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.

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.

The birth and development of commercial television in Cuba in the 1950s occurred alongside political and social turmoil. In this period of dramatic swings encompassing democracy, a coup, a dictatorship, and a revolution, television functioned as a beacon and promoter of Cuba's identity as a modern nation. In Broadcasting Modernity, television historian Yeidy M. Rivero shows how television owners, regulatory entities, critics, and the state produced Cuban modernity for television. The Cuban television industry enabled different institutions to convey the nation's progress, democracy, economic abundance, high culture, education, morality, and decency. After nationalizing Cuban television, the state used it to advance Fidel Castro's project of creating a modern socialist country. As Cuba changed, television changed with it. Rivero not only demonstrates television's importance to Cuban cultural identity formation, she explains how the medium functions in society during times of radical political and social transformation.

"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.

"Distribution Revolution" is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution--creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun.
Interviewees include:
- Gary Newman, Chairman, 20th Century Fox Television
- Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios
- Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment
- Ted Sarandos, Chief Content Officer, Netflix
- Felicia D. Henderson, Writer-Producer, "Soul Food," "Gossip Girl"
- Dick Wolf, Executive Producer and Creator, "Law & Order"

Broadcast News Writing, Reporting and Producing examines the skills, techniques, and challenges of writing and reporting for broadcast. Along with complete coverage of the fundamentals, the text presents up-to-date examples and issues through actual scripts and interviews with the people who bring us the news. Ten out of twenty five chapters focus on reporting topics, ranging from basic skills to specialty reporting to ethics. This new edition features such timely topics as the Jonesboro and Littleton shootings, the Clinton sex scandal, the CNN Tailwind story, the Elian Gonzales story, and other contemporary examples.
Broadcast News Writing Reporting and Producing emphasizes real-life situations; the problems that reporters, writers, assignment editors, and producers face every day are discussed in detail, as well as such topics as ethics, investigative reporting, the job market, legal issues, and interviewing techniques. Each chapter contains exercises for writing, review, and discussion so that students can learn and apply what they've read. This edition also includes new insights in civic journalism and computer-assisted reporting, and the impact of the Internet on news gathering.Broadcast
The text also contains writing samples from famous broadcast journalists like the late Edward R. Murrow, Charles Kuralt, Eric Sevareid, Paul Harvey, Charles Osgood, Susan Stamberg and Richard Threlkeld and others, all of whom not only offer examples of quality news writing, but also discuss how they write and report.
Features many examples of major recent news stories
New chapter with on computer-assisted reporting and the impact of the Internet on news gathering
Expanded chapterson producing and ethics in reporting

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium.
During the "golden age" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced "Kraft Music Hall" for Kraft; Benton & Bowles oversaw "Show Boat" for Maxwell House Coffee; and Young & Rubicam managed "Town Hall Tonight" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history.
Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society.
Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined "showmanship" with "salesmanship" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium.
During the "golden age" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced "Kraft Music Hall" for Kraft; Benton & Bowles oversaw "Show Boat" for Maxwell House Coffee; and Young & Rubicam managed "Town Hall Tonight" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history.
Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society.
Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined "showmanship" with "salesmanship" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

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.

'A clear-eyed and compelling account of a life, told with honesty.' - Luke Jennings 'A book brimming with surprises and insight.' - Nicholas Coleridge 'Calmly, bravely written... deployed with generosity and modesty.' - Adam Nicholson ------------------------------------------------------------------- Edward Stourton was born into a life of privilege. The son of expat parents in colonial Nigeria, Ed was sent back to Britain to be educated by Benedictine monks at Ampleforth, at the time when, it was latter revealed, the school and monastery were the setting for serial abuse cases. He then went up to Cambridge, where his life as an undergraduate gave him access to a network of future ministers, judges and newspaper editors. As a young journalist, he reported first from party conferences and picket lines and then from war zones, witnessing the events making international headlines, from Haiti to Hong Kong, before returning home to join the infighting on BBC Radio 4's Today. During this time, the Empire has given way to the rise of the Black Lives Matter movement, men-only clubs have been replaced by Me Too, and instead of a choice selection of voices on a handful of radio and television channels, we have millions of voices on YouTube, Instagram, TikTok. The world has changed, and so has Ed. Brought face to face with the author of his obituary and his own inevitable mortality, Ed is prompted to reflect on the life he has led and the events that have shaped him. In Confessions, he describes this remarkable journey with candour, humour and the insight that only forty years' experience of writing and reporting can provide. 'A searingly honest insight into the life of one of our great journalists. Hugely entertaining too.' John Humphries

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.

This is the first title in a new series of volumes examining different dimensions of the media and culture in small nations. Whether at a local, national or international level, radio has played and continues to play a key role in nurturing or denying - even destroying - people's sense of 'belonging' to a particular community, whether it be defined in terms of place, ethnicity, language or patterns of consumption. Typically, the radio has been used for purposes of propaganda and as a means of forging national identity both at home and also further afield in the case of colonial exploits. Drawing on examples of four models of, the chapters in this volume will provide an historical and contemporary overview of radio in a number of small nations. The authors propose a stimulating discussion on the role radio has played in a variety of nation contexts worldwide.

How big data is transforming the creative industries, and how those industries can use lessons from Netflix, Amazon, and Apple to fight back. "[The authors explain] gently yet firmly exactly how the internet threatens established ways and what can and cannot be done about it. Their book should be required for anyone who wishes to believe that nothing much has changed." -The Wall Street Journal "Packed with examples, from the nimble-footed who reacted quickly to adapt their businesses, to laggards who lost empires." -Financial Times Traditional network television programming has always followed the same script: executives approve a pilot, order a trial number of episodes, and broadcast them, expecting viewers to watch a given show on their television sets at the same time every week. But then came Netflix's House of Cards. Netflix gauged the show's potential from data it had gathered about subscribers' preferences, ordered two seasons without seeing a pilot, and uploaded the first thirteen episodes all at once for viewers to watch whenever they wanted on the devices of their choice. In this book, Michael Smith and Rahul Telang, experts on entertainment analytics, show how the success of House of Cards upended the film and TV industries-and how companies like Amazon and Apple are changing the rules in other entertainment industries, notably publishing and music. We're living through a period of unprecedented technological disruption in the entertainment industries. Just about everything is affected: pricing, production, distribution, piracy. Smith and Telang discuss niche products and the long tail, product differentiation, price discrimination, and incentives for users not to steal content. To survive and succeed, businesses have to adapt rapidly and creatively. Smith and Telang explain how. How can companies discover who their customers are, what they want, and how much they are willing to pay for it? Data. The entertainment industries, must learn to play a little "moneyball." The bottom line: follow the data.

This collection examines law and justice on television in different countries around the world. It provides a benchmark for further study of the nature and extent of television coverage of justice in fictional, reality and documentary forms. It does this by drawing on empirical work from a range of scholars in different jurisdictions. Each chapter looks at the raw data of how much "justice" material viewers were able to access in the multi-channel world of 2014 looking at three phases: apprehension (police), adjudication (lawyers), and disposition (prison/punishment). All of the authors indicate how television developed in their countries. Some have extensive public service channels mixed with private media channels. Financing ranges from advertising to programme sponsorship to licensing arrangements. A few countries have mixtures of these. Each author also examines how "TV justice" has developed in their own particular jurisdiction. Readers will find interesting variations and thought-provoking similarities. There are a lot of television shows focussed on legal themes that are imported around the world. The authors analyse these as well. This book is a must-read for anyone interested in law, popular culture, TV, or justice and provides an important addition to the literature due to its grounding in empirical data.

A new guide to Spain's most popular and dynamic medium, which celebrates its fiftieth anniversary in 2006. Any follower of Spanish cinema who turns to television finds that the locally produced programs most appreciated by both audiences and critics are as creative and original as any feature film. This book, the first of its kind, gives close readings of TV programmes broadcast from the 1970s to the present day. They embrace drama, comedy, and talk/reality shows and are currently available on DVD. It also treats the obsessive theme of television in Almodovar, Spain's most celebrated film director, arguing for a re-reading of his work in the light of TV studies. In addition to analysing particular programmes, this book examines TV channels, production companies, governments, and the role of the press, academy, and audience. PAUL JULIAN SMITH is Professor of Spanish at the University of Cambridge.

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