The Setmakers—a History of the Radio and Television Industry

IEE Review ◽  
1991 ◽  
Vol 37 (6) ◽  
pp. 226
Author(s):  
Gerald L. Wells
Keyword(s):  
Television Industry ◽  
History Of

Political and Technological Changes That Created Jon Stewart and Bill O’Reilly

2019 ◽  
pp. 32-47
Author(s):  
Dannagal Goldthwaite Young
Keyword(s):  
United States ◽  
Television News ◽  
The United States ◽  
Political Polarization ◽  
Media Industry ◽  
Technological Changes ◽  
Television Industry ◽  
American Media ◽  
History Of ◽  
Cable Television Industry

This chapter describes the regulatory, political, and technological changes in the United States during the 1980s and 1990s that set the stage for the television satire and outrage programming of the early 2000s. It summarizes the story of the deregulation of the American media industry and argues that the resulting increased demand for profits from television news eroded the journalistic mission. It also explains the roots of political polarization in the United States, from social and cultural shifts to changes in the party nominating processes and to the increased role of soft (and dark) money in elections. The chapter chronicles the history of the cable television industry and how the proliferation of channels in the 1980s upended the economics of media, erasing the concept of the “mass audience” in favor of smaller niche audiences defined by psychographics and sociodemographics.

Selective Histories

2016 ◽  
pp. 62-78
Author(s):  
Chirstinn Whyte
Keyword(s):  
First Century ◽  
Mobile Technologies ◽  
Late Nineteenth Century ◽  
Television Industry ◽  
Avant Garde ◽  
Film And Television ◽  
Production Models ◽  
History Of ◽  
Motion Studies ◽  
Magic Lantern

Beginning with the traditions of Chinese shadow-theater and the magic lantern, and progressing through the photographic innovations of late-nineteenth-century motion studies, including the work of Eadweard Muybridge and Etienne-Jules Marey, the moving image established itself and gained nonlinear dance-related freedom in the work of René Clair and Ferdinand Leger. This informed its legacy in the twentieth-century avant-garde film movement and in the works of dance-based filmmakers such as Maya Deren and Shirley Clarke, with particular reference to Deren’s notion of “vertical form” and concept of the term “choreographic” as used within a screen context. Meanwhile, despite the dominance of more narrative-based film and television industry production models, so-called hybrid dance/screen practice arose from twenty-first-century artists such as Katrina McPherson, Alex Reuben, and Lisa May Thomas. The chapter concludes with recent writing on the history of mobile filmmaking by Caridad Botella Lorenzo and the potential future impact of mobile technologies.

scholarly journals Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television

2021 ◽  
pp. 016344372110227
Author(s):  
Michael L Wayne
Keyword(s):  
Media Industry ◽  
Data Streaming ◽  
Industry Studies ◽  
Television Industry ◽  
Organizational Goals ◽  
History Of ◽  
The Media ◽  
Media Industry Studies ◽  
Popular Television

Using the media industry studies approach, this article provides a history of the industrial discourses surrounding Netflix’s audience data. From Netflix’s entry into the streaming market in 2007 until late-2018, the company did not publicize information about viewership. During this time, executives’ public discussions of proprietary data are understood in relation to multiple organizational goals: differentiating the streaming platform from the traditional television industry, denigrating traditional television industry practices, and deflecting criticism. In late-2018, the company began selectively publishing viewership numbers for a small number of original titles to highlight the popularity of the platform’s original content. Although the company maintains its anti-transparency policies, the shift toward selective data releases has significant implications regarding Netflix’s relationship with the traditional television industry. This analysis concludes with a discussion of streaming audience data that situates in the emerging realities of ‘popular’ television in the context the medium’s broader transformations and continuities.

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