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This book shows how disinformation spread by partisan organizations and media platforms undermines institutional legitimacy on which authoritative information depends.
National Book Award for Nonfiction Finalist National Book Critics Circle Award for Nonfiction Finalist A New York Times Notable Book of the Year A Washington Post Notable Book of the Year A PBS “Now Read This” Book Club Selection Named one of the Best Books of the Year by the Economist and the Boston Globe A landmark exposé and “deeply engaging legal history” of one of the most successful, yet least known, civil rights movements in American history (Washington Post). In a revelatory work praised as “excellent and timely” (New York Times Book Review, front page), Adam Winkler, author of Gunfight, once again makes sense of our fraught constitutional history in this incisive portrait of how American businesses seized political power, won “equal rights,” and transformed the Constitution to serve big business. Uncovering the deep roots of Citizens United, he repositions that controversial 2010 Supreme Court decision as the capstone of a centuries-old battle for corporate personhood. “Tackling a topic that ought to be at the heart of political debate” (Economist), Winkler surveys more than four hundred years of diverse cases—and the contributions of such legendary legal figures as Daniel Webster, Roger Taney, Lewis Powell, and even Thurgood Marshall—to reveal that “the history of corporate rights is replete with ironies” (Wall Street Journal). We the Corporations is an uncompromising work of history to be read for years to come.
Overview of public radio and television in the United States
The Corporation for Public Broadcasting (CPB) was created out of the Public Broadcasting Act of 1967 (P.L. 90-129). The CPB was intended to provide a funding mechanism for individual public broadcasting stations, but not subject these stations to political influence or favouritism. Therefore, the CPB receives an annual appropriation, and then uses this money, in addition to foundation, corporate, individual memberships, and other funding sources, to provide grants to individual public television and radio broadcast entities. The Public Broadcasting System (PBS), National Public Radio (NPR), and Public Radio International (PRI) do not receive any direct appropriations from CPB; all of the appropriated money goes directly to member stations of these organisations. The number of radio and television public broadcasting stations supported by the CPB increased from 270 in 1969 to approximately 1,100 as of August 2003, of which 356 are television stations. Public broadcasting stations are mostly run by universities, non-profit community associations, and state government agencies. Public broadcasting is regarded as a public service. To serve most Americans, public television reaches approximately 99% of the population and public radio, 91%. With regard to programming, the public broadcasting system observes the principle of local autonomy. That is, public broadcasting stations make decisions independently of the CPB as to what programming will be available to their viewing or listening audience as well as on their programming schedule. The CPB serves as an umbrella organisation for public television and radio Broadcasting. The CPB's principal function is to receive and distribute government contributions (or federal appropriations) to fund national programs and to support qualified member radio and television stations based on legislatively mandated formulas. The bulk of these funds are to provide Community Service Grants (or CSGs) to member stations that have matching funds. By law, the CPB is authorised to exercise minimum control of "program content or other activities" of local member stations. The CPB is prohibited from owning or operating any of the primary facilities used in broadcasting. In addition, it may not produce, disseminate, or schedule programs. This new book presents the issues dealing with this 'hot' topic.
This guide offers straightforward and insightful advice for any woman, who's interested in serving; playing a key role in politics or community affairs; or becoming a policy-and opinion-maker in the public or private sectors.
Ugandas broadcast media landscape has witnessed tremendous growth in recent years. While the public broadcaster remains the dominant national player in terms of reach in both radio and television, commercial broadcasters have introduced a substantial level of diversity in the industry. Public broadcasting faces serious competition from the numerous private and independent broadcasters, especially in and around the capital Kampala and major urban centres. In fact, the private/commercial sector clearly dominates the industry in most respects, notably productivity and profitability. The public broadcaster, which enjoys wider geographical coverage, faces the challenge of trying to fulfil a broad mandate with little funding. This makes it difficult for UBC to compete with the more nimble operators in the commercial/private sector. Overall, there appears to be a healthy degree of pluralism and diversity in terms of ownership.
A guide to the nature, purpose, and place of public service television within a multi-platform, multichannel ecology. Television is on the verge of both decline and rebirth. Vast technological change has brought about financial uncertainty as well as new creative possibilities for producers, distributors, and viewers. This volume from Goldsmiths Press examines not only the unexpected resilience of TV as cultural pastime and aesthetic practice but also the prospects for public service television in a digital, multichannel ecology. The proliferation of platforms from Amazon and Netflix to YouTube and the vlogosphere means intense competition for audiences traditionally dominated by legacy broadcasters. Public service broadcasters—whether the BBC, the German ARD, or the Canadian Broadcasting Corporation—are particularly vulnerable to this volatility. Born in the more stable political and cultural conditions of the twentieth century, they face a range of pressures on their revenue, their remits, and indeed their very futures. This book reflects on the issues raised in Lord Puttnam's 2016 Public Service TV Inquiry Report, with contributions from leading broadcasters, academics, and regulators. With resonance for students, professionals, and consumers with a stake in British media, it serves both as historical record and as a look at the future of television in an on-demand age. Contributors include Tess Alps, Patrick Barwise, James Bennett, Georgie Born, Natasha Cox, Gunn Enli, Des Freedman, Vana Goblot, David Hendy, Jennifer Holt, Amanda D. Lotz, Sarita Malik, Matthew Powers, Lord Puttnam, Trine Syvertsen, Jon Thoday, Mark Thompson