This book by two leading experts takes a fresh look at the nature of television, starting from an audience perspective. It draws on over twenty years of research about the audience in the United States and Britain and about the many ways in which television is funded and organized around the world. The overall picture which emerges is of: a medium which is watched for several hours a day but usually at only a low level of involvement; an audience which views mainly for relaxation but which actively chooses favourite programmes; a flowering of new channels but with no fundamental change in what or how people watch; programmes costing millions to produce but only a few pennies to view; a wide range of programme types apparently similar to the range of print media but with nothing like the same degree of audience 'segmentation'; a global communication medium of dazzling scale, speed, and impact but which is slow at conveying complex information and perhaps less powerful than generally assumed. The book is packed with information and insights yet is highly readable. It is unique in relating so many of the issues raised by television to how we watch it. There is also a highly regarded appendix on advertising, as well as technical notes, a glossary, and references for further reading.

Not only is everyday conversation increasingly dependent on television, but more and more people are appearing on television to discuss social and personal issues. Is any public good served by these programmes or are they simply trashy entertainment which fills the schedules cheaply? Talk on Television examines the value and significance of televised public debate. Analysing a wide range of programmes including Kilroy, Donohue and The Oprah Winfrey Show, the authors draw on interviews with both the studio participants and with those watching at home. They ask how the media manage discussion programmes and whether the programmes really are providing new 'spaces' for public participators. They find out how audiences interpret the programmes when they appear on the screen themselves, and they unravel the conventions - debate, romance, therapy - which make up the genre. They also consider TV's function as a medium of education and information, finally discussing the dangers and opportunities the genre holds for audience participation and public debate in the future.

Taking the soap opera as a case study, this book explores the 'parasocial interaction' people engage in with television programmes. It looks at the nature of the 'active viewer' and the role of the text in social psychology. It also investigates the existing theoretical models offered by social psychology and other discourses. This second edition takes into account recent research work and theoretical developments in fields such as narrative psychology, social representation theory and ethnographic work on audiences, and look forward to the developing role of audience research. It will be an essential study for students and lecturers in social psychology and media studies.

One of the Top 10 Politics and Current Events Books of Fall 2019 (Publishers Weekly) An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president. Television has entertained America, television has ensorcelled America, and with the election of Donald J. Trump, television has conquered America. In Audience of One, New York Times chief television critic James Poniewozik traces the history of TV and mass media from the Reagan era to today, explaining how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president. In the tradition of Neil Postman’s masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the 20th century, which joined millions of Americans in a shared monoculture, into today’s zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump, the chameleonic celebrity who courted fame, achieved a mind-meld with the media beast, and rode it to ultimate power. Braiding together these disparate threads, Poniewozik combines a cultural history of modern America with a revelatory portrait of the most public American who has ever lived. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became “a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented.” Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV “You’re Fired” machine in the 2000s; and finally, the biggest role of his career, a Fox News–obsessed, Twitter-mad, culture-warring demagogue in the White House. Poniewozik deconstructs the chaotic Age of Trump as the 24-hour TV production that it is, decoding an era when politics has become pop culture, and vice versa. Trenchant and often slyly hilarious, Audience of One is a penetrating and sobering review of the raucous, raging, farcical reality show—performed for the benefit of an insomniac, cable-news-junkie “audience of one”—that we all came to live in, whether we liked it or not.

Millions of people all over the world are avid members of the television audience. Yet, despite the central place television occupies in contemporary culture, our understanding of its complex and dynamic role in everyday life remains surprisingly limited. Focusing on the television audience, Ien Ang asks why we understand so little about its nature, and argues that our ignorance arises directly out of the biases inherent in prevailing official knowledge about it. She sets out to deconstruct the assumptions of this official knowledge by exploring the territory where it is mainly produced - the television institutions. Ang draws on Foucault's theory of power/knowledge to scrutinize television's desperate search for the audience, and to identify differences and similarities in the approaches of American commercial television and European public service television to their audiences. She looks carefully at recent developments in the field of ratings research, in particular the controversial introduction of the `people meter' as an instrument for measuring the television audience. By defining the limits and limitations of these institutional procedures of knowledge production, Ien Ang opens up new avenues for understanding television audiences. Her ethnographic perspective on the television audience gives new insights into our television culture, with the audience seen not as an object to be controlled, but as an active social subject, engaging with television in a variety of cultural and creative ways.

Why is talk about television forbidden at certain schools? Why does a mother feel guilty about watching Star Trek in front of her four-year-old child? Why would retired men turn to daytime soap operas for entertainment? Cliches about television mask the complexity of our relationship to media technologies. Through case studies, the author explains what audience research tells us about the uses of technologies in the domestic sphere and the classroom, the relationship between gender and genre, and the varied interpretation of media technologies and media forms. Television and New Media Audiences reviews the most important research on television audiences and recommends the use of ethnographic, longitudinal methods for the study of media consumption and computer use at home as well as in the workplace. The book discusses reactions of audiences to many internationally known television programmes including The Flintstones, The Jetsons, Street Fighter, Mighty Morphin Power Rangers, X-Men, Sesame Street, Dallas, Star Trek, The Cosby Show, Teenage Mutant Ninja Turtles, National Geographic, etc.

A multi-faceted exploration of audience research, in which Morley draws on a rich body of empirical work to examine the emergence, development and future of audience research.

Millions of people all over the world are avid members of the television audience. Yet, despite the central place television occupies in contemporary culture, our understanding of its complex and dynamic role in everyday life remains surprisingly limited. Focusing on the television audience, Ien Ang asks why we understand so little about its nature, and argues that our ignorance arises directly out of the biases inherent in prevailing official knowledge about it. She sets out to deconstruct the assumptions of this official knowledge by exploring the territory where it is mainly produced - the television institutions. Ang draws on Foucault's theory of power/knowledge to scrutinize television's desperate search for the audience, and to identify differences and similarities in the approaches of American commercial television and European public service television to their audiences. She looks carefully at recent developments in the field of ratings research, in particular the controversial introduction of the `people meter' as an instrument for measuring the television audience. By defining the limits and limitations of these institutional procedures of knowledge production, Ien Ang opens up new avenues for understanding television audiences. Her ethnographic perspective on the television audience gives new insights into our television culture, with the audience seen not as an object to be controlled, but as an active social subject, engaging with television in a variety of cultural and creative ways.

Television, Audiences and Everyday Life draws on an extensive body of audience research to get behind this seemingly simple activity. Written in a clear and accessible style, key audience studies are presented in ways that illuminate critical debates and concepts in cultural and media studies.