Relevant bibliographies by topics / New Century Television

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'New Century Television'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "New Century Television"

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Ortiz-Sobrino, Miguel-Ángel. "Television, globalization and social change." Comunicar 13, no. 25 (October 1, 2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.

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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.
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Meikle, Graham, and Sherman Young. "Beyond Broadcasting? TV for the Twenty-First Century." Media International Australia 126, no. 1 (February 2008): 67–70. http://dx.doi.org/10.1177/1329878x0812600108.

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TV is being reshaped, reimagined and reinvented in unpredictable ways. Broadcasting has become only one of a set of options for the distribution of TV content, alongside cable, DVDs, internet downloads, and online video streams. Simultaneously, audiences have embraced new modes of engagement with audio-visual products, with many seamlessly shifting from the role of consumer to that of producer. Broadcasting still reigns, but its place as the normative television form is under greater threat than ever. The articles in this issue of MIA suggest that, while it may no longer be the cultural norm, broadcasting may still have a role to play in whatever television becomes. The current phase of television suggests contested continuities rather than radical seismic shifts, as the new technologies open up possibilities beyond broadcasting. Of most interest is the emerging tension between what newly empowered users want television to be, and the institutional desire to dictate the direction and pace of change.
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Hearn, Alison. "Witches and bitches: Reality television, housewifization and the new hidden abode of production." European Journal of Cultural Studies 20, no. 1 (September 19, 2016): 10–24. http://dx.doi.org/10.1177/1367549416640553.

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The governance of affect by capital has seen its ideological legitimation and emblematic site of production in the mainstream television industry, specifically reality television programs, as they provide templates for affective self-presentation to the public at large. As even a cursory glance at most reality television production demonstrates, it is most often women’s bodies and self-concepts that bear the burden of signifying and legitimating the message of this new economic formation: ‘conform to our template, be seen, and build a reputation!’ This article will focus on the Real Housewives franchise, which along with its network Bravo is credited with saving the fortunes of NBC, as the paradigmatic example of these new narrative trends and business models. It will interrogate the historical resonances and discontinuities between the economy of affective visibility now apparent on reality television and its modes of production and the origins of the ‘real’ housewife in early capitalism. At this time, women’s skills, bodies and reproductive capacities were violently restructured; forbidden from earning a wage or having money, women’s work inside and outside the home was simultaneously appropriated and concealed. As reality television inaugurates new kinds of labor and value creation in the 21st century, it does so in ways that are deeply gendered or ‘housewifized’; reality television’s forms of hidden, precarious, and unregulated labour recall the appropriation and denigration of the value of women’s work by systems of capitalist expansion in the 16th and 17th centuries.
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Pilati, Antonio, and Emanuela Poli. "Digital terrestrial television." Modern Italy 6, no. 2 (November 2001): 195–204. http://dx.doi.org/10.1017/s1353294400011984.

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SummaryIn Italy, as in much of Europe, the beginning of the new century has brought a crucial period of change to the television system. The change affects technology, strategies and regulation of the medium. This article starts by reconstructing the current situation and the emerging trends at a global level. It then analyses the state of the Italian television industry on the eve of the introduction of digital terrestrial broadcasting, setting out the opportunities and potential developments this opens up.
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Keeler, Amanda. "Old new media: Closed-circuit television and the classroom." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (December 18, 2016): 538–53. http://dx.doi.org/10.1177/1354856516682927.

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This article explores closed-circuit television (CCTV) and its ‘bright promise stage’, as it was contemplated, marketed, and implemented as a low-cost classroom tool. After the Federal Communications Commission issued the 1952 Sixth Report and Order, many schools and communities sought to bring educational television to the classroom. However, this model was financially out of reach for most. CCTV was a more affordable version of educational television that could cater to specific classroom needs and allow schools to create their own in-house network. CCTV represents just one of many new technologies that have been promoted as ideal for classroom instruction over the last century. Using articles and advertisements from popular press magazines, educational journals, books, and archival materials, this article seeks to illuminate the ‘social practices and conflicts’ that contributed to the conversations around CCTV’s classroom utility. It concludes by connecting CCTV’s promotion in the 1950s to more recent new media technologies.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (February 1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.

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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.
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Kahan, Robert. "America in a Visual Century." Journalism Quarterly 69, no. 2 (June 1992): 262–65. http://dx.doi.org/10.1177/107769909206900202.

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While we are poised on the edge of a new visual century, this essay looks back through the eyes of a Jewish woman who could clearly recall the 19th century. At midcentury this immigrant, who remembered Rumania of the 1890s, was most struck by wrestling on U.S. television. In her time, and since, the numbers of visual media have expanded, from early flickering black and white films to holograms and “virtual reality.” Words remain our most important symbols, but they are merging with other ways of presenting information. In a way, we are all immigrants in our own time.
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Trinkunas, Tatiana. "The Main Approaches to Historical and Cultural Analysis of the Films." nauka.me, no. 1 (2017): 0. http://dx.doi.org/10.18254/s111111110000014-8.

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The article deals with the XX century — a century of active development, the visual technology diffusion, that have shaped a new way of thinking. Nowadays we can note the special role of «visuality» in everyday life, which has become almost ubiquitous: movies, advertising, photo signboard, television.
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Dates, Jannette L., and Thomas A. Mascaro. "African Americans in Film and Television: Twentieth-Century Lessons for a New Millennium." Journal of Popular Film and Television 33, no. 2 (July 2005): 50–55. http://dx.doi.org/10.3200/jpft.33.2.50-55.

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Dissertations / Theses on the topic "New Century Television"

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Feller, Gavin Stuart. "Media as compromise: a cultural history of Mormonism and new communication technology in twentieth-century America." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5753.

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This dissertation is a qualitative and interpretive project aimed at understanding the historical relationship between new media and religion. My primary research question asks how religious institutions handle the excitement and threat of new technology. To answer this question I conduct a series of case studies of The Church of Jesus Christ of Latter-day Saints’ (LDS/Mormon) relationship with three of the most important twentieth-century media: emerging radio, television, and Internet technologies. More specifically, I analyze how these electronic media were understood through their organizational histories, how they were talked about in their novelty and transitional states, and their religious institutionalization over time. This dissertation argues that Mormon media are best understood through the concept of Zion: a sacred city and a holy people. As a social, cultural, theological, and material endeavor, Zion is impossible without modern technology. The history of Mormon media is a history of a people’s perpetual attempts to be in the world but not of the world--to stand apart in uniqueness and unity while yet remaining close enough to promote positive change. This is the paradox of Zion, and the paradox of twentieth-century media: both rely on the very things they seek to transcend. It is through media that Mormonism was founded, struggles, and thrives. Through case studies of radio, television, and the Internet it is clear that media function as the material and metaphysical infrastructure of the religion and the interface through which Mormonism positions itself in relation to the world. This dissertation argues that understanding media, and ultimately ourselves by extension, is a process of discovery and creation guided by experimentation, trial and error, entrepreneurial pragmatism, and improvisation. Mormonism teaches that understanding media requires discipline, work, and faith. Media are fundamentally agents of compromise.
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Jonker, Francois. "The men in our living room : masculinities and the struggle for a 'new' South African hegemony in 'Egoli: place of gold' 1994." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96873.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: In this study I analyse the 1994 episodes of the popular soap opera Egoli: Place of Gold that coincide with the so-called ‘birth’ of the New South Africa. This moment in media history is characterised by a heightened sense of anticipation surrounding Egoli as the first local soap opera created by Franz Marx at the pinnacle of his career for the relatively new – and only – independent broadcaster in the country, M-Net. Because of the reliance of this genre on perceived realism, Egoli offers a historically significant televisual mediation of the widespread social and political changes that mark this particular period. I argue that the soap opera elicits a non-critical passive spectatorship and should therefore be regarded as a ‘readerly’ medium that transmits a form of pre-negotiated textual hegemony directly into the intimacy of the domestic viewing space. While acknowledging an awareness of the pivotal role played by white Afrikaans men in the safeguarding of cultural hegemony up until this historical juncture, my study diverges from the wealth of research on soap opera as a women’s medium and approaches Egoli with an interest in the programme’s construction of masculinities. An analysis of three contrasting male characters investigates Egoli’s formulation of a social matrix that reflects not only the programme’s attitude towards gender, but also to social power, class and race. I conclude that this specific soap opera lacks the ability to produce or reflect radical change. Egoli merely serves to reiterate the affirmation of the hegemony of an established order of Afrikaner patriarchy on a superficial level.
AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die 1994 episodes van die populêre sepie Egoli: Plek van Goud wat afspeel tydens die sogenaamde ‘geboorte’ van die Nuwe Suid-Afrika. Hierdie oomblik in media-geskiedenis is gekarakteriseer deur ‘n verhoogde gevoel van antisipasie rondom Egoli as die eerste plaaslike sepie, vervaardig deur Franz Marx tydens die toppunt van sy loopbaansukses vir die relatief nuwe, en enigste onafhanklike uitsaaidiens in die land, M-Net. Vanweë hierdie medium se afhanklikheid op skynbare realisme, bied Egoli ‘n waardevolle historiese televisuele vertolking van die verrykende sosiale en politiese veranderinge van hierdie tydperk. Ek argumenteer dat die sepie ‘n passiewe kritiekloosheid in kykers uitlok en daarom as ‘n ‘leeslike’ teks benader moet word, wat ‘n reeds-onderhandelde hegemonie direk in die intimiteit van die huishouding oordra. As gevolg van die bewustheid van die kritieke rol wat deur blanke Afrikaanse mans vervul is in die beveiliging van kulturele hegemonie tot en met hierdie historiese moment, wyk my studie af van die veelvuldige navorsing oor die sepie as ‘n vroue-medium en benader ek Egoli met ‘n fokus op die konstruering van manlikheid. ‘n Analise van drie kontrasterende manlike karakters ondersoek Egoli se formulering van ‘n sosiale matriks wat nie alleenlik die program se benadering tot geslag blootlê nie, maar so ook tot sosiale mag, klas en ras. Ek sluit af met die bevinding dat dié sepie ontbreek in die vermoë om radikale verandering aan te spoor of te weerspieël. Egoli slaag slegs daarin om op ‘n oppervlakkige wyse die hegemonie van ‘n gevestigde Afrikaner patriargale orde te bevestig en te reproduseer.
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Lockyer, Caroline. "Multimodal storytelling : exploring the role of pedagogy in developing student literacy via school television." Thesis, University of Canterbury. Postgraduate Programmes, 2014. http://hdl.handle.net/10092/9744.

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This research study was designed to explore the effectiveness of pedagogical practices on student literacy learning within a student television context. The study was undertaken in response to practitioner inquiry into the value and worth of school television for student literacy learning. Over the research period this project evolved into a deeply reflective self-study of teaching practice within a technological environment. This research took place in a suburban primary school where school television had been created by students for the previous two years. Twenty-two students aged between 10 and 12 participated in three cycles of action research to investigate how pedagogy influences learning within this context. A range of pedagogical actions designed to influence students’ critical thinking were implemented into action research cycles. The selection of actions for intervention was influenced by an investigation into current literature from the field, and an analysis of existing multi-literacy learning, pedagogical conditions and student views of teaching and learning within student television at the beginning of the research cycles. This study gathered information during research cycles using student learning conversations and student interviews, which provided insight into learning from the point of view of students. Supporting this information were daily researcher observations and end-of-cycle interviews with classroom teachers. Through careful monitoring, analysis and reflection on each research cycle it was clear that strategic pedagogical interventions did positively influence multi-literacy learning. Rather than attempt to measure differences in student learning, this study explored how multi-literacy learning, strategic pedagogy and learning within student television inter-related with one another. This research study identified and explored the complex inter-relationships between pedagogies and multi-literacy learning.
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Goulimaris, Rigas. "Perceptions of television news production and consumption : 'super-themes' in the Greek media landscape at the dawn of the 21st century." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589929.

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The thesis analyses perceptions of news in relation to everyday life as articulated by Greek news audiences and journalists. The model proposed here offers a testing and reconfiguration of an extant theoretical model ('super-themes') (Jensen, 1998b) which connects consumption of news to perceptions of everyday life. The thesis locates the schemes of perception of the Greek audience upon the axes of time, power, space and a threatened identity as they were articulated by the news audience and the newsmakers. A mixed-method approach is used primarily consisting of interviews and analysis of the news text, examining the creation of meaning as a negotiated dynamic process among news audience, news texts and newsmakers. Through thick description, the 'super-themes' of the Greek media landscape surface as underlying explanatory schemes encompassing the reception of television news. The analysis indicates that the Greek audiences perceive the news text and the news media in general as disempowering the individual and it also indicates an intention to apply critical and negotiated readings to the news texts. The 'super-themes' that surface on the basis of this research indicate that Greek news audiences and newsmakers oscillate between perceptions of an 'underdeveloped' and 'developed' self and nation which, however, is disempowered by widespread corruption. At the same time, the contributions of .. _---_._----.- - participants indicate perceptions of Greece as a small and threatened country in the periphery of Europe. The research was carried out in the aftermath of specific events that took place in 2004 and were presented as national successesl!2Jhe Greek media and the thesis analyses them as 'media events' potentially instigating changes in the self-perception of the Greeks at the dawn of the new millennium.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.

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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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François, Noémie. "Concha Alós , une remise en lumière nécessaire." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1001.

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Le présent travail propose une remise en lumière de l’écrivaine Concha Alós (19222011) et une réévaluation de sa production. Écrivaine révélée sous le Franquisme, elle a joui d’une reconnaissance médiatico-culturelle importante dans les années 1960 et 1970, mais souffre aujourd’hui d’une indifférence presque généralisée. Cette thèse s’attache à étudier exhaustivement, pour la première fois, le parcours personnel et professionnel de Concha Alós et, de manière plus affinée, son œuvre esthétique. À partir de l’examen d’une somme de documents (publiés, édités, inédits, etc.) et d’archives privées, ce travail recompose la trajectoire d’une écrivaine dans une Espagne bridée par la dictature. Il s'évertue à la positionner parmi ses contemporains, à déterminer les raisons de son oubli et analyse ses productions, tant narratives que journalistiques et scénaristiques. Notre étude vise à actualiser la connaissance d’une femme engagée, dont la plume tranchante, le style direct et les thèmes percutants méritent, aujourd’hui, une réhabilitation
This thesis aims at placing the writer Concha Alós (1922-2011) in the limelight again and at reevaluating her production. As a writer revealed under Franco’s regime, she received an important media and cultural recognition in the 60s and 70s but suffers today from an almost general indifference. The purpose of this PhD dissertation is to provide – for the first time – a comprehensive study of Concha Alós’s personal and professional path and, in a more fine-grained way, her aesthetic work. After a careful review of a large number of documents (published or not, edited, etc.) and private archives, I retrace the trajectory of a Spanish woman writer in a country shackled by dictatorship, position her amongst her contemporaries, determine the reasons for her oblivion and analyze her productions which appear under the form of narratives, newspaper articles and scenarios. The study’s aim is to update our knowledge of a committed woman, whose caustic pen, direct style and powerful themes today deserve to be rehabilitated
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Jooste, Marc Charles. "Can you see the music? MTV base music television production centre." Diss., 2007. http://hdl.handle.net/2263/29568.

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This dissertation is the result of in interest in the progression of media-technologies within the urban context. Large media billboards scattered along major vehicular routes, also advertisements and information displayed on the facades of buildings have become synonymous with the urban fabric. The intent of this dissertation is to determine the relationship between media-technologies and the social organizations of the city. Can one consider these technologies as generators for social interaction and the broadening of the urban cultural content? Media-technologies are becoming increasingly popular in the use of public spaces, signifying the ability and opportunity for these systems to create an interactive relationship with the user. The theme of the discourse is the creation of a Music Television production centre in Prinshof, a neglected part of the Pretoria inner city. Establishing an entertainment based development in this already vibrant area, might contribute to the systematic rejuvenation of this lower to middle-income community. The design proposal aims at becoming a social tool, encouraging the development and sustaining of the local cultural identity and realizing the potential of media/interaction technologies within the African context.
Dissertation (MArch(Prof))--University of Pretoria, 2008.
Architecture
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Mwelase, Billy Sanele. "Design of a new Department of Television, Performance and Staging for Durban University of Technology." Thesis, 2008. http://hdl.handle.net/10413/263.

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Barreto, Cristiana Coelho Paes. "Representações de estruturas de acolhimento para refugiados: o centro de Paris-Nord no telejornal francês." Master's thesis, 2017. http://hdl.handle.net/10362/27095.

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O trabalho de investigação que se segue parte da abertura de um centro de acolhimento para refugiados no norte de Paris em Novembro de 2016, inaugurado pela presidente da câmara municipal Anne Hidalgo, e propõe analisar as representações mediáticas deste fenómeno nos telejornais franceses. Por se tratar do maior centro de acolhimento construído numa capital europeia, e por ter sido edificado como uma “alternativa humanitária” aos acampamentos precários que se instalavam em Paris – particularmente nos interstícios do 10ème e o 19ème arrondissement, próximos aos bairros de Jaurès e Stalingrad – o anúncio da inauguração desta estrutura na primavera de 2016 desencadeou uma importante produção de conteúdo telejornalístico. Considerando que os mass medias constituem um local privilegiado da formulação de significados coletivos, e que discursos relacionados ao acolhimento de refugiados têm circulado de forma afluente na televisão francesa, parece-nos relevante examinar as representações desta iniciativa pública da municipalidade sob uma perspectiva antropológica. Assim, tendo por base um corpus de reportagens oriundas dos mais importantes canais de informação franceses, pretendemos responder ao seguinte questionamento: quais são os principais mecanismos discursivos utilizados para formular as representações do Centro de Paris-Nord no mediascape francês? Buscamos, através do desenvolvimento desta questão, contribuir para uma reflexão mais ampla sobre as representações de estruturas acolhimento para refugiados em França.
The following research stems from the opening of a refugee shelter in northern Paris in November 2016, inaugurated by Mayor Anne Hidalgo, and proposes to analyze the representations of this phenomenon on French television news. Due to its status as the largest refugee center in an European capital, and because it was built as a “humanitarian alternative” to several precarious encampments that were settling in Paris – particularly in the interstices of the 10º and the 19º arrondissement, near the neighborhoods of Jaurès and Stalingrad – the announcement of this structure in the spring of 2016 triggered an important production of audiovisual content. Considering that mass media platforms are a privileged space for the formulation of collective meanings, and that discourses related to the reception of refugees have circulated in an extensive manner on French television, it seems relevant to examine how this public initiative of the municipality was portrayed from an anthropological perspective. Thus, based on a corpus of news reports originating from the most important French TV information channels, we intend to answer to the following question: what are the main discursive mechanisms used to formulate the representations of the Paris-Nord Center on the French mediascape? Through the development of this issue, we seek to contribute to a broader reflection on the representation of host structures for refugees in France.
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Books on the topic "New Century Television"

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Television, New Century. Application to the Independent Television Commission by New Century Televison for the Channel 5 licence. [Welwyn Garden City?]: New Century Television, 1995.

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Television, New Century. Application to the Independent Television Commission by New Century Television for the Channel 5 licence, 2 May 1995. [London]: New Century Television, 1995.

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Television, New Century. Application to the Independent Television Commission by New Century Television for the Channel 5 licence, 2 May 1995: Summary. London: New Century Television, 1995.

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E, Quay Sara, ed. 21st-century tv dramas: Exploring the new golden age. Santa Barbara, California: Praeger, 2016.

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Sherlock Holmes for the 21st century: Essays on new adaptations. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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Popeil, Ron. The salesman of the century: Inventing, marketing and selling on TV : how I did it and how you can too! New York, N.Y: Delacorte Press, 1995.

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Women in television news revisited: Into the twenty-first century. Austin: University of Texas Press, 1999.

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Broadcast journalism in the 21st century. Elgin, IL: New Dawn Press, 2005.

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Phillips, Peter. Censored 2007: The top 25 censored stories. New York: Seven Stories, 2006.

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Cruel and unusual: Bush/Cheney's new world order. New York: W.W. Norton, 2004.

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Book chapters on the topic "New Century Television"

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Rodríguez Ortega, Vicente, and Rubén Romero Santos. "Spanish Horror Film: Genre, Television and a New Model of Production." In European Cinema in the Twenty-First Century, 317–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_18.

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Leggott, James. "The North East in the Twenty-First Century: New Realities?" In The North East of England on Film and Television, 179–216. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69146-2_8.

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Barrientos Bueno, Mónica, and Ángeles Martínez García. "New Technologies and Transmedia Storytelling in Víctor Ros: Captivating Audiences at the Turn of the Century." In Televising Restoration Spain, 77–92. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96196-5_4.

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Gilboa, Eytan. "Effects of Global Television News on U.S. Policy in International Conflict." In Media and Conflict in the Twenty-First Century, 1–31. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403980335_1.

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"Reidentified Japan: Cultural turns in television commercials after the 1980s." In A New Japan for the Twenty-First Century, 157–72. Routledge, 2008. http://dx.doi.org/10.4324/9780203928011-19.

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Yolcu, Özgü. "Youtube as a New Broadcasting Medium for Turkish Tv Dramas: The Case of the Magnificent Century Drama." In Transnationalization Of Turkish Television Series, 127–70. Istanbul University Press, 2021. http://dx.doi.org/10.26650/b/ss18.2021.004.008.

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"Bad Sex, Target Culture and the Anti-Terror State: New Contexts for the Twenty-First Century British Television Police Series." In Contemporary British Television Crime Drama, 37–49. New York; London: Routledge, 2016. | Series: Routledge: Routledge, 2016. http://dx.doi.org/10.4324/9781315573793-9.

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Lewis, Robert W. "Postwar modernisation and the stadium, 1945–98." In The Stadium Century. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781526106247.003.0006.

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This chapter traces the increasingly rapid changes to stadia and sporting practices in France during the last half of the twentieth century, while simultaneously connecting those transformations to parallel developments beyond French frontiers. The new Parc des Princes, rebuilt between 1967 and 1972, reflected the ongoing processes of modernisation and urbanisation in France during the first thirty years after the Second World War. But the changes to sport and its spaces evident in the new Parc also constituted another aspect of postwar modernisation across Europe itself, constituted by efforts to reinvent mass spectatorship and to accommodate television broadcasting. The Stade de France’s completion in advance of the 1998 World Cup also showcased the way that the stadium in France was now optimistically envisioned as an anchor for highly-symbolic international sporting competitions that projected positive messages about French national prestige and sporting identity. At the same time, the changes to sport and sporting spaces in France were part of a process of sporting globalisation that reflected the increasingly common values placed on stadia as urban spaces in France and other countries in Europe, North America, Oceania and Asia.
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Leeder, Murray. "Contemporary Ghosts." In Twenty-First-Century Gothic, 131–43. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0010.

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This chapter tracks the dominant trends of the twenty-first-century ghost. It argues that Sadako, the techno-onryō from Ringu (1998), has proved a model that would spread in countless ways, cementing the idea of the media ghost in both Asian and western media, sometimes focused on new technology but with a surprising tendency to evoke ‘outdated’ media as haunted/haunting residue. It also discusses the availability of the ghost not only to popular media like reality television and to middlebrow horror films such as those of Blumhouse Pictures, but also to ‘legitimate’ art, like Sarah Water’s The Little Stranger (2007) and works by films like film auteurs like ApichatpongWeerasethakul, Guillermo del Toro and Guy Maddin. It proposes that many of these works provide their own critical commentary on the ghost story itself.
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Owens, Andrew J. "Queer Gothic." In Twenty-First-Century Gothic, 33–46. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0003.

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This chapter considers recent examples of Queer Gothic literature, television and film that, at first, appear to offer a greater latitude of pleasures than their progenitors, wherein non-normative visibility has ostensibly been liberated from the shackles of subtextual scrutiny. Although this triumphant tone is demonstrated in texts such as the premium cable soap opera Dante’s Cove (2005–7) and the seasonal anthology drama American Horror Story (2011–present), the spectre of a more menacing queerness still looms large. Indeed, Queer Gothic media continues to be inscribed with subcultural anxieties that persist in exhibiting fears that emerge from within marginalised sexual communities rather than from without, such as Alain Guiraudie’s Stranger by the Lake (2013) and John Logan’s Penny Dreadful (2014–16). This chapter demonstrates that the contemporary Queer Gothic remains committed to negotiating new ways of understanding pain and pleasure as two sides of the same sexual coin.
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Conference papers on the topic "New Century Television"

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Baicloy, Praweenamai, and Jantima KHEOKAO. "Drafting of research instruments to study the development of television news brand identity." In International Conference on Social Sciences in the 21st Century. Global, 2019. http://dx.doi.org/10.33422/ics21.2019.07.369.

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Shiozawa, T. "Development of optical video/audio signal distribution network of Fuji television's new broadcast center." In International Broadcasting Conference (IBC). IEE, 1997. http://dx.doi.org/10.1049/cp:19971274.

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Erol, İhsan Emre, Tamer Bayrak, and Deniz Yengin. "Use of Virtual Reality Technology In the Digitalization Process of Education: Four Model Museum." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.034.

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Along with the developing technology and the social risks human faces, the society’s trends towards digital technology is inevitable. Undoubtedly, the interest of individuals in digital technologies has directly affected all sectors. The transformation of societies depending on their technological needs and conveniences offered by technology has formed new supply-demand balances, and sectoral changes have occurred in line with the demands of the society that was formed by the supply-demand balance. From a sectoral point of view, communication and related technologies have also been affected by all these transformations. Major developments in communication technologies have also led to changes in all sub-disciplines that are dependent on it. These changes have been so great that it has become necessary to explain separately and academically each of them. As a new and spreading technology, virtual reality technology is considered as a new opportunity by means of its key concept definitions and the successful implementation of both communication and educational processes. Especially, considering the qualities of generation Z, and the fact that the education processes are for generation Z; the probability of success of an education process by using virtual reality technology can be expected to increase. In this context, a study named “Four Model Museum” was carried out within the body of Istanbul Aydın University Faculty of Communication, New Media Applications and Research Center, which uses virtual reality technology and targets Public Relations undergraduate students. Within the scope of the study, the curricula prepared for Public Relations students were examined and four Models in Public Relations, which were considered as suitable subjects, were selected. Scenarios were prepared in the context of selected topics and sound were recorded in recording studios of Istanbul Aydın University, department of Radio, Television, and Cinema. Adhering to the scenario, 3D models, coatings, and finally, virtual reality software were developed. In this study, the scenario and content of the virtual reality education software named "Four Model Museum" were examined and analyzed within the framework of communication science.
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