This thorough update to Benjamin Compaine's original 1979 benchmark and 1982 revisit of media ownership tackles the question of media ownership, providing a detailed examination of the current state of the media industry. Retaining the wealth of data of the earlier volumes, Compaine and his co-author Douglas Gomery chronicle the myriad changes in the media industry and the factors contributing to these changes. They also examine how the media industry is being reshaped by technological forces in all segments, as well as by social and cultural reactions to these forces. This third edition of Who Owns the Media? has been reorganized and expanded, reflecting the evolution of the media industry structure. Looking beyond conventional wisdom and expectations, Compaine and Gomery examine the characteristics of competition in the media marketplace, present alternative positions on the meanings of concentration, and ultimately urge readers to draw their own conclusions on an issue that is neither black nor white. Appropriate for media practitioners and sociologists, historians, and economists studying mass media, this volume can also be used for advanced courses in broadcasting, journalism, mass communication, telecommunications, and media education. As a new benchmark for the current state of media ownership, it is invaluable to anyone needing to understand who controls the media and thus the information and entertainment messages received by media consumers.
The uniqueness of this book lies in its focus on both local and international forces. While critiquing international capital, it also acknowledges the bargains that are struck between the local operators and transnationals.
This publication moves beyond the rhetoric of free media and free markets to provide a dispassionate and data-driven analysis of global media ownership trends and their drivers.
Although Slum TV's strive for authenticity is muddied by the conventions of narrative cinema, the project is fundamentally a positive one and an exercise in what William Brown refers to as non-cinema.
bought a talent agency and acquired the name and remnants of Warner Brothers to reconstitute the movie studio. From there he went into music and, presciently and disastrously, into video games. Murdoch's view of Ross in a sense presages ...
The New Missionaries of Global Capitalism Edward Herrmann, Robert W. McChesney ... News Corporation went a heavily into debt to subsidize its purchase of Twentieth Century Fox and the formation of the Fox television network in the 1980s ...
This book features pathbreaking analysis from journalists and academics of the changing nature and peril of media capture—how formerly independent institutions fall under the sway of governments, plutocrats, and corporations.
Robert Leiken became more potent as a critic of the Sandinistas as an alleged former peace-movement activist and early supporter of the Sandinistas. ... See S. Robert Lichter, Stanley Rothman, and Linda Lichter ...
David Folkenflik, the media correspondent for NPR News, explains how the man behind Britain's take-no-prisoners tabloids, who reinvigorated Roger Ailes by backing his vision for Fox News, who gave a new swagger to the New York Post and a ...
Draws on interviews with family, associates, and Rupert Murdoch himself to offer a portrait of the world's most powerful newsman, chronicling the expansion of his media empire and offering details on the Dow Jones takeover.
Geoff Kemp and Jason McElligot, “General Introduction: The Constitution of Early Modern Censorship,” in CP, 1:xiii–xxxiii. 13. Raymond, “Censorship”; Cyndia Susan Clegg, Press Censorship in Elizabethan England (Cambridge: Cambridge ...