"This is not another turgid guide to digital editing, writing for radio and the structure of a newsroom team. It is an ambitious and accessible study that combines a succinct narrative history of radio journalism with an analysis of its power in the public sphere. It describes the development of British audio broadcasting before locating it in an international context and contemplating the contours of the convergent future. Such ambition is often the prelude to failure. Instead, Starkey and Crisell have written a precious introduction to the theory, practice and purposes of radio journalism that will be very useful to serious students of the subject... This is a very good book." - THE (Times Higher Education) Radio Journalism introduduces key themes in journalism studies to explore what makes radio reporting distinctive and lay out the claims for radio's critical importance in the news landscape. With their extensive experience in radio production and academica, authors Guy Starkey and Andrew Crisell take readers on a tour through the past, present and future of radio broadcasting, from the infancy of the BBC in the 1920s up to the prospect of rolling news delivered to mobile telephones. Grounding each chapter in a survey of scholarly writing on the radio, they explore the connections between politics, policy and practice, inviting critical reflection on who radio professionals are, what they do and why. Putting theory and practice into dialogue, this book is the perfect bridge between unreflective production manuals and generalised media theory texts. Witty and engaging, Radio Journalism provides an essential framework for understanding the continuing relevance of radio journalism as a profession, set of practices and arena for critical debate.

"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.

Uncommon answers to common questions about TV
'Is TV dumbing us down?', 'what is a precinct drama?', 'why does all TV look the same?', 'has TV changed politics?', 'who regulates TV', 'is TV finished?' Viewers and students of TV have a healthy curiosity about the medium and ask all sorts of general questions about it, but you have to look hard to find the answers. 'TV FAQs' does what it says on the cover: it answers just about everything you've always wanted to know about Television, in witty and highly informative form and is written by a leading TV writer, thinker, educator and long-term producer.
Starting with commonly asked questions - factual, technical, ethical, content-based, controversial, plain cheeky - 'TV FAQ' crisply answers them and outlines comprehensive and often novel arguments replying to the issues raised and the concerns that motivate them. Each entry contains examples, ranging from a detailed deconstruction of an episode of 'NYPD Blue', to the way that audience statistics are produced, and how television gains (and sometimes forfeits) our trust. Answers can be read down, across - with links between entries - or dipped into as required.
'TV FAQ' will make you a fully informed and knowledgable, entertained and argumentative TV expert.

In November 2007, Channel 4 will be twenty-five years old. Today, such TV events as the 'Big Brother/Jade Goody Affair' have put the channel itself at the centre of public debate. Yet during its foundation years on British screens, Channel 4 was seen as more controversial and dangerous than this. Published for Channel 4's 25th anniversary, this book explores the channel's most important foundation period, under its inspirational first Chief Executive, Jeremy Isaacs. Charged by Parliament to be innovative, experimental, and educational, the new channel had to attract audiences and make a space for new voices. Did it fulfill its brief? It also assesses the legacy of the channel and asks: has it changed the nature of British television, and has the enfant terrible grown up, or is it still a youthful rebel?Dorothy Hobson had unique access to Channel 4 and the team involved in developing it, the ITV companies and fledgling independent producers over its foundation years. Accessibly written, her book uses the words and stories of those involved, and vividly reviews the new channel's successes, problems, adversities, as well as audiences' and press responses to television's new baby and its programmes.

Internet TV is the quintessential digital convergence medium, linking television, telecommunications, the Internet, computer applications, games, and more. Soon, venturing beyond the convenience of viewer choice and control, Internet TV will enable and encourage new types of entertainment, education, and games that take advantage of the Internet's interactive capabilities. What Internet TV is today and can be in the future forms the context for this book.
Arising from collaboration between the Columbia Institute for Tele-Information (CITI) and the European Institute for the Media (EIM), this volume investigates the advent of widely available individual broadband Internet communications and their impact on the development of Internet TV. Editors Eli Noam, Jo Groebel, and Darcy Gerbarg have collected seminal papers by leaders from the U.S. and European media and technology industries that offer a critical look at the impact of interactivity on television content, and address the need for media organizations to create interactive programming in this untapped realm with unclear consumer interest and desires.
Each section of the volume fleshes out key issues and concepts of television and the Internet:
*Part I, "Infrastructure Implications of Internet TV," discusses questions about the required network capacity for various quality grades to deliver individualized broadband to homes.
*Part II, "Network Business Models and Strategies," addresses the business challenges of making Internet TV a financial success.
*Part III, "Policy," examines policy issues, including copyright and regulation.
*Part IV, "Content and Culture," reviews available content, thosecreating it, and how consumers view Internet TV content.
*Part V, "Future Impacts," considers future global prospects for Internet TV content creation and distribution.
"Internet Television" is an essential resource for professionals and scholars in new technology and media studies, media policy, telecommunication, broadcasting, and related areas. It is also appropriate for graduate seminars in telecommunications, media and new technologies, and broadcasting and the Internet.

After a half-century of glacial creep, television technology has begun to change at the same dizzying pace as computer software. What this will mean--for television, for computers, and for the popular culture where these video media reign supreme--is the subject of this timely book. A noted communications economist, Bruce Owen supplies the essential background: a grasp of the economic history of the television industry and of the effects of technology and government regulation on its organization. He also explores recent developments associated with the growth of the Internet. With this history as a basis, his book allows readers to peer into the future--at the likely effects of television and the Internet on each other, for instance, and at the possibility of a convergence of the TV set, computer, and telephone. The digital world that Owen shows us is one in which communication titans jockey to survive what Joseph Schumpeter called the "gales of creative destruction." While the rest of us simply struggle to follow the new moves, believing that technology will settle the outcome, Owen warns us that this is a game in which Washington regulators and media hyperbole figure as broadly as innovation and investment. His book explains the game as one involving interactions among all the players, including consumers and advertisers, each with a particular goal. And he discusses the economic principles that govern this game and that can serve as powerful predictive tools.

Between the late 1970s and the early 1990s the U.S. television industry transformed from a heavily regulated business to a highly competitive one, with new networks, technologies, and markets. Video Economics addresses the major issues affecting competitive advantage in the industry, including sequential program release strategies known as windowing, competition among program producers, the economics of networking, cable television, scheduling strategies, and high definition television (HDTV). The authors present the economic tools required to analyze the industry as they take up each new topic. This book will be of particular interest to students of the mass media, communication policy officials, communication lawyers and consultants, and media and advertising executives.

'...the book is recommended and should be read by every member of the IRTC. Those working in radio will also find it rewarding.' - Playback

This book traces the history of television journalism in Britain from its austere roots in the BBC's post-war monopoly to the present-day plethora of 24 hour channels and celebrity presenters. It asks why a medium whose thirst for pictures, personalities and drama make it, some believe, intrinsically unsuitable for serious journalism should remain in the internet age the most influential purveyor of news.

Barnett compares the two very different trajectories of television journalism in Britain and the US arguing that from the outset a rigorous statutory and regulatory framework rooted in a belief about the democratic value of the medium created and sustained a culture of serious, responsible, accurate and interrogative journalism in British television. The book's overarching thesis is that, despite a very different set of historical, regulatory and institutional practices, there is a very real danger that Britain is now heading down the same road as America. As a result, Britsh public life will be diminished.

In the late 1960s, the cinema was pronounced dead. Television, like a Biblical Cain had slain his brother Abel, bewitching the mass audience and provoking an exodus - from the cinemas to the living room. Some 30 years later, a remarkable reversal: rarely has the cinema been more popular, as inner-city multiplexes record rising attendances. And yet, rarely has the cinema's future seemed more uncertain. 70-80 per cent of all films shown on commercial screens come from Hollywood, launched with publicity campaigns costing more than the total budget of most European films. Television, the independent cinema's chief financier for the past decades, cannot match these investments, not can it compete, even if it wanted to, with the barrage of special effects. The New Media, virtual images, the relentless digitization of reality, it is argued, are responsible for the global concentration of production, which in turn leads to the global uniformity of the products. Just as Cain and Abel are about to bury their differences, then along comes Cable to resolve them both into mere myriads of pixels. Beyond the hyperbole and the metaphors, "Cinema Futures: Cain, Abel or Cable?" presents an argument about predictions that tend to be made when new technologies appear. Television did not swallow radio, just as it did not replace the cinema. Yet each new technological medium has certainly changed the place of the others in society and affected their function. What do these precedents tell us about the future of the cinema in the digital age, or rather for the future of the "experience cinema", as it redefines itself in the home and in public? The authors of this book are realistic in their estimate of the future of cinema's distinctive identity, and optimistic that the different social needs audiences bring to the media will ensure their distinctiveness. The book also contains case studies, and should be useful to anyone interested in a better understanding of the changes facing the worlds of sound and vision.

This text surveys the field of modern electronic media and beyond. Beyond, more than a word in the title, refers to the new technologies, regulations, programming, and competition that affect our world and the broadcasting industry. The authors of Broadcasting, Cable, the Internet and Beyond have three main goals for every edition: 1) to convey the excitement of the industry, 2) to provide a survey of the industry, and 3) presenting a readable text that makes even the most difficult information understandable. With new information and innovations added to an already strong foundation, this edition achieves each of these goals, again.

"Allow me to say that the exhaustiveness of your research is dazzling". -- Jean Stapleton, Actress

New Volume This popular series brings you extensive biographical and career information on more than 6,600 professionals currently working in the entertainment industry, including performers, choreographers, directors, technicians, writers, composers, producers, executives, designers, critics and more. Recent biographees include:
-- Jennifer Aniston
-- Morgan Freeman
-- Janeane Garofalo
-- Ang Lee
-- Tim Robbins
-- Lea Salonga
-- And many, many others

Contemporary Theatre, Film Television includes birth dates, parental and marriage information, education data (including professional training), political and religious affiliations and military service -- plus, details on writings, recordings, awards and nominations and memberships.

In print for more than seven decades as Broadcasting Yearbook and more recently, Broadcasting & Cable Yearbook, this directory has been the go-to source for station data and industry contacts in the US and Canadian television, radio and cable marketplace.

A collection of essays by leading media professionals and academics, which debates the past, present and future of British television drama. Writers, producers and television executives reflect on the changing face of TV drama, and academics present case studies on critical approaches, general topics and specific programmes.

"Are radio pirates plundering and hijacking the airwaves from their rightful state".

The first book to document and emphasize the myriad voices of the free radio movement, from Black Liberation Radio in Springfield, Illinois, to Free Radio Berkeley in Berkeley, California. The first section includes contributions from Robert McChesney on the political economy of radio in North America and a history and analysis of the burgeoning pirate radio movement. The second section includes interviews with and commentary by some of the key grass roots participants in micropower broadcasting worldwide -- from Canada, Holland, Haiti and Mexico, as well as America. The final section of the book consists of a comprehensive technical guide and how-to manual for going on the air, complete with schematics and "sound" advice.

An interdisciplinary approach to the complexities of media law This critical study of intellectual property in the new media environment highlights the ways in which issues of intellectual property are driving the contemporary media economy, from disputes over downloading music from the Internet to negotiations over David Beckham's image rights. Taking an interdisciplinary approach, the book provides the media student with a clear understanding of how intellectual property laws shape and are shaped by the needs of the media industry. As Richard Haynes demonstrates, the media industry exploits copyright and trademarks in new and seemingly boundless ways whether it's the blockbuster movie Harry Potter or successful children's television programme Bob the Builder. Through case studies, chapter-by-chapter exercises, further reading and selected Internet links Media Rights and Intellectual Property fills the need for a clear and concise guide for the media student not versed in the finer details of media law. rights to the media industry The impact of digitalisation on the protection of copyright The response of the music industry to digital distribution and copyright piracy The strategic decisions of broadcasters to acquire sports rights The importance of tertiary rights and their role in the television marketplace The emergence of celebrity image rights Issues of copyright and the Internet.

ONLY CONNECT is a comprehensive history of American broadcasting from its earliest days in radio, through the rise of television, to the current era of digital media and the Internet. It presents broadcasting as a vital component of American cultural identity, placing the development of U.S. radio, television, and new media in the context of social and cultural change. Each chapter opens with a discussion of the historical period, thoroughly traces the development of media policy, the growth of media industries, and the history of U.S. broadcast programming, and closes with a look at the major ways that radio and television have been understood and discussed throughout American history.

Jeremy Maggs has been a journalist and a television and radio presenter for over 30 years, with a front-row seat to major news events in the run-up to and during the birth of South Africa’s democracy and beyond. He was also the host of the hugely successful television show, Who Wants to Be a Millionaire?, and so became a household name.

He has worked with some of the country’s most respected journalists, interviewed many famous people from around the world, and been at the forefront of developments as the craft morphed into a social media hydra. From Nelson Mandela’s release from prison to his death in 2013, and throughout the many political and news events that have gripped South Africans, Jeremy has been in the thick of the newsrooms that covered the stories.

Written in an engaging and self-deprecating style, this book is an unexpectedly funny and candid, behind-the-scenes account of what was unfolding in those newsrooms as the stories broke, peppered with anecdotes around those involved in making those stories happen.