TV and society Books

Book SynopsisBinge and Bingeability: The Antecedents and Consequences of Binge Watching Behavior examines how the television industry has transformed over time to create the circumstances in which binge watching as a mass behavior can emerge, and what role audiences have played in the rising prevalence of this behavior. Arienne Ferchaud, recognizing that this behavior did not spring, fully formed, from streaming services, ties cultural approaches to binge watching with media psychology-oriented theories, including the concept of “bingeability”—the likelihood that a specific sow will be binge watched—alongside the psychological impacts binge watching may have on viewers over time. Scholars of media studies, television studies, sociology, cultural studies, and psychology will find this book particularly useful. Table of ContentsIntroductionChapter 1: Introduction to Binge WatchingChapter 2: Defining Binge Watching Chapter 3: The Evolution of Television AudiencesChapter 4: Audience Motivations for Binge Watching BehaviorChapter 5: BingeabilityChapter 6: Does Binging Change how we Perceive the Story? Chapter 7: A Deeper Dive into the Binging ExperienceChapter 8: Concluding StatementsBibliographyAbout the Author

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Book SynopsisThe extraordinary global success of Turkish drama serials is a significant development in contemporary popular culture. This book presents comparative audience data from three different regions to explore its ramifications across the Global South. We learn how this phenomenon has transformed Turkey—a Muslim-majority country—into the world’s second-largest producer of scripted television serials, enticing audiences from all over the world. The book takes an audience-centred approach, investigating the reasons for the allure of Turkish dramas to Arab, Latin American, and Israeli audiences. In tandem, it explores Turkey's changing foreign policy, economic, and trade relationships since the turn of the millennium, which have coincided with the enormous success of the country's television output. It also analyses the role and importance of Turkish dramas as a soft-power tool by scrutinizing how they have influenced viewers' perceptions of Turkey, its people, and its culture. This volume will appeal to those working in various disciplines—from media and communication, international relations, public diplomacy, sociology, and Middle Eastern studies. The material will also be of great relevance to upper-level undergraduates, postgraduate students, academics, scholars and researchers.Table of ContentsIntroduction 1. The Turkish Television Industry: From National to Transnational 2. Turkish Drama Serials in the Arab World 3. Fluctuating Turkish–Arab Relations and the Soft Power of Drama Serials 4. The Importance of Socio-Cultural Factors in the Appeal of Turkish Serials among Arab Viewers 5. Why Turkish Dramas Resonate with Arab Women: An Analysis of the Responses of Women Viewers in Qatar 6. Turkish Drama Serials in Chile 7. Turkish Drama Serials in Israel Summary and Conclusion Notes References Index

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Book SynopsisSubscription-video-on-demand (SVOD) services are available on many online video-streaming platforms (VSPs) in China, such as iQiyi, Youku and Tencent Video, backed by Baidu, Alibaba and Tencent groups (BAT), respectively. The video content on these platforms can be the same shows as those broadcasted on national or provincial television stations or originally produced and exclusively streamed on the VSP. Meanwhile, VSPs purchase the distribution rights of foreign films and television series to enrich the content pool. This book aims to provide an account of Chinese television, particularly online drama series, or webisodes, with an awareness of the existence and competition of Netflix, covering topics on business strategies of VSPs, original content production trends, trans-media stories telling cases, audience behaviors and practitioner insight.Trade Review“The development of video-streaming platforms in the West has been much discussed, but this remarkable book examines their impact, as well as the challenges they pose in China. What this book achieves is the examination of a series of detailed case studies charting indigenous companies and how they have navigated advanced streaming technologies in China. The book’s comprehensive discussion of Chinese streaming television is of great value to both Western and non-Western scholars in the field, as well as anyone interested in how television and streaming have been developed beyond companies such as Netflix” — Dr. Max Sexton, Research Fellow, University of the West of England.“Video-streaming platforms, mist theater, bullet screen, AI scriptwriting … . This edited volume covers some of the latest and most popular topics of Chinese television studies. It is highly informative and thought provoking. I recommend it to anyone interested in Chinese television in the digital age” — Professor Xihe Chen (Ph.D., Ohio State University), Director of the Editing Committee of Film Theory Research, Executive Director of Chinese Film Criticism Academic Society.Table of ContentsIntroduction Xiaying Xu; Chapter 1. Webisode Distribution and Globalization Strategies of Video-Streaming Platforms: Taking iQIYI as an Example Zhixia Mo and Hui Liu; Chapter 2. The Production of High-Quality Homemade Short Dramas on Chinese Networks: The Example of iQIYI’s Mist Theater Jia Xian and Qinqin Ren; Chapter 3. What Are They Bullet-Screening About? A Content Analysis of Bullet Screen Comments about Crime Crackdown (2021) Xiaying Xu and Qingyuan Zhao; Chapter 4. Content, Platforms and Distribution: Challenges and Prospect in the Field of Webisode Productions Wei Jiang and Pengcheng Zhou; Notes on Contributors; Index

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Book SynopsisTalk radio is broadcast discourse expressing – under ideal circumstances – the medium’s full potential as a vox Populi megaphone. Talk radio creates a virtual arena (a Coliseum!) in which topics of public relevance, and most specifically of current affairs, are treated with both expert voices and the continuous contributions of the “man on the street” – the vox Populi. This vox Populi is expressed within the mainstream media context. Radio broadcasters anticipate the active participation of listeners and make them engines of the on-air discussions. Talk radio programs become instruments for intervening in public opinion and, via opinions of the public, intervene in the public agenda. Talk radio and its vox populi amplify the importance of political issues and social issues. Trade Review“This book brings together an international community of radio scholars to explore the role talk radio plays in everyday life and does so in a new and original way. It brilliantly captures and describes the ambivalence of talk radio, both as a community aggregator and as a means of polarizing public opinion. It will certainly be a reference book for the burgeoning community of radio, media and communication studies” — Professor Tiziano Bonini, University of Siena.“By highlighting the voices of ordinary people, call-in talk radio helped democratize the media before the internet and podcasts. But it also poisoned politics and laid the foundation for today’s polarized media landscape. Despite the genre’s vast influence, precious little scholarship has looked at the rise of call-in shows. Finally, here is a book that takes us inside the magic of the industry and shows how that magic continues to fuel its broad impact, for good and ill. The thought-provoking, entertaining and important stories told in Radio Vox Populi will interest everyone from academics to general-interest readers” — Public radio talk show executive producer Dan Zoll at KQED in San Francisco.“A wonderfully rich collection of chapters by talk radio practitioners and scholars from the United States, Italy and elsewhere on talk radio’s past(s), present(s) and future(s). The book explores talk radio’s relation to culture, economy, listeners (and listening) and politics. The chapters illuminate not only the national and regional contexts and topics discussed but also the complex implications of talking on radio for community, democracy and conviviality in our global present with its dominant concerns over political polarization, its destabilizing experience of the Covid pandemic and fears that we live in an ‘age of inattention’” — Dr. Neil Washbourne, Senior Lecturer in Media Studies, School of Cultural Studies and Humanities, Leeds Beckett University.Peter Laufer is like a literary flashlight—whatever subject he tackles, he illuminates it with a piercing, but always warm, glare. With his Sapienza partner Christian Ruggiero, the two media scholars gathered a distinguished coterie of experts to help readers better understand the international role of talk radio. Radio Vox Populi enjoys a distinct value-add with Laufer as an editor: Here is someone who has forgotten more about this subject than most will ever know — Nick Ferrari, longtime LBC London talk radio breakfast presenter.Radio Vox Populi traces the history of radio as an agora, as an arena for discussion and opinions. It does so with a sharp and contemporary analysis that highlights how radio is—and has always been—an extraordinary engine of innovation, capable of anticipating change and shaping the future — Federica Gentile, radio and television host (RAI, RTL 102.6), artistic director of Radio Zeta.Radio is the voice of the people par excellence. The movie or TV star is distant from the people; he is a star. The radio talk host, on the other hand, by nature perfectly embodies the thinking of the “man on the street.” That is why if you are one of the 35 million Italians who turn on the radio for at least 5 minutes every day, you absolutely must read this book: it is the “opera omnia” of world talk radio — Nicola Savino, radio and TV host, director and author, one of the leading figures of commercial radio in Italy.There are opinions expressed in this industrious book with which I personally and professionally disagree. But that’s okay. Talk radio of the late 20th and early 21st centuries is all about disagreement—including the irksome reality that scholars, listeners, broadcasters, politicians and journalists alike are not able to arrive anywhere close to a consensus as to what the term “talk radio” even means. I support democracy and the First Amendment but recognize they are extremely untidy affairs. The international flavor of this collection adds even more sizzle to its combustible content. I’ve always taken Peter Laufer seriously although I could argue with him for hours. If you are interested in the transitional influence of spoken word radio for better or worse, check this book out! — Michael Harrison, publisher, Talkers magazine, an industry journal dedicated to talk radio.Despite disruptive forces ranging from technological advances to a pandemic, the medium of radio has maintained a healthy, but declining, share of audio consumers. Research indicates that personalities appeal to listeners more than music. Thus, this edited volume of international scholars, on talk radio, is well timed! It provides readers with a keen understanding of the evolution and current status of the industry — John Allen Hendricks, Stephen F. Austin State University (Texas) communications professor and editor of the Palgrave Handbook of Global Radio.Radio has undergone metamorphoses and even radical changes in its history, but it has never lost the centrality of speech. Radio Vox Populi focuses on its ability to create listening communities, analyzes its changes and how the power of new media and the crisis of traditional ways of forming public opinion represent a new challenge for radio. For practitioners, insiders and citizens interested in the health of democracies, this book is a useful and brilliant reference point `— Marino Sinibaldi, former RaiRadio3 Director.Table of ContentsPreface, by David Hendy;Forewords, by Peter Laufer and Christian Ruggiero; Section 1: Making Euros & Dollars with Talk Radio, with contributions by Peter B. Collins, Mihaela Gavrila and Giorgio Zanchini; Section 2: Grabbing Listeners Ears, with contributions by Mark Davis and Giorgio Simonelli; Section 3: Securing Listeners Loyalty, with contributions by Christopher Chávez and Marta Perrotta; Section 4: Selfishly Broadcastinfg Divisiveness, with contributions by Markos Kounalakis, Mauro Bomba and Aida Picone; Section 5: Commercial Propagandizing va. Public Discourse, with contrributions by Terry Phillips, Mihaela Gavrila and Marta Perrotta; Epilogue, by Peter Laufer and Christian Ruggiero; Index

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Book SynopsisThis book focuses on the emerging historical relations between British television and film culture in the 1950s. Drawing upon archival research, it does this by exploring the development of the early cinema programme on television - principally Current Release (BBC, 1952-3), Picture Parade (BBC, 1956) and Film Fanfare (ABC, 1956-7) - and argues that it was these texts which played the central role in the developing relations between the media. Particularly when it comes to Britain, the early co-existence of television and cinema has been seen as hostile and antagonistic, but in situating these programmes within the contexts of their institutional production, aesthetic construction and reception, the book aims to ‘reconstruct’ television’s coverage of the cinema as crucial to the fabric of British film and television culture at the time. It demonstrates how the roles of cinema and television - as media industries and cultural forms, but crucially as sites of screen entertainment - effectively came together at this time in such a way that is unique to this decade.

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Book SynopsisAt the beginning of the 21st century, it hardly goes uncontested anymore that media organisations play an important role in democracy. The main questions have now become whether the contemporary media conjuncture offers enough to our democracies, how their democratic investment can be deepened and how our communication rights can be expande. This book aims to look at four thematic areas that structure the opportunities for democratising (media) democracy. A first section is devoted to citizenship and the public spheres, giving special attention to the general theme of communication rights. The second section elaborates further on a notion central to communication rights, namely that of participation. The third section returns to the traditional representational role in relation to democracy and citizenship, scrutinizing and criticizing the democratic efforts of contemporary journalism. The fourth section moves outside of the (traditional) media system, and deals with the diversity of media and communication strategies of activists. This is volume 3 in the European Communication Research and Education Association book series.

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Book SynopsisThis book is the first to offer a global perspective on the unique contemporary media phenomenon of transnational television channels. It is also the first to compare their impact in different regions of the globe. Revealing great richness and diversity across some of the world's main geocultural regions (Europe, the Middle East, Africa, South Asia, Greater China and Latin America), international contributors with in-depth industry knowledge examine the place of these channels in the process of globalization, their impact on the nation-state and on regional culture and politics. The book also considers audiences and geocultural TV markets, providing new ways of thinking about the emerging transnational media order.Trade ReviewMediaweek - review by Nick Mawditt (Head of Research - CNBC Europe): "it will be worth your while to appreciate the history and current politics of this hugely relevant and expanding economy." "comprehensive perspective of the globalisation of TV" "compelling for its revealing insight into the challenges of culture, politics, ideology and economics in establishing a successful TV service in any jurisdiction." "The principal lesson to emerge is that you won't survive without a distribution network, an understanding of local culture or by imitating existing product." "The book is essential for those engaging with the complexities of pan regional or global TV."

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Book SynopsisNewly reprinted, Against the Wall includes large-scale works primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel. Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.

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Book SynopsisAs opposed to many of their more reserved predecessors, modern television serials such as Queer as Folk and The L Word, which concentrate predominantly on queer characters, dare to include numerous highly controversial story lines, feature explicit sex scenes and reflect upon previously tabooed aspects in their depiction of homosexuality. Challenging Heterosexism from the Other Point of View discusses how these specifically queer shows fulfill a function of challenging institutionalized attitudes of society, such as dichotomous notions of gender, heterosexism or homophobia. Moreover, the question is raised whether they also serve to do the opposite unintentionally, by reinforcing stereotypes and potentially creating a rather rigid image of the concept of homosexual identity. The complexity of the cultural impact suggested by these series defines the focal point of the qualitative content analysis of these innovative media products.Table of ContentsContents: Queer Representation and Popular Media – Creating a Homonormative World – Representation of the Others – The New Order and Value System – Questioning Gender and Sexual Dichotomies – Stereotypes and the Mandate of Representation – Politics of Visibility.

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Book SynopsisWhile migrant workers become the backbone of China’s fast growing economy, internal migration and its impacts on various aspects of social life in China have been an increasing concern of both the Chinese general public and the academics. It is timely, therefore, that identities of and stances towards migrant workers represented in China’s media are subject to discourse analysis and sociolinguistic research. This book examines how identities of and stances towards migrant workers have been constructed, transformed and mediated in China’s media discourse, and it investigates the media strategies and practices constructing these media products. This book provides a comprehensive study of how the media representation of migrant workers is interacting with the sociocultural transformation in China. The findings and discussions of the book offer critical insights into media discourse and practice in contemporary China which will be of interest to scholars and research students in discourse studies, sociolinguistics, media and communication studies, and China studies.Table of ContentsMigrant workers and public media in China – Media discourse analysis from a sociolinguistic perspective – Newspaper representation of migrant workers in China’s newspapers – White-collar migrant workers in public media – Construction of migrant workers’ identities on a TV talk show – Media representation and practice in Chinese contexts

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Book SynopsisComment l’espace médiatique (presse, télé, web) façonne-t-il la définition et l’attribution de valeurs pour des entités de toutes sortes ? Au moment où abondent les instruments d’évaluation fondés sur la quantification – des indicateurs aux classements, des hit-parades aux baromètres, des mégadonnées au like, des commentaires aux notes – et que concours, prix ou récompenses font florès, ce livre entend éclairer les logiques, les processus et les discours médiatiques à l’œuvre dans la production, la circulation et la publicisation de l’évaluation. How does the media space (press, television, web) shape the definition and assignment of values to various entities? While evaluative tools based on quantification proliferate – from indicators to rankings, from charts to barometers, from big data to like, from comments to notes – and contests, prizes or awards are flourishing, this book aims to shed light on the media logics, processes and discourses at work in the production, circulation and publicization of evaluation.Trade Review«Plus que des critiques, ces quelques pistes invitent à prolonger les réflexions et les perspectives d’analyse engageantes ouvertes par cet ouvrage.» (Clémentine Gozlan, Quaderni 94/2017)Table of ContentsContenu : Julie Bouchard : La médiatisation de l’évaluation et les flux de valeurs – Wendy Espeland: Rankled by rankings: how media rankings redefined higher education – Gustavo Gomez-Mejia : L’évaluation à l’épreuve des médias informatisés – Augustin Besnier : L’évaluation sur Internet : une démocratisation de l’expertise – Camille Alloing/Christian Marcon : Quelle(s) perception(s) des classements de blogs par leurs auteurs ? Le cas Wikio – Noortje Marres/Esther Weltevrede: Scraping the Social? Issues in real-time social research – Etienne Candel : Des sujets aux institutions, valeur de l’évaluation – Alain Bovet/Olivier Voirol : À l’épreuve de l’évaluation : analyse comparée d’une émission de talent show française et allemande (Nouvelle Star et Deutschland sucht den Superstar) – Camille Rondot : Le prix comme manifestation d’une légitimité politique : la médiatisation de l’évaluation sur le site internet de l’Unesco comme élément performant – Paolo Cavaliere: Measuring government performance and happiness: The end of public opinion as we know it? – Julie Bouchard/Hélène Cardy : Les classements et le faire-savoir médiatique – Deb Verhoeven/Brian Morris: ‘Second city syndrome’: media reportage of urban rankings – Xavier Pons : La médiatisation de Pisa en France – Christine Barats : Médiatisation du « classement de Shanghai » et processus de co-construction : analyse socio-discursive d’un corpus de presse et entretiens compréhensifs – Thierry Baubias : La médiatisation du Palmarès des musées de France : dispositif, légitimité et registres de valeurs – Hélène Cardy : Les mesures des médias – Lee McGuigan: From demographics to buying power: economic evaluation of audiences as consumers – Aude Seurrat : Mesurer « la diversité » dans les médias ? Étude du baromètre du CSA – Francesco Amoretti/Diego Giannone: valuation of the media in the media: assessing political and methodological aspects of measuring freedom of information.

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Book SynopsisFrom Supernanny to Gilmore Girls, from Katie Price to Holly Willoughby, a wide range of examples of mothers and motherhood appear on television today. Drawing on questionnaires completed by mothers across the UK, this book sheds new light on the varied and diverse ways in which expectant, new and existing mothers make sense of popular representations of motherhood on television. The volume examines the ways in which these women find pleasure, empowerment, escapist fantasy, displeasure and frustration in popular depictions of motherhood. The research seeks to present the voice of the maternal audience and, as such, it takes as its starting point those maternal depictions and motherwork representations that are highlighted by this demographic, including figures such as Tess Daly and Katie Hopkins and programmes like TeenMom and Kirstie Allsopp’s œuvre.Table of ContentsContents: Media methods research: Finding audiences and giving a voice to mothers – Maternal preferences: From ordinary celebrity to the sitcom star – Emulation, not identification: Sartorial styles, domestic skills and maternal discipline – Bad mothers and poor role models: Maternal inadequacy and the problem of perfection – Conclusion: A call for maternal diversity.

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Book SynopsisDoctor Who is one of television’s most enduring and ubiquitously popular series. This study contends that the success of the show lies in its ability, over more than half a century, to develop its core concepts and perspectives: alienation, scientific rationalism and moral idealism. The most extraordinary aspect of this eccentric series rests in its capacity to regenerate its central character and, with him, the generic, dramatic and emotional parameters of the programme. Out of Time explores the ways in which the series’ immortal alien addresses the nature of human mortality in his ambiguous relationships with time and death. It asks how the status of this protagonist – that lonely god, uncanny trickster, cyber-sceptic and techno-nerd – might call into question the beguiling fantasies of immortality, apotheosis and utopia which his nemeses tend to pursue. Finally, it investigates how this paragon of transgenerational television reflects the ways in which contemporary culture addresses the traumas of change, loss and death.Table of ContentsContents: Genre Trouble – The Reality Bomb – The Show that Never Dies – A Fate Worse than Death – One Being’s Utopia – Time Can Be Rewritten – Imitatio Christi – Lord of Time – Coping Strategies A Very Naughty Boy – The Uncanny – Everybody Lives.

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Book SynopsisWhat kinds of foreign television programs are broadcast in China? What types of cultural differences exist in the minds of Chinese television viewers? To what extent can they perceive and accept these differences? The author developed a three-stage empirical approach to examine these questions in five sample cities in China. First, the television schedules of 37 television channels were analyzed in order to determine the type, cultural modification, and export country of foreign programs. Second, based on 36 audience interviews 42 cultural dimensions were explored and summarized in a catalogue. Third, a survey was conducted among 450 viewers, which examined their perception and acceptance of cultural difference. Five viewer types were developed through cluster analysis. The impact of influential factors was examined.Table of ContentsContents: Cultural difference – Cultural barrier – Television – Television program – Foreign television program – Chinese television – China – Chinese culture – Audience – Television viewer – Empirical research – Intercultural adaptation – Perception – Acceptance – Genre – Cultural proximity – Interview – Survey.

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Book SynopsisThis book explores a hybrid model of broadcasting and takes a close look at public TV broadcasting operating in a market-driven environment. While media and media institutions play an important role in democratic societies, their management is a complex process and has to coordinate the various demands of the public, the owners, advertisers and society. Managing media institutions also has to take into account technological developments, changes in the regulatory framework and social trends. Whereas media performance reflects social developments, their management often represents catching the uncatchable: providing for the public good and offering attractive market products.Table of ContentsContents: Media organization – Public interest – Public service – Broadcasting – Management methods – Broadcasting policy – Performance of success – Hybrid model of broadcasting – Economic criteria of success.

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Book SynopsisDie linguistische Studie untersucht die Metaphorik im Zuwanderungsdiskurs auf einer breiten Datengrundlage bestehend aus Parteiprogrammen, Plenardebatten und politischen Talkshows. Der Untersuchungszeitraum umfasst auch die kontroverse Sarrazin-Debatte. Der Fokus liegt auf dem Aspekt der Arbeitsmigration. Metaphern wie Parallelgesellschaft, Willkommenskultur oder Zuwanderungssteuerung spielen eine zentrale Rolle im politischen Diskurs und prägen diesen auch. Innovativ sind der Einbezug der Verwendungskontexte und die Analyse mündlicher Sprachdaten. Die Untersuchung liefert die zentralen Konzepte und Metaphern in Bezug auf Zuwanderung. Dabei zeigt sich, dass die Metaphorik im Zuwanderungsdiskurs einem zeitlichen Wandel unterliegt.

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Book SynopsisWhile imagological works in the field of American Studies have traditionally focused on the construction of America by outsiders, this study takes a new approach by examining U.S. self-imaging efforts in the context of U.S. international broadcasting to Iran. The author traces the history of the Voice of America’s Persian Service and illustrates its conflict-prone organizational framework and modus operandi by considering legal documents, government reports, and personal interviews. As the inductive programming analysis and the case study of Simaye Amrica show, the Persian Service pursues a twofold image cultivation strategy by aiming to shape Iranian perceptions of the U.S. government in its news and political shows and perceptions of the American people in its arts and cultural programs.Table of ContentsU.S. Public Diplomacy and International Broadcasting to Iran – The United States’ Soft Power Approach in the War on Terror – A Programming Analysis of VOA Persian Service – All Eyes on VOA Persian – Public Discourse on the Persian Service’s Exercise of Soft Power

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Book SynopsisThe book provides an empirically based analysis of changes on how various political and denominational actors seek to influence the Church and state relationship, as well as how we understand the idea of the secular state. A set of case studies shows how and why changes in the coverage of the secular state and Church-state relations have followed the dynamics of media logic. By establishing a grounded theory based on media content, legal regulations and political party programs in the years 1989–2015 as well as a current survey, the author throws new light on the theory of mediatization. The book demonstrates that the disseminated idea of the secular state is largely a result of the adaptation of both political and religious representatives to a dynamically changing media logic. "The book is the first study of this kind showing the Polish perspective. It is an interesting and important source of information for those who want to trace the media picture of relations between the Polish state and the institution of the Roman Catholic Church, representing the largest religious community in Poland." Professor Dorota Piontek, Adam Mickiewicz University in PoznańTable of ContentsState secularity in context – Notion of mediatization – Mediatization of religion and politics – Methodological background – Covering the secular and church-state relationship – Mediatization effect – Church-state issues seen through the prism of the mediatization theory

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Book SynopsisMultilingualism is a phenomenon that has become increasingly visible in popular cinema and thus is currently a very novel object of academic inquiry. The present volume is a cutting-edge collection of cross- and transdisciplinary takes on this phenomenon and its different aspects. Its topics range from translation theory to political and aesthetic quandaries of audiovisual translation and subtitling, to narratological function of multilingualism in fiction, to language ideologies and language poetics onscreen. Its authorship is a worldwide body of perspectives, whose contributions span a distinctive collection of international, national and regional film traditions.Table of ContentsAudiovisual translation – Subtitling – Transnational cinema – European heritage film – Erasmus movie – Middle Ages Movie – Narratological function of multilingualism in film – Onscreen language ideologies – Onscreen language politics – Aesthetics of multilingualism – Sociolinguistic analysis

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Book SynopsisThis study aims at analyzing the characters and spaces in films (writing case studies) in the framework of the Theory of Narrative in the context of the concepts of panopticon and chronotope. In the context of the relation of the spaces with the story, the spaces, where Bal separated according to the movement types of characters as steady spaces and dynamically functioning spaces, were determined according to the context in which the characters could use their existence on the basis of the qualities of the space in the narrative of the film. In this manner, the exterior and interior spaces that are presented in film narratives are analyzed in the context of Bal’s commentated facts and the facts that are grounded on. While examining the spaces in terms of the effect of these spaces on the plot, evaluations were made about the causal motivation of the spectator while watching the narrative. The concepts of panopticon and chronotope make it possible to examine the narrative elements in detail and try to explain how the process of the narrative interpretation of spectators is developed.Table of ContentsNarratology – Film narrative – Space – Panopticon – Chronotope

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Book SynopsisThe book deals with the most challenging issues which the Slovak Mass Media are currently facing, including matters of public criticism. The first chapter describes the media influence on power control in Slovakia. It does not avoid the controversial question of corruption in the Slovak media field. The following chapter examines the stereotypes about the social minorities that are still widely spread by the media (especially the Internet and the social media). In this context, the chapter related to the public media explains why the existence of the media of public service is so important and why it is necessary to finance such media by public sources and not by the state. In the final chapter, the author aims to identify the reasons why alternative sources of information usually fail to inform truthfully, impartially and objectively.Table of ContentsCrisis of the Slovak mass media – Corruption in media – Influence of politics on the media – Stereotypes related to the social minorities widely spread by the media – Role of the public service media and importance of its support – Development of the Slovak alternative media and their inability to inform truthfully and objectively

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Book SynopsisIn terms of both public relations and advertising, organizations that use the opportunities of digital media might differentiate from others. This differentiation can provide advantages for organizations. However, there may be threats as well as the opportunities of the digital media. In this regard, it is tried to investigate how organizations benefit from digital media on the researches presented in this book.Table of ContentsIntroduction - Social Media Interaction and Digital Public Relations: The Example of Turkish Green Crescent Society - Data Storytelling and Digital Visualization - A Current and Capitalist Consumption Myth: Black Friday - Unexpected Events in Health Institutions and Digital Public Relations - Examining E-Complaints against Airline Companies in Terms of Public Relations - The Use of New Media for Digital Public Relations: The Case of Konya Universities - The Use of Digital Storytelling as a Public Relations Tool for Corporate Reputation: The Sample of Tat Gida Farmer Stories - Independent and Nonverbal Postmodern Relationship Forms in the Network Age - Organizations’ use of Social Media from the Perspective of Dialogical Communication and Marketing-Oriented Public Relations - How Twitter Was Used during the 2018 Presidential Election by the Candidates in Turkey Image Creation in the Context of Dramaturgy - Theory - Social Media Presence of Banks in Terms of Public Relations: The Example of Ziraat Bank, Iş Bank, and Kuveyt Türk Participation Bank

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Book SynopsisMainstream media offer audiences identities in accordance with certain definitions of “normal behavior” as given in hegemonic discourses. This book explores the hegemonic/normative discourses circulating in the Turkish mainstream media. Such an analysis provides the mental codes and frameworks offered to the ordinary Turkish people “subjected” to the mass media throughout their daily lives. Each chapter employs different methods for discursive analysis and media formats. Since the authors inquire into the socio-political reality and conjunctures upon which these media discourses are constituted, the book offers much to those readers investigating both the Turkish media and the socio-political transformation that took place in Turkey in the past two decades.Table of ContentsTurkish TV, Hegemonic femininity, Masculinity, Social drama, Neoliberalism, Discourse Analysis, Advertising, Carnivalesque, Gender, Turkish cinema, Media, Representation, Narrative, Hermeneutics, Subjectivity, Kurdish Identity, Gastro-diplomacy, National Branding, Hybrid identity, Food communication

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Book SynopsisIn a unique, and at times highly polemical way, the author demonstrates how the media generally influences thinking and what kind of content they put into peoples’ heads. He aims to encourage a better understanding of oneself, one’s environment, and the world but above all, a better understanding of freedom, the condition of democracy - or dictatorship. This is probably the first book in the media and communication studies which, through scientific provocation, makes the readers delve deeply into their intelligence, teaches them how to use it, and allows them to decide whether they have a weak, average, or insightful mind. The book sets one of the most important trends: it tells how the media think and how they shape their audiences.Table of ContentsPolitics and history, technologies and media, traditions and law, science, intellect and emotions, religion and faith, and medicine. This is a book about how the media think, how the world thinks and how one should think generally. In a sense, it is a compendium of creativity, and independence.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisFanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?Table of ContentsIntroduction 1. Critical Contexts: Television Studies, Fandom Studies, and the Vid 2. Approach: How to Study a Vid 3. Proximate Forms and Sites of Encounter: Music Video and Experimental Tradition 4. Textures of Fascination: Archives, Vids, and Vernacular Historiography 5. Critical Spectatorship and Spectacle: Multifandom Vids 6. Adapting Kara Thrace: Dualbunny's Battlestar Galactica Trilogy Conclusion References Index

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Book SynopsisVisions of Electric Media is an historical examination into the early history of television, as it was understood during the Victorian and Machine ages. How did the television that we use today develop into a functional technology? What did Victorians expect it to become? How did the 'vision' of television change once viewers could actually see pictures on a screen? We will journey through the history of 'television': from the first indications of live communications in technology and culture in the late nineteenth century, to the development of electronic televisual systems in the early twentieth century. Along the way, we will investigate the philosophy, folklore, engineering practices, and satires that went into making television a useful medium.Table of ContentsIntroduction: The Lifespan of a Media Technology The Telephonoscope: How a Satire of Electric Light became a Visual Telephone The Far-Sight Machine and the Kinetograph: How Television Brought Liveness to the Cinema Human Seeing-Machines: From Annihilating Space to Mediated Vision Interlude The Illuminating Engineers: Standardizing Vision The Ikonophone: Bell Laboratory's Two-Way Television Project Epilogue Bibliography Index

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Book SynopsisAccolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through the lens of transmedia studies, Understanding The Simpsons traces the franchise’s trajectory, exploring how one of the most popular comedy series of all time has redefined the intersections between corporate media and participatory culture, as the kernel of its cult meaning.Trade Review"Does the world need another book on The Simpsons? Don’t have a cow! From Black Bart to Banksy, from the Harvard Lampoon and underground comics to Mad Magazine, from transmedia storytelling to DeviantArt, Moritz Fink deftly explores what’s ‘cult‘ in this long-running television series and in the process, uses The Simpsons to explore the complex status of television in contemporary culture."- Henry Jenkins, University of Southern California, editor of Popular Culture and the Civic Imagination: Case Studies of Creative Activism "Meticulously researched and intelligently argued, Understanding The Simpsons: Animating the Politics and Poetics of Participatory Culture will be welcomed by American Studies scholars, students of television seriality, and anyone interested in the cultural histories of the nineties and naughties and beyond. Whether you like to watch The Simpsons as an academic, as a fan, or as an aca-fan, this book is for you."- Frank Kelleter, Freie Universität Berlin, editor of Media of Serial Narrative "Broadening the scope of study of The Simpsons from the television series to its status as a global transmedia franchise, Moritz Fink’s book is essential reading for anyone interested in the television industry and production, media convergence, fandom and participatory culture."- Rebecca Williams, University of South Wales, author of Theme Park Fandom: Spatial Transmedia, Materiality, and Participatory CulturesTable of ContentsList of Images Acknowledgments Preface to the AUP Edition Introduction 1. Bart Talks Back: The Politics and Poetics of Participatory Culture 2. Alternative TV: The Genesis of The Simpsons 3. More than Just a Cartoon: Meta-Television Culture and the Age of Irony 4. High Fives on Prime Time: Representing Popular Culture 5. At the Edge of Convergence Culture: Engaging in the Simpsons Cult 6. Echoes of Springfield: The Simpsons in Remix Culture Conclusion: The Simpsons, Cultural Feedback Loops, and the Case of Apu Bibliography Index

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Book SynopsisIn the twenty-first century horror television has spread across the digital TV landscape, garnering mainstream appeal. Located within a transmedia matrix, Transmedia Terrors in Post-TV Horror triangulates this boom across screen content, industry practices, and online participatory cultures. Understanding the genre within a post-TV paradigm, the book readdresses what is horror television, analysing not only broadcast TV and streaming platforms but also portals such as YouTube, Twitch.TV, and apps. The book also investigates complex digital media ecologies, blurring distinctions between niche and general audience viewing practices, and fostering new circulation pathways for horror television from around the world. Undertaking netnography, the book further offers an innovative model – abject spectrums – to empirically explore myriad audience responses to TV horror, manifesting in various participatory practices including writing, imagery, and crafts. As such, the book greatly expands what is considered horror television, its formatting and circulation, and the transmedia materiality of audience engagement.Table of ContentsAcknowledgements Introduction – TV Horror: What a Time to Be Alive… and Undead Part 1 – Post-TV Horror Ecologies Chapter 1 – Jekyll and Hyde: TV Horror’s Incorporation of Other Genres and Audiences Chapter 2 – Streaming Screaming: Post-Television Horror Texts and Platforms Chapter 3 – Digital Crypt Keepers: Informal Digital Dissemination and Consumption of Post-TV Horror Part 2 – Post-TV Horror Audiences Chapter 4 – Not Just Horrifying: TV Horror Audiences’ Abject Spectrums Chapter 5 – Spreadable Splatter: TV Horror’s Online Fans’ Image Textuality Chapter 6 – Sick Senses: Fan Food and Soundtracks as Materialities of Transmedia TV Horror Conclusion

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Book SynopsisTelevision before TV rethinks the history of interwar television by exploring the medium’s numerous demonstrations organized at national fairs and international exhibitions in the late 1920s and 1930s. Building upon extensive archival research in Britain, Germany, and the United States, Anne-Katrin Weber analyses the sites where the new medium met its first audiences. She argues that public displays offered spaces where television's symbolic, cultural, political, and social definitions were negotiated and eventually stabilized; for the historian, the exhibitions therefore constitute crucial events to understand not only the medium's pre-war emergence, but also its subsequent domestication in the post-war years. Designed as a transnational study, her book highlights the multiple circulations of artefacts and ideas across borders of democratic and totalitarian regimes alike. Richly illustrated with 100 photographs, Television before TV finally emphasizes that even without regular programmes, interwar television was widely seen.Table of ContentsAcknowledgements List of Illustrations List of Abbreviations Introduction: Interwar Television on Display 1. Television Display in Context 2. Spectacularizing Television, or Making Sense of Novelty 3. Locating Television Between Imaginaries and Materialities Intermission I: Four Dispositifs of Interwar Television 4. Nationalizing Television in a Transnational Context Intermission II: Travelling Exhibits 5. Domesticating Television Outside the Home 6. Gendering Television On and Off Screen Intermission III: Similar Sets, Same TV? Epilogue: Television Experiments, Past and Present Full Bibliography Index

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