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Traces the history of broadcasting and the infludence developments in broadcasting have had over our social, cultural and economic practices. Examining the broadcasting traditions of the UK and USA, 'The Television History Book' make connections between events and tendencies that both unite and differentiate these national broadcasting traditions.
The collision of new technologies, changing business strategies, and innovative storytelling that produced a new golden age of TV. Cable television channels were once the backwater of American television, programming recent and not-so-recent movies and reruns of network shows. Then came La Femme Nikita, OZ, The Sopranos, Mad Men, Game of Thrones, and The Walking Dead. And then, just as “prestige cable” became a category, came House of Cards and Netflix, Hulu, Amazon Video, and other Internet distributors of television content. What happened? In We Now Disrupt This Broadcast, Amanda Lotz chronicles the collision of new technologies, changing business strategies, and innovative storytelling that produced an era termed “peak TV.” Lotz explains that changes in the business of television expanded the creative possibilities of television. She describes the costly infrastructure rebuilding undertaken by cable service providers in the late 1990s and the struggles of cable channels to produce (and pay for) original, scripted programming in order to stand out from the competition. These new programs defied television conventions and made viewers adjust their expectations of what television could be. Le Femme Nikita offered cable's first antihero, Mad Men cost more than advertisers paid, The Walking Dead became the first mass cable hit, and Game of Thrones was the first global television blockbuster. Internet streaming didn't kill cable, Lotz tells us. Rather, it revolutionized how we watch television. Cable and network television quickly established their own streaming portals. Meanwhile, cable service providers had quietly transformed themselves into Internet providers, able to profit from both prestige cable and streaming services. Far from being dead, television continues to transform.
Imagine the greatest week of television ever. In celebration of its 50th anniversary, TV GUIDE has done just that. Picking and choosing from classic programs, unforgettable characters, hilarious moments and broadcast-interrupting tragedies, TV GUIDE has created in this deluxe and nostalgic history the ultimate week of programming. Here are fifty years of riveting innovation distilled into one unforgettable book. From Saturday morning cartoons through prime time and late night, "Fifty Years of Television pays tribute to hundreds of the most important shows of all time. More than 250 color and black-and-white photographs capture the giants of TV in their prime--from "The Great One," Jackie Gleason, to his latter-day descendant Homer Simpson, from Jack Webb of "Dragnet to James Gandolfini of "The Sopranos. The exciting, graphic covers of TV GUIDE offer a fantastic voyage through generations of pop culture. More than 400 collectible covers are included, featuring the work of artists such as Charles Addams, Salvador Dali, Al Hirschfield, Norman Rockwell and Andy Warhol. Landmark essays from the pages of TV GUIDE by Oprah Winfrey, John F. Kennedy, Alex Haley and other American icons shed light on the seductive power of the medium. In original interviews, some of TV's best known and most beloved personalities reminisce about the shows that made the country tune in. A sweeping appreciation of TV, this is the ultimate book of its kind.
This newest edition of Broadcast Journalism continues its long tradition of covering the basics of broadcasting from gathering news sources, interviewing, putting together a programme, news writing, reporting, editing, working in the studio, conducting live reports, and more. Two new authors have joined forces in this new edition to present behind the scenes perspectives on multimedia broadcast news, where it is heading, and how you get there. Technology is meshing global and local news. Constant interactivity between on-the-scene reporting and nearly instantaneous broadcasting to the world has changed the very nature of how broadcast journalists must think, act, write and report on a 24/7 basis. This new edition takes up this digital workflow and convergence. Students of broadcast journalism and professors alike will find that the sixth edition of Broadcast Journalism is completely up-to-date. Includes new photos, quotations, and coverage of convergent journalism, podcasting, multimedia journalism, citizen journalism, and more!
"The study of television, still the most powerful of modern media, has long been fascinated by its capacity for ′liveness′. Marriott offers an insightful analysis of the complexities of this phenomenon, particularly its increasingly vital connection with the use of new media. A timely contribution to our understanding of media events, 24 hour news and the phenomenology of mediated experience." - Andrew Tolson, De Montfort University "In the steps of Marshall McLuhan and Alfred Schutz, Stephanie Marriott offers us a timely and sustained reflection upon the nature of mediation and the changing qualities of the live experience made possible by television. Elegant, lucid, witty and thought-provoking, her account will become a canonical text in television studies." - Martin Montgomery, University of Strathclyde In a fragmenting multichannel and multiplatform global broadcasting environment live television continues to attract huge audiences, bucking the trend towards narrowcasting and niche markets, yet little of a comprehensive nature has been written about the live television event. In this fascinating book, Stephanie Marriott engages in a close and detailed analysis of the nature of live television. She examines the transformations in our experience of time and space which are brought about by the capacity of broadcasting to bring us the world in the moment in which it is unfolding, situating the live television event in the context of an expanding and increasingly complex global communicative framework. Building her argument by means of a series of case studies of events as diverse as the assassination of President Kennedy in 1963, the attack on the World Trade Centre in 2001, the 2005 London bombings, election night coverage and live sports coverage, Marriott provides a meticulous and articulate account of the way in which live television mediates the event for its audience. This book will be essential reading for students and academics working in media, cultural studies, cultural sociology, and linguistics, and is an exciting new contribution to the field of broadcast talk and media discourse.
This book reports findings from a major, multidisciplinary study of the impact of broadcast television on the remote island community of St. Helena in the South Atlantic Ocean. Broadcast television was introduced to the island for the first time in March 1995. This introduction represented a major event on the island, whose only televisual experience had been through video. In the years leading up to the introduction of TV, the researchers who wrote this book collected data by observing the island's young children in classroom settings, and during free-play. In addition to these observations they asked the children's teachers to rate their students' behavior, and invited the children to explain to them what leisure time activities they engaged in. With the data they were able to amass on these key variables they have assembled and coded the results into baseline measures central to the study. Once TV had arrived, they collected data annually on the key dependent measures to determine if the introduction of broadcast TV had any discernible influence on the behavior of the children.
The book's journey into the future of television begins with “You Are Here,” delving into “The Great Convergence” of television and Internet and the vortex of change we all inhabit now. Then, glancing back, we explore “The Old World” of broadcast television to understand how we got to this moment of transition. Next, traveling “Between Worlds,” we visit cable television and see how the boundaries between network, cable, and Internet are mutating. After that, we enter “The New World” that ranges from empires like Netflix and Amazon down to Kickstarter-funded web series, and all the creative expressions that abound. Finally, we look ahead to the “Far Frontier” of interactivity and transmedia and a distant, fantastic future. All these experiences are focused on how a writer, producer, director, or entrepreneur can use the emerging possibilities to create original television now and in the coming decade.
Ever since Newton Minow taught us sophisticates to bemoan the descent of television into a vast wasteland, the dyspeptic chorus of jeremiahs who insist that television news in particular has gone from gold to dross gets noisier and noisier. Charles Ponce de Leon says here, in effect, that this is misleading, if not simply fatuous. He argues in this well-paced, lively, readable book that TV news has changed in response to broader changes in the TV industry and American culture. It is pointless to bewail its decline. "That s the Way It Is "gives us the very first history of American television news, spanning more than six decades, from Camel News Caravan to Countdown with Keith Oberman and The Daily Show. Starting in the latter 1940s, television news featured a succession of broadcasters who became household names, even presences: Eric Sevareid, Walter Cronkite, David Brinkley, Peter Jennings, Brian Williams, Katie Couric, and, with cable expansion, people like Glenn Beck, Jon Stewart, and Bill O Reilly. But behind the scenes, the parallel story is just as interesting, involving executives, producers, and journalists who were responsible for the field s most important innovations. Included with mainstream network news programs is an engaging treatment of news magazines like "60 Minutes" and "20/20, " as well as morning news shows like "Today" and "Good Morning America." Ponce de Leon gives ample attention to the establishment of cable networks (CNN, and the later competitors, Fox News and MSNBC), mixing in colorful anecdotes about the likes of Roger Ailes and Roone Arledge. Frothy features and other kinds of entertainment have been part and parcel of TV news from the start; viewer preferences have always played a role in the evolution of programming, although the disintegration of a national culture since the 1970s means that most of us no longer follow the news as a civic obligation. Throughout, Ponce de Leon places his history in a broader cultural context, emphasizing tensions between the public service mission of TV news and the quest for profitability and broad appeal."
The Internet didn’t kill TV! It has become its best friend. Americans are watching more television than ever before, and we’re engaging online at the same time we’re tuning in. Social media has created a new and powerful “backchannel”, fueling the renaissance of live broadcasts. Mobile and tablet devices allow us to watch and experience television whenever and wherever we want. And “connected TVs” blend web and television content into a unified big screen experience bringing us back into our living rooms. Social TV examines the changing (and complex) television landscape and helps brands navigate its many emerging and exciting marketing and advertising opportunities. Social TV topics include: Leveraging the “second screen” to drive synched and deeper brand engagement Using social ratings analytics tools to find and target lean-forward audiences Aligning brand messaging to content as it travels time-shifted across devices Determining the best strategy to approach marketing via connected TVs Employing addressable TV advertising to maximize content relevancy Testing and learning from the most cutting-edge emerging TV innovations The rise of one technology doesn’t always mean the end of another. Discover how this convergence has created new marketing opportunities for your brand.