New Patterns in Global Television focuses upon the development of television industries in some of the countries outside the traditionally dominant centres. It challenges the view that `cultural imperialism' from powerful metropolitan centres dictates the supply of television programmes and services in the world. Specialist researchers provide the first comprehensive overview of TV production in dynamic `peripheral' regions such as Latin America, India, the Middle East, Greater China, and, in the English-speaking world, Canada and Australia.

What is meant by an 'independent' television and press, and what affirmative role should any government have in the regulation of television? How do competing interest groups use media regulation to their advantage? What impact does television have on democratic values and the process of democracy itself? Television, the Public Sphere, and the National Identity focuses on these and other questions in a broad reinterpretation of television's role and influence on democratic societies in a time of increased globalization of the media. Monroe E. Price's lively and wide-ranging study is unique in developing a theory which covers media developments in both the United States and Europe, including the states of the post-Soviet transition (Central and Eastern Europe and the former Soviet Union). Examining the relationship between television and these societies, Price asks how the globalization of television affects the medium's impact on these nations and, indeed, on the survival of the nation state itself. The book also looks at the justifications and abuses that have arisen in television's regulation, and predicts the future role of TV in society.

This is an important study of the crucial issue of alternatives in commercial and public support of broadcasting in the U.S. and Europe. The Peacock Committee on Financing the BBC, a committee sponsored by the British government, commissioned Jay Blumler and Tom Nossiter to investigate the impact of alternate ways of financing the BBC on the range and quality of broadcasting. They then commissioned papers on broadcasting financing in the United States, Canada, the Netherlands, France, Italy, Sweden, Germany, Australia, New Zealand, and Japan to answer the question: "Should the BBC allow some commercial support in financing?" This is an essential collection for broadcast policy-makers and researchers.

Mabel Constanduros was one of the first British radio comediennes and a beloved star of the early BBC, best known as the creator and performer of the comic Cockney family, the Bugginses. In this, the first significant biography of Constanduros, Jennifer J Purcell explores Constanduros’s career and influence on the shaping of popular British entertainment alongside the history of the nascent BBC. Mother of the BBC provides new insights into programming decisions and content on the early BBC, deepening our understanding of the history and evolution of situation comedy and soap opera. Further, Constanduros’s biography considers class in the representation of the British people on BBC radio, the gendered experience and performance of radio celebrity, and the intersections between BBC entertainment and other forms of popular media prior to the advent of television. Constanduros’s emphasis on the everyday and the family had far-reaching impacts on the shape of sitcom and soap opera in Britain, two popular lenses through which the nation sees itself at home. Her role in developing entertainment on the BBC and the ways in which she cultivated her career make her the Mother of the BBC, but in constructing a popular image of family life she might also be considered the Mother of the Nation.

This book examines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. In the process, it looks carefully at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power.

Sasha Torres examines the complex relations between the television industry and the civil rights movement as a knot of overlapping interests. She argues that television coverage of the civil rights movement during 1955-1965 encouraged viewers to identify "with" black protestors and "against" white police, including such infamous villains as Birmingham's Bull Connor and Selma's Jim Clark. Torres then argues that television of the 1990s encouraged viewers to identify "with" police "against" putatively criminal blacks, even in its dramatizations of police brutality.

Torres's pioneering analysis makes distinctive contributions to its fields. It challenges television scholars to consider the historical centrality of race to the constitution of the medium's genres, visual conventions, and industrial structures. And it displaces the analytical focus on stereotypes that has hamstrung assessments of television's depiction of African Americans, concentrating instead on the ways in which African Americans and their political collectives have actively shaped that depiction to advance civil rights causes. This book also challenges African American studies to pay closer and better attention to television's ongoing role in the organization and disorganization of U.S. racial politics.

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.

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.

Truman Locke is a television executive. His job - to seek out extraordinary people and stories to put on TV - gives him a licence for adventure; freedom to go almost anywhere and do almost anything, so long as he's successful. But now, things are going wrong. Under mounting pressure, his manoeuvring and risk taking start to slip out of control, bringing trouble and danger to his ordered world, jeopardizing everything. In Some Things You Should Know, this talented but flawed anti-hero tells his own story - one of lies, crime and complex relationships. It's a page-turning thriller, inspired by the realities of life in a glamorous but treacherous industry, exposing them in a way no book ever has before. Truman's experiences show what it's like to work at TV's cutting edge: what motivates TV producers, how they think and behave, and what it takes to succeed in a cut-throat creative business.

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.

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.

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.

Written from an insider's extraordinary working encounters and packed with never-seen-before pictures, this compelling and entertaining compendium of astonishing (and often hilarious) anecdotes, is a must-read for anyone who appreciates the sounds and sights of the 70s, 80s and 90s. Fascinating encounters and working relationships with over fifty global super-stars - from Madonna to Miles Davis, David Bowie, Little Richard, Ozzy Osbourne, Bryan Ferry, Malcolm Maclaren, Sting, Elton John, Jane Fonda and many more, are described with wry humour. Amongst many, there are first-hand tales of the great Miles Davis being ordered to stop playing his trumpet ("that thing") in a Newcastle pub; Chris paying Madonna's train fare (standard class) with cash in brown envelope; Red Hot Chilli Peppers playing on top of a giant hot dog in Hollywood, and a meeting with Grace Jones wearing a Micky Mouse hat in Birmingham Botanical Gardens. "Namedropper - an unorthodox biography" is jam-packed with similar observations and anecdotes on the rich and famous of the day and is written with huge warmth and wit by broadcaster, film maker and former producer of Channel 4's The Tube, Chris Phipps.

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.

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.

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