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If one culprit is suspected above all others for encouraging society to become more violent and unfeeling, it is television. This medium, which has become so pervasive in the last 50 years, seems to play an enormous role in the lives of the vast majority of people. But who controls the content which exerts such an enormous influence and to an extent controls the people? What are they doing now and what will they be doing tomorrow? Is violence essential to sell toothpaste and hamburgers? What are our children becoming and what will their children be like? Will every child carry a gun or other weapon just waiting for someone to trigger their violent nature and ignite their preprogrammed anger?
Ill Effects is a radical re-examination of the whole 'media effects' debate. It questions not only whether the media is capable of directly influencing people's views and actions, but also whether the idea of 'effects' is the most useful way of conceptualising the relationship between the media and audiences. Ill Effects looks at the reasons why the media are routinely blamed for horrific events such as the murders of James Bulger and Suzanne Capper and the Hungerford massacre, as well as for perceived trends such as the alleged 'death of the family' and the rise of 'yob culture'. The authors' concern goes beyond individual cases: they discuss the development and current state of play of research into media effects, the remarkable power of 'common-sense' notions of media effects and the way in which the effects issue has become embroiled in debates about freedom of expression and censorship. They suggest how audiences really respond to media texts, and argue that there is an urgent need for informed and interdisciplinary approaches to the study of the media. Martin Barker, University of the West of England, UK Julian Petley, Brunel University,UK Pat Holland, David Buckingham, The Anneberg School for Communication,UK David Mi
"If it bleeds, it leads." The phrase captures television news directors' famed preference for opening newscasts with the most violent stories they can find. And what is true for news is often true for entertainment programming, where violence is used as a product to attract both viewers and sponsors. In this book, James Hamilton presents the first major theoretical and empirical examination of the market for television violence. Hamilton approaches television violence in the same way that other economists approach the problem of pollution: that is, as an example of market failure. He argues that television violence, like pollution, generates negative externalities, defined as costs borne by others than those involved in the production activity. Broadcasters seeking to attract viewers may not fully bear the costs to society of their violent programming, if those costs include such factors as increased levels of aggression and crime in society. Hamilton goes on to say that the comparison to pollution remains relevant when considering how to deal with the problem. Approaches devised to control violent programming, such as restricting it to certain times and rating programs according to the violence they contain, have parallels in zoning and education policies designed to protect the environment. Hamilton examines in detail the microstructure of incentives that operate at every level of television broadcasting, from programming and advertising to viewer behavior, so that remedies can be devised to reduce violent programming without restricting broadcasters' right to compete.
Although television critics have often differed with the public with respect to the artistic and cultural merits of television programming, over the last half-century television has indubitably influenced popular culture and vice versa. No matter what reasons are cited--the characters, the actors, the plots, the music--television shows that were beloved by audiences in their time remain fondly remembered. This study covers the classic period of popular television shows from the 1960s through the 1990s, focusing on how regular viewers interacted with television shows on a personal level. Bridging popular and scholarly approaches, this book discovers what America actually watched and why through documents, footage, visits to filming locations, newspapers, and magazine articles from the shows' eras. The book features extensive notes and bibliography.