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Relevant bibliographies by topics / Television broadcasting – Standards – United States

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Academic literature on the topic 'Television broadcasting – Standards – United States'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Television broadcasting – Standards – United States"

1

Albarran, Paola Andrea. "Makeup Trends on Television Newscasts in the U.S. during the 20th century: Exploring High-Definition Television, Journalists, and Appearance." International Visual Culture Review 2 (April 17, 2020): 27–36. http://dx.doi.org/10.37467/gka-visualrev.v2.2084.

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This study is an exploration of the shift from standard definition (SDTV) to high-definition (HDTV) on television newscasts in the United States. This paper examines how this major historic shift affected the thinking, behavior, and trends of female newscasters when using makeup to see what themes arose. Despite the ubiquity of female newscasters, academic research into the influence of HD broadcasting and makeup appearance is limited. Due to this lack of information, the present study provides a cultural approach to examining historical information about this switch. News West 9 broadcasted in Midland-Odessa and interviews to a female newscaster, a news director, and a makeup artist who experienced this shift are utilized to address the historical issues facing high-definition broadcasting during this time.

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Albarran, Paola Andrea. "Makeup Trends on Television Newcasts in the U.S. during the 20th Century." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (October 5, 2020): 85–94. http://dx.doi.org/10.37467/gka-revvisual.v7.2694.

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This study is an exploration of the shift from standard definition (SDTV) to high-definition (HDTV) on television newscasts in the United States. This paper examines how this major historic shift affected the thinking, behavior, and trends of female newscasters when using makeup to see what themes arose. Despite the ubiquity of female newscasters, academic research into the influence of HD broadcasting and makeup appearance is limited. Due to this lack of information, the present study provides a cultural approach to examining historical information about this switch. News West 9 broadcasted in Midland-Odessa and interviews to a female newscaster, a news director, and a makeup artist who experienced this shift are utilized to address the historical issues facing high-definition broadcasting during this time.

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Jones, Graham. "Digital Television Broadcasting in the United States." SMPTE Motion Imaging Journal 116, no. 9 (September 2007): 364–72. http://dx.doi.org/10.5594/j16080.

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Jones, Graham. "Digital Television Broadcasting in the United States." SMPTE Motion Imaging Journal 115, no. 9 (September 2006): 326–33. http://dx.doi.org/10.5594/j16150.

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Hayes, Bill. "Digital Television Broadcasting in the United States." SMPTE Motion Imaging Journal 119, no. 6 (September 2010): 63–66. http://dx.doi.org/10.5594/j12200.

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Hayes, Bill. "Digital Television Broadcasting in the United States." SMPTE Motion Imaging Journal 118, no. 6 (September 2009): 38–43. http://dx.doi.org/10.5594/j14910.

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Hayes, Bill. "Digital Television Broadcasting in the United States." SMPTE Motion Imaging Journal 117, no. 6 (September 2008): 75–77. http://dx.doi.org/10.5594/j15066.

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Hopkins, Robert. "Progress on HDTV broadcasting standards in the United States." Signal Processing: Image Communication 5, no. 5-6 (December 1993): 355–78. http://dx.doi.org/10.1016/0923-5965(93)90003-c.

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Jelisavac, Sanja. "International regulation of intellectual property rights." Medjunarodni problemi 56, no. 2-3 (2004): 279–303. http://dx.doi.org/10.2298/medjp0403279j.

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Intellectual property refers to creations of the mind: inventions, literary and works of art, as well as symbols, names, images, and designs that are used in commerce. Intellectual property is divided into two categories industrial property, which includes inventions (patents), trademarks industrial designs, and geographic indications of source; and copyright which includes literary and works of art such as novels, poems and plays films, musical works, works of art such as drawings, paintings, photographs and sculptures, and architectural designs. Rights related to copyright include those of performing artists in their performances, producers of phonograms in their recordings, and those of broadcasters in their radio and television programmes. 1883 marked the birth of the Paris Convention for the Protection of Industrial Property, the first major international treaty designed to help the people from one country obtain protection in other countries for their intellectual creations in the form of industrial property rights, known as: inventions (patents), trademarks, industrial designs. In 1886, copyright entered the international arena with the Berne Convention for the Protection of Literary and Artistic Works. The aim of this Convention was to help nationals of its member States obtain international protection of their right to control, and receive payment for the use of their creative works such as: novels, short stories, poems plays; songs, operas, musicals, sonatas; and drawings, paintings sculptures, architectural works. The Universal Copyright Convention (UCC) was adopted in 1952 and formalised in 1955, as a complementary agreement to the Berne Convention. The UCC membership included the United States, and many developing countries that did not wish to comply with the Berne Convention, since they viewed its provisions as overly favourable to the developed world. Patent Cooperation Treaty, signed on June 19,1970, provides for the filing of a single international patent application which has the same effect as national applications filed in the designated countries. An applicant seeking protection may file one application and request protection in as many signatory states as needed. On November 6, 1925, the Hague Agreement Concerning the International Deposit of Industrial Designs was adopted within the framework of the Paris Convention. Under the provisions of the Hague Agreement, any person entitled to effect an international deposit has the possibility of obtaining, by means of a single deposit protection for his industrial designs in a number of States with a minimum of formalities and of expense. The system of international registration of marks is governed by two treaties, the Madrid Agreement Concerning the International Registration of Marks, which dates from 1891, and the Protocol Relating to the Madrid Agreement that was adopted in 1989. It entered into force on December 1, 1995, and came into operation on April 1, 1996. The reason for adopting the much more recent Protocol, following the original Madrid Agreement of 1891 (last amended at Stockholm in 1967), was the absence from the Madrid Union of some of the major countries in the trademark field, for example, Japan, the United Kingdom, and the United States of America. The Protocol is intended to make the Madrid system acceptable to more countries. The Rome Convention consists basically of the national treatment that a State grants under its domestic law to domestic performances, phonograms and broadcasts. Apart from the rights guaranteed by the Convention itself as constituting that minimum of protection, and subject to specific exceptions or reservations allowed for by the Convention, performers, producers of phonograms and broadcasting organisations to which the Convention applies, enjoy in Contracting States the same rights as those countries grant to their nationals. The World Intellectual Property Organization (WIPO) is an international organisation dedicated to promoting the use and protection of works of the human spirit. These works, intellectual property, are expanding the bounds of science and technology and enriching the world of the arts. Through its work, WIPO plays an important role in enhancing the quality and enjoyment of life, as well as creating real wealth for nations. In 1974, WIPO became a specialised agency of the United Nations system of organisations, with a mandate to administer intellectual property matters recognised by the member states of the UN. With headquarters in Geneva, Switzerland, WIPO is one of the 16 specialised agencies of the United Nations system of organisations. It administers 21 international treaties dealing with different aspects of intellectual property protection. The Organisation counts 177 nations as member states. One of the successes of the Uruguay Round of trade negotiations was the Agreement on Trade-Related Aspects of Intellectual Property (TRIPS Agreement), which came into effect on 1 January 1995, and up to date it the most comprehensive multilateral agreement on intellectual property. The TRIPS Agreement is a minimum standards agreement, which allows Members to provide more extensive protection of intellectual property if they wish so. Members are left free to determine the appropriate method of implementing the provisions of the Agreement within their own legal system and practice On January 1, 1996, an Agreement Between the World Intellectual Property Organization and the World Trade Organization entered into force. It provides for cooperation concerning the implementation of the TRIPS Agreement, such as notification of laws and regulations and legal-technical assistance and technical co-operation in favour of developing countries. In the 21st century intellectual property will play an increasingly important role at the international stage. Works of the mind - intellectual property such as inventions, designs, trademarks, books, music, and films, are now used and enjoyed on every continent on the earth. In the new millennium international protection of intellectual property rights faces many new challenges; one of the most urgent is the need for states to adapt to and benefit from rapid and wide-ranging technological change, particularly in the field of information technology and the Internet.

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Lechner, Bernard J. "The Dawn of Terrestrial Digital Television Broadcasting in the United States." SID Symposium Digest of Technical Papers 30, no. 1 (1999): 104. http://dx.doi.org/10.1889/1.1833947.

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Dissertations / Theses on the topic "Television broadcasting – Standards – United States"

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Jewett, Lorraine E. "Technological innovations and the evolving role of the television news broadcaster : towards a U.S. history." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63805.

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Attallah, Paul Michael 1954. "TV before TV : the emergence of American network broadcast television and its implications for audiences, content, and study." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73970.

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Gobetz, Robert H. "An analysis of the perceptions of the state of broadcast deregulation /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1992.

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4

Guo, Miao Albarran Alan B. "The impact of ownership, regulation issues and technology adoption on the introduction of digital terrestrial television a comparison of the United States and Mainland China /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3968.

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Harper, Sandra S. "A Content Analysis of Public Broadcasting Service Television Programming." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330669/.

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The problem with which this investigation is concerned is the description of the social map that is presented to the viewers of public television. Using content analysis methodology, the study describes how different genders, racial groups, and age groups are being portrayed on PBS programming. The sample consisted of one week of PBS 1984 fall programming broadcast on KERA-TV, the PBS station in Dallas-Ft. Worth, Texas. Research questions addressing proportions of groups, types of roles, length of scenes, occupational variation, conversational behaviors, conflict management modes, and cultural norms were answered. All coding was accomplished by the principal investigator. Upon completion of the coding sub-totals for the variables under study by program types and a grand total for the entire sample were then tabulated. After this extensive content analysis, the report concludes that females are still extremely underrepresented in PBS programming, accounting for only 32.7% of the total participants. Blacks and Hispanics are also underrepresented except in children's programming. Occupational variation for white males is evident for all types of PBS programming. Occupational variation for white females is evident in children's programming and informational/documentary programming. Minorities with delineated occupations are extremely limited in all types of programming except for children's programming. The exchange of information is the major conversational behavior that occurs on PBS programming with minority characters receiving orders considerably more than their white counterparts. Verbal aggression is the conflict management mode chosen most frequently on PBS programming. Explicit messages regarding racial and sexual equality and prosocial behavior occur on PBS programming. Implicit messages such as frequency of appearances, number of major roles, and prevalence of power cues suggest a white male domination of television programming on PBS. The findings of the study reveal that major inroads have been made by women and minorities in children's programming. This comprehensive analysis confirms, however, the virtual exclusion of minorities in major segments of PBS programming.

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Simard, Marie-Pierre. "Accord sur les aspects des droits de proprieté intellectuelle qui touchent au commerce : la licence obligatoire de câblodistribution canado-américaine y survivra-t-elle?" Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33368.

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In 1988, The Canada and the United States of America signed the Free-trade Agreement of North America. They wrote in a compulsory licence of cablodistribution: cablodistributors could, without consent, intercept the broadcasting waves but would also have to give them a financial compensation.
In 1995, the WTO2 elaborated the Trade related intellectual property agreement (TRIPS). The latter grants the broadcastors a right to authorize or to prevent the communication of their waves to the public.
Is the existence of the compulsory licence compromised by this agreement? We believe not. Indeed, justifications to the compulsory licence are found in the TRIPS: the general derogation of section 13 and the insertion of the Berne Convention through section 9 allow such licence. We also establish that the national treatment and the most-favoured nation clauses do not apply to the compulsory licence.
2World Trade Organization

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Lee, Amy, and 李凱華. "Translocal readings: Hong Kong television serials in US Chinatowns." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37339436.

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8

McDonnell, Rafael C. (Rafael Charles). "A Survey on Student Uses of and Attitudes Toward Broadcast Television News and "Tabloid" Television." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504429/.

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A survey testing student uses of and attitudes towards traditional broadcast television news and eleven "tabloid" programs was conducted using 300 students enrolled at the University of North Texas. The 10:00 p.m. newscast was most watched by the students. The most watched weekly news magazine was "60 Minutes." The Oprah Winfrey Show" was the daily "tabloid" leader. "America's Most Wanted" led the weekly "tabloid" shows. Students perceived daily newscasts as important sources of information. "USA Today," the weekly news magazines "60 Minutes" and "20/20,1" and "America's Most Wanted" were also cited by students as being "important" information programming. However, the survey showed "tabloid television" was not a major source of informational programming for college students.

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Perry, Sherry E. "Acquisition of geographic information from television news maps." Thesis, Virginia Polytechnic Institute and State University, 1988. http://hdl.handle.net/10919/51908.

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University students were shown simulated television newscasts and then tested on the news material to see if maps within the newscast aided learning world geographic information. Students were shown one of eight simulated newscasts, of three news stories, Each newscast contained maps, varying in complexity. There were five levels of complexity. One group viewed a simulated newscast with no maps, while other groups viewed simulated newscasts containing maps with 6, 10, or 14 variables per map. A control group saw no newscasts. The order of news story presentation was varied. Students who viewed one of the newscasts did better than students who did not see one, and the average number of correct answers increased as the maps in the news programs increased in map complexity. However, the group viewing the most complex maps--the 14 variable maps, did not perform better than those who saw the 10-variable maps.
Master of Science

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Mott, IV W. E. "Political Agenda-Setting in Cable News as a Possible Technique for Securing an Audience Niche." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3935/.

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In an effort to better understand the motivations behind perceived biases in the US cable news industry, 72 hours of CNN, FOX, and MSNBC during the week preceding the 2006 congressional election were analyzed. First- and second-level agenda-setting theories are used to examine how long and in what way federal politicians are portrayed. The results indicate distinct differences in political presentations between the three networks.

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Books on the topic "Television broadcasting – Standards – United States"

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Vulgarians at the Gate: Trash TV and raunch radio : raising the standards of popular culture. Amherst, N.Y: Prometheus Books, 2001.

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United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Open forum on decency: Open forum before the Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Ninth Congress, first session, November 29, 2005. Washington: U.S. G.P.O., 2006.

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Decency in broadcasting, cable, and other media: Hearing before the Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Ninth Congress, second session, January 19, 2006. Washington: U.S. G.P.O., 2006.

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Smith, F. Leslie. Perspectives on radio and television: Telecommunication in the United States. 3rd ed. New York: Harper & Row, 1990.

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Smith, F. Leslie. Perspectives on radio and television: Telecommunication in the United States. 2nd ed. New York: Harper & Row, 1985.

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II, Wright John W., and Ostroff David H, eds. Perspectives on radio and television: Telecommunication in the United States. 4th ed. Mahwah, New Jersey: Lawrence Erlbaum Associates, 1998.

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Smith, F. Leslie. Perspectives on radio and television: Telecommunication in the United States. 4th ed. Mahwah, N.J: L. Erlbaum Associates, 1998.

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Chandler, Joan M. Television and national sport: The United States and Britain. Urbana: University of Illinois Press, 1988.

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Perspectives on radio and television: Telecommunication in the United States. 2nd ed. New York: Harper & Row, 1985.

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Comstock, George A. The evolution of American television. Newbury Park: Sage Publications, 1989.

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Book chapters on the topic "Television broadcasting – Standards – United States"

1

Albarran, Alan B., and Nicole Warncke. "Problems and Prospects of Spanish Language Television Broadcasting in the United States." In Race and Gender in Electronic Media, 346–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315636801-20.

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Redvall, Eva N. "Mainstream Trends and Masterpiece Traditions." In Transatlantic Television Drama, 131–46. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0009.

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The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United States, and beyond.

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Petruska, Karen, and Faye Woods. "Traveling without a Passport." In Transatlantic Television Drama, 49–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0004.

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The speed and breadth with which global television is crossing borders has been accelerated by legal web-delivered platforms, particularly services like Netflix and Amazon Video internationally and Hulu in the United States. These sites are developing impressive reputations as prolific producers of “original” content, but this designation as original obscures the national origins of imported programming to claim all creative credit for the SVOD distributor. The authors identify a distinctive shift from long-standing practices surrounding imports on both sides of the Atlantic through the paratextual framing practices of particular SVOD services. To identify these programs as original content communicates exclusivity and freshness, but when this identification is used falsely, it erases the production and exhibition histories of the shows in their originating countries and threatens the global diversity of content, the viability of independent producers, and the localism that has been central to broadcasting from its origins.

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Allen, Craig. "Lone Star Dawn, Mexican Light." In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 15–43. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0002.

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Period: 1895–1961. From working-class roots in a Mexican border town, Emilio Azcárraga Vidaurreta rises as the giant and patriarch of Mexican radio and TV. He courts the government which permits his monopoly, Telesistema Méxicano. To appease opponents who protest his Americanization of TV networks in Mexico, Vidaurreta envisions a Mexican network in the U.S. He hires Rene Anselmo and partners with Frank Fouce Sr. U.S. law prohibits foreign ownership of U.S broadcasting, however, Vidaurreta devises a scheme to conceal his ownership by having Anselmo, a U.S. citizen, act as owner in his place. In San Antonio, Raoul Cortez forms the first Spanish-language TV station in U.S. Son-in-law Emilio Nicolás manages struggling KCOR but prepares for a medical career. Vidaurreta purchases KCOR on the condition Nicolás remain. He does. With KCOR as hub, parties meet in San Antonio and form the Spanish International Network.

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Allen, Craig. "The Perenchio Era." In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 182–213. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0009.

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Period: 1993–1999. Perenchio’s tenure at Univision begins contentiously. Capitalizing on the PLA and ignoring discord, Perenchio has President Ray Rodriguez quickly reinstate Televisa’s popular content. As U.S. programs are replaced, Univision personnel lose their jobs. At Telemundo, Blaya briefly succeeds before Telemundo declares bankruptcy. Steinberg yields ownership of Telemundo to another Wall Street “raider,” Leon Black. Univision soars in the early Nielsen ratings. Upon broadcasting Televisa’s blockbuster María la del Barrio, Univision reaches 80 percent of Latino viewers. Telemundo falls to 20 percent. Its audiences equaling those of ABC, CBS, NBC, and Fox, Univision issues public stock. It becomes a multibillion dollar firm. Acquired by Sony, Telemundo’s attempt at domestic production alienates Latinos and brings record low ratings. While Telemundo’s reach shrinks to 7 percent of the Latino audience, Univision’s reach enlarges to 93 percent. Univision’s reaches 98 percent with its millennium telecast. It is the highest rating Nielsen ever reports. However, upon Azcárraga Milmo’s death, Televisa passes to his son and heir, Emilio Azcárraga Jean, who demands that Perenchio renegotiate the PLA. Perenchio refuses. Azcárraga Jean sabotages a novela Univision is to show. Warfare awaits.

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Takatsuki, Yuli, and Nigel Abbas. "The Privacy Codes." In Tugendhat and Christie: The Law of Privacy and The Media. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780199685745.003.0021.

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Alongside the legal framework which regulates the media’s activities, a system of regulation operates to uphold standards of journalism and programme-making and to provide at least a partial remedy for those whose privacy has been invaded by the media. Different bodies currently regulate different branches of the media. Ofcom (the Office of Communications) regulates the content of all television and radio programmes in the United Kingdom except that the BBC retains sole jurisdiction in relation to certain matters broadcast on BBC channels funded by the licence fee. The Independent Press Standards Organisation (IPSO) has recently taken over as principal regulator of the newspaper and magazine industry (although a new body, the Independent Monitor for the Press (Impress), has also recently been formed). IPSO replaced the Press Complaints Commission (PCC) in September 2014, with which has now ceased to exist, having regulated the print media industry since 1991. These bodies adjudicate upon complaints with reference to codes of practice which media falling within their regulatory remit are required to comply. The Ofcom Broadcasting Code, drawn up and regularly reviewed and revised by Ofcom, is the primary broadcasting code relating to the broadcast of television and radio programme content in the United Kingdom.

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Conference papers on the topic "Television broadcasting – Standards – United States"

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Hopkins, Robert. "United States digital advanced television broadcasting standard." In Critical Review Collection. SPIE, 1996. http://dx.doi.org/10.1117/12.229253.

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