, Turner also assembled one of today's most lucrative sports conglomerates.

Ted Turner Speaks brings together hundreds of quotes drawn from a wide array of sources. Hear straight from the maverick's mouth the secrets of his phenomenal success in business, entertainment, and philanthropy. Here is just a sample of what you'll find inside:

"Exposure to defeat is a very important thing. Anyone who doesn't look to get beaten is doing a disservice to himself. "

"I may look like a clown doing back flips at a baseball game, but I'm a very deadly serious person trying to accomplish things just for the satisfaction of accomplishing them."

"I bet you're all wondering what it feels like to be a billionaire. It's disappointing really. . . . I've learned that great wealth isn't nearly as good as average sex."

"I give [the networks] hell because they don't serve the public interest. They look at the viewer the same way a slaughterhouse looks at pigs and cattle. They sell them by the pound to the advertiser-the same way they sell ham hocks and spareribs."

"My desire to excel borders on the unhealthy."

The world listens when TED TURNER Speaks

"Losing is simply learning how to win."

"The worst sin, the ultimate sin for me, in anything, is to be bored."

"I just love it when people say I can't do something. There's nothing that makes me feel better, because all my life people have said I wasn't going to make it."

"When you're little, you have to do crazy things. You just can't copy the big guys.

To succeed you have to be innovative."

"Early to bed, early to rise, work like hell, and advertise."

This book has not been prepared, approved, licensed, or endorsed by Ted Turner.

When American radio broadcasting began in the early 1920s there was a consensus among middle-class opinion makers that the airwaves must never be used for advertising. Even the national advertising industry agreed that the miraculous new medium was destined for higher cultural purposes. And yet, within a decade American broadcasting had become commercialized and has remained so ever since. Much recent scholarship treats this unsought commercialization as a coup, imposed from above by mercenary corporations indifferent to higher public ideals. Such research has focused primarily on metropolitan stations operated by the likes of AT&T, Westinghouse, and General Electric. In American Babel, Clifford J. Doerksen provides a colorful alternative social history centered on an overlooked class of pioneer broadcaster-the independent radio stations. Doerksen reveals that these "little" stations often commanded large and loyal working-class audiences who did not share the middle-class aversion to broadcast advertising. In urban settings, the independent stations broadcast jazz and burlesque entertainment and plugged popular songs for Tin Pan Alley publishers. In the countryside, independent stations known as "farmer stations" broadcast "hillbilly music" and old-time religion. All were unabashed in their promotional practices and paved the way toward commercialization with their innovations in programming, on-air style, advertising methods, and direct appeal to target audiences. Corporate broadcasters, who aspired to cultural gentility, were initially hostile to the populist style of the independents but ultimately followed suit in the 1930s. Drawing on a rich array of archives and contemporary print sources, each chapter of American Babel looks at a particular station and the personalities behind the microphone. Doerksen presents this group of independents as an intensely colorful, perpetually interesting lot and weaves their stories into an expansive social and cultural narrative to explain more fully the rise of the commercial network system of the 1930s.

THE UPLIFTING AND HEARTWARMING LOVE LETTER TO FAMILY AND THE GREAT OUTDOORS 'Cox is a natural storyteller... she brings that authentic voice to bear in her memoir. The tone is so intimate, chatty and friendly, so you feel as though she could be sitting next to you' Hannah Beckerman, Daily Express 'endearing, engaging and very funny' Mirror 'Coxy's memoir about growing up on a farm is as funny as you'd expect, genuinely touching and has some excellent 80s and 90s details. Her love of animals is infectious' Alexandra Heminsley, Grazia 'The book is like a big warm hug, full of local characters and misadventures' Sophie Heawood, Observer 'Made me laugh out loud...I loved it!' Lynda La Plante 'Glorious springtime, haystacks and a herd of cows can all be found in this' Sunday Times Bestseller 'Warm and witty' - Express A funny and heart-warming love letter to childhood, family and growing up. Till the Cows Come Home is DJ and TV presenter Sara Cox's wonderfully written, funny coming of age memoir of growing up in 1980s Lancashire. The youngest of five siblings, Sara grew up on her father's cattle farm surrounded by dogs, cows, horses, fields and lots of 'cack'. The lanky kid sister - half girl, half forehead - a nuisance to the older kids, the farm was her very own dangerous adventure playground, 'a Bolton version of Narnia'. Her writing conjures up a time of wagon rides and haymaking and agricultural shows, alongside chain smoking pensioners, cabaret nights at the Conservative club and benign parenting. Sara's love of family, of the animals and the people around them shines through on every page. Unforgettable characters are lovingly and expertly drawn bringing to life a time and place. Sara later divided her childhood days between the beloved farm and the pub she lived above with her mother, these early experiences of freedom and adventure came to be the perfect training ground for later life. This funny, big-hearted and often moving telling of Sara Cox's semi rural upbringing is not what you'd expect from the original ladette, and one of radio's most enduring and well loved presenters.

Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!
* Completely updated to include: new programming forms, changes in programming style, and more!
* Updated Glossary!
* Study questions for each chapter
* Companion website for students and Instructor's Manual

New Media and Popular Imagination places the current technological upheaval in audio-visual culture in the context of previous periods of twentieth-century media innovation. Examining popular and industry responses to the introduction of radio, television, and digital media into the home, the book underscores the continuities and disjunctions in the ways in which electronic media have been anticipated, promoted, and resisted in twentieth-century America.

This book examines the economic, political, and technological forces that are shaping the future of broadcasting in advanced industrialized nations by comparing the transition from analog to digital TV in the US and Britain. Digital TV involves a major reordering of the broadcast sector that requires governments to rethink governance tools for the digital media era. By looking at how the transition is unfolding in these nations, the book uncovers the political underpinnings of the emerging governance regime for digital communications and explores the implications of the transition for the development of the Information Society in the US and Europe. The findings challenge much conventional wisdom about media deregulation and the globalization of communications. The transition to digital TV has not weakened but rather reinforced government control over broadcasting. Moreover, contrary to what many globalization theories would predict, it has reinforced preexisting differences in the organization of media across nations.

Basic Radio Journalism is a working manual and practical guide to the tools and techniques necessary to succeed in radio journalism. It will be useful both to students starting a broadcasting career as well as experienced journalists wishing to develop and expand their skills.
Based on the popular Local Radio Journalism, this book covers the core skills of news gathering, writing, interviewing, reporting and reading with extensive hints and tips. It outlines working practices in both BBC and commercial radio. There are revamped legal and technical sections as well as a new chapter on the journalist as programme producer. For the student, there is extensive advice about getting a job, marketing yourself and dealing with job interviews.
The Foreword is by Lord Ryder of Wensum, vice chairman of the BBC.
* A manual and handbook for working journalists and an ideal starter textbook for radio journalism and media students
* Written by two experienced journalists and trainers
* Includes the latest digital production techniques as well as scores of practical hints and tips covering the core skills of radio journalism

During the Cold War, Radio Free Europe and Radio Liberty broadcast uncensored news and commentary to people living in communist nations. As critical elements of the CIA's early covert activities against communist regimes in Eastern Europe, the Munich-based stations drew a large audience despite efforts to jam the broadcasts and ban citizens from listening to them. This history of the stations in the Cold War era reveals the perils their staff faced from the Soviet Union, Bulgaria, Romania and other communist states. It recounts in detail the murder of writer Georgi Markov, the 1981 bombing of the stations by "Carlos the Jackal," infiltration by KGB agent Oleg Tumanov and other events. Appendices include security reports, letters between Carlos the Jackal and German terrorist Johannes Weinrich and other documents, many of which have never been published.

As federal funding for public broadcasting wanes and support from corporations and an elite group of viewers and listeners rises, public broadcasting's role as vox populi has come under threat. With contributions from key scholars from a wide variety of disciplines, this volume examines the crisis facing public broadcasting today by analyzing the institution's development, its presentday operations, and its prospects for the future. Covering everything from globalization and the rise of the Internet, to key issues such as race and class, to specific subjects such as advertising, public access, and grassroots radio, Public Broadcasting and the Public Interest provides a fresh and original look at a vital component of our mass media.

?There can be no political sovereignty without culture sovereignty.? So argued the CBC in 1985 in its evidence to the Caplan/Sauvageau Task Force on Broadcasting Policy. Richard Collins challenges this assumption. He argues in this study of nationalism and Canadian television policy that Canada's political sovereignty depends much less on Canadian content in television than has generally been accepted. His analysis focuses on television drama, at the centre of television policy in the 1980s.

Collins questions the conventional image of Canada as a weak national entity undermined by its population's predilection for foreign television. Rather, he argues, Canada is held together, not by a shared repertoire of symbols, a national culture, but by other social forces, notably political institutions.

Collins maintains that important advantages actually and potentially flow from Canada's wear national symbolic culture. Rethinking the relationships between television and society in Canada may yield a more successful broadcasting policy, more popular television programming, and a better understanding of the links between culture and the body politic.

As the European Community moves closer to political unity, the Canadian case may become more relevant to Europe, which, Collins suggests, already fears the ?Canadianization? of its television. He maintains that a European multilingual society, without a shared culture or common European audio-visual sphere and with viewers watching foreign television, can survive successfully as a political entity ? just as Canada has.

As federal funding for public broadcasting wanes and support from corporations and an elite group of viewers and listeners rises, public broadcasting's role as vox populi has come under threat. With contributions from key scholars from a wide variety of disciplines, this volume examines the crisis facing public broadcasting today by analyzing the institution's development, its presentday operations, and its prospects for the future. Covering everything from globalization and the rise of the Internet, to key issues such as race and class, to specific subjects such as advertising, public access, and grassroots radio, Public Broadcasting and the Public Interest provides a fresh and original look at a vital component of our mass media.

This book examines the BBC's campaign to raise the cultural awareness of British mass audiences in the early days of radio. As a specific case, it focuses on policies and plans behind transmissions of contemporary music between 1922, when the BBC was founded, and spring 1936. This reception study traces and analyzes the BBC's attempts to manipulate critical and public responses to this repertory.

This text is a real-time look at what happens on television, giving a behind-the-scenes look at the news broadcasts that provide information to millions of Americans. You've been watching television news forever. You're intimately familiar with the friendly faces and soothing voices that nightly tell you whats wrong with the world. You think you know everything there is to know about them. You're wrong. This volume shows you why. It takes you minute-by-minute through two-and-a-half riveting hours of syndicated, local, and network information programming to uncover the truth behind what passes as news. Why is the only real difference between Jerry Springer and Dan Rather that Dan's guests usually don't need medical attention? How did a load of baking powder spark two minutes of high-strung local news coverage? Its all here: the personal revelations of talk show guests; the dangers lurking in your neighbourhood; sports; sex; celebrity; power; and weather updates every ten minutes - all real material taken from real broadcasts combined into 150 minutes of the most electrifying newscast you've ever seen.