The Global News Challenge tackles one of the timeliest topics in mass communication today-the challenges facing international broadcasters with universal branding strategies in developing countries. In these heavily government-controlled media environments with a scarcity of reliable information, international news providers traditionally had an influential position. With the ongoing media liberalization, however, commercial domestic providers have gained in strength to become strong competitors. Additionally, in a number of countries, pan-Arab broadcasting enterprises have widened their reach, contributing to the growing competition for traditional international providers such as the BBC or France 24. This book employs a global perspective to explore the subject across the whole population and different media platforms in select developing markets of Africa and South Asia. It is unique in providing a theoretical framework by which to analyze demand and usage of and trust in news from international broadcasters across the whole population, not just opinion leaders. It outlines the strategic options for international broadcasters in these evolving market contexts.

'Essential reading.' - ESQUIRE 'Both absorbing and highly illuminating' - THE BOOKSELLER 'No one understands the intricacies of YouTube like Chris Stokel-Walker' - THE ATLANTIC Two billion people watch YouTube and it reaches deep into everyday lives. Its creators start new trends, popularise new songs and games and make and break new products. Yet while they are famous to billions of mostly young people, they mostly remain a mystery to the general public and mainstream media. What is the secret of their appeal? How do they cope with being in front of the lens - and who is behind their success? More than 100 insiders spoke candidly to teach journalist Chris Stokel-Walker for this first in-depth independent book on YouTube. YouTubers is the only book you need to understand YouTube, its ownership by Google, its deal for stars and its ecosystem of talent managers, advertisers and marketers. It is a richly-layered deep dive into YouTube brimming with lively characters, engaging facts, and influencer case studies. It is an ideal guide for any media studies students, advertisers, brand managers and business people who need to understand YouTube professionally. And for any non-fiction reader interested in a gripping business and technology saga dripping with big money, ruthlessness, determination and ambition. YouTubers starts by charting the platform's launch in a boring 19-second video of the elephant enclosure at San Diego Zoo - which has now had 242 million views. YouTubers then moves onto the first oddball videos before the site found success by showing comedy clips from the TV show Saturday Night Live. YouTubers reveals how YouTube saw off its emerging rivals in the online video battle of the 2000s and was bought by the search engine specialist Google. With Google's billions and boosted by smartphones, YouTube became the dominant video platform. Bloggers started to create engaging, fast-cut videos that capitalised on the intimate relationship between creator and user - a 'parasocial' relationship stronger than the bond between TV presenter and viewer. By ceaselessly urging their followers to tap the like, comment and subscribe buttons, these creators helped YouTube's rise to global domination. YouTubers speaks to YouTube stars KSI, Hank and John Green and delves into the lives of child star MattyB, the training camp for aspiring teenage bloggers, the YouTube stunts that go wrong and the increasing efforts of creators to earn money from Patreon. And it tackles the platform's Muslim extremism, red-pilling, and its content guidelines and censorship. YouTubers asks how YouTube can take on the threat from other big platforms such as Instagram and Facebook. In short, YouTubers tells the riveting story of the exponential growth of YouTube from single home video to global tech phenomenon. It is the only book you need on YouTube. Extract Introduction One spring afternoon Casey Neistat uploaded a video lasting five minutes and twenty-two seconds to YouTube. In the style of so many YouTubers, he looked straight into the camera and aired his opinion on a matter of importance. As the elder statesman on the platform, Neistat's words carry weight. He can make or break products and careers - and this video was no different. Seconds after he uploaded his video to YouTube via his superfast broadband at his creative headquarters in New York, it was available worldwide to four billion people: everyone on Earth with an internet connection. Millions of Neistat's subscribers instantly received a notification telling them that one of YouTube's most influential stars was again speaking directly to them. Across the world in apartment blocks, restaurants, bedrooms and bathrooms, phones pinged, buzzed and beeped. Hundreds of thousands of people instantly watched what Neistat had to say. Wearing dark glasses, his hair streaked blond, Neistat vented his frustration at the way the media was second-guessing the motivations of YouTubers... Buy the book to carry one reading

In this volume, psychologists and communication experts present theory on understanding and predicting how learning occurs through media consumption. As the impact of traditional advertising has declined over the last couple of decades, marketers have scrambled to find other ways to effectively communicate with consumers. Among other approaches, marketers have utilized various forms of product integration. Product integration is mixing a commercial message in with the non-commercial message via TV, movie, video, and other entertainment venues. This book will be of interest to students and researchers in psychology, marketing, communication, advertising, and consumer behavior.

Examining anew the notions of media imperialism and globalization of media, this book disrupts the generalised consensus in media scholarship that globalization of media has put an end to media imperialism. One elemental aspect of media imperialism is the structural dependency of television systems in the global South on the imperial North. Taking India and Pakistan as its case studies, this book views globalization of media as the unleashing of processes that have translated into the liberalization of air waves and privatization of television systems whereby commercialization of television is privileged over public interest television. Additionally, it argues that the globalization of media has contributed to corruption, tabloidization, and marginalization of subaltern classes in the Indian and Pakistani media.

Gain a thorough understanding of the nuanced and multidimensional role producers play in television and emerging media today to harness the creative, technical, interpersonal, and financial skills essential for success in this vibrant and challenging field. Producing for TV and New Media, Fourth edition is your guide to avoiding the obstacles and pitfalls commonly encountered by new and aspiring producers. This fourth edition has been updated to include: "Focus on Emerging Media" sections that highlight emerging media, web video, mobile format media and streaming media Sample production forms and contracts Review questions accompanying each interview and chapter Interviews with industry professionals that offer practical insight into cutting-edge developments in television and emerging media production Fresh analysis of emerging media technologies and streaming media markets Written especially for new and aspiring producers with an insight that simply cannot be found in any other book, this new edition of a text used by professors and professionals alike is an indispensable resource for anyone looking to find success as a television or emerging media producer.

This book both describes and criticizes the regulatory policies of the Federal Communications Commission (F.C.C.). If accepted, these criticisms would result in a comprehensive alteration of current F.C.C. policies.Originally published in 1971

Japan has developed what is arguably the most sophisticated and the most democratic broadcasting system in the world. The Great Kanto Earthquake of 1st September 1923, with its devastation and confusion drove home in its appalling way the importance of being able to broadcast immediate information to the public. The same year, the Ministry of Communications promptly established an administrative system to regulate broadcasting. In less than a decade over one million people were registered listeners. Under the post war Constitution of 1946 freedom of "speech and all other forms of expression" was guaranteed, and the subsequent Broadcast Law instituted a dual system of broadcasting with the public service Nippon Hoso Kyokai (NHK) on the one hand, and commercial and private broadcasting organizations on the other. In 1978 there were ninety-one television broadcasting organizations and fifty-one radio broadcasting organizations. In this informative study, Professor Ito and his team comprehensively describe the staggering growth of broadcasting in Japan from the dawn or radio and television to satellite communication and through to the multiplex broadcasting of the future.

This book is about the processes of globalization, demonstrated through a comparative study of three television case histories in Asia. Also illustrated are different approaches to providing television services in the world: public service (NHK in Japan), state (CCTV in China) and commercial (STAR TV, based in Hong Kong). Through its focus, Global Media addresses a considerable lacuna in the media studies literature, which tends to have a heavy Western bias. It provides an original addition to the literature on globalization, which is often abstract and anecdotal, in addition to making a major contribution to comparative research in Asia. Finally, it offers a thoughtful causal layered analysis, with a concluding argument in favor of public service television.

This book examines television culture in Russia under the government of Vladimir Putin. In recent years, the growing influx into Russian television of globally mediated genres and formats has coincided with a decline in media freedom and a ratcheting up of government control over the content style of television programmes. All three national channels (First, Russia, NTV) have fallen victim to Putin's power-obsessed regime. Journalists critical of his Chechnya policy have been subject to harassment and arrest; programmes courting political controversy, such as Savik Shuster's Freedom of Speech (Svoboda slova) have been taken off the air; coverage of national holidays like Victory Day has witnessed a return of Soviet-style bombast; and reporting on crises, such as the Beslan tragedy, is severely curtailed. The book demonstrates how broadcasters have been enlisted in support of a transparent effort to install a latter-day version of imperial pride in Russian military achievements at the centre of a national identity project over which, from the depths of the Kremlin, Putin's government exerts a form of remote control. However, central to the book's argument is the notion that because of the changes wrought upon Russian society after 1985, a blanket return to the totalitarianism of the Soviet media has, notwithstanding the tenor of much western reporting on the issue, not occurred. Despite the fact that television is nominally under state control, that control remains remote and less than wholly effective, as amply demonstrated in the audience research conducted for the book, and in analysis of contradictions at the textual level. Overall, this book provides a fascinating account of the role of television under President Putin, and will be of interest to all those wishing to understand contemporary Russian society.

From Edward R. Murrow to "Sixty Minutes" and CNN, the television news correspondent has become a fixture of American journalism in the latter half of the twentieth century. The correspondent's role has changed, however, as centralized control, changing technology, "infotainment," and profit margin have influenced the way that television networks operate and television news is reported.

In spite of the flood of literature dealing with the American television networks, the evening anchors, and prime-time personalities, little has been written about the "the foot soldier of network news." "Live from the Trenches" fills that gap, providing the first examination of television news correspondents and their work, with much of the analysis coming from the correspondents themselves.

The correspondents:
Jim Bittermann, a former ABC Paris correspondent, has been the CNN Paris correspondent since 1996. He received a National News Emmy for his coverage of the 1988 Sudan famine.
Chris Bury, correspondent for "Nightline" since 1993, has covered foreign and domestic stories from Waco to Whitewater.
Michael Murrie, after a dozen years in television news at KSDK in St. Louis, is an associate professor and director of the Telecommunications Master's Program for the Department of Radio-Television at Southern Illinois University at Carbondale.
Roger O'Neil, NBC News Denver bureau chief and correspondent since 1983, was the lead reporter for NBC during the Oklahoma City bombing trial of Timothy McVeigh.
Walter C. Rodgers, bureau chief and correspondent in Jerusalem, joined CNN in 1993 as the Berlin correspondent. Prior to joining CNN, he worked for ABC for twelve years.
Marlene Sanders broke barriers for women throughout her career and has won three Emmies. As a correspondent at ABC News in 1964, she was the first woman to anchor a prime-time network newscast.
George Strait is the primary ABC News correspondent for medical and health news. Among his many awards are the Alfred I. duPont Award and Gold Medal Award from the National Association of Black Journalists.
Ed Turner is CNN's first editor-at-large. Based in Washington, he represents the CNN News Group globally.
Garrick Utley joined CNN in 1997 after thirty years covering more than seventy countries for ABC.

This book explores the trade in television program formats, which is a crucially important ingredient in the globalisation of culture, in Asia. It examines how much traffic there is in program formats, the principal direction of flow of such traffic, and the economic and cultural significance of this trade for the territories involved, and for the region as a whole. It shows how new technology, deregulation, privatisation and economic recession have greatly intensified competition between broadcasters in Asia, as in other parts of the world, and discusses how this in turn has multiplied the incidence of television format remakes, with some countries developing dedicated format companies, and others becoming net importers and adapters of formats.

This book examines television culture in Russia under the government of Vladimir Putin. In recent years, the growing influx into Russian television of globally mediated genres and formats has coincided with a decline in media freedom and a ratcheting up of government control over the content style of television programmes. All three national channels (First, Russia, NTV) have fallen victim to Putin's power-obsessed regime. Journalists critical of his Chechnya policy have been subject to harassment and arrest; programmes courting political controversy, such as Savik Shuster's Freedom of Speech (Svoboda slova) have been taken off the air; coverage of national holidays like Victory Day has witnessed a return of Soviet-style bombast; and reporting on crises, such as the Beslan tragedy, is severely curtailed. The book demonstrates how broadcasters have been enlisted in support of a transparent effort to install a latter-day version of imperial pride in Russian military achievements at the centre of a national identity project over which, from the depths of the Kremlin, Putin's government exerts a form of remote control. However, central to the book's argument is the notion that because of the changes wrought upon Russian society after 1985, a blanket return to the totalitarianism of the Soviet media has, notwithstanding the tenor of much western reporting on the issue, not occurred. Despite the fact that television is nominally under state control, that control remains remote and less than wholly effective, as amply demonstrated in the audience research conducted for the book, and in analysis of contradictions at the textual level. Overall, this book provides a fascinating account of the role of television under President Putin, and will be of interest to all those wishing to understand contemporary Russian society.

This book examines the development of television in India since the early 1990s, and its implications for Indian society more widely. Until 1991, India possessed only a single state-owned television channel, but since then there has been a rapid expansion in independent satellite channels which came as a complete break from the statist control of the past. This book explores this transformation, explaining how television, a medium that developed in the industrial West, was adapted to suit Indian conditions, and in turn has altered Indian social practices, making possible new ways of imagining identities, conducting politics and engaging with the state. In particular, satellite television initially came to India as the representative of global capitalism but it was appropriated by Indian entrepreneurs and producers who Indianized it. Considering the full gamut of Indian television - from "national" networks in English and Hindi to the state of regional language networks this book elucidates the transformative impact of television on a range of important social practices, including politics and democracy, sport and identity formation, cinema and popular culture. Overall, it shows how the story of television in India is also the story of India's encounter with the forces of globalisation.

This book examines the development of television in India since the early 1990s, and its implications for Indian society more widely. Until 1991, India possessed only a single state-owned television channel, but since then there has been a rapid expansion in independent satellite channels which came as a complete break from the statist control of the past. This book explores this transformation, explaining how television, a medium that developed in the industrial West, was adapted to suit Indian conditions, and in turn has altered Indian social practices, making possible new ways of imagining identities, conducting politics and engaging with the state. In particular, satellite television initially came to India as the representative of global capitalism but it was appropriated by Indian entrepreneurs and producers who Indianized it. Considering the full gamut of Indian television - from "national" networks in English and Hindi to the state of regional language networks - this book elucidates the transformative impact of television on a range of important social practices, including politics and democracy, sport and identity formation, cinema and popular culture. Overall, it shows how the story of television in India is also the story of India's encounter with the forces of globalisation.

Over the last two decades Oprah Winfrey's journey has taken her from talk show queen to - as Time Magazine has asserted - "one of the most important figures in popular culture." Through her talk show, magazine, website, seminars, charity work, and public appearances, her influence in the social, economic, and political arenas of American life is considerable and until now, largely unexamined.. In "The Age of Oprah," media scholar and journalist Janice Peck traces Winfrey's growing cultural impact and illustrates the fascinating parallels between her road to fame and fortune and the political-economic rise of neoliberalism in this country. While seeking to understand Oprah's ascent to near iconic status that she enjoys today, Peck's book provides a fascinating window into the intersection of American politics and culture over the past quarter century.

Over the last two decades Oprah Winfrey's journey has taken her from talk show queen to - as Time Magazine has asserted - "one of the most important figures in popular culture." Through her talk show, magazine, website, seminars, charity work, and public appearances, her influence in the social, economic, and political arenas of American life is considerable and until now, largely unexamined.. In "The Age of Oprah," media scholar and journalist Janice Peck traces Winfrey's growing cultural impact and illustrates the fascinating parallels between her road to fame and fortune and the political-economic rise of neoliberalism in this country. While seeking to understand Oprah's ascent to near iconic status that she enjoys today, Peck's book provides a fascinating window into the intersection of American politics and culture over the past quarter century.

Using in-depth analysis of film, TV, news and online productions, Understanding Media Production shows how media theory helps aspiring producers understand good practice in media production. With detailed contemporary examples, including Pirates of The Caribbean, Game of Thrones, Love Island and PewDiePie's "letsplay" videos, Dwyer highlights similarities and differences in the production strategies and styles used for a wide range of media products. The book tracks the evolution of these entertainment formats and the emergence of the media businesses which produce them. Chapters describe the key production practices associated with each format, including single and multi-camera filming, news reporting, three-point lighting and gameplay animation. They also explain the development of the production roles associated with these content forms; directors, producers, reporters, correspondents etc. The book goes on to explain how media businesses have used new technologies and production innovations to reduce costs and increase profits, resulting in dramatic changes to established production practices and roles. By comparing media production across media industries, in the UK and US, and illustrating the links between economic, sociopolitical and cultural influences on production, Understanding Media Production opens up a constructive debate between media practitioners and theorists about key questions of creativity and innovation in production.

Since first going on the air in 1972, HBO has continually attempted to redefine television as we know it. Today, pay television (and HBO in particular) is positioned as an alternative to network offerings, consistently regarded as the premier site for what has come to be called "quality television." This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies' interests in market positioning, style, content, technology, and political economy. The contributors focus on pioneering areas of analysis and new critical approaches in television studies today, highlighting unique aspects of the "HBO effect" to explore new perspectives on contemporary television from radical changes in technology to dramatic shifts in viewing habits. It's Not TV provides fresh insights into the "post-television network" by examining HBO's phenomenally popular and pioneering shows, including The Sopranos, The Wire, Six Feet Under, Sex and the City as well as its failed series, such as K Street and The Comeback. The contributors also explore the production process itself and the creation of a brand commodity, along with HBO's place as a market leader and technological innovator. Contributors: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa Williamson Foreword by Toby Miller Marc Leverette is Assistant Professor of Media Studies at Colorado State University. He is author of Professional Wrestling, the Myth, the Mat, and American Popular Culture and co-editor of Zombie Culture: Autopsies of the Living Dead and Oh My God, They Deconstructed South Park! Those Bastards! Brian L. Ott is Associate Professor of Media Studies at Colorado State University. He is author of The Small Screen: How Television Equips Us to Live in the Information Age. Cara Louise Buckley is a lecturer at Emerson College.

Digital Signage Broadcasting is a perfect introduction to this new world of opportunities for media professionals in all areas. Whether you are in engineering, IT, advertising, or management, you will gain knowledge on the operations of digital signage systems, content gathering, customer billing, and much more on this new exciting media.
This book includes coverage of basic elements, examples of advanced digital signage applications, as well as traffic capacity calculations that may be guidance when choosing means of distribution as physical media, broadband or satellite. Digital Signage Broadcasting helps you discover the fascinating possibilities of this new convergence medium with hundreds of author-created color 3D illustrated graphics and real-life photographs showing the capability and future of digital signage.
* Complete with full-color illustrations and real-world examples
* Covers technology, operations, content, and more
* Global insights and perspective for worldwide implementation

From on-air talent contracts and FCC regulations to syndicated program amortization to music licensing fees, electronic media deal with financial principles and jargon that are unique to American business. "Understanding Broadcast and Cable Finance" helps explain all the financial complexities of a modern electronic media enterprise. Whether you are a news director, sales manager, engineer or any other non-accounting professional that has a stake in the success of your company, this book will bring you up-to-speed on the essentials of financial management for broadcasting and cable.
*Covers financial statements, systems, planning and budgeting, and much more
*Written by experts from the Broadcast Cable Financial Management Association
*Up-to-date with information about new revenue streams from Internet, digital, on-demand and mobile content

Into the Newsroom provides a rigorous investigation into the everyday rituals that are performed in the television newsroom, and offers a unique suggestion that news is both a highly haphazard and yet technologically complicated process of deliberate construction involving the interweaving of reflexive professional journalists as well as developing, unpredictable technologies. Arguing specifically for a recognition and an exploration of technological agency, this book takes the reader on an exciting journey into the digital newsroom, using exclusive observation and interviews from those journalists working on the BBC's recent pilot project of local television news as part of its empirical evidence. This is an essential introduction for both those seeking to understand news processes at the level of every day routines and practices, and for those students and scholars who are eager to adopt new and challenging ways to theorise news as practice.

The significant changes that have swept the television industry over the last two decades, most notably a shift to deregulation in broadcast media, prompt a discussion on how to ensure that meaningful content is available to the viewer. "Television and Public Policy" analyzes the current state of television systems in a selected group of countries by exploring the political, economic, and technological factors that have shaped the sector in such a short span of time. Consequently, by positioning the television sector within issues of media policy and the regulatory framework, the book questions what these trends mean for television, and the historical, political, and cultural role in our societies.
" "
"Television and Public Policy" distinguishes itself in several ways:
*It is a global project in its comparative scope and subject area. Contributors represent countries including Australia, Brazil, Canada, China, Egypt, India, Iran, Ireland, Israel, Italy, Japan, the Netherlands, New Zealand, Poland, the United Kingdom, and the United States.
*It is contemporary and filled with information largely absent in current literature.
*It offers original analysis of the contemporary television sector.
" "
This book speaks" "to a broad range of academics, postgraduate, and undergraduate students, and can serve as a key resource for courses ranging from media studies, to development studies, international relations, and law.

The significant changes that have swept the television industry over the last two decades, most notably a shift to deregulation in broadcast media, prompt a discussion on how to ensure that meaningful content is available to the viewer. "Television and Public Policy" analyzes the current state of television systems in a selected group of countries by exploring the political, economic, and technological factors that have shaped the sector in such a short span of time. Consequently, by positioning the television sector within issues of media policy and the regulatory framework, the book questions what these trends mean for television, and the historical, political, and cultural role in our societies.
" "
"Television and Public Policy" distinguishes itself in several ways:
*It is a global project in its comparative scope and subject area. Contributors represent countries including Australia, Brazil, Canada, China, Egypt, India, Iran, Ireland, Israel, Italy, Japan, the Netherlands, New Zealand, Poland, the United Kingdom, and the United States.
*It is contemporary and filled with information largely absent in current literature.
*It offers original analysis of the contemporary television sector.
" "
This book speaks" "to a broad range of academics, postgraduate, and undergraduate students, and can serve as a key resource for courses ranging from media studies, to development studies, international relations, and law.

Into the Newsroom provides a rigorous investigation into the everyday rituals that are performed in the television newsroom, and offers a unique suggestion that news is both a highly haphazard and yet technologically complicated process of deliberate construction involving the interweaving of reflexive professional journalists as well as developing, unpredictable technologies. Arguing specifically for a recognition and an exploration of technological agency, this book takes the reader on an exciting journey into the digital newsroom, using exclusive observation and interviews from those journalists working on the BBC's recent pilot project of local television news as part of its empirical evidence. This is an essential introduction for both those seeking to understand news processes at the level of every day routines and practices, and for those students and scholars who are eager to adopt new and challenging ways to theorise news as practice.

HDTV and the Transition to Digital Broadcasting bridges the gap between non-technical personnel (management and creative) and technical by giving you a working knowledge of digital television technology, a clear understanding of the challenges of HDTV and digital broadcasting, and a scope of the ramifications of HDTV in the consumer space.

Topics include methodologies and issues in HD production and distribution, as well as HDTV's impact on the future of the media business. This book contains sidebars and system diagrams that illustrate examples of broadcaster implementation of HD and HD equipment. Additionally, future trends including the integration of broadcast engineering and IT, control and descriptive metadata, DTV interactivity and personalization are explored.

This Book Gives You:

• Clear explanations of the technologies you need to understand to talk with engineers and other broadcast technology professionals
• A great starting place for those desiring a career in broadcasting in any discipline management, creative or technical
• A historical and technical overview of DTV, HDTV, standards, and organizations