'Essential reading.' - ESQUIRE 'Both absorbing and highly illuminating' - THE BOOKSELLER 'No one understands the intricacies of YouTube like Chris Stokel-Walker' - THE ATLANTIC Two billion people watch YouTube and it reaches deep into everyday lives. Its creators start new trends, popularise new songs and games and make and break new products. Yet while they are famous to billions of mostly young people, they mostly remain a mystery to the general public and mainstream media. What is the secret of their appeal? How do they cope with being in front of the lens - and who is behind their success? More than 100 insiders spoke candidly to teach journalist Chris Stokel-Walker for this first in-depth independent book on YouTube. YouTubers is the only book you need to understand YouTube, its ownership by Google, its deal for stars and its ecosystem of talent managers, advertisers and marketers. It is a richly-layered deep dive into YouTube brimming with lively characters, engaging facts, and influencer case studies. It is an ideal guide for any media studies students, advertisers, brand managers and business people who need to understand YouTube professionally. And for any non-fiction reader interested in a gripping business and technology saga dripping with big money, ruthlessness, determination and ambition. YouTubers starts by charting the platform's launch in a boring 19-second video of the elephant enclosure at San Diego Zoo - which has now had 242 million views. YouTubers then moves onto the first oddball videos before the site found success by showing comedy clips from the TV show Saturday Night Live. YouTubers reveals how YouTube saw off its emerging rivals in the online video battle of the 2000s and was bought by the search engine specialist Google. With Google's billions and boosted by smartphones, YouTube became the dominant video platform. Bloggers started to create engaging, fast-cut videos that capitalised on the intimate relationship between creator and user - a 'parasocial' relationship stronger than the bond between TV presenter and viewer. By ceaselessly urging their followers to tap the like, comment and subscribe buttons, these creators helped YouTube's rise to global domination. YouTubers speaks to YouTube stars KSI, Hank and John Green and delves into the lives of child star MattyB, the training camp for aspiring teenage bloggers, the YouTube stunts that go wrong and the increasing efforts of creators to earn money from Patreon. And it tackles the platform's Muslim extremism, red-pilling, and its content guidelines and censorship. YouTubers asks how YouTube can take on the threat from other big platforms such as Instagram and Facebook. In short, YouTubers tells the riveting story of the exponential growth of YouTube from single home video to global tech phenomenon. It is the only book you need on YouTube. Extract Introduction One spring afternoon Casey Neistat uploaded a video lasting five minutes and twenty-two seconds to YouTube. In the style of so many YouTubers, he looked straight into the camera and aired his opinion on a matter of importance. As the elder statesman on the platform, Neistat's words carry weight. He can make or break products and careers - and this video was no different. Seconds after he uploaded his video to YouTube via his superfast broadband at his creative headquarters in New York, it was available worldwide to four billion people: everyone on Earth with an internet connection. Millions of Neistat's subscribers instantly received a notification telling them that one of YouTube's most influential stars was again speaking directly to them. Across the world in apartment blocks, restaurants, bedrooms and bathrooms, phones pinged, buzzed and beeped. Hundreds of thousands of people instantly watched what Neistat had to say. Wearing dark glasses, his hair streaked blond, Neistat vented his frustration at the way the media was second-guessing the motivations of YouTubers...

How Women Are Revolutionising Television. In recent years, the television landscape has seen the glorious rise of women to key positions of power within the industry, from writers to producers to directors. Starting with Roseanne Barr and Diane English with their now iconic shows, Roseanne and Murphy Brown respectively, Press shows us how strategic advocating for women in writers' rooms, in producing discussions, and behind the camera as directors led to an inspiring new era for television drama.

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.

The advanced industrial countries considered replacing the existing analog television infrastructure with a new digital one in the late 1980s and 1990s. Jeffrey Hart's study demonstrates how nationalism and regionalism combined with conflicting ideas over technology to produce three different and incompatible DTV standards in the U.S., Japan and Europe. The outcome has led to missed opportunities in developing new technologies. Hart's work contributes to our understanding of relations between business and government, and of competition between the world's great economic powers.

Focusing on the electronic media -- television, radio, and the Internet -- "Audience Economics" bridges a substantial gap in the literature by providing an integrated framework for understanding the various businesses involved in generating and selling audiences to advertisers. Philip M. Napoli presents original research in order to answer several key questions:

- How are audiences manufactured, valued, and sold?

- How do advertisers and media firms predict the behavior of audiences?

- How has the process of measuring audiences evolved over time?

- How and why do advertisers assign different values to segments of the media audience?

- How does audience economics shape media content?

Examining the relationship between the four principal actors in the audience marketplace -- advertisers, media firms, consumers, and audience measurement firms -- Napoli explains the ways in which they interact with and mutually depend on each other. He also analyzes recent developments, such as the introduction of local people meters by Nielsen Media Research and the establishment and evolution of audience measurement systems for the Internet. A valuable resource for academics, students, policymakers, and media professionals, "Audience Economics" keeps pace with the rapid changes in media and audience-measurement technologies in order to provide a thorough understanding of the unique dynamics of the audience marketplace today.

This study traces the evolution of the various categories of factual entertainment programmes which have come to dominate our screens over the last decade. The book focuses on issues such as the changes in the braodcasting environment which have given rise to such programmes, the relationshp they have to other popular TV genres and the huge appeal that shows such as Big Brother have for contemporary audiences. The book also seeks to measure the cultural significance of these new formats. Do they reflet a more general cultural malaise or should we measure their popularity more in terms of the changing expectations which modern audiences bring to TV entertainment? factual/documentary formats and assesses the institutional factors which have promoted their growth. Later chapters focuse on the inexorable rise of the docu-soap and reality game-docs. lucid, accessible style, exploring an important phenomenon in recent broadcasting history. It should be of relevance to all television and media studies students, both at undergraduate and sixth-form level.

Focusing on the electronic media -- television, radio, and the Internet -- "Audience Economics" bridges a substantial gap in the literature by providing an integrated framework for understanding the various businesses involved in generating and selling audiences to advertisers. Philip M. Napoli presents original research in order to answer several key questions:

- How are audiences manufactured, valued, and sold?

- How do advertisers and media firms predict the behavior of audiences?

- How has the process of measuring audiences evolved over time?

- How and why do advertisers assign different values to segments of the media audience?

- How does audience economics shape media content?

Examining the relationship between the four principal actors in the audience marketplace -- advertisers, media firms, consumers, and audience measurement firms -- Napoli explains the ways in which they interact with and mutually depend on each other. He also analyzes recent developments, such as the introduction of local people meters by Nielsen Media Research and the establishment and evolution of audience measurement systems for the Internet. A valuable resource for academics, students, policymakers, and media professionals, "Audience Economics" keeps pace with the rapid changes in media and audience-measurement technologies in order to provide a thorough understanding of the unique dynamics of the audience marketplace today.

Written by leading professional journalists and classroom-tested at schools of journalism, "Thinking Clearly" is designed to provoke conversation about the issues that shape the production and presentation of the news in the twenty-first century. These case studies depict real-life moments when people working in the news had to make critical decisions. Bearing on questions of craft, ethics, competition, and commerce, they cover a range of topics -- the commercial imperatives of newsroom culture, standards of verification, the competition of public and private interests, including the question of privacy -- in a variety of key episodes: Watergate, the Richard Jewell case, John McCain's 2000 presidential campaign, and the Columbine shooting, among others.

Liveness is a persistent and much-debated concept in media studies. Until recently, it was associated primarily with broadcast media, and television in particular. However, the emergence of social media has brought new forms of liveness into effect. These forms challenge common assumptions about and perspectives on liveness, provoking a revisiting of the concept. In this book, Karin van Es develops a comprehensive understanding of liveness today, and clarifies the stakes surrounding the category of the 'live'. She argues that liveness is the product of a dynamic interaction between media institutions, technologies and users. In doing so, she challenges earlier conceptions of the notion, which tended to focus on either one of these contributors to its construction. By analyzing the 'live' in four different cases a live streaming platform, an online music collaboration website, an example of social TV, and a social networking site van Es explores the operation of the category and pinpoints the conditions under which it comes into being. The analysis is the starting point for a broader reflection on the relation between broadcast and social media.

Journalists, TV producers, and other media workers are members of newly powerful occupations. Media Occupations and Professions is the first book in the field to provide a broad selection of research studies on media workers, from studies of career entry patterns and job security in the various media occupations through to studies of the media moguls and media stars, from the historical origins of the various media occupations to an analysis of the differences between media occupations in different countries.

British television has been a success story. One factor in this success has been the distinctive institutional structure of British broadcasting, a mix of state-regulated and publicly-funded services with commercial services. This book attempts to give a broad overview of British television by examining both the institutional framework and the programmes that it has produced. A range of reprinted writings from the work of acknowledged experts is supplemented by specially commissioned essays on such key topics as sport and British television in the global context.

In "More Than a Movie," producer and entertainment attorney F. Miguel Valenti presents a compelling argument for the creative community to consider the consequences of its products, from movies to TV to the Internet. Valenti refrains from attacking the industries in which he himself works, but argues for reflection on the part of those who create media. "More Than a Movie "takes a pioneering first step toward outlining the issues in an insider fashion, and provides the tools to make ethical decisions about creating for the big and small screens. Edited by veteran media writer Les Brown and media consultant Laurie Trotta, "More Than a Movie "is written to stimulate debate in professional and academic arenas, and for the enjoyment of everyone who loves entertainment. The book contains a foreword by noted author and director Peter Bogdanovich, and commentary from producers Christine Vachon and David Brown. Mediascope, a Studio City, California-based media policy organization, commissioned the book upon discovering that ethical discussions seldom occur in film and television schools, although they are staples for studying law, medicine, business and journalism. Issues range from ethnic and gender stereotyping to excessive and gratuitous violence."It's not about censorship -- it's about having a responsibility for what we do," says author Valenti (no relation to MPAA's Jack Valenti). "The book outlines how we are helping to shape societal values and individual behavior with the artistic choices we make." A team of writers from across the nation offer essays: Neil Hickey, editor, "Columbia Journalism Review"; Annette Insdorf, Columbia University; Ted Pease, professor and columnist; Jack Pitman, "Variety"; Martin Koughan, Emmy Award-winning documentarian. The essays in "More Than a Movie "are interspersed with stories of actual ethical dilemmas told by noted screenwriters, directors and other practitioners in interviews by Manhattan writer Laura Blum.

The recent history of broadcasting on both sides of the Atlantic, characterized by a great increase in the number of services on offer to the public, has been brought about by technological advances and economic pressures. This has inevitably affected traditional forms of content regulation. The book explores the moral basis and history of such regulation as it has until now been applied to major issues of taste and decency. These include the protection of children, obscenity and bad language, offences against religious sensibility, `reality' television, and stereotyping. What Should We Watch? considers the different constraints (in the law, cultural customs, and self-regulation) affecting broadcasters in the two societies and the means by which they have responded to them. The book describes, with examples, the operations of compliance regulations and standard controls. It also looks at the impact of the First Amendment on American broadcasting in this area. It looks at the arguments for the practicality of maintaining appropriate forms of restraint into the future. What Should We Watch? poses the question of how divided and diverse societies decide what is permissible to broadcast and how the issue might continue to evolve in the future.

Television has radically reshaped the contours of knowledge and of pleasure in modern society and become a regular subject of scrutiny and argument. This important book, fully accesible to students yet a contribution to international debate, is the first to offer a systematic review of the ideas which have been most influential across a full range of television criticism and research from the first pioneering studies to the most recent theory and analysis. In the course of exploring key ideas, John Corner develops a clear and close engagement with television itself and the way it is changing. After an Introduction which provides a concise overview of how television has been studied and why, ten chapters take key features of the medium in order to raise questions and and assess arguments. With its focused summaries and its scope of reference, Critical Ideas in Television Studies will help the teaching and study of television to enter a new phase of improved clarity and self-awareness.

The book makes English speakers aware of the globalization of television in the Spanish-speaking world. This is a geolinguistic region of common language and heritage, connected by satellite communication, which certain Latin American as well as North American media corporations are exploiting. A related situation in the Portuguese-speaking world is also examined.

Since its establishment in 1922 the BBC has continually asserted itself as one of the great British institutions at home and abroad. David Pat Walker offers an in-depth analysis of the history of BBC Scotland from its creation in 1923 through to its 50th anniversary in the seventies. Examining how the firm developed over the course of the 20th century, the author portrays how the broadcaster developed its own Scottish identity despite governance from London and how it thrived within the context of the history it reported and created.

Global Television and Film is the first non-specialist introduction to the economics of the contemporary film and television business. It explains how these global media markets operate taking into account the unique nature of cultural products and the consequences for public policy and business strategy.

Public broadcasting is the single most important social, cultural, and journalistic institution of the 20th century. In the past 15 years it has been assaulted politically, ideologically, technologically, and is everywhere in retreat. This book considers the idea of public service broadcasting and examines in detail the assault made upon it with specific emphasis on global developments and events in the United Kingdom, Japan, Europe, and the United States. Michael Tracey argues that public service broadcasting has been a vital and democratically significant institution now experiencing a terminal decline brought about by changes in political, economic, and technological circumstances. Based on years of research and extensive contact with leading public broadcasters around the world, the author examines how public service broadcasting has vainly (and often ineffectually) struggled to survive in recent years. The author concludes that public broadcasting is, as was once said of Weimar, a corpse on leave. Its likely disappearance constitutes an indication of a real and deep-seated crisis within liberal democracy.

At 7:20 pm on October 3, 1993, a nervous and shaky anchor broke into coverage of a soccer match to tell Russian viewers that their state television was shutting down. In the opening salvos of the parliamentary revolt against Boris Yeltsin's government, a mob had besieged the station's headquarters. A man had just been killed in front of the news director. Moments later, screens all across Russia went blank, leaving audiences in the dark. But in less than an hour, Russia's second state channel went on the air. Millions watched as Sergei Torchinsky anchored thirteen straight hours of coverage, often with the sound of shooting clearly audible in the background. Streams of politicians, trade union leaders, writers, television personalities, and other well-known figures braved gunfire to reach Channel Two's makeshift studios and speak directly to the nation. In one stunning moment, a famous actress extemporaneously pleaded with viewers not to return to the horrors of Stalinism. Boris Yeltsin, who had been glued to his television set like everyone else, later recalled, "For the rest of my life I will remember the anxious but resolute and courageous expression of Liya Akhedzhakova. . . her hoarse, cracking voice remains in my memory."
In that time of crisis, television bound the nation together, a continuing emblem of legitimate authority which lent an image of stability and credibility to Yeltsin's besieged government. "Television saved Russia," the Russian president said. Changing Channels vividly recreates this exciting time, as television both helped and hindered the Russian nation's struggle to create a new democracy. From the moribund, state-controlled television broadcasts at the end of the Soviet Union, through Mikhail Gorbachev's glasnost, up to Yeltsin's victory in the most recent Russian presidential elections of 1996, Mickiewicz charts the omnipresent role of television, drawing on interviews, public opinion surveys, research, and the television programming itself. Analyzing the rise of political advertising (sometimes with controversial US participation), the birth of journalists as opinionated television personalities, and the changing news coverage of coups, elections, and wars, she shows both how the gradual development of private, independent stations has begun to make real pluralism possible and how the authoritarian legacy of the Soviet state structure continues to affect Russian television even today. With television in 97% of all Russian households, and the nightly news watched by a viewership matching that for the Super Bowl in the US, the struggle for control over television became the struggle for control over the nation. Mickiewicz illuminates the efforts of those both in and out of power to control the media.
Behind the momentous political changes are the stories of the men and women who chose to resist, test, or submit to the system. Mickiewicz offers brilliant sketches of these individuals: Yegor Ligachev, Gorbachev's second in command, a man of strongly held opinions who, in retirement, still orated loudly, even over tea; Boris Yeltsin, having not even put on his shirt yet, watching the early morning coverage of the attempted coup against Gorbachev; or the new breed of Russian journalists covering the war in Chechnya with footage of bombed out streets and charred corpses for privately owned NTV, despite continuing government intimidation. In vivid interviews, all the key players, including Gorbachev himself, offered Mickiewicz their unique insights and frank personal commentary. Drawing on these interviews and on her extensive research on the interactions of politics, economics, and society, Mickiewicz presents a rich and authoritative analysis of television in Russia. In many ways, Mickiewicz writes, no other country in the world offers television a greater opportunity and a greater role. Changing Channels tells the fascinating story of a truly modern phenomenon: the struggle to create genuine political pluralism, helped and hindered by the barrage of information, advertisements, and media-created personalities that make up modern television.

In the hundredth year of the British Broadcasting Corporation, historian Simon J. Potter looks back over the hundred year history, asking if the BBC is really the 'voice of Britain', and what comes next for British public broadcasting. 2022 marks the centenary year of the British Broadcasting Corporation. As Britain's most famous and influential broadcaster, the BBC faces a range of significant challenges to the way it operates, and perhaps to its existence, from the government but also from a rapidly changing media environment. Historian Simon J. Potter explores the hundred year history of this corporation, drawing out the roots of these challenges and understanding how similar threats - hostile politicians and prime ministers, the advent of television - were met and overcome in the past. Potter poses the question 'Is the BBC the voice of Britain?', exploring its role in changing wider culture and society, promoting particular versions of British national identity, both at home and overseas. The BBC has long claimed to speak for the British people, to the British people, and with a British accent, and Potter explores how far these claims have been justified with this exciting new study which covers the establishment of the BBC Empire Service and the World Service, and focuses on people, programmes, and politics to understand the Corporation's engagement with changing ideas about culture and society in Britain, including issues of class, gender, and race.

This book examines a critical point in US broadcasting in the late 1920s and early 1930s - the only period in which a strong opposition emerged to network-dominated, advertising-supported media such as radio. Although the opposition failed to secure airwaves for non-profit broadcasters, its critique of the formation and structure of early broadcasting anticipated much of today's most compelling media criticism.

"Writing News for Broadcast" is the Strunk and White of broadcast newswriting books. Long considered the gold standard of broadcast journalism textbooks, this guide for the student and the professional has inspired generations of newscasters through its eloquent examples and emphasis on the writer's responsibility, commitment, and integrity. It is written in a conversational style reflecting years of professional and teaching experience in radio and television newswriting.

This new edition is fully revised with examples throughout, drawn from fine writing by journalists at networks and local stations. It includes updated chapters covering use of the wire services and special formats that have become popular in recent years such as the newsmagazine. But the third edition retains the inspirational quality that has for years made this text so widely respected. In this process of providing clear, succinct instruction in the basics of the trade, it conveys to students and practicing newswriters a sense of the extraordinary tradition within which they work. The authors' emphasis on skill and creativity, responsibility to the listener, and appreciation of the profession's finest hours and finest writers make this book unique.

There's a war on against the BBC. It is under threat as never before. And if we lose it, we won't get it back. The BBC is our most important cultural institution, our best-value entertainment provider, and the global face of Britain. It's our most trusted news source in a world of divisive disinformation. But it is facing relentless attacks by powerful commercial and political enemies, including deep funding cuts - much deeper than most people realise - with imminent further cuts threatened. This book busts the myths about the BBC and shows us how we can save it, before it's too late.

Ted Turner revolutionized television. Foreseeing cable's potential in its infancy, he parlayed a tiny UHF station in Atlanta into a national superstation, invented CNN, and transformed sports teams and the MGM film library into lucrative programming. Ken Auletta, the most respected media journalist in America, enjoyed unparalleled access to the outspoken and defiant Turner in writing this book (named one of BusinessWeek's Top Ten Books of 2004), capturing the visionary businessman as he built and lost his improbable empire."