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Author: Elihu Katz
Publisher: SAGE
ISBN: 9781412978521
Category : Language Arts & Disciplines
Languages : en
Pages : 239
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Book Description
Is television dead? The classic television era of the 1950s and 1960s, characterized by limited choices of programs broadcast on over the air channels to families as if they were seated around a hearth – and to a nation as if gathered around a campfire – has indeed ended. Throughout the drastic evolution of this media, thousands of studies have examined the short-term effects of television, such as the evaluation of persuasion campaigns. Yet there is scant research on the overreaching sociological impacts of television and its centrality to Western culture over the past 60 years. This compelling volume of The ANNALS is the first collection of rigorous articles devoted to studying ways in which television has impacted our values, ideologies, institutions, social structure, and culture.
Author: Elihu Katz
Publisher: SAGE
ISBN: 9781412978521
Category : Language Arts & Disciplines
Languages : en
Pages : 239
Get Book Here
Book Description
Is television dead? The classic television era of the 1950s and 1960s, characterized by limited choices of programs broadcast on over the air channels to families as if they were seated around a hearth – and to a nation as if gathered around a campfire – has indeed ended. Throughout the drastic evolution of this media, thousands of studies have examined the short-term effects of television, such as the evaluation of persuasion campaigns. Yet there is scant research on the overreaching sociological impacts of television and its centrality to Western culture over the past 60 years. This compelling volume of The ANNALS is the first collection of rigorous articles devoted to studying ways in which television has impacted our values, ideologies, institutions, social structure, and culture.
Author: Amanda D Lotz
Publisher: NYU Press
ISBN: 1479830070
Category : Performing Arts
Languages : en
Pages : 411
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Book Description
“Incredibly prescient . . . the revised edition updates its account to reflect an age when Hulu, Netflix, and Amazon are now competing for Emmy and Peabody Awards.” —Henry Jenkins, coauthor of Spreadable Media: Creating Meaning and Value in a Networked Culture Many proclaimed the “end of television” in the early years of the twenty-first century, as capabilities and features of the boxes that occupied a central space in American living rooms for the preceding fifty years were radically remade. In this revised second edition of her definitive book, Amanda D. Lotz proves that rumors of the death of television were greatly exaggerated and explores how new distribution and viewing technologies have resurrected the medium. Shifts in the basic practices of making and distributing television have not been hastening its demise but redefining what we can do with it, what we expect from it, how we use it—in short, revolutionizing it. Television, as both a technology and a tool for cultural storytelling, remains as important today as ever, but it has changed in fundamental ways. The Television Will Be Revolutionized provides a sophisticated history of the present, examining television in what Lotz terms the “post-network” era while providing frameworks for understanding the continued change in the medium. The second edition addresses adjustments throughout the industry wrought by broadband-delivered television such as Netflix, YouTube, and cross-platform initiatives like TV Everywhere, as well as how technologies such as tablets and smartphones have changed how and where we view. Lotz begins to deconstruct the future of different kinds of television—exploring how “prized content,” live televised sports, and linear viewing may all be “television,” but very different types of television for both viewers and producers. Through interviews with those working in the industry, surveys of trade publications, and consideration of an extensive array of popular shows, Lotz takes us behind the screen to explore what is changing, why it is changing, and why the changes matter. “[A] thorough and engaging analysis.” —Velvet Light Trap “Thick with trade facts and figures.” —Popular Communication
Author: Amanda D. Lotz
Publisher: MIT Press
ISBN: 0262366673
Category : Language Arts & Disciplines
Languages : en
Pages : 197
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Book Description
How the internet disrupted the recorded music, newspaper, film, and television industries and what this tells us about surviving technological disruption. Much of what we think we know about how the internet "disrupted" media industries is wrong. Piracy did not wreck the recording industry, Netflix isn't killing Hollywood movies, and information does not want to be free. In Media Disrupted, Amanda Lotz looks at what really happened when the recorded music, newspaper, film, and television industries were the ground zero of digital disruption. It's not that digital technologies introduced "new media," Lotz explains; rather, they offered existing media new tools for reaching people. For example, the MP3 unbundled recorded music; as the internet enabled new ways for people to experience and pay for music, the primary source of revenue for the recorded music industry shifted from selling music to licensing it. Cable television providers, written off as predigital dinosaurs, became the dominant internet service providers. News organizations struggled to remake businesses in the face of steep declines in advertiser spending, while the film industry split its business among movies that compelled people to go to theaters and others that are better suited for streaming. Lotz looks in detail at how and why internet distribution disrupted each industry. The stories of business transformation she tells offer lessons for surviving and even thriving in the face of epoch-making technological change.
Author: Dennis Broe
Publisher: Wayne State University Press
ISBN: 0814345271
Category : Performing Arts
Languages : en
Pages : 300
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Book Description
A deep-dive into the practice and execution of contemporary television viewing. Birth of the Binge: Serial TV and the End of Leisure describes and details serial television and "binge watching," the exceedingly popular form of contemporary television viewing that has come to dominance over the past decade. Author Dennis Broe looks at this practice of media consumption by suggesting that the history of seriality itself is a continual battleground between a more unified version of truth-telling and a more fractured form of diversion and addiction. Serial television is examined for the ways its elements (multiple characters, defined social location, and season and series arcs) are used alternately to illustrate a totality or to fragment social meaning. Broe follows his theoretical points with detailed illustrations and readings of several TV series in a variety of genres, including the systemization of work in Big Bang Theoryand Silicon Valley;the social imbrications of Justified; and the contesting of masculinity in Joss Whedon's Buffy the Vampire Slayer, Firefly,and Dollhouse. In this monograph, Broe uses the work of Bernard Stiegler to relate the growth of digital media to a new phase of capitalism called "hyperindustrialism," analyzing the show Lostas suggestive of the potential as well as the poverty and limitations of digital life. The author questions whether, in terms of mode of delivery, commercial studio structure, and narrative patterns, viewers are experiencing an entirely new moment or a (hyper)extension of the earlier network era. The Office, The Larry Sanders Show, and Orange Is the New Blackare examined as examples of, respectively, network, cable, and online series with structure that is more consistent than disruptive. Finally, Broe examines three series by J. J. Abrams—Revolution, Believe, and 11.22.63—which employ the techniques and devices of serial television to criticize a rightward, neo-conservative drift in the American empire, noting that none of the series were able to endure in an increasingly conservative climate. The book also functions as a reference work, featuring an appendix of "100 Seminal Serial Series" and a supplementary index that television fans and media students and scholars will utilize in and out of the classroom.
Author: Chris Whitaker
Publisher: Henry Holt and Company
ISBN: 1250759676
Category : Fiction
Languages : en
Pages : 348
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Book Description
Winner of the Gold Dagger for Best Crime Novel from the Crime Writers’ Association (UK) Winner for Best International Crime Fiction from Australian Crime Writers Association An Instant New York Times Bestseller “A vibrant, engrossing, unputdownable thriller that packs a serious emotional punch. One of those rare books that surprise you along the way and then linger in your mind long after you have finished it.” —Kristin Hannah, #1 New York Times bestselling author of The Nightingale and The Four Winds Right. Wrong. Life is lived somewhere in between. Duchess Day Radley is a thirteen-year-old self-proclaimed outlaw. Rules are for other people. She is the fierce protector of her five-year-old brother, Robin, and the parent to her mother, Star, a single mom incapable of taking care of herself, let alone her two kids. Walk has never left the coastal California town where he and Star grew up. He may have become the chief of police, but he’s still trying to heal the old wound of having given the testimony that sent his best friend, Vincent King, to prison decades before. And he's in overdrive protecting Duchess and her brother. Now, thirty years later, Vincent is being released. And Duchess and Walk must face the trouble that comes with his return. We Begin at the End is an extraordinary novel about two kinds of families—the ones we are born into and the ones we create.
Author: Adam Silvera
Publisher: HarperCollins
ISBN: 0062457810
Category : Young Adult Fiction
Languages : en
Pages : 243
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Book Description
Adam Silvera reminds us that there’s no life without death and no love without loss in this devastating yet uplifting story about two people whose lives change over the course of one unforgettable day. #1 New York Times bestseller * 4 starred reviews * A School Library Journal Best Book of the Year * A Kirkus Best Book of the Year * A Booklist Editors' Choice * A Bustle Best YA Novel * A Paste Magazine Best YA Book * A Book Riot Best Queer Book * A Buzzfeed Best YA Book of the Year * A BookPage Best YA Book of the Year On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today. Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day. In the tradition of Before I Fall and If I Stay, They Both Die at the End is a tour de force from acclaimed author Adam Silvera, whose debut, More Happy Than Not, the New York Times called “profound.” Plus don't miss The First to Die at the End: #1 New York Times bestselling author Adam Silvera returns to the universe of international phenomenon They Both Die at the End in this prequel. New star-crossed lovers are put to the test on the first day of Death-Cast’s fateful calls.
Author: Jerry Mander
Publisher: Harper Collins
ISBN: 006231680X
Category : Social Science
Languages : en
Pages : 259
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Book Description
“Persuasive . . . interesting and unusual.” —Kirkus Reviews A total departure from previous writing about television, this book is the first ever to advocate that the medium is not reformable. Its problems are inherent in the technology itself and are so dangerous—to personal health and sanity, to the environment, and to democratic processes—that TV ought to be eliminated forever. Weaving personal experiences with meticulous research, the author ranges widely over aspects of television that have rarely been examined and never before joined together, allowing an entirely new, frightening image to emerge. The idea that all technologies are neutral, benign instruments that can be used well or badly is thrown open to profound doubt. Speaking of TV reform is, in the words of the author, “as absurd as speaking of the reform of a technology such as guns.” Praise for the work of Jerry Mander “Lively, provocative.” —Publishers Weekly “A skilled writer.” —Kirkus Reviews (starred review)
Author: Michael Strangelove
Publisher: University of Toronto Press
ISBN: 1442666196
Category : Business & Economics
Languages : en
Pages : 359
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Book Description
In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences. In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment. A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.
Author: Alan Nadel
Publisher:
ISBN:
Category : History
Languages : en
Pages : 244
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Book Description
La couverture indique : "Alan Nadel's new book reminds us that most of the images on early TV were decidedly Caucasian and directed at predominantly white audiences. Television did not invent whiteness for America, but it did reinforce it as the norm - particularly during the Cold War years. Nadel now shows just how instrumental it was in constructing a narrow, conservative, and very white vision of America." "During this era, prime-time TV was dominated by "adult Westerns," with heroes like The Rebel's Johnny Yuma reincarnating Southern values and Bonanza's Cartwright family reinforcing the notion of white patriarchy - programs that, Nadel shows, bristled with Cold War messages even as they spoke to the nation's mythology. America had become visually reconfigured as a vast Ponderosa, crisscrossed by concrete highways designed to carry suburban white drivers beyond the moral challenge of racism, racial poverty, and increasingly vocal civil rights demands."
Author: James Poniewozik
Publisher: Liveright Publishing
ISBN: 1631494430
Category : Political Science
Languages : en
Pages : 277
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Book Description
New York Times Book Review • Notable Book of the Year Washington Post • 50 Notable Works of Nonfiction in 2019 NPR.org • NPR 2019 Concierge Slate • 10 Best Books of the Year Chicago Tribune • Best Books of the Year Publishers Weekly • 10 Best Books of the Year Audience of One reframes America’s identity through the rattled mind of an insomniac, cable-news-junkie president.New York Times chief television critic James Poniewozik offers a “darkly entertaining” (Carlos Lozada, Washington Post) history of mass media from the early 1980s to today, demonstrating how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president. In charting the seismic evolution of television from a monolithic mass medium into today’s fractious confederation of spite-and-insult media subcultures, Poniewozik reveals how Donald Trump took advantage of these historic changes by constantly reinventing himself: from a boastful cartoon zillionaire; to 1990s self-parodic sitcom fixture; to The Apprentice reality-TV star; and finally to Twitter-mad, culture-warring demagogue. Already lauded as a “brilliant and daring” (Annalisa Quinn, NPR) work that defines a generation, Audience of One emerges as a classic in cultural criticism.
