A fascinating look into what happens when comedy becomes political and politics becomes comedy Satirical TV has become mandatory viewing for citizens wishing to make sense of the bizarre contemporary state of political life. Shifts in industry economics and audience tastes have re-made television comedy, once considered a wasteland of escapist humor, into what is arguably the most popular source of political critique. From fake news and pundit shows to animated sitcoms and mash-up videos, satire has become an important avenue for processing politics in informative and entertaining ways, and satire TV is now its own thriving, viable television genre. Satire TV examines what happens when comedy becomes political, and politics become funny. A series of original essays focus on a range of programs, from The Daily Show to South Park, Da Ali G Show to The Colbert Report, The Boondocks to Saturday Night Live, Lil' Bush to Chappelle's Show, along with Internet D.I.Y. satire and essays on British and Canadian satire. They all offer insights into what today's class of satire tells us about the current state of politics, of television, of citizenship, all the while suggesting what satire adds to the political realm that news and documentaries cannot.

Highlights the trailers, merchandising and cultural conversations that shape our experiences of film and television It is virtually impossible to watch a movie or TV show without preconceived notions because of the hype that precedes them, while a host of media extensions guarantees them a life long past their air dates. An onslaught of information from print media, trailers, internet discussion, merchandising, podcasts, and guerilla marketing, we generally know something about upcoming movies and TV shows well before they are even released or aired. The extras, or "paratexts," that surround viewing experiences are far from peripheral, shaping our understanding of them and informing our decisions about what to watch or not watch and even how to watch before we even sit down for a show. Show Sold Separately gives critical attention to this ubiquitous but often overlooked phenomenon, examining paratexts like DVD bonus materials for The Lord of the Rings, spoilers for Lost, the opening credits of The Simpsons, Star Wars actions figures, press reviews for Friday Night Lights, the framing of Batman Begins, the videogame of The Thing, and the trailers for The Sweet Hereafter. Plucking these extra materials from the wings and giving them the spotlight they deserve, Jonathan Gray examines the world of film and television that exists before and after the show.

Television entertainment rules supreme, one of the world's most important disseminators of information, ideas, and amusement. More than a parade of little figures in a box, it is deeply embedded in everyday life, in how we think, what we think and care about, and who we think and care about it with. But is television entertainment art? Why do so many love it and so many hate or fear it? Does it offer a window to the world, or images of a fake world? How is it political and how does it address us as citizens? What powers does it hold, and what powers do we have over it? Or, for that matter, what is television these days, in an era of rapidly developing technologies, media platforms, and globalization? Written especially for students, Television Entertainment addresses these and other key questions that we regularly ask, or should ask. Jonathan Gray offers a lively and dynamic, thematically based overview with examples from recent and current television, including Lost, reality television, The Sopranos, The Simpsons, political satire, Grey's Anatomy, The West Wing, soaps, and 24.

The Data Journalism Handbook: Towards a Critical Data Practice provides a rich and panoramic introduction to data journalism, combining both critical reflection and practical insight. It offers a diverse collection of perspectives on how data journalism is done around the world and the broader consequences of datafication in the news, serving as both a textbook and a sourcebook for this emerging field. With more than 50 chapters from leading researchers and practitioners of data journalism, it explores the work needed to render technologies and data productive for journalistic purposes. It also gives a "behind the scenes" look at the social lives of data sets, data infrastructures, and data stories in newsrooms, media organizations, start-ups, civil society organizations and beyond. The book includes sections on "doing issues with data," "assembling data," "working with data," "experiencing data," "investigating data, platforms and algorithms," "organizing data journalism," "learning data journalism together" and "situating data journalism."

Introduces key terms, research traditions, debates, and their histories, and offers a sense of the new frontiers and questions emerging in the field of media studies Keywords for Media Studies introduces and aims to advance the field of critical media studies by tracing, defining, and problematizing its established and emergent terminology. The book historicizes thinking about media and society, whether that means noting a long history of "new media," or tracing how understandings of media "power" vary across time periods and knowledge formations. Bringing together an impressive group of established scholars from television studies, film studies, sound studies, games studies, and more, each of the 65 essays in the volume focuses on a critical concept, from "fan" to "industry," and "celebrity" to "surveillance." Keywords for Media Studies is an essential tool that introduces key terms, research traditions, debates, and their histories, and offers a sense of the new frontiers and questions emerging in the field of media studies. Visit keywords.nyupress.org for online essays, teaching resources, and more.

Explains why audiences dislike certain media and what happens when they do The study and discussion of media is replete with talk of fans, loves, stans, likes, and favorites, but what of dislikes, distastes, and alienation? Dislike-Minded draws from over two-hundred qualitative interviews to probe what the media's failures, wounds, and sore spots tell us about media culture, taste, identity, representation, meaning, textuality, audiences, and citizenship. The book refuses the simplicity of Pierre Bourdieu's famous dictum that dislike is (only) snobbery. Instead, Jonathan Gray pushes onward to uncover other explanations for what it ultimately means to dislike specific artifacts of television, film, and other media, and why this dislike matters. As we watch and listen through gritted teeth, Dislike-Minded listens to what is being said, and presents a bold case for a new line of audience research within communication, media, and cultural studies.

Television entertainment rules supreme, one of the world's most important disseminators of information, ideas, and amusement. More than a parade of little figures in a box, it is deeply embedded in everyday life, in how we think, what we think and care about, and who we think and care about it with. But is television entertainment art? Why do so many love it and so many hate or fear it? Does it offer a window to the world, or images of a fake world? How is it political and how does it address us as citizens? What powers does it hold, and what powers do we have over it? Or, for that matter, what is television these days, in an era of rapidly developing technologies, media platforms, and globalization? Written especially for students, Television Entertainment addresses these and other key questions that we regularly ask, or should ask. Jonathan Gray offers a lively and dynamic, thematically based overview with examples from recent and current television, including Lost, reality television, The Sopranos, The Simpsons, political satire, Grey's Anatomy, The West Wing, soaps, and 24.

Using our favorite Springfield family as a case study," Watching with The Simpsons "examines the textual and social role of parody in offering critical commentary on other television programs and genres.
In this book, Jonathan Gray brings together textual theory, discussions of television and the public sphere, and ideas of parody and comedy. As a study, including primary audience research, it focuses on how "The Simpsons" has been able to talk back to three of television's key genres - the sitcom, ads, and the news - and on how it holds the potential to short-circuit these genre's meanings, power, and effects by provoking reinterpretations and offering more media literate recontextualizations.
Through examining television and media studies theory, the text of "The Simpsons," and the show's audience, Gray attempts to fully situate the show's parodic humor within the lived realities of its audiences. In doing so, he further explores the possibilities for popular entertainment television - and particularly comedy- to discuss issues of political and social importance.

Statistical data and evidence-based claims are increasingly central to our everyday lives. Critically examining 'Big Data', this book charts the recent explosion in sources of data, including those precipitated by global developments and technological change. It sets out changes and controversies related to data harvesting and construction, dissemination and data analytics by a range of private, governmental and social organisations in multiple settings. Analysing the power of data to shape political debate, the presentation of ideas to us by the media, and issues surrounding data ownership and access, the authors suggest how data can be used to uncover injustices and to advance social progress.

Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century. Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed. Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.

Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century. Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed. Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.

A completely updated edition of a seminal work on fans and communities We are all fans. Whether we follow our favorite celebrities on Twitter, attend fan conventions such as Comic Con, or simply wait with bated breath for the next episode of our favorite television drama-each of us is a fan. Recognizing that fandom is not unusual, but rather a universal subculture, the contributions in this book demonstrate that understanding fans--whether of toys, TV shows, celebrities, comics, music, film, or politicians--is vital to an understanding of media audiences, use, engagement, and participatory culture in a digital age. Including eighteen new, original essays covering topics such as activism directed at racism in sports fandom, fan/producer interactions at Comic Con, the impact of new technologies on fandom, and the politics and legality of fanfic, this wide-ranging collection provides diverse approaches to fandom for anyone seeking to understand modern life in our increasingly mediated, globalized and binge-watching world.

Nick Couldry is one of the world's leading analysts of media power and voice, and has been publishing widely for 25 years. This volume, published 20 years after The Place of Media Power, brings together a rich collection of essays from his earliest to his latest writings, some of them hard to access, plus two previously unpublished chapters. The book's 15 chapters cover a variety of themes from voice to space, from Big Data to democracy, and from art to reality television. Taken together, they give a unique insight into the range of Couldry's interests and passions. Throughout, Couldry's commitment to connecting media research to wider debates in philosophy and social theory is clear. A substantial Afterword reflects on the common themes that run throughout his work and this volume, and the particular challenges of grasping media's contribution to social order in an age of datafication. A preface by leading US media scholar Jonathan Gray sets these essays in context. The result is an exciting and clearly-written text that will interest students and researchers of media, culture and social theory across the world.

Highlights the trailers, merchandising and cultural conversations that shape our experiences of film and television It is virtually impossible to watch a movie or TV show without preconceived notions because of the hype that precedes them, while a host of media extensions guarantees them a life long past their air dates. An onslaught of information from print media, trailers, internet discussion, merchandising, podcasts, and guerilla marketing, we generally know something about upcoming movies and TV shows well before they are even released or aired. The extras, or "paratexts," that surround viewing experiences are far from peripheral, shaping our understanding of them and informing our decisions about what to watch or not watch and even how to watch before we even sit down for a show. Show Sold Separately gives critical attention to this ubiquitous but often overlooked phenomenon, examining paratexts like DVD bonus materials for The Lord of the Rings, spoilers for Lost, the opening credits of The Simpsons, Star Wars actions figures, press reviews for Friday Night Lights, the framing of Batman Begins, the videogame of The Thing, and the trailers for The Sweet Hereafter. Plucking these extra materials from the wings and giving them the spotlight they deserve, Jonathan Gray examines the world of film and television that exists before and after the show.

A fascinating look into what happens when comedy becomes political and politics becomes comedy Satirical TV has become mandatory viewing for citizens wishing to make sense of the bizarre contemporary state of political life. Shifts in industry economics and audience tastes have re-made television comedy, once considered a wasteland of escapist humor, into what is arguably the most popular source of political critique. From fake news and pundit shows to animated sitcoms and mash-up videos, satire has become an important avenue for processing politics in informative and entertaining ways, and satire TV is now its own thriving, viable television genre. Satire TV examines what happens when comedy becomes political, and politics become funny. A series of original essays focus on a range of programs, from The Daily Show to South Park, Da Ali G Show to The Colbert Report, The Boondocks to Saturday Night Live, Lil' Bush to Chappelle's Show, along with Internet D.I.Y. satire and essays on British and Canadian satire. They all offer insights into what today's class of satire tells us about the current state of politics, of television, of citizenship, all the while suggesting what satire adds to the political realm that news and documentaries cannot.

Nick Couldry is one of the world's leading analysts of media power and voice, and has been publishing widely for 25 years. This volume, published 20 years after The Place of Media Power, brings together a rich collection of essays from his earliest to his latest writings, some of them hard to access, plus two previously unpublished chapters. The book's 15 chapters cover a variety of themes from voice to space, from Big Data to democracy, and from art to reality television. Taken together, they give a unique insight into the range of Couldry's interests and passions. Throughout, Couldry's commitment to connecting media research to wider debates in philosophy and social theory is clear. A substantial Afterword reflects on the common themes that run throughout his work and this volume, and the particular challenges of grasping media's contribution to social order in an age of datafication. A preface by leading US media scholar Jonathan Gray sets these essays in context. The result is an exciting and clearly-written text that will interest students and researchers of media, culture and social theory across the world.

When you combine the sheer scale and range of digital information now available with a journalist's "nose for news" and her ability to tell a compelling story, a new world of possibility opens up. With "The Data Journalism Handbook," you'll explore the potential, limits, and applied uses of this new and fascinating field.

This valuable handbook has attracted scores of contributors since the European Journalism Centre and the Open Knowledge Foundation launched the project at MozFest 2011. Through a collection of tips and techniques from leading journalists, professors, software developers, and data analysts, you'll learn how data can be either the source of data journalism or a tool with which the story is told--or both.Examine the use of data journalism at the BBC, the "Chicago Tribune," the "Guardian," and other news organizationsExplore in-depth case studies on elections, riots, school performance, and corruptionLearn how to find data from the Web, through freedom of information laws, and by "crowd sourcing"Extract information from raw data with tips for working with numbers and statistics and using data visualizationDeliver data through infographics, news apps, open data platforms, and download links

Explains why audiences dislike certain media and what happens when they do The study and discussion of media is replete with talk of fans, loves, stans, likes, and favorites, but what of dislikes, distastes, and alienation? Dislike-Minded draws from over two-hundred qualitative interviews to probe what the media's failures, wounds, and sore spots tell us about media culture, taste, identity, representation, meaning, textuality, audiences, and citizenship. The book refuses the simplicity of Pierre Bourdieu's famous dictum that dislike is (only) snobbery. Instead, Jonathan Gray pushes onward to uncover other explanations for what it ultimately means to dislike specific artifacts of television, film, and other media, and why this dislike matters. As we watch and listen through gritted teeth, Dislike-Minded listens to what is being said, and presents a bold case for a new line of audience research within communication, media, and cultural studies.

The one thing that isn t a secret is that our world is in a monstrous MESS! A murderous mob has seized control of our planet. They have chilling plans for you and your family. The elite have sworn to suppress the forbidden secret, discredit it, and keep it from the public. They have deceitfully manipulated every aspect of our society mentally conditioning us to doubt, ignore, or reject the survival strategy offered in The Forbidden Secret. But a powerful figure is set to smash their agenda. Meanwhile, a rescue plan is in place, and simple steps will guarantee your survival.

Introduces key terms, research traditions, debates, and their histories, and offers a sense of the new frontiers and questions emerging in the field of media studies Keywords for Media Studies introduces and aims to advance the field of critical media studies by tracing, defining, and problematizing its established and emergent terminology. The book historicizes thinking about media and society, whether that means noting a long history of "new media," or tracing how understandings of media "power" vary across time periods and knowledge formations. Bringing together an impressive group of established scholars from television studies, film studies, sound studies, games studies, and more, each of the 65 essays in the volume focuses on a critical concept, from "fan" to "industry," and "celebrity" to "surveillance." Keywords for Media Studies is an essential tool that introduces key terms, research traditions, debates, and their histories, and offers a sense of the new frontiers and questions emerging in the field of media studies. Visit keywords.nyupress.org for online essays, teaching resources, and more.

Statistical data and evidence-based claims are increasingly central to our everyday lives. Critically examining 'Big Data', this book charts the recent explosion in sources of data, including those precipitated by global developments and technological change. It sets out changes and controversies related to data harvesting and construction, dissemination and data analytics by a range of private, governmental and social organisations in multiple settings. Analysing the power of data to shape political debate, the presentation of ideas to us by the media, and issues surrounding data ownership and access, the authors suggest how data can be used to uncover injustices and to advance social progress.