From viral videos on YouTube to mobile television on cell phones and beyond, this book examines television in an age of technological, economic, and cultural convergence. It contains essays that establishes television's importance in a shifting media culture.

Managing Television News provides a practical introduction to the television news producer, one of the most significant and influential roles in a newscast. The book provides critical skill sets to help resolve ethical dilemmas, as well

Television has been called the "boob tube," "goof box," and even a "vast wasteland" of American culture. Yet, for all its banality, television is in many ways a mirror of culture, and communicates messages within culture through the multiple channels of visual images, language, sound, and music. All of these channels contain their own unique coded messages to create the larger meaningful text of television. As one of these sensory channels, music contributes to meaning in television through its artistic language and through television viewers' association of music with certain aspects of culture. Music has always been an integral part of the American television, even from its earliest days. Like its parent medium of radio, television broadcasts music to entertain viewers with live and video taped performances, but music has also come to play a much larger role in television beyond its pleasurable performance aspects. Music is used in narrative programs to evoke moods and identify characters and setting, it is used to sell products through commercial jingles, and most importantly, music generally aids broadcast television in navigating through the continuous "flow" of daily programming. This navigational aspect of television music is a distinctive feature, and functions to transport the viewer through three "spaces" of TV: the flow of the televisual apparatus, with commercials, newbreaks, and promos; the storyworld of each narrative program, and the representational space between narrative and flow. As Heard on TV is an examination and analysis of music in American television during the first fifty years of its history. The book focuses on how music has functioned to serve as a navigator through the flow of television and contributing to structure narrative programs, while also conveying meaning to its viewers by correlating with the images and sounds that it accompanies. Drawing from precedents of the cinema and radio, the book examines music in a number of "classic" television genres by positing a theory of "functional musical spaces" adapted from theories of Charles Morris, Umberto Eco, John Fiske, and others.

The Fox-TV series 24 might have been in production long before its premier just two months after 9/11, but its storyline—and that of many other television programs—has since become inextricably embedded in the nation's popular consciousness. This book marks the first comprehensive survey and analysis of War on Terror themes in post-9/11 American television, critiquing those shows that—either blindly or intentionally—supported the Bush administration's security policies. Stacy Takacs focuses on the role of entertainment programming in building a national consensus favoring a War on Terror, taking a close look at programs that comment both directly and allegorically on the post-9/11 world. In show after show, she chillingly illustrates how popular television helped organize public feelings of loss, fear, empathy, and self-love into narratives supportive of a controversial and unprecedented war. Takacs examines a spectrum of program genres—talk shows, reality programs, sitcoms, police procedurals, male melodramas, war narratives—to uncover the recurrent cultural themes that helped convince Americans to invade Afghanistan and Iraq and compromise their own civil liberties. Spanning the past decade of the ongoing conflict, she reviews not only key touchstones of post-9/11 popular culture such as 24, Rescue Me, and Sleeper Cell, but also less remarked-upon but relevant series like JAG, Off to War, Six Feet Under, and Jericho. She also considers voices of dissent that have emerged through satirical offerings like The Daily Show and science fiction series such as Lost and Battlestar Galactica. Takacs dissects how the War on Terror has been broadcast into our living rooms in programs that routinely offer simplistic answers to important questions—Who exactly are we fighting? Why do they hate us?—and she examines the climate of fear and paranoia they've created. Unlike cultural analyses that view the government's courting of Hollywood as a conspiracy to manipulate the masses, her book considers how economic and industry considerations complicate state-media relations throughout the era. Terrorism TV offers fresh insight into how American television directly and indirectly reinforced the Bush administration's security agenda and argues for the continued importance of the medium as a tool of collective identity formation. It is an essential guide to the televisual landscape of American consciousness in the first decade of the twenty-first century.

In this history of new media technologies, leading media and cultural theorists examine new media against the background of traditional media such as film, photography, and print in order to evaluate the multiple claims made about the benefits and freedom of digital media.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on. Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of ‘the television audience’? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry’s development of emerging new media technologies, and what ‘television’ now means for its audiences.

During the past few decades, private equity (PE) has attracted considerable attention from investors, practitioners, and academicians. In fact, a substantial literature on PE has emerged. PE offers benefits for institutional and private wealth management clients including diversification and enhancement of risk-adjusted returns. However, several factors such as liquidity concerns, regulatory restrictions, and the lack of transparency limit the attractiveness of some PE options to investors. The latest volume in the Financial Markets and Investments Series, Private Equity: Opportunities and Risks offers a synthesis of the theoretical and empirical literature on PE in both emerging and developed markets. Editors H. Kent Baker, Greg Filbeck, Halil Kiymaz and their co-authors examine PE and provide important insights about topics such as major types of PE (venture capital, leveraged buyouts, mezzanine capital, and distressed debt investments), how PE works, performance and measurement, uses and structure, and trends in the market. Readers can gain an in-depth understanding about PE from academics and practitioners from around the world. Private Equity: Opportunities and Risks provides a fresh look at the intriguing yet complex subject of PE. A group of experts takes readers through the core topics and issues of PE, and also examines the latest trends and cutting-edge developments in the field. The coverage extends from discussing basic concepts and their application to increasingly complex and real-world situations. This new and intriguing examination of PE is essential reading for anyone hoping to gain a better understanding of PE, from seasoned professionals to those aspiring to enter the demanding world of finance.

Offers new understandings of gender construction and nation-building through the lens of recent Chinese television programs.

The overview of television criticism, which this book provides, comes appropriately at a moment of change. Television is becoming dramatically different as a result of new and developing technologies such as cable, HDTV, satellite transmission and broadband distributions. By concentrating on the still-dominant notion of television, what the authors call "Classical Network Television," they argue that it is as important to understand this model as it is to understand Classical Hollywood Cinema. The co-authors have a unique approach to the study of television, viewing its history and reception not only through important articles about the medium, but also through analyzing how Hollywood auteur cinema has commented on television over the decades, in films such as Tootsie, Network, The Last Picture Show, A Face in the Crowd, Rollerball, The King of Comedy and others. Not only does this reflect the pervasive use of cinema theory to discuss television, it also helps to emphasize the importance of clarifying the distinctions between the criticisms of the two media. Television at the Movies argues that the study of television is a crucial aspect of understanding our recent and contemporary culture, and it provides an illuminating point of entry for students and researchers in the field.