Audio is a unique medium for communication. It's intimate, immediate, immersive, and creators can produce it at home. In The Podcaster's Manifesto, Sarah Lemanczyk draws from her experience as one of the first professors in the United States to teach a dedicated podcasting course as part of a journalism curriculum. The book takes the mystery out of audio: what makes it different, where its challenges lie, and what makes it such an enticing medium to work in. The book prepares readers to participate in the audio world by introducing them to terminology, equipment, and best practices, and then demonstrating how to put it all together to create audio that is impactful, engaging, and rich-audio that people will listen to. Dedicated chapters help readers find their voice, write for the ear, edit audio, set up a home studio, pitch a podcast, and more. Written in an easy, humorous style, The Podcaster's Manifesto is an exemplary resource for programs and courses in communication, especially those with emphasis in audio and podcasting. It is also an invaluable resource for any individual interested in developing their own podcast.

Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content. Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television.

British Radio Drama, 1945-1963 reveals the quality and range of the avant-garde radio broadcasts from the 'golden age' of British radio drama. Turning away from the cautious and conservative programming that emerged in the UK immediately after World War II, young generations of radio producers looked to French theatre, introducing writers such as Samuel Beckett and Eugene Ionesco to British radio audiences. This 'theatre of the absurd' triggered a renaissance of writing and production featuring the work of Giles Cooper, Rhys Adrian and Harold Pinter, as well as the launch of the BBC Radiophonic Workshop. Based on primary archival research and interviews with former BBC staff, Hugh Chignell places this high-point in the BBC's history in the broader context of British post-war culture, as norms of morality and behavior were re-negotiated in the shadow of the Cold War, while at once establishing the internationalism of post-war radio and theatre.

From the moment she uttered the brave and honest words, "I am an alcoholic," to interview George Stephanopoulos, Elizabeth Vargas began writing her story, as her experiences were still raw. Now, in BETWEEN BREATHS, Vargas discusses her accounts of growing up with anxiety-which began suddenly at the age of six when her father served in Vietnam-and how she dealt with this anxiety as she came of age, to her eventually turning to alcohol for relief. She tells of how she found herself living in denial, about the extent of her addiction and keeping her dependency a secret for so long. She addresses her time in rehab, her first year of sobriety, and the guilt she felt as a working mother who had never found the right balance. Honest and hopeful, BETWEEN BREATHS is an inspiring read.

The Middle East has been a particular focus of global crisis reporting. Yet, international coverage of these conflicts has historically been presented through a 'Western' perspective. The absence of Arab voices in the global public sphere has created a discursive gap between the Middle East and the rest of the world. The arrival of Al Jazeera English might, therefore, be regarded as an attempt to bridge this gap by broadcasting discourses from and about the Arab world. Using a framing analysis of selected news reports by Al Jazeera English before and after the so-called 'Arab Spring' protests, this book considers Al Jazeera English's position in the global news environment and identifies the extent to which it addresses this gap between the Arab and global spheres.

Joan Bakewell has led a varied, sometimes breathless life: she has been a teacher, copywriter, studio manager, broadcaster, journalist, the government's Voice of Older People and chair of the theatre company Shared Experience. She has written four radio plays, two novels and an autobiography - The Centre of The Bed. Now in her 80s, she is still broadcasting. Though it may look as though she is now part of the establishment - a Dame, President of Birkbeck College, a Member of the House of Lords as Baroness Bakewell of Stockport - she's anything but and remains outspoken and courageous. In Stop the Clocks, she muses on all she has lived through, how the world has changed and considers the things and values she will be leaving behind. Stop the Clocks is a book of musings, a look back at what she was given by her family, at the times in which she grew up - ranging from the minutiae of life such as the knowledge of how to darn and how to make a bed properly with hospital corners, to the bigger lessons of politics, of lovers, of betrayal. She talks of the present, of her family, of friends and literature - and talks too of what she will leave behind. This is a thoughtful, moving and spirited book as only could be expected from this extraordinary woman.

By providing students with essential information regarding broadcast performance, On Air: Effective Announcing helps them develop the skills required to enter the field of professional announcing. The text also helps students understand how the study of broadcast performance fits within the larger framework of communication studies. The book begins with an overview of the professional practice of announcing and an exploration of essential principles of effective communication. Later chapters help the reader prepare for on-air performance. The book provides valuable advice regarding what to expect on set, how to prepare for live broadcast performance, how to make on-air communication meaningful and memorable, and more. Additional chapters are dedicated to the development of a distinctive voice and effective speech practices, mastery of spoken English, and developing an understanding of sound and audio. The final chapter provides real-world strategies for breaking into the business and building a lasting career. Featuring voice exercises, opportunities for reflection, and a surplus of practical advice, On Air is well suited for introductory courses in broadcast performance, media performance, and announcing.

There are a lot of good things about getting older. When you’re young you want everyone to like you and to make an impression. When you’re old you don’t give a damn.' Kate Turkington is fearless and fun, even now in her 80s. From the war-worn East End of London to raising a young family in a remote part of eastern Nigeria and building a career as one of SA's most loved broadcasters, Kate's story is remarkable and revealing. You'll laugh. You'll cry. You will cheer. You may well be shocked.

In the days before mobile phones, the internet and 24-hour news channels, the easiest way for a British foreign correspondent to find out what was going on in the world was to phone the local office of Reuters news agency and ask: 'Is anything happening?'That's how the award-winning BBC reporter and presenter Robin Lustig started out in journalism, working for Reuters as an agency man. During a distinguished career spanning more than forty years, he watched the world of news change beyond recognition, as he reported on terror attacks, wars and political coups.In this witty and illuminating memoir, Lustig looks back on his life as a newsman, from coming under fire in Pakistan to reporting on the fall of the Berlin Wall; from meeting Nelson Mandela to covering Princess Diana's sudden death.Back in the studio, Lustig lets us in through the BBC's back door for a candid, behind-the-scenes look at some of his triumphs and disasters working for the nation's favourite broadcaster.He writes of his childhood as the son of refugees from Nazi Germany and, drawing on thirty years of reporting about the Middle East, he comes to a startling conclusion about the establishment of the state of Israel. Astute, incisive and frequently hilarious, Is Anything Happening? is both an irresistible personal memoir and an insightful reflection on world events over the past forty-five years.

"The History of Prime Time Television" is a user-friendly textbook that chronicles television's unique history from the drawing board to the living room, and beyond. Organized chronologically, the book begins by briefly addressing the age of invention and the birth of radio. However, the primary focus of the text surrounds prime time programming, homing in on the series that defined their respective decade by reflecting changes in the culture, style and values of the time, and how some went on to become iconic representations of 20th and 21st century America.
Each decade's historical importance, as well as all of the nuance and chronological markers connected to the story of television itself, is covered in a way that engages students and helps them retain what they are learning. Discussion questions geared to tap into the students critical thinking follow every chapter. Topics include:
Invention and Promotion Television s Early StrugglesHow Serious Programming began with ComedyThe Role of Television During WartimePrime Time Television's Golden AgeCivil Rights and TelevisionLong-Form TelevisionTelevision s Symbiotic Relationship to SportsThe Birth and Growth of Cable ProgrammingReality Programming
Students will also glean information about the impact of each decade s culture on television and learn about the transition from black and white to color programming, deregulation, censorship, and the future of television in the new millennium.
"The History of Prime Time Television" includes fascinating information about the historical milestones that made television not just a form of entertainment, but a social mediator, a political force, and American's window into the human experience and condition. The book is ideal for courses in the areas of media history, entertainment history, and media communications.
George Lee Marshall earned his Bachelor of Arts Degree from San Diego State University. Working for the government after college, he went on to make educational and training films for the United States Navy. In 1983, he began writing for both television and feature films, selling over 50 screenplays, treatments, long-form teleplays, television episodes and pilots over the next twenty-five years, earning him lifetime member status in the Writers Guild of America. In 2000, he was asked by San Diego State University to develop and teach writing courses for their School of Theater, Television and Film. There, over the past 13 years, Lee has introduced curriculum and created courses for upper-division and graduate-level classes, including The History of Prime Time Television. Professor Marshall has worked with the Veteran's Administration at California State University, Long Beach to create and teach a 15-week real-time online storytelling course for returning veterans, while being twice recognized at SDSU as his department s Outstanding Faculty. Professor Marshall currently lectures at the nationally acclaimed Dodge College of Film and Media Arts on the Chapman University Campus teaching TV history, business, and writing courses.

ESPN's rise is one of the most remarkable stories about business and sports in our time, and nobody can tell it better than George Bodenheimer. It may be hard to believe, but not long ago, getting sports updates was difficult and frustrating. ESPN changed everything. George Bodenheimer knows. Initially hired to work in the mailroom, one of Bodenheimer's first jobs was to pick up sportscaster Dick Vitale at the Hartford airport and drive him to ESPN's main campus--a couple of trailers in a dirt parking lot. But as ESPN grew, so did George's status in the company. In fact, Bodenheimer played a major part in making ESPN a daily presence not just here, but all over the world. In this business leadership memoir - written with bestselling author Donald T. Phillips - Bodenheimer lays out ESPN's meteoric rise. This is a book for business readers and sports fans alike.

In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have "cut the cord," abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences. In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment. A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.

Modeled after the BBC, the Palestine Broadcasting Service was launched in 1936 to serve as the national radio station of Mandate Palestine, playing a pivotal role in shaping the culture of the emerging middle class in the region. Despite its significance, the PBS has become nearly forgotten by scholars of twentieth-century Middle Eastern studies. Drawn extensively from British and Israeli archival sources, “This Is Jerusalem Calling” traces the compelling history of the PBS’s twelve years of operation, illuminating crucial aspects of a period when Jewish and Arab national movements simultaneously took form. Andrea L. Stanton describes the ways in which the mandate government used broadcasting to cater to varied audiences, including rural Arab listeners, in an attempt to promote a “modern” vision of Arab Palestine as an urbane, politically sophisticated region. In addition to programming designed for the education of the peasantry, religious broadcasting was created to appeal to all three main faith communities in Palestine, which ultimately may have had a disintegrating, separatist effect. Stanton’s research brings to light the manifestation of Britain’s attempts to prepare its mandate state for self-governance while supporting the aims of Zionists. While the PBS did not create the conflict between Arab Palestinians and Zionists, the service reflected, articulated, and magnified such tensions during an era when radio broadcasting was becoming a key communication tool for emerging national identities around the globe.

Go behind the TV screen to explore what is changing, why it is changing, and why the changes matters Many proclaimed the "end of television" in the early years of the twenty-first century, as capabilities and features of the boxes that occupied a central space in American living rooms for the preceding fifty years were radically remade. In this revised, second edition of her definitive book, Amanda D. Lotz proves that rumors of the death of television were greatly exaggerated and explores how new distribution and viewing technologies have resurrected the medium. Shifts in the basic practices of making and distributing television have not been hastening its demise, but are redefining what we can do with television, what we expect from it, how we use it-in short, revolutionizing it. Television, as both a technology and a tool for cultural storytelling, remains as important today as ever, but it has changed in fundamental ways. The Television Will Be Revolutionized provides a sophisticated history of the present, examining television in what Lotz terms the "post-network" era while providing frameworks for understanding the continued change in the medium. The second edition addresses adjustments throughout the industry wrought by broadband delivered television such as Netflix, YouTube, and cross-platform initiatives like TV Everywhere, as well as how technologies such as tablets and smartphones have changed how and where we view. Lotz begins to deconstruct the future of different kinds of television-exploring how "prized content," live television sports and contests, and linear viewing may all be "television," but very different types of television for both viewers and producers. Through interviews with those working in the industry, surveys of trade publications, and consideration of an extensive array of popular shows, Lotz takes us behind the screen to explore what is changing, why it is changing, and why the changes matter.

Why you should read this book: because it's full of wisdom, experiences, examples and entertaining stories drawn from Tony Hertz's 40 years' beyond-all reason passion for radio advertising. Including links to 25 of the best radio spots you've ever heard. Because in today's visual/digital /online/mobile/social media/branded content consumed advertising business, radio remains a powerful and relevant way to reach millions of consumers all over the world. And Tony Hertz is uniquely qualified to give it the creative attention it deserves. Because whatever your role in the advertising process, the 7 Secrets will actually show you how to make better radio commercials. Even if 6 of them aren't actually Secrets. Because if you've ever been in one of Tony's radio workshops, seminars or presentations, this is the book you would have bought afterwards anyway Because it will make you want to sit down and write a great radio ad

Television existed for a long time before it became commonplace in American homes. Even as cars, jazz, film, and radio heralded the modern age, television haunted the modern imagination. During the 1920s and 1930s, U.S. television was a topic of conversation and speculation. Was it technically feasible? Could it be commercially viable? What would it look like? How might it serve the public interest? And what was its place in the modern future? These questions were not just asked by the American public, but also posed by the people intimately involved in television's creation. Their answers may have been self-serving, but they were also statements of aspiration. Idealistic imaginations of the medium and its impact on social relations became a de facto plan for moving beyond film and radio into a new era. In Television in the Age of Radio, Philip W. Sewell offers a unique account of how television came to be-not just from technical innovations or institutional struggles, but from cultural concerns that were central to the rise of industrial modernity. This book provides sustained investigations of the values of early television amateurs and enthusiasts, the fervors and worries about competing technologies, and the ambitions for programming that together helped mold the medium. Sewell presents a major revision of the history of television, telling us about the nature of new media and how hopes for the future pull together diverse perspectives that shape technologies, industries, and audiences.

The inside story behind the success of KISS FM, the former London pirate radio station, is revealed for the first time by Grant Goddard in his new book 'KISS FM: From Radical Radio To Big Business.' The subtitle of the book is 'The Inside Story Of A London Pirate Radio Station's Path To Success.' In 1985, KISS FM had been just one of many illegal pirate radio stations in London playing black music that had been largely ignored by licensed broadcasters. By 1989, KISS FM had won an FM radio licence to broadcast legally in London, having fought off dozens of competing bids from some of the biggest names in broadcasting and industry. By 1991, KISS FM was attracting an audience of one million listeners a week, making it one of the most successful radio station launches in British broadcasting history. The inside story of how a small London pirate radio station was transformed into one of Britain's most successful youth brands is uncovered in this new book. KISS FM's remarkable trajectory was the culmination of a long-running campaign for a black music radio station in London that had been started in 1970 by soul music pirate Radio Invicta. The book also documents the determination of the government and the commercial radio industry to rid Britain forever of pirate radio stations, and the abject failure of their desperate efforts. Goddard was a senior member of the KISS FM management team that steered the transformation from weekend pirate station to successful radio broadcaster. His detailed account will be of interest to KISS FM listeners, the dance music community, media students, broadcast historians, pirate radio enthusiasts and business readers interested to understand how a successful enterprise can be built from almost nothing. This comprehensive, meticulously researched book offers a rare glimpse into the dark and secretive world of pirate radio in London, revealing the naked ambition and greed of some of those involved, as well as the duplicity and lies deployed to destroy others who got in their way. At the same time, it charts the achievement of Goddard's childhood ambition to launch Britain's first licensed black music radio station, and the consequences of that success. Author Grant Goddard is a London-based media analyst specialising in the radio broadcasting sector. For thirty years, he has worked in the radio industry as a senior manager and consultant, in the UK and overseas, and has written extensively about the radio business for consumer and trade magazines. This is his second book.

This book charts the struggle to achieve a national radio broadcasting service in Britain after World War 1. It starts with young wireless engineers struggling to develop radio systems capable of transmitting speech to aircraft during the war. It then follows those same engineers for the next five years, and details their early experimental broadcasts from the Marconi New Street works that included the famous 1920 broadcast by Dame Nellie Melba. The Marconi engineers then created the 2MT Writtle station. Its sparkling success led the same engineers to design and then build the BBC, starting in 1923. This then is the story of those amazing times. It is aimed at a wide readership, not just lovers of historic or technical tomes. The book does include separate technical/historical appendices on the Writtle, Chelmsford and 2LO transmitters, the Dutch station PCGG, Belgian station OTL and even the village of Writtle itself. The book also looks at the work of many early pioneers who tried to make broadcasting happen even sooner, including Grindell Matthews, Mahlon Loomis, Reginald Fessenden and David Hughes. It includes an overview of the explosion in radio broadcasting in America along with a detailed Glossary and Appendices on all aspects of the new science of radio. With over 200 photographs, it draws on over 25 years of research and includes much previously unpublished archive material.