"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"

John Sinclair and Jospeh D. Straubhaar provide a comprehensive account of television production, distribution and reception in Spanish- and Portuguese-speaking Latin American countries, showing how Mexican and Brazilian programmes have dominated in the region, and placing regional output in the context of the global television industry.

The rise of right-wing broadcasting during the Cold War has been mostly forgotten today. But in the 1950s and '60s you could turn on your radio any time of the day and listen to diatribes against communism, civil rights, the United Nations, fluoridation, federal income tax, Social Security, or JFK, as well as hosannas praising Barry Goldwater and Jesus Christ. Half a century before the rise of Rush Limbaugh and Glenn Beck, these broadcasters bucked the FCC's public interest mandate and created an alternate universe of right-wing political coverage, anticommunist sermons, and pro-business bluster. A lively look back at this formative era, "What's Fair on the Air? "charts the rise and fall of four of the most prominent right-wing broadcasters: H. L. Hunt, Dan Smoot, Carl McIntire, and Billy James Hargis. By the 1970s, all four had been hamstrung by the Internal Revenue Service, the FCC's Fairness Doctrine, and the rise of a more effective conservative movement. But before losing their battle for the airwaves, Heather Hendershot reveals, they purveyed ideological notions that would eventually triumph, creating a potent brew of religion, politics, and dedication to free-market economics that paved the way for the rise of Ronald Reagan, the Moral Majority, Fox News, and the Tea Party.

Television is now a major area of study. This text is the first to outline the theories and approaches to the study of the medium in a systematic form for students. Written by leading international figures and including over twenty contributors, the book provides an accessible introduction to the subject's central debates, issues, and concerns. The book is divided into four sections--Forms of Knowledge, Audiences, Gender, and Race--and discusses many television shows including "Star Trek, Kung Fu, Buffy the Vampire Slayer, Xena the Warrior Princess, Sesame Street, "and Australian soaps.
The book's central analysis is supported by in-depth sidebars and discussions of key debates in the field of television studies. Fully illustrated, it includes selected reading guides and full bibliographies for students at all levels. "Television Studies "will become an essential and authoritative guide to understanding this increasingly important and popular field of study.

Bob Horton began his journalism career as a reporter for the Lubbock Avalanche Journal. Innate skill and good fortune took him from a modest Texas farm upbringing to Washington, DC, where he was thrown into the high-pressure world of the wire service, first as a correspondent for the Associated Press, and later for Reuters news agency. The stress was intense, but he found the rush to be intoxicating. From his early days covering the Dallas murder trial of Jack Ruby, through three colorful decades as a newsman, Horton often found himself witnessing history in the making. He covered the Pentagon during the early days of the Vietnam War, was on board a Navy ship in the Mediterranean awaiting Israel's expected attack on Egypt, was witness to the Watergate burglary trial, and attended a Beverly Hills church service with then President-elect Ronald Reagan and his wife Nancy. The success Horton enjoyed as a journalist mostly hid the dark side of his career: a gradual descent into alcoholism. Of Bulletins and Booze candidly recounts the unforgettable moments of Horton's career, as well as more than a few moments he would just as soon forget.

The Aesthetics of Nostalgia TV explores the aesthetic politics of nostalgia for 1950s and 60s America on contemporary television. Specifically, it looks at how nostalgic TV production design shapes and is shaped by larger historical discourses on gender and technological change, and America's perceived decline as a global power. Alex Bevan argues that the aesthetics of nostalgic TV tell stories of their own about historical decline and progress, and the place of the baby boomer television suburb in American national memory. She contests theories on nostalgia that see it as stagnating, regressive, or a reversion to outdated gender and racial politics, and the technophobic longing for a bygone era; and, instead, argues nostalgia is an important form of historical memory and vehicle for negotiating periods of historical transition. The book addresses how and why the shows construct the boomer era as a placeholder for gender, racial, technological, and declensionist discourses of the present. The book uses Mad Men (AMC, 2007-2015), Ugly Betty (ABC, 2006-2010), Desperate Housewives (ABC, 2004-2012), and film remakes of 1950s and 60s family sitcoms as primary case studies.

This book makes a persuasive argument that the licence fee is no longer the right way to raise revenue for the BBC. While there was a case for this model when the only way to watch the BBC was through the ownership of a television, and there was no way to prevent anyone who owned a television from watching the BBC, technological developments have demolished this argument. Millennials consume more and more of their broadcast media through a tablet, computer or phone. Yet, non-payment of the licence fee now accounts for 10 per cent of all criminal convictions in the UK, so we may soon be in the invidious position where a majority of young people watch BBC programmes through devices that are not taxed, while older people who own a television but watch only ITV or Sky Sports are taxed and, in the case of non-compliance, subject to arrest. Those who support the continuation of the licence fee often do so using two arguments: that the BBC is vital for producing what has become known as 'public service broadcasting', and that the BBC produces news that is non-partisan together with unbiased coverage of current affairs.The authors of this book challenge both of these arguments and show that there are various ways in which the BBC could be made independent of the state and/or of compulsory funding.

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.

Digital Broadcasting presents an introduction to how the classic notion of 'broadcasting' has evolved and is being reinterpreted in an age of digitization and convergence. The book argues that 'digital broadcasting' is not a contradiction in terms, but-on the contrary-both terms presuppose and need each other. Drawing upon an interdisciplinary and international field of research and theory, it looks at current developments in television and radio broadcasting on the level of regulation and policy, industries and economics, production and content, and audience and consumption practices.

"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.

Nearly everyone is familiar with Lucille Ball's work on screen, but few realize her influence behind the scenes. Fewer still are aware that Judith Waller developed television's first all-education children's show, "Ding Dong School."

Since its beginnings television has been heavily influenced by women, but their contributions are sometimes missing from histories of the medium. In this work, the lives and careers of 15 television broadcasting pioneers (Mildred Freed Alberg, Ball, Gertrude Berg, Peggy Charren, Joan Ganz Cooney, Faye Emerson, Pauline Frederick, Dorothy Fuldheim, Betty Furness, Frieda Hennock, Lucy Jarvis, Ida Lupino, Irna Phillips, Waller, and Betty White) are covered. The focus is on their work in the medium, but there is also discussion of the obstacles they were forced to overcome to reach positions of influence in the industry.

"This book analyses issues of the internet and mass media in a rapidly changing environment. It covers a wide range of fundamentals which will be in effect for a longer time, and reflects the benefits of international and interdisciplinary collaboration." - Heinz-Werner Nienstedt, President, European Media Management Education Association "This excellent book will be of great use to researchers, teachers and students interested in the relationship between the Internet and the mass media and it offers an invaluable contribution to the literature. The overall picture that emerges from this book is one that is very balanced, stressing both the radical potential of the internet and the ways in which the various media sectors have experienced the impact differently." - Colin Sparks, University of Westminster What impact has the Internet really had on the media industries? What new regulatory policies and business models are driven by the Internet? And what are the effects of the Internet on how we produce, access and consume music, film, television and other media content? After an initial flurry of analysis and prediction of the future of the dot com boom, this is the first book to review the developments of the first Internet era and investigate its actual outcomes. Bringing together sophisticated analyses from leading scholars in the field, The Internet and the Mass Media explores the far-reaching implications of the Internet from economic, regulatory, strategic and organizational perspectives. This cross-disciplinary, international view is essential for a rich, nuanced understanding of the many technological, economic, and social changes the Internet has brought to the way we live and work.

In Waves of Opposition, Elizabeth Fones-Wolf describes and analyzes the battles over the powerful new medium of radio, which helped spark the massive upsurge of organized labor during the Depression. She demonstrates its importance as a weapon in an ideological war between labor and business, where corporations used radio to sing the praises of individualism and consumerism, while unions emphasized equal rights, industrial democracy, and social justice. Organized chronologically, the work explores the advent of local labor radio stations such as WCFL and WEVD, labor's anti-censorship campaigns, and unionist experiments with early FM broadcasting, Through extensive use of business and union archives, as well as broadcasting industry records, Fones-Wolf demonstrates how radio became a key component of organized labor's efforts to contest businesses' domination of political discourse throughout the thirties, forties, and fifties. Waves of Opposition concludes by claiming that labor's virtual disappearance from American media today helps explain in part why unions have become so marginalized and offers important historical lessons to those seeking to revitalize organized labor.

Silvio Berlusconi, a self-made man with a taste for luxurious living, owner of a huge television empire and the politician who likened a German MEP to a Nazi concentration camp guard-small wonder that much of democratic Europe and America has responded with considerable dismay and disdain to his governance of Italy. Paul Ginsborg, contemporary Italy's foremost historian, explains here why we should take Berlusconi seriously. His new book combines historical narrative-Berlusconi's childhood in the dynamic and paternalist Milanese bourgeoisie, his strict religious schooling, a working life which has encompassed crooning, large construction projects and the creation of a commercial television empire-with careful analysis of Berlusconi's political development. While highlighting the particular italianita of Berlusconi's trajectory, Ginsborg also finds international tendencies, such as the distorted relationship between the media system and politics. Throughout, Ginsborg suggests that Berlusconi has gotten as far as he has thanks to the wide-open space left by the strategic weaknesses of modern left-wing politics.

This essential text provides a detailed account of the complex character of modern television. Covering issues ranging from television's historical development to its impact on culture and society in general, the text provides an insightful analysis of television's strengths and limitations. The book's scope and clarity make it an ideal text for all media students, as well as others, interested in the historical, cultural and social contexts of broadcasting.

'"How did a short bald, man with a speech impediment have such an impact?" How indeed? Like his life, "Inside Story" is a pacy romp. Honest and heartfelt, it should be required reading.' Observer On 28 January 2004, four years to the day after becoming a much-loved Director-General of the BBC, Greg Dyke left his post and entered the public eye after the publication of the Hutton Report. But Greg Dyke's story started long before he reached the BBC. Written off as a failure at school, unemployed at thirty, his big break came as a current affairs researcher at London Weekend Television in 1977. From there he rose through the ranks of independent television, becoming the person responsible for briefly saving TV-am, thanks to Roland Rat, before running LWT, Channel Four and Pearson Television. In his riveting and frank autobiography, Dyke charts his astonishing and unconventional rise to the top, his unwavering determination and courage in improving the BBC and his defiant stand against Downing Street's campaign of harassment. His autobiography is the story of a man of our times and of the power of television: entertaining, funny and explosively revealing.

This fascinating book explores the tensions behind the greatest era in BBC radio broadcasting ? the Home Service. Despite evacuation, air-raids and the closure of the fledgling TV service, the BBC rose magnificently to the challenge of informing, entertaining and inspiring a nation at war.

The war years were to transform religious broadcasting beyond recognition. Under the persistent and innovative James Welch, the BBC began to invent new formats and take large risks in trying to communicate Christian truth to a generation whose faith was on the rack of war. Out of this came the broadcast talks of CS Lewis and the first ever dramatic portrayal of Christ in Dorothy L Sayers? Man Born to be King.

The response to C S Lewis? first broadcast was so overwhelming that a second programme had to be arranged to answer listeners? questions. Lewis? hugely popular BBC talks were published as Mere Christianity and have been a classic ever since, selling over 11 million copies worldwide.

As a layman, Lewis? critics initially claimed that he was not qualified to talk on Christian matters. For Lewis this was all part of the challenge of reaching a new audience. But his initial enthusiasm for broadcasting waned as it began to interfere with his work at Oxford, and he turned down many of the BBC?s invitations to appear on the radio, including a chance to be on The Brains Trust, the Any Questions of its day.

This is a chapter in Lewis? life which has received very little attention from biographers and commentators, who have focussed on his achievements as a writer and academic. Yet C S Lewis? work on the radio made him a household name.

This book presents information on minority commercial radio and television ownership in the United States. It reviews the history of such ownership and the role of viewpoint diversity in a changing industry. It also continues the data collection efforts, examining the current status of minority commercial broadcast ownership.

In transcending territorial boundaries, satellite television has the potential to liberate viewers from government controls on national media. Why is this potential liberation yet to be fully realized in the Middle East? This dynamic book explores the development through the 1990s into the 21st century of cross-border television in the Middle East, exploring issues at the heart of the international political economy of communication. With much attention currently focused on media reform in the Middle East, this is a timely book, relevant to Media and Communications Studies, Middle Eastern Studies and international relations.