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Books on the topic 'New Century Television'

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Published: 4 June 2021
Last updated: 16 February 2022

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1

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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4

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

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5

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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7

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

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8

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

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9

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

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10

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

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11

Christie, Ian, and Annie Oever, eds. Stories. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985841.

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Stories are perceived as central to modern life. Not only in narrative entertainment media, such as television, cinema, theater, but also in social media. Telling/having "a story" is widely deemed essential, in business as well as in social life. Does this mark an intensification of what has always been part of human cultures; or has the realm of "story" expanded to dominate twenty-first century discourse? Addressing stories is an obvious priority for the Key Debates series, and Volume 7, edited by Ian Christie and Annie van den Oever, identifies new phenomena in this field — complex narration, puzzle films, transmedia storytelling — as well as new approaches to understanding these, within narratology and bio-cultural studies. Chapters on such extended television series as Twin Peaks, Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in the digital age. With contributions by Vincent Amiel, Jan Baetens, Dominique Chateau, Ian Christie, John Ellis, Miklós Kiss, Eric de Kuyper, Sandra Laugier, Luke McKernan, José Moure, Roger Odin, Annie van den Oever, Melanie Schiller, Steven Willemsen, Robert Ziegler.
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12

Shakespeare, William. Hamlet: The new Variorum edition. Mineola, N.Y: Dover Publications, 2000.

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13

Black, white, and in color: Television and Black civil rights. Princeton, N.J: Princeton University Press, 2003.

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14

Cold War, cool medium: Television, McCarthyism, and American culture. New York: Columbia University Press, 2003.

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15

Media and civil society in 21st century conflict. New York: International Debate Education Association, 2014.

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16

1931-, Rosenblatt Arthur, ed. Who sang what on Broadway, 1866-1996. Jefferson, N.C: McFarland & Co., Publishers, 2006.

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17

Beuys, Joseph. Joseph Beuys: With fat and felt : June 29 - September 30, 1993, Fuji Television Gallery. Tokyo: TheGallery, 1993.

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18

The mind of a journalist: How reporters view themselves, their world, and their craft. Thousand Oaks: SAGE Publications, 2010.

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19

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark: With new dramatic criticism and an updated bibliography. New York: New American Library, 1987.

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20

Inc, American Media Specials, ed. September 11, 2001: A record of tragedy, heroism, and hope. New York, NY: Hary N. Abrams, Incorporated, 2001.

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1926-, Katz Elihu, ed. Media events: The live broadcasting of history. Cambridge, Mass: Harvard University Press, 1992.

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22

Tomorrow, Tom, and Peter Phillips. Censored 2003: The top 25 censored stories. New York: Seven Stories, 2002.

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23

Cantoni, Virginio, Gabriele Falciasecca, and Giuseppe Pelosi, eds. Storia delle telecomunicazioni. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-245-5.

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Focusing on the history of scientific and technological development over recent centuries, the book is dedicated to the history of telecommunications, where Italy has always been in the vanguard, and is presented by many of the protagonists of the last half century. The book is divided into five sections. The first, dealing with the origins, starts from the scientific bases of the evolution of telecommunications in the nineteenth century (Bucci), addressing the developments of scientific thought that led to the revolution of the theory of fields (Morando), analysing the birth of the three fundamental forms of communication – telegraph (Maggi), telephone (Del Re) and radio (Falciasecca) – and ending with the contribution made by the Italian Navy to the development of telecommunications (Carulli, Pelosi, Selleri, Tiberio). The second section, on technical and scientific developments, presents the numerical processing of signals (Rocca), illustrating the genesis and metamorphosis of transmission (Pupolin, Benedetto, Mengali, Someda, Vannucchi), network packets (Marsan, Guadagni, Lenzini), photonics in telecommunications (Prati) and addresses the issue of research within the institutions (Fedi-Morello), dwelling in particular on the CSELT (Mossotto). The next section deals with the sectors of application, offering an overview of radio, television and the birth of digital cinema (Vannucchi, Visintin), military communications (Maestrini, Costamagna), the development of radar (Galati) and spatial telecommunications (Tartara, Marconicchio). Section four, on the organisation of the services and the role of industry, outlines the rise and fall of the telecommunications industries in Italy (Randi), dealing with the telecommunications infrastructures (Caroppo, Gamerro), the role of the providers in national communications (Gerarduzzi), the networks and the mobile and wireless services (Falciasecca, Ongaro) and finally taking a look towards the future from the perspective of the last fifty years (Vannucchi). The last section, dealing with training and dissemination, offers an array of food for thought: university training in telecommunications, with focus on the evolution of legislation and on the professional profiles (Roveri), social and cultural aspects (Longo and Crespellani) as well as a glance over the most important museums, collections and documentary sources for telecommunications in Italy (Lucci, Savini, Temporelli, Valotti). The book is designed to offer a compendium comprising different analytical approaches, and aims to foster an interest in technology in the new generations, in the hope of stimulating potentially innovative research.
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24

Rondinone, Troy. “And the Winner—Television!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037375.003.0002.

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This chapter traces boxing's crooked path to respectability in order to gain an understanding the incredible success of TV boxing in the middle of the twentieth century. Boxing was born in the late 1800s, when the adoption of the Queensberry rules ended the old bare-knuckle days of limitless rounds, neck choking, no weight classifications, and muddy deaths. The new rules imposed uniformly sized rings, three-minute rounds, standardized judging, weight categories, and padded leather boxing gloves. The new structure fit in well with Progressive Era concerns regarding social regulation and masculine regeneration. America was changing dramatically in the decades between the end of the Civil War and start of the First World War. Millions of non-English speaking New Immigrants from southern and eastern Europe poured into America's ports. By the 1940s, a single Mafia family managed to dominate the fight racket, led by a hit man named Frankie Carbo. When boxing came to television, the mob did not leave. In fact, it skimmed more money than ever. Home audiences were unaware that Gillette and the mob brought them the Friday Night Fights.
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25

Báez, Jillian. Television for All Women? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039577.003.0004.

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This chapter analyzes the content and reception of the first season of Devious Maids within an institutional context. In doing so, it views the series as a contested form of feminized popular culture that is emblematic of the cable television industry's incessant search for new audiences in the early twenty-first century. More specifically, the chapter considers: What do the production, content, and reception of Devious Maids reveal about Lifetime's strategies as “television for women”? In doing so, the chapter argues that while Devious Maids is a complex text that portrays Latina womanhood in some nuanced ways, the postfeminist and postracial sensibilities of the show discourage most audience members from engaging with the potentially transgressive aspects of the series.
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26

Sobieraj, Sarah, and Jeffrey M. Berry. Outrage Industry: Political Opinion Media and the New Incivility. Oxford University Press, Incorporated, 2013.

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27

Outrage Industry: Political Opinion Media and the New Incivility. Oxford University Press, Incorporated, 2016.

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28

The Outrage Industry Political Opinion Media And The New Incivility. Oxford University Press Inc, 2014.

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29

Smith, Suzanne. African American Religious Identities in the Twentieth Century. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.8.

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This chapter analyzes African American religious identity and practice in the twentieth century. Shaped by the Great Migration and the rise of mass culture, modern African American religious practice was both inventive and entrepreneurial. Although mainline denominations continued to dominate, Pentecostal and Holiness churches gained popularity through the rise of storefront churches, a refuge for southern migrants in the urban North. In addition, new religious movements such as the Moorish Science Temple of America, the Nation of Islam, and Father Divine’s Peace Mission Movement offered followers the opportunity to create entirely new religious and ethnic identities for themselves. The rise of radio and television transformed African American evangelism and eventually produced the era of the megachurch exemplified by the careers of Reverend Ike and T. D. Jakes. Modern African American religions competed in a spiritual marketplace that cultivated imaginative faith practices and met the material needs of their followers.
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30

Dallam, Marie W. The Wider World of the 21st-Century Cowboy Christian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190856564.003.0006.

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Chapter 6 pulls away from the cowboy church specifically to examine aspects of the broader cultural context of cowboy Christians. Topics include media and entertainment that deliberately blend ideas of cowboy values with religion, and how they are packaged for consumption by cowboy Christians. Examples including racetrack chaplaincy, Christian horse whisperers, and television shows demonstrate cowboy Christian alignment with the trends of consumerism found in mainstream evangelicalism. The second half of the chapter revisits and concludes various thematic discussions raised throughout the book, comparing the cowboy church to the Jesus movement of the 1960s and 1970s and the recurring iterations of muscular Christianity, and schematically charting potential developments for the cowboy church on the basis of developmental patterns for other new religious movements.
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31

Asamoah-Gyadu, J. Kwabena. Communications, New Technologies, and Innovation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198702252.003.0016.

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This chapter outlines the discussion over the influence of new media and communications technologies on the spread of (particularly charismaticized) Protestantism in Africa. It links the contemporary debate to the debate about the origins of Protestantism in the sixteenth-century communications revolution sparked by the invention of the printing press. Building on the work of scholars such as Lamin Sanneh, the chapter addresses issues of translation, the nature of modern media technologies and their semiotic impact on mediated messages; the construction of the public square and the ‘re-publicization of religion’. Particular attention is given to the rise of charismatic media empires, involving integrated print, digital, and satellite/television media, often in support of pentecostal/charismatic prosperity-preaching megachurches and their celebrity pastors.
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32

Carter, Eli Lee. The New Brazilian Mediascape. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.001.0001.

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In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of independent production companies, and new legislation not only challenged TV Globo’s market domination but also began to change the face of Brazil’s growing audiovisual landscape. Combining sociohistorical, economic, and legal contextualization with close readings of audiovisual productions, Carter argues that a fragmented media has opened the door to new voices and narratives that represent a more diverse Brazilian identity.
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33

Censored, Project, and Peter Phillips. Censored 2007: The Top 25 Censored Stories (Censored: The News That Didn't Make the News). 3rd ed. Seven Stories Press, 2006.

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34

Shrivastava, K. M. Broadcast Journalism in the 21st Century. New Dawn Press, 2004.

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35

Stravinsky, Igor, and Robert Craft. Memories and Commentaries: New One-Volume Edition Compiled and Edited by Robert Craft. Faber & Faber, 2002.

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36

Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
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37

Rather, Dan. Deadlines and Datelines: Essays at the Turn of the Century. Diane Pub Co, 1999.

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38

Barnhurst, Kevin G. Groups Supplanted Persons. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0004.

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This chapter focuses on the decline of people news. For several decades people news was growing element in the media landscape. By the early 1970s, The New York Times was running the Notes on People column. By the 1990s a growth area for U.S. television networks was the prime-time News magazine, a genre oriented to people stories. Reality shows, always an element of American TV, grew into a dominant genre by the early twenty-first century and made supposed “real” people the center of attention. However, by the end of the twentieth century, studies noted that people were disappearing from the front page. One cause of the depopulation of front pages is that news stories are getting longer. Even if the average news report included a stable number of persons, they would populate the news more thinly as the typical story grew longer—fewer of them would appear on any page. As the new century began, more groups stood alone as the actors in news, and ordinary named individuals almost never did.
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39

Censored, Project, and Peter Phillips. Censored 2007: The Top 25 Censored Stories (Censored). 3rd ed. Seven Stories Press, 2006.

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40

David, Welch, International Association for Media and History., and International Association for Audio-visual Media in Historical Research and Education., eds. Historical journal of film, radio and television.: News into the next century. Abingdon: Carfax, 2000.

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41

Barnhurst, Kevin G. Broadcast News Became Less Episodic. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0017.

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This chapter considers the provision of context and analysis in television news. Americans have tended to be realist, viewing problems as “concrete rather than abstract” and are relying more on television for news, which simplifies “complex issues to the level of anecdotal evidence.” However, episodic newscasts may lead audiences to ignore the modern big picture of social conditions and public policy behind problems. For a century the U.S. population has scored poorly on standard memory tests of political knowledge. An uninformed audience may need more explanations, but did the interpretive turn fail to spread to television as critics suggest? It is shown that television news adopted the wider modern perspectives that critics demanded. Since the 1960s, newscasters have expanded interpretation on national evening news. After beating newspapers to the newest stories, network newscasts themselves began shifting into modern interpretive styles instead of sticking with realist, episodic coverage.
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42

Barnhurst, Kevin G. Stories Only Seemed Shorter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0002.

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This chapter considers the question of whether daily news over the past century has gone along with the modern trend of shorter news. When the occupation of journalist first emerged in the nineteenth century, realist news was mainly short, and everything in the modern world has seemed to go only faster for more than a century. First radio picked up the pace and then television followed, requiring shorter attention spans. Along came faxes, then electronic mail, and now video messaging. MTV made images move faster, television commercials got shorter, and online ads shrank to a few seconds. Critics call it sound-bite society or McDonaldization, reducing information to nuggets. However, studies show that news has been getting longer, moving away from brief realist descriptions of stand-alone events and aligning with modern impulses toward big-picture explanation. The trend occurred across legacy news media: newspaper reporters writing longer, television reporters speaking more, and even reporters on public radio, the home of extended news, talking more in longer stories.
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43

Fellowes, Jessica. The World of Downton Abbey. Harpercollins Audio, 2011.

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44

World of Downton Abbey. Collins, 2011.

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45

The World of Downton Abbey. St. Martin's Griffin, 2011.

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46

Hargreaves, Ian. 1. Born free: a brief history of news media. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199686872.003.0002.

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In the last decade almost 600 journalists have been killed, chiefly in wars, in acts of political assassination, or by gangsters. ‘Born free: a brief history of news media’ charts the danger journalists face when reporting from war zones and from countries facing dramatic political upheaval. The growth of new media has also triggered a repressive backlash by authoritarian regimes. A brief history of journalism is provided: from the invention of printing by Johannes Gutenberg in the 15th century, through the birth of the news industry in the 18th century, to the impact of radio and television in the 20th century, and to the age of the Internet.
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47

Flinn, Caryl. The Mutating Musical and the Sound of Music. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.033.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Musicals have always enjoyed a rich cross-media history, and changing technologies help maintain that tradition. Today television and digital cultures offer compelling new generic formats. No longer large stage and screen productions, musicals now appear through smaller, decentralized forms and platforms, providing the premise of television series, reality shows, and music videos, or appearing as small performances on YouTube. This chapter follows the afterlife of the iconic film musicalThe Sound of Music(dir. Robert Wise, 1965) to explore how these new articulations—fragmented and less loyal to the original than previous revivals or reruns—create the potential for diverse and local audiences that the original musical never addressed. These “mutating musicals” can give rise to different, smaller-scale “utopias” and fantasies, affective by-products that reveal a genre whose parameters have grown looser and more capacious at the end of the twentieth century.
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48

Barnhurst, Kevin G. News Online Reentered Modern Time. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0015.

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This chapter considers changing perspectives of modern time. It argues that newspapers are stuck in late-nineteenth-century modern time, raising complaints and objections to the new time regime. In contrast, television news is mired in mid-twentieth-century modern time, and the web editions of legacy media, after a moment of turbulence, returned to reflect the modernist time of an institutional memory they share. New interactive and mobile technologies create for news media a space of temporal discomfort. The modern sense of time empowered practitioners, giving them clear tools for selection and sequence, the discipline of deadlines, and the competition of the scoop and the exclusive, with the underlying assumption that time is money. The new sense of time removes their illusion of some control in a political life formerly attuned to their own news cycles.
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49

Miller, Mark Crispin. Cruel and Unusual: Bush/Cheney's New World Order. W. W. Norton & Company, 2005.

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Miller, Mark Crispin. Cruel and Unusual: Bush/Cheney's New World Order. W. W. Norton & Company, 2005.

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