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Traditional media are being reshaped by digital technologies. The
funding model for quality journalism has been undermined by the
drift of advertising online, demarcations between different forms
of media are rapidly fading, and audiences have fragmented. We can
catch up with our favourite TV show on a tablet, social media can
be more important than mainstream radio in a crisis, and
organisations large and small have become publishers in their own
right on apps. Nevertheless mainstream media remain powerful. The
Media and Communications in Australia offers a systematic
introduction to this dynamic field. Fully updated and revised to
take account of recent developments, this fourth edition outlines
the key media industries and explains how communications
technologies are impacting on them. It provides a thorough overview
of the main approaches taken in studying the media, and includes an
expanded 'issues' section with new chapters on social media,
gaming, apps, the environment, media regulation, ethics and
privacy. With contributions from some of Australia's best
researchers and teachers in the field, The Media and Communications
in Australia remains the most comprehensive and reliable
introduction to media and communications available. It is an ideal
student text, and a reference for teachers of media and anyone
interested in this influential industry.
Traditional media are being reshaped by digital technologies. The
funding model for quality journalism has been undermined by the
drift of advertising online, demarcations between different forms
of media are rapidly fading, and audiences have fragmented. We can
catch up with our favourite TV show on a tablet, social media can
be more important than mainstream radio in a crisis, and
organisations large and small have become publishers in their own
right on apps. Nevertheless mainstream media remain powerful.The
Media and Communications in Australia offers a systematic
introduction to this dynamic field. Fully updated and revised to
take account of recent developments, this fourth edition outlines
the key media industries and explains how communications
technologies are impacting on them. It provides a thorough overview
of the main approaches taken in studying the media, and includes an
expanded 'issues' section with new chapters on social media,
gaming, apps, the environment, media regulation, ethics and
privacy.With contributions from some of Australia's best
researchers and teachers in the field, The Media and Communications
in Australia remains the most comprehensive and reliable
introduction to media and communications available. It is an ideal
student text, and a reference for teachers of media and anyone
interested in this influential industry.
Essays explore many aspects of the teen detective series, including
Veronica Mars and vintage television; the search for the mother;
fatherhood; how the show relates to the classical Greek paradigm;
feminist anger and vigilante justice; the anti-hero's journey; the
intergenerational audience; rape narrative and meaning; and
television fandom, among others.
This book is the first to focus on the role of European television
crime drama on the international market. As a genre, the television
crime drama has enjoyed a long and successful career, routinely
serving as a prism from which to observe the local, national and
even transnational issues that are prevalent in society. This
extensive volume explores a wide range of countries, from the US to
European countries such as Spain, Italy, the Scandinavian
countries, Germany, England and Wales, in order to reveal the very
currencies that are at work in the global production and
circulation of the TV crime drama. The chapters, all written by
leading television and crime fiction scholars, provide readings of
crime dramas such as the Swedish-Danish The Bridge, the Welsh
Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the
German Tatort and the Turkish Cinayet. By examining both European
texts and the ‘European-ness’ of various international dramas,
this book ultimately demonstrates that transnationalism is at the
very core of TV crime drama in Europe and beyond. Â
This book is the first to focus on the role of European television
crime drama on the international market. As a genre, the television
crime drama has enjoyed a long and successful career, routinely
serving as a prism from which to observe the local, national and
even transnational issues that are prevalent in society. This
extensive volume explores a wide range of countries, from the US to
European countries such as Spain, Italy, the Scandinavian
countries, Germany, England and Wales, in order to reveal the very
currencies that are at work in the global production and
circulation of the TV crime drama. The chapters, all written by
leading television and crime fiction scholars, provide readings of
crime dramas such as the Swedish-Danish The Bridge, the Welsh
Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the
German Tatort and the Turkish Cinayet. By examining both European
texts and the 'European-ness' of various international dramas, this
book ultimately demonstrates that transnationalism is at the very
core of TV crime drama in Europe and beyond.
This title maps the development of the crime drama on international
television. The television crime drama has been a constant of the
television landscape since it first migrated from film and radio
onto the small screen in the 1950s. Since then, from Dixon of Dock
Green to The Wire, from Minder to The Sopranos or Cracker to
Dexter, the crime drama has continued to attract large audiences
even as the depiction of the crime, the perpetrators and the
investigators has changed. This book provides an historical
analysis of the TV crime series as a genre by paying close
attention not only to the nature of TV dramas themselves, but also
to the context of production and reception. Rather than simply
providing an overview, this book offers a series of case studies to
illuminate key issues in the trajectory of the genre. Particular
attention will be paid to the transnational career of the
television crime drama, including the British and American product,
as well as attention to crime drama series produced in other
national contexts such as Europe and Australia. In terms of
reception, this book includes original research on how the TV crime
drama is perceived by audiences within the particular national
context of Australia where American, British and European crime
dramas vie for attention in the TV schedule alongside the local
product. Finally, the future of the TV crime series is canvassed in
a discussion of the changing television landscape and the shift to
other forms of TV consumption enabled by new digital technologies.
It includes case studies on The Wire, Minder and The Killing. It
discusses drama from Australia, the US, Britain and Europe.
This title maps the development of the crime drama on international
television. The television crime drama has been a constant of the
television landscape since it first migrated from film and radio
onto the small screen in the 1950s. Since then, from Dixon of Dock
Green to The Wire, from Minder to The Sopranos or Cracker to
Dexter, the crime drama has continued to attract large audiences
even as the depiction of the crime, the perpetrators and the
investigators has changed. This book provides an historical
analysis of the TV crime series as a genre by paying close
attention not only to the nature of TV dramas themselves, but also
to the context of production and reception. Rather than simply
providing an overview, this book offers a series of case studies to
illuminate key issues in the trajectory of the genre. Particular
attention will be paid to the transnational career of the
television crime drama, including the British and American product,
as well as attention to crime drama series produced in other
national contexts such as Europe and Australia. In terms of
reception, this book includes original research on how the TV crime
drama is perceived by audiences within the particular national
context of Australia where American, British and European crime
dramas vie for attention in the TV schedule alongside the local
product. Finally, the future of the TV crime series is canvassed in
a discussion of the changing television landscape and the shift to
other forms of TV consumption enabled by new digital technologies.
It includes case studies on The Wire, Minder and The Killing. It
discusses drama from Australia, the US, Britain and Europe.
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