New Media and Popular Imagination offers a highly original account of the ways in which successive media of electronic communication - radio, television, and digital media - have been anticipated, debated, and taken up in the twentieth-century United States. Intended as an intervention in the emerging scholarly and policy debates around contemporary digital culture, the book analyses popular responses to earlier moments of technological innovation in the twentieth-century. Successive electronic media have challenged the borders between private and public, disturbed notions of national identity, and disrupted the gendered routines and spaces of the private home. Illuminating both the continuities and disjunctions between old media and new, New Media and Popular Imagination offers new insights into the relationship between technological change and cultural form.

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.

Made Possible By... is an engrossing history of public broadcasting, from its initial idealist attempt to reshape the vast wasteland of television, to its current lamentable state-safe, consistently mediocre, and as dependent on corporate financing as its commercial counterparts.

Like its companion volume, Telecommunications in Europe, this book deals with the evolution of powerful monopoly institutions in the communications field--the public broadcasters--and the dramatic changes that took place in the late 1980s throughout Europe, and transformed the media landscape. It provides a comprehensive view of European broadcasting systems, using the perspective of economics and policy analysis. The introductory part offers a framework for understanding media and the forces of change affecting them. The main section is a unique series of chapters covering the broadcast and cable television systems of almost thirty European countries.

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.

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.

'...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.

From AM radio to color television, broadcasting raised enormous practical and policy problems in the United States, especially in relation to the federal government's role in licensing and regulation. How did technological change, corporate interest, and political pressures bring about the world that station owners work within today (and that tuned-in consumers make profitable)? In " Radio and Television Regulation, " Hugh R. Slotten examines the choices that confronted federal agencies--first the Department of Commerce, then the Federal Radio Commission in 1927, and seven years later the Federal Communications Commission--and shows the impact of their decisions on developing technologies.

Slotten analyzes the policy debates that emerged when the public implications of AM and FM radio and black-and-white and color television first became apparent. His discussion of the early years of radio examines powerful personalities--including navy secretary Josephus Daniels and commerce secretary Herbert Hoover--who maneuvered for government control of "the wireless." He then considers fierce competition among companies such as Westinghouse, GE, and RCA, which quickly grasped the commercial promise of radio and later of television and struggled for technological edge and market advantage. Analyzing the complex interplay of the factors forming public policy for radio and television broadcasting, and taking into account the ideological traditions that framed these controversies, Slotten sheds light on the rise of the regulatory state. In an epilogue he discusses his findings in terms of contemporary debates over high-resolution TV.

The award-winning journalist reflects on the path that has led him from The New York Times, to CBS News, and, ultimately, back home to Nashville, through Watergate and the Pentagon Papers to an era in which infotainment and happy talk dominate the news.

Drawings by the author

Here is a gift for the thousands of devoted listeners who made Jerome Stern one of the best-loved commentators on National Public Radio.

For over a decadefirst locally and then nationwide, Jerome Stern delighted audiences with the wry, astute mini-essays he called Radios. "You gave great pleasure to my ears," one fan wrote after tuning in en route to work. "More therapeutic than a round on the Stairmaster," another maintained.

Nothing was too large or too small to engage Jerome Stern's interest. Along with the mysteries of the universe, he wrote about kids vs. adults, the moods of teachers, and summer camp. He wrote about chocolate, the anxieties of plane travel, and the night fantasies of husbands. And in a suite called "Patient," broadcast for a week on "All Things Considered," he considered his own experience of illness. All in all, these pieces, whether cautioning or celebrating or simply turning over ideas (to see what makes them tick), add up to a freewheeling autobiography of a man who was curious about everything. Now, with this book, readers and listeners can recapture his words and the familiar musing voice.

Jerome Stern was director of the writing program at Florida State in Tallahassee. He was a, writer, scholar, editor, and teacher, and was the author of Making Shapely Fiction (a book about writing) and the editor of Micro Fiction: An Anthology of Really Short Stories, both published by Norton. Upon his death in March 1996, he was proclaimed "a national treasure."

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.

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.

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.

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.

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.

"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.

After extensive research and interviews, authors Sally and Rob Rains have gathered a treasury of stories and memories of 292 people who have worked at KMOX in its colorful and storied 75 years, presenting an entertaining and insightful oral history of what many experts and listeners agree is the best radio station in the country.

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.