As Laura Linder asserts, increased concentration of media ownership has resulted in the homogenization of public discourse. Packaged, commercialized messages have replaced the personalized and localized opinions necessary for the uninhibited marketplace of ideas envisioned in the First Amendment. Narrowcast outlets such as talk radio give vent to individual voices, but only to a limited, predefined audience. The media have led a social shift toward splintering and compartmentalization, away from pluralism and consensus.

Public access television provides an alternative to this trend, requiring active public participation in the process of developing community-based programming through the dominant medium of television. Today, more than 2,000 public access television centers exist in the United States, producing more than 10,000 hours of original, local programming every week. But public access television remains underutilized, even as deregulation and growing interest in other telecommunications delivery systems pose a potential threat to the long-term viability of public access television. In this comprehensive review of the background and development of public access television, Linder offers all the information needed to understand the theoretical and philosophical underpinnings as well as the nuts and bolts of public access television in the United States. Must reading for students and scholars involved with mass media in the United States and professionals in the television field.

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.

Love, Light, and a Dream is a timely and provocative look at the medium of television as one of the cultural vehicles carrying us toward the 21st century. It provides an up-to-the-minute review of developments and trends shaping the policy and regulatory issues that exert the strongest influence on the evolution of information technology. Topics covered in this study include the Federal Communications Commission and its role as a regulatory body, the relationship between cable services and telephone systems as information providers, television advertising campaigns and the structure of the agency business, public television and its struggle for financial independence, and the culture of television news and the creation of a journalistic mythology.

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.

First published in 1980, this compact introduction to television broadcasting as an industry offers jargon-free analysis of every many aspects of broadcasting.;Stuart Hood draws on his inside experience of the industry (and its politics) to present this work as an unashamed - but increasingly critical - defence of television as a legitimate public forum. Updated to include the momentous changes in broadcasting over recent decades, and coverage of specific broadcasting "events" such as the Gulf War, the 4th edition of this work provides a key text for those with an interest in studying television as a medium.

This is an insider's tour, touching on the network's dizzying decision-making process, and the artists who have revolutionized the medium.

As mass communication is a major topic of interest in American colleges, there is also a growing interest in comparative mass media in other countries. This book is designed to put current practices in the United States in comparative perspective and thus shed new light on American media practices. It is designed as a resource for the growing number of courses dealing with international media, and a recommended supplement for basic mass communications courses that provide a global perspective.

For more than fifty years Red Barber was the voice of baseball. The game was broadcast sporadically until the late 1930s, when Barber burst into prominence by bringing it home to radio listeners, play by play. More than half a century later, he could still be heard, broadcasting over National Public Radio from his retirement home in Tallahassee. Announcing for the Brooklyn Dodgers and later for the New York Yankees, he became a legend long before his death in 1992. Red's story reveals the growth and changes in baseball over the years, the demands of sportscasting, and the difference between radio and television reporting. Here is Red giving major play-by-plays of his own life and career with characteristic wit and integrity.

As we are thrust into an age of digital communication technologies, opportunities are becoming endless for people to perform in front of the cameras either on television or the Internet. Executives representing their companies or students aspiring to work in the broadcast field are often intimidated by the thought of going on camera. One of the reasons for these fears is that there are so few resources to aid in educating people about broadcast performing expectations.

Michelle McCoy and Dr. Ann Utterback have come to the rescue with their new book, Sound and Look Professional on the Television and the Internet. Whether you are a corporate executive or an aspiring reporter, this book will help you face the camera.

The history of radio broadcasting is traced from its earliest origins, through its role as a subversive tool in World War II to the cold war era, and finally to itspresent day use as an instrument of foreign policy used by over 160 countries. The effects on the cold war, in which propoganda broadcasting was the ultimate weapon, contributing in no small measure to the collapse of communism in the USSR, are analysed. The roles of Voice of America, the BBC World Service and others come under scrutiny, and the concluding chapters report on the explosive growth in international broadcasting now taking place in the aftermath of recent political events. The book is supplemented with up-to-date technical data and statistics on major expansions now under way or being planned in many countries, particularly the USA and the Arab states, some of the latter having a broadcasting capacity that dwarfs most western countries. The appeal of the book is by no means restricted to scientists and engineers and many will find much to stir their memories of international radio broadcastsin wartime and peacetime alike.

Television can be imagined in a number of ways: as a profuse flow of images, as a machine that produces new social relationships, as the last lingering gasp of Western metaphysical thinking, as a stuttering relay system of almost anonymous messages, as a fantastic construction of time. Richard Dienst engages each of these possibilities as he explores the challenge television has posed for contemporary theories of culture, technology, and media. Five theoretical projects provide Still Life in Real Time with its framework: the cultural studies tradition of Raymond Williams; Marxist political economy; Heideggerian existentialism; Derridean deconstruction; and a Deleuzian anatomy of images. Drawing lessons from television programs like Twin Peaks and Crime Story, television events like the Gulf War, and television personalities like Madonna, Dienst produces a remarkable range of insights on the character of the medium and on the theories that have been affected by it. From the earliest theorists who viewed television as a new metaphor for a global whole, a liberal technology empty of ideological or any other content, through those who saw it as a tool for consumption, making time a commodity, to those who sense television's threat to being and its intimate relation to power, Dienst exposes the rich pattern of television's influence on philosophy, and hence on the deepest levels of contemporary experience. A book of theory, Still Life in Real Time will compel the attention of all those with an interest in the nature of the ever present, ever shifting medium and its role in the thinking that marks our time.

A neglected genre that promises to shed light on the culture of consumption appears in the form of the daytime television game shows whose hegemonic message seems to convey and to justify a widespread obeisance to the mandate of materialism. A close analysis of the longest running game show, "The Price Is Right," suggests that all facets of this program combine to reinforce its central meaning as a ritualistic validation of consumption-oriented greed.

On 2 November 1936 the world's first high definition television station was inaugurated at Alexandra Palace. Two competing companies, Marconi-EMI Television Company Ltd and Baird Television Ltd, provided studio and transmitting equipment for the new service which operated, on an alternate basis, with the systems of the two companies. After a trial period the 405-line system of the Marconi-EMI company was adopted and the last transmission by the 240-line system of Baird Television Ltd was sent out on 30 January 1937. This book is concerned with the history of British television for home reception from 1922/23 to 1939, when the London Station closed down for the war years. Great care has been taken to ensure that an unbiased, accurate history has been written and the work is based predominantly on written primary source material. More than 900 references are given in the text, which is illustrated with many photographs and illustrations. An endeavour has been made to present a balanced history rather than a purely technical history. Thus the book considers the factors - technical, financial and general - which led to the establishment of the world's first, all-electronic, public, regular, high definition television broadcasting service.

'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 identifies, documents, and analyzes the major dimensions of U.S. prime-time TV content. By exmining fictional TV series run in prime-time and on Saturday mornings over three seasons, the author and his research team have put together a fascinating study of American society according to television.

In this study of the laws and policies associated with commercial radio and television, the author reverses the usual take on broadcasting and markets by showing that government regulation creates rather than intervenes in the market. Analyzing the processes by which commercial media are organized, Streeter asks how it is possible to take the practice of broadcasting - the reproduction of disembodied sounds and pictures for dissemination to vast unseen audiences - and constitute it as something that can be bought, owned and sold. With a command of broadcast history, as well as critical and cultural studies of the media, Streeter shows that liberal marketplace principles - ideas of individuality, property, public interest and markets - have come into contradiction with themselves. Commercial broadcasting is dependent on government privileges, and Streeter provides a critique of the political choices of corporate liberalism that shape the landscape of cultural property and electronic intangibles.

The broadcasting industry's trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues. Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry's trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

The 1980s saw the rise of Ronald Reagan and the New Right in American politics, the popularity of programs such as "thirtysomething" and "Dynasty" on network television, and the increasingly widespread use of VCRs, cable TV, and remote control in American living rooms. In "Seeing Through the Eighties," Jane Feuer critically examines this most aesthetically complex and politically significant period in the history of American television in the context of the prevailing conservative ideological climate. With wit, humor, and an undisguised appreciation of TV, she demonstrates the richness of this often-slighted medium as a source of significance for cultural criticism and delivers a compelling decade-defining analysis of our most recent past.
With a cast of characters including Michael, Hope, Elliot, Nancy, Melissa, and Gary; Alexis, Krystle, Blake, and all the other Carringtons; not to mention Maddie and David; even Crockett and Tubbs, Feuer smoothly blends close readings of well-known programs and analysis of television's commercial apparatus with a thorough-going theoretical perspective engaged with the work of Baudrillard, Fiske, and others. Her comparative look at Yuppie TV, Prime Time Soaps, and made-for-TV-movie Trauma Dramas reveals the contradictions and tensions at work in much prime-time programming and in the frustrations of the American popular consciousness. "Seeing Through the Eighties" also addresses the increased commodification of both the producers and consumers of television as a result of technological innovations and the introduction of new marketing techniques. Claiming a close relationship between television and the cultures that create and view it, Jane Feuer sees the eighties through televison while seeing through television in every sense of the word.

Discusses how "new new media" are transforming our culture Facebook, Twitter, YouTube, Wikipedia, Foursquare, blogging ... these and other "new new media" are used by hundreds of millions worldwide and are transforming just about every aspect of our culture from the way we elect presidents to how we watch television. New New Media details the benefits, opportunities, and dangers of these transformations. New new media, as opposed to the traditional "new media" of email and websites, allow and encourage all consumers to become producers, readers to become writers and publishers, viewers to become performers - and have engendered such worldwide movements as The Arab Spring, The Tea Party, and Occupy Wall Street. This catalytic feature of contemporary media prompts an entirely new look at how mass media, culture, and industry are undergoing the most profound changes since the advent of the alphabet and the printing press. Learning Goals Upon completing this book, readers will be able to: Discuss the impact new new media have on our society Understand the mechanics of Twitter, YouTube, Facebook, Wikipedia and other types of new new media Discover the newest new media - Foursquare, Pinterest, WikiLeaks, Anonymous, Goggle+ Note: MySearchLab does not come automatically packaged with this text. To purchase MySearchLab, please visit: www.mysearchlab.com or you can purchase a valuepack of the text + MySearchLab (at no additional cost): ValuePack ISBN-10: 0134085663 / ValuePack ISBN-13: 9780134085661

Similar to the CBC and BBC, the Broadcasting Corporation of Newfoundland was a public broadcaster that was at the centre of a cultural and political change from 1939 to 1949, during which Newfoundland faced wartime challenges and engaged in a constitutional debate about whether to become integrated into Canada. The Voice of Newfoundland studies these changes by taking a close look at the Broadcasting Corporation of Newfoundland's radio programming and the responses of their listeners.

Making excellent use of program recordings, scripts, and letters from listeners, as well as government and corporate archives, Jeff A. Webb examines several innovative programs that responded to the challenges of the Great Depression and Second World War. Webb explores the roles that radio played in society and culture during a vibrant and pivotal time in Newfoundland's history, and demonstrates how the broadcaster's decision to air political debates was pivotal in Newfoundlanders's decision to join Canada and to become part of North American consumer society.

An engaging study rich in details of some of twentieth-century Newfoundland's most fascinating figures, The Voice of Newfoundland is a remarkable history of its politics and culture and an important analysis of the influence of the media and the participation of listeners.

A guide to the nature, purpose, and place of public service television within a multi-platform, multichannel ecology. Television is on the verge of both decline and rebirth. Vast technological change has brought about financial uncertainty as well as new creative possibilities for producers, distributors, and viewers. This volume from Goldsmiths Press examines not only the unexpected resilience of TV as cultural pastime and aesthetic practice but also the prospects for public service television in a digital, multichannel ecology. The proliferation of platforms from Amazon and Netflix to YouTube and the vlogosphere means intense competition for audiences traditionally dominated by legacy broadcasters. Public service broadcasters-whether the BBC, the German ARD, or the Canadian Broadcasting Corporation-are particularly vulnerable to this volatility. Born in the more stable political and cultural conditions of the twentieth century, they face a range of pressures on their revenue, their remits, and indeed their very futures. This book reflects on the issues raised in Lord Puttnam's 2016 Public Service TV Inquiry Report, with contributions from leading broadcasters, academics, and regulators. With resonance for students, professionals, and consumers with a stake in British media, it serves both as historical record and as a look at the future of television in an on-demand age. Contributors include Tess Alps, Patrick Barwise, James Bennett, Georgie Born, Natasha Cox, Gunn Enli, Des Freedman, Vana Goblot, David Hendy, Jennifer Holt, Amanda D. Lotz, Sarita Malik, Matthew Powers, Lord Puttnam, Trine Syvertsen, Jon Thoday, Mark Thompson

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.

During the latter half of the 1980s and throughout the 1990s, television talk shows, infotainment news, and screaming supermarket headlines became ubiquitous in America as the "tabloidization" of the nation's media took hold. In "Tabloid Culture" Kevin Glynn draws on diverse theoretical sources and an unprecedented range of electronic and print media in order to analyze important aspects and key debates that have emerged around this phenomenon.
Glynn begins by situating these media shifts within the context of Reaganism, which gave rise to distinctive ideological currents in society and led the socially and economically disenfranchised to access new forms of information via the exploding television industry. He then tackles specific daytime talk shows and tabloid newscasts such as "Jerry Springer "and "A Current Affair, " reality-TV programs such as "Cops" and "America's Most Wanted," and two different supermarket tabloids' coverage of the O.J. Simpson case. "Tabloid Culture" is the first book to treat these diverse yet related media forms and events in tandem. Rejecting the elitist dismissal of sensationalist media, Glynn instead traces the cultural currents and countercurrents running through their forms and products. Locating both reactionary and oppositional meanings in these texts, he demonstrates how these particular media genres draw on and contribute to important cultural struggles over the meanings of race, sexuality, gender, class, "normality," "truth," and "reality." The study ends by discussing how the growing use of the Internet provides an entirely new realm in which such material can circulate, distort, inform, and flourish.
This innovative and provocative study of contemporary mainstream media culture in the United States will be valuable to those interested in both print and television media, the cultural-political influence of the Reagan era, and American culture in general.