What happens when screen time is all the time? In the early 1990s, the phrase “screen time” emerged to scare parents about the dangers of too much TV for kids. Screen time was something to fret over, police, and judge in a low-grade moral panic. Now, “screen time” has become a metric not only for good parenting, but for our adult lives as well. There’s even an app for it! In the streaming era—and with streaming made nearly ubiquitous during COVID-19—almost every aspect of our day is mediated by these bright surfaces. Whether it was ever the real villain in the first place, or merely a convenient proxy for unaddressed familial, social, and institutional failures, screen time is now all the time. Avidly Reads Screen Time is a funny, insightful work of cultural criticism and history about how we define screens, and how they now define us. From Mad Men to iCarly, Vine to FaceTime, binge-watching to doom-scrolling, Phillip Maciak leads us on a sometimes heartwarming, sometimes harrowing tour of the media that brings us together and tears us apart.

The only guide to the art and technique of color correction based on the invaluable knowledge of more than a dozen of the top colorists in the world. This book allows you unprecedented access to the way the masters of the craft approach their work. Containing decades of industry experience and professional colorist know-how, this book provides an understanding of what top-tier colorists look for in an image and how they know what to do to make it great. Featuring techniques performed in a variety of color correction software applications (DaVinci Resolve, Apple Color, Synthetic Aperture's Color Finesse, and more), this book turns what has long been a misunderstood "black art" into a set of skills that any colorist, editor, independent filmmaker, or motion graphics artist can begin to master. Packed with explanations, tips, and concepts that build on each other, you will learn how to: * fix poorly exposed shots and shots with color casts * create looks * match shots * master primary and secondary color correction techniques * use color correction to advance a story This edition includes * Downloadable resources containing two hours of video tutorials using DaVinci Resolve, extended interview transcripts and color correction sessions with the professional colorists featured in the book * A brand new tutorial-based chapter, with companion project files on the downloadable resources, so you can work along with the text * New insight from additional professional colorists, including legendary colorists, Bob Festa, Stefan Sonnenfeld, and Pankaj Baipai, showing you the 'hows' and 'whys' of each grade

Provides an in-depth coverage of TV White Space Technology (TVWS) and the various challenges of its new innovations This book covers the full spectrum of TVWS technology including regulations, technology, standardizations, and worldwide deployments. It begins with an introduction to cognitive radio and TVWS. The regulation activities in TVWS throughout North America, Europe, and Asia Pacific are covered in depth. After a discussion of regulations, the authors examine the standardizations developed to specify the enabling technologies of TVWS systems. The following chapter focuses on the key technologies that differentiate TVWS from a conventional wireless communication system. * Describes various worldwide use cases and deployments based on the needs of the consumers * Covers IEEE 802.19.1, IEEE 802.22, IEEE 802.11af, IEEE 802.15.4m, and IETF protocol for Accessing White Spaces * Studies the market and commercial potential of TVWS and other spectrum sharing technologies * Discusses technological trends in spectrum sharing and additional applications that could leverage on TVWS and other spectrum sharing technologies TV White Space: The First Step Towards Better Utilization of Frequency Spectrum is written for telecommunications/networks operators, researchers, engineers, government regulators, technical managers, and network equipment manufacturers.

Find out how modern IPTV technologies will change your experience of television.

Internet Protocol Television (IPTV) is rapidly being deployed as a compliment service to existing distribution technologies.

"Why IPTV?" traces the changes in Internet Protocol Television since the mid-1990s and examines what IPTV means today. The author analyzes what delivery of TV over an IP network means, both in terms of possibilities for new services, and in terms of the impact on the network and how it has to be managed. In addition, "Why IPTV?" helps you understand how introducing IPTV into the Web 2.0 world will impact the new services. It looks at the current trends in the consumer electronics industry as well as the network industry, and describes how the new technology can enhance and extend the existing business models in the TV industry, particularly in advertising; and also how it creates new possibilities, for instance, through personalization.

"Why IPTV? Interactivity, Technologies, Services: "

Provides an accessible introduction to IPTV.

Covers the technology to build IPTV systems, and shows what lies beyond traditional business models and existing distribution technologies.

Considers how IPTV technologies can exploit and change the current trends in consumer electronics and network industry.

Explores how the merging of Web 2.0 and IPTV will open new opportunities for services.

Addresses hot topics such as IPTV Interaction and Channel Switching, Networking and Streaming with Information Management Systems, Advertising and Personalization of IPTV.

"Why IPTV?" will provide engineers in networking, TV broadcast companies, technology specialists in contentcreation companies and people in the IPTV industry (including management) with an engaging and insightful reference into Internet Protocol Television.

In the late 1980s and 1990s, the advanced industrial countries considered replacing the existing analogue television infrastructure with a new digital one. A key common feature to the debates over digital TV (DTV) in the United States, Western Europe and Japan was the eventual victory of the ideas of digitalism (the superiority of everything digital over everything analogue) and of digital convergence (the merging of computing, telecommunications and broadcasting infrastructures made possible by digitalization) in public debates over standards. Jeffrey Hart's book shows how nationalism and regionalism combined with digitalism to produce three different and incompatible DTV standards in the three regions, an outcome which has led to missed opportunities in developing the new technologies. Hart's book contributes to our understanding of relations between business and government, and of competition between the world's great economic powers.

CCTV and Policing is the first major published work to present a comprehensive assessment of the impact of CCTV on the police in Britain. Drawing extensively upon empirical research, the volume examines how the police in Britain first became involved in public area surveillance, and how they have since attempted to use CCTV technology to prevent, respond to, and investigate crime. In addition, the volume also provides a detailed analysis of the legality of CCTV surveillance in light of recent changes to the Data Protection Act and the incorporation of the European Convention on Human Rights. Challenging many existing accounts of the relationship between the police and new surveillance technologies, CCTV and Policing breaks new ground in policing and surveillance theory, and argues that it is time for a major reassessment of both our understanding of how the police respond to technological change, and of the role played by such technologies in our society.

In 1968 a team of scientists and engineers from RCA announced the creation of a new form of electronic display that relied upon an obscure set of materials known as liquid crystals. At a time when televisions utilized bulky cathode ray tubes to produce an image, these researchers demonstrated how liquid crystals could electronically control the passage of light. One day, they predicted, liquid crystal displays would find a home in clocks, calculators--and maybe even a television that could hang on the wall. Half a century later, RCA's dreams have become a reality, and liquid crystals are the basis of a multibillion-dollar global industry. Yet the company responsible for producing the first LCDs was unable to capitalize upon its invention. In The TVs of Tomorrow, Benjamin Gross explains this contradiction by examining the history of flat-panel display research at RCA from the perspective of the chemists, physicists, electrical engineers, and technicians at the company's central laboratory in Princeton, New Jersey. Drawing upon laboratory notebooks, internal reports, and interviews with key participants, Gross reconstructs the development of the LCD and situates it alongside other efforts to create a thin, lightweight replacement for the television picture tube. He shows how RCA researchers mobilized their technical expertise to secure support for their projects. He also highlights the challenges associated with the commercialization of liquid crystals at RCA and Optel--the RCA spin-off that ultimately manufactured the first LCD wristwatch. The TVs of Tomorrow is a detailed portrait of American innovation during the Cold War, which confirms that success in the electronics industry hinges upon input from both the laboratory and the boardroom.

The first history of Spanish-language television in the United States In the most comprehensive history of Spanish-language television in the United States to date, Craig Allen traces the development of two prominent yet little-studied powerhouses, Univision and Telemundo. Allen tells the inside story of how these networks fought enormous odds to rise as giants of mass communication within an English-dominated society. The book begins in San Antonio, Texas, in 1961 with the launch of the first Spanish-language station in the country. From it rose the Spanish International Network (SIN), which would later become Univision. Conceived by Mexican broadcasting mogul Emilio Azcarraga Vidaurreta and created by unsung American television pioneers, Unvision grew to provide a vast amount of international programming, including popular telenovelas, and was the first U.S. network delivered by satellite. After Telemundo was founded in the 1980s by Saul Steinberg and Harry Silverman, the two networks battled over audiences and saw dramatic changes in leadership. Today, Univision and Telemundo are multibillion-dollar television providers that equal ABC, CBS, NBC, and Fox in scale and stature. While Univision remains a beacon of U.S. television's internationalization, Telemundo-owned by NBC-is a worldwide leader in producing Spanish-language programs. Using archival sources and original interviews to reconstruct power struggles and behind-the-scenes intrigue, Allen uses this exciting narrative to question monolingual and Anglo-centered versions of U.S. television history. He demonstrates the endurance, innovation, and popularity of Spanish-language television, arguing that its story is essential to understanding the Latinx history of contemporary America. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Hector Fernandez L'Hoeste and Juan Carlos Rodriguez

Digitalisierung und Konvergenz der Medien erfassen zunehmend den klassischen Rundfunkbereich. Digitales Fernsehen und digitaler Horfunk sind seit Jahren in Vorbereitung und ihre Verbreitung beginnt, wenn auch zum Teil zogerlich. Die Einfuhrung neuer Dienste und neuartiger Geschaftsmodelle steht bevor, die auf der veranderten technologischen Basis zielgruppenspezifisch sowie teilweise im Verbund mit anderen Medien konzipiert werden. Sie sind fur die Zukunft von besonderem Interesse und bedurfen in dem komplexen medienpolitischen Gefuge unseres Landes besonderer Beachtung. Die ordnungspolitischen Notwendigkeiten und wirtschaftlichen Perspektiven dieser wichtigen Medieninnovationen wurden vom MUNCHNER KREIS mit hochrangigen Fachleuten und Verantwortungstragern erortert. Das vorliegende Buch enthalt die Ergebnisse. "

The advanced industrial countries considered replacing the existing analog television infrastructure with a new digital one in the late 1980s and 1990s. Jeffrey Hart's study demonstrates how nationalism and regionalism combined with conflicting ideas over technology to produce three different and incompatible DTV standards in the U.S., Japan and Europe. The outcome has led to missed opportunities in developing new technologies. Hart's work contributes to our understanding of relations between business and government, and of competition between the world's great economic powers.

Die Digitalisierung, die uber kurz oder lang alle Gebiete der Kommunikations- und Informationstechnik erfasst, wird auch fur den Rundfunk (Fernsehen und Horfunk) von grosser Bedeutung sein. Neue digitale Ubertragungssysteme werden die technische Qualitat bei der Verbreitung von Programmen wesentlich verbessern und weitere Kapazitaten - insbesondere beim Satellitenrundfunk - erschliessen.
Der Kongress des "Munchner Kreises" bzw. die hieraus resultierende Veroffentlichung informiert uber den aktuellen Stand der Digitalisierung in Fernsehen und Horfunk und betrachtet die damit zusammenhangenden Fragen aus technischer, rundfunkpolitischer und industriepolitischer Sicht."

Video - mehr als ein neues Medium? Eine Ideologie? Nur eine zeitlich begrenz te Erscheinung in der sog., Alternativ-Szene'? Da die Konzeptionen der Videogruppen unterschiedlich sind, bleibt eine ein heitliche, klarende Antwort illusorisch. Fraglich wird es schon bei dem Reiz- aber auch Schlusselwort, alternativ'. Was heisst alternativ, zu was ist man alternativ? So wird bei einigen schon allein der Einsatz von Video als alternativ betrachtet, andererseits gibt es aber auch Gruppen, die sich auf historische und theoretische Ansatze beziehen und versuchen, diese weiterzuentwickeln (vgl. KOHLER, S. 9 f.). Um dem Dilemma in der Begriffsbesfunmung zu entgehen, soll im folgenden unter alternativer Medienarbeit eine Medienarbeit verstanden werden, die sich im weite sten Sinn von den etablierten Formen der Massenmedien abgrenzt, die "anders" ist. Nach dieser Definition stellt sich das Spektrum alternativer Medienarbeit so breit gefachert dar, dass darunter Gruppen wie z.B. die Medientechnische Werk statt Braunschweig, die mehr formal-emanzipatorische Ziele anstrebt, subsumiert werden kann, wie auch das Medienpadagogik-Zentrum Hamburg, dessen Konzep tion von politisch-padagogischer Medianarbeit auf die "Darstellung und Veran derung der gesamten Arbeits- und Lebensverhaltnisse der Menschen, auf die ge samtgesellschaftliche Wirklichkeit und deren Veranderung" abzielt. Die meisten Videogruppen verstehen ihre Arbeit als eine politische. Ausgangspunkt und einigendes Band der Video-Bewegung ist die Kritik an den herrschenden Massenmedien, an dem einseitigen Verhaltnis Sender/Empfanger."