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With the advent of new technologies and governmental regulation, notably the Telecommunications Act of 1996, not only has the broadcast industry changed dramatically, but also the laws covering the management of its human resources. Executives must know and understand these changes to operate within ...

With the advent of new technologies and governmental regulation, notably the Telecommunications Act of 1996, not only has the broadcast industry changed dramatically, but also the laws covering the management of its human resources. Executives must know and understand these changes to operate within the law and to make best use of their people. By no means a dry treatise but still with careful attention to scholarly accuracy, and the latest thinking, Scott's book approaches the crucial human resource problems in broadcasting with a hands-on awareness of what really goes on among broadcasting industry people and the organizations that depend on them. Scott writes for practitioners and provides the information they can use daily, supplying academic professionals and students of broadcasting management with an important resource.

Archie Bunker's America discerns what was "in the air" as television networks tried to accommodate cultural and political swings in America from the Vietnam era through the late 1970s. Josh Ozersky's spirited examination of the ways America changed television during a period of intense social ...

Archie Bunker's America discerns what was "in the air" as television networks tried to accommodate cultural and political swings in America from the Vietnam era through the late 1970s. Josh Ozersky's spirited examination of the ways America changed television during a period of intense social upheaval, recuperation, and fragmentation uncovers a bold and beguiling facet of American cultural history. From the conflict-based comedy of All in the Family and such post-1960s frolics as Three's Company to tendentiously apolitical programs like Happy Days, Ozersky describes the range and power of television to echoed larger schemes of American life.

Around 1968, advertisers who were anxious to break into the lucrative baby-boomer demographic convinced television networks to begin to abandon prime-time programming that catered to universal audiences. With the market splintering, networks ventured into more issue-based and controversial territories. While early network attempts at more "relevant" programming failed, Ozersky examines how CBS struck gold with the political comedy All in the Family in 1971 and how other successful, conflict-based comedies turned away from typical show business conventions. As the 1970s wore on, the innovations of the previous years began to lose their public appeal. After Vietnam and Watergate, Ozersky argues, Americans were exhausted from the political turbulence of the preceding decade and were ready for a televisual "return to normalcy."

Straightforward, engaging, and liberally illustrated, Archie Bunker's America is peppered with the stories of outsider cops and failed variety shows, of a young Bill Murray and an old Ed Sullivan, of Mary Tyler Moore, Fonzie,and the Skipper, too. Drawing on interviews with television insiders, trade publications, and the programs themselves, Ozersky chronicles the ongoing attempts of prime-time television to program for a fragmented audience --

Twenty-first century TV offers an apparently endless stream of images, unfolding at high speed. We no longer watch individual programmes but flick from channel to channel, absorbing a continuous flow of news, game shows, comedy, drama, movies, advertising and trailers. Television: Technology and ...

Twenty-first century TV offers an apparently endless stream of images, unfolding at high speed. We no longer watch individual programmes but flick from channel to channel, absorbing a continuous flow of news, game shows, comedy, drama, movies, advertising and trailers. Television: Technology and Cultural Form was first published in 1974, long before the dawn of multi-channel TV, or the reality and celebrity shows that now pack the schedules. Yet Williams' analysis of television's history, its institutions, programmes and practices, and its future prospects, remains remarkably prescient.Williams stresses the importance of technology in shaping the cultural form of television, while always resisting the determinism of McLuhan's dictum that "the medium is the message". If the medium really is the message, Williams asks, what is left for us to do or say? Williams argues that, on the contrary, we as viewers have the power to disturb, disrupt and to distract the otherwise cold logic of history and technology - not just because television is part of the fabric of our daily lives, but because new technologies continue to offer opportunities, momentarily outside the sway of transnational corporations or the grasp of media moguls, for new forms of self and political expression.