"Now in its seventh edition, this landmark text continues to define the field of media and mass communication theory and research. It is a uniquely comprehensive and balanced guide to the world of pervasive, ubiquitous, mobile, social and always-online media that we live in today. New to this editio
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n: explores mass communication and media theory in an age of big data, algorithmic culture, AI, platform governance, streaming services, and mass self-communication; discusses the ethics of media and mass communication in all chapters; introduces a diverse and global range of voices, histories and examples from across the field; ties theory to the way media industries work and what it's like to make all kinds of media, including journalism, advertising, film, television, and digital games." (Publisher description)
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"Das Buch gibt einen umfassenden Überblick über die Arbeit des Fernsehjournalisten. Die Grundlagen in den verschiedenen Bereichen werden vermittelt. »Fernsehjournalismus« beginnt mit dem filmischen Erzählen und einer passenden Dramaturgie. Als Rohstoffe und Werkzeuge hat der Fernsehjournalist d
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as bewegte Bild, den Ton und seinen Text zur Verfügung. Sie greifen ineinander, ergänzen sich – ohne sich gegenseitig zu dominieren. Diese Balance verlangt Fingerspitzengefühl, das in diesem Buch vermittelt wird. Angefangen bei der Idee über die Recherche, die Drehplanung, die Dreharbeiten bis zur Montage am Schnittplatz und der Tonmischung – das Buch erläutert den gesamten gestalterischen Prozess der Filmproduktion im TV. Dabei geht es auch um einen wichtigen Punkt: rechtliche Fragen. Die gewinnen zunehmend an Bedeutung. Der Fernsehjournalist wird tagtäglich mit ihnen konfrontiert." (Einleitung, Seite 9)
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"This Yearbook is divided into three parts. The first is an introduction chapter, containing a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative point of view, which makes possible to observe the development of fiction in each count
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ry, highlighting their main productions, as well as the theme of the year. The second part consists in 11 chapters, one for each country, with an internal structure of fixed topics, but with new additions every year. The sections that compound each chapter are the following: 1) Country’s audiovisual context: this section presents general information about the audiovisual sector regarding the production of television fiction, such as history, trends and relevant events. 2) Analysis of premiere fictions: it is made through quantitative tables that show specific data about national and Ibero-American TV fictions released in each country. In this section the ten most watched titles of the year are highlighted. Since 2017, the Yearbook also brings the five most watched national productions of the year in an effort to enhance and deepen the issue of national identities in each country. 3) Transmedia reception: this section presents and exemplifies what channels offer to the audience fiction on the internet, as well the description of the audience’s behavior when watching, consuming and interacting with their fictions through websites, social networks and other platforms. 4) Highlights of the year: the most important productions not only in terms of audience (rating), but also for their sociocultural impact and for generating innovation in television fiction production or reception. 5) Theme of the year, which this year is Ibero-American TV fiction on video on demand platforms. This theme converges with the interests of Obitel, which for years has been following the trajectory of Ibero-American television fiction by rapidly changing scenarios. Multiple screens, transmissions, new formats, pay TV, UGC, among other topics, have been monitored and analyzed theoretically by each Obitel country research group. In this Yearbook, the proposal is to discuss production on video on demand platforms (VoD), addressing new forms of distribution and consumption. The objective was to verify the panorama of VoD production and consumption in the Obitel countries and the presence of national fiction on these platforms. In order to do so, we attempted to identify the reconfigurations that are occurring in the television scenario of each country in the face of new platforms of production, distribution and audiovisual consumption. Such reconfigurations take place from production to reception, from narrative forms to business models, to debates on legislation and regulation." (Pages 21-22)
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"Genre is central to understanding the industrial context and visual form of television. This new edition of the key textbook on television genre brings together leading international scholars to provide an accessible and comprehensive introduction to the debates, issues and concerns of the field. S
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tructured in eleven sections, The Television Genre Book introduces the concept of 'genre' itself and how it has been understood in television studies, and then addresses the main televisual genres in turn: drama, soap opera, comedy, news, documentary, reality television, children's television, animation and popular entertainment. This third edition is illustrated throughout with case studies of classic and contemporary programming from each genre, ranging from The Simpsons to Buffy the Vampire Slayer and from Monty Python's Flying Circus to Who Wants to be a Millionaire?. It also features new case studies on contemporary shows, including The Only Way Is Essex, Homeland, Game of Thrones, Downton Abbey, Planet Earth, Grey's Anatomy and QVC, and new chapters covering topics such as constructed reality, travelogues, telefantasy, stand-up comedy, the panel show, 24-hour news, Netflix and video on demand." (Publisher description)
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"In order to maintain competitive edge over both domestic rivals and international competition, Chinese television companies have been looking abroad for ideas. A number of political and commercial concerns have come together to inform a sudden interest by Chinese media companies in creativity and i
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nnovation. Hunan TV has been at the forefront, carefully deciding on the United Kingdom and selecting partners with which to work. In the course of its explorations abroad, Hunan has changed its objectives from narrowly technical and managerial ones to strategic ones. It now buys foreign formats, develops its own ideas, and looks forward to exporting those ideas and perhaps formats abroad, a hitherto inconceivable ambition that reflects urgent Chinese government concerns about the country's need to expand its international 'soft power'. Meanwhile, Hunan TV's initiatives have not gone unnoticed elsewhere in China, and other television companies are following suit. This article describes how this came about and what measures are being undertaken as a result of it, and discusses the implications of such ambitions." (Abstract)
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"If radio and film were the emblematic media of the Maoist era, television has rapidly established itself as the medium of the "marketized" China and in the diaspora. In less than two decades, television has become the dominant medium across the Chinese cultural world. TV China is the first antholog
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y in English on this phenomenon. Covering the People's Republic, Hong Kong, Taiwan, and the Chinese diaspora, these 12 original essays introduce and analyze the Chinese television industry, its programming, the policies shaping it, and its audiences." (Publisher description)
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"A reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows.
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Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale." (Publisher description)
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"The text focuses on the process of genre analysis, using the selected approaches discussed. The book provides examples and analyses of genres in an effort to support, illustrate, and extend any abstract concepts that have been introduced. More important, it gives students the theoretical tools to c
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onduct their own primary research into genres. In that sense, the methodology is expansive rather than reductive. Presumably, two students could conduct an analysis of the same genre using different approaches and come up with divergent interpretations. In all cases, for an interpretation to be valid: (1) the analysis must be systematically applied, and (2) the analysis must be supported with concrete examples from the text (i.e., film, television episode, newspaper). It must be emphasized, however, that depending on the specific area of study, one approach may be more useful than another." (Preface, page xiii)
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"Globalisierung ist in aller Munde. Zunehmend wird dabei deutlich, dass Globalisierung in weiten Teilen auch eine Globalisierung der Medien und durch die Medien bedeutet. Das wirft viele Fragen auf: Welche Herausforderung stellt die Globalisierung für Medienpolitik, Medienökonomie und Medienwirtsc
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haft dar? Welchen Stellenwert hat Globalisierung der Medien für Gesellschaft, Kultur und Alltag und Identität der Menschen? Ausgehend von solchen Fragen will der Band in eine differenzierte Auseinandersetzung mit der Globalisierung der Medien einführen. Dazu werden nicht nur verschiedene theoretische Ansätze differenziert diskutiert, sondern auch in eine auf Globalisierungsfragen fokussierte Beschäftigung mit Medienökonomie, Medienpolitik und Medienkultur eingeführt. Daneben werden die für eine Auseinandersetzung mit Globalisierung zentralen empirischen Zugänge im Bereich der Kommunikator-, Produkt-, Rezeptions- bzw. Aneignungsforschung vorgestellt. Abschließend wird anhand von drei Fallbeispielen die Komplexität und Widersprüchlichkeit von medialer Globalisierung nachvollziehbar dargestellt. Insgesamt zielt der Band "Globalisierung der Medien" so darauf ab, differenziert in eine Auseinandersetzung mit der Globalisierung der Medienkommunikation einzuführen. Gerade die Verzahnung von theoretischen Darstellungen, Problemfeldern, Methoden und Beispielen soll es dabei ermöglichen, strukturiert und nachvollziehbar den komplexen Gegenstand zu erfassen." (Verlagsbeschreibung)
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