|Known for||Research in Media Industries, Disruption of Television, The Future of Television, Economics of Television, Net Neutrality, Television Studies and Gender and the Media|
|Alma mater|| DePauw University (B.A., 1996)|
Indiana University (M.A., 1997)
University of Texas (Ph.D., 2000)
|Doctoral advisor||Horace Newcomb|
|Discipline||Television studies; media studies; Media Industries; Future of Television; Media economics|
|Institutions|| Queensland University of Technology,|
University of Michigan,
Washington University in St. Louis
Amanda D. Lotz is an American educator, television scholar, and media scholar. She is known for her research in television studies, the economics of television and media companies, and also popularizing the terms network era, post-network era, and the multi-channel transition describing the television industry's transition to cable and to internet distribution.
Lotz is Professor at Queensland University of Technology and member of QUT's Digital Media Research Centre. Prior to joining QUT, she was a Professor of Communication Studies at the University of Michigan, an assistant professor at Denison University and a Mellon Postdoctoral Fellow at Washington University in St. Louis.
Her areas of research are media industries, the economics of the television/cable industry, broadband distributed media, television studies, and gender and the media.
She holds a B.A. in Communication from DePauw University, an M.A. in Telecommunication from Indiana University, and a Ph.D. in Radio, Television and Film from University of Texas.
Lotz co-hosts the Media Business Matters Podcast, which focuses on recent stories in media and why they matter.She is a Fellow at the Peabody Media Center.
Lotz has authored, co-authored or edited eight books in addition to many refereed journal articles, book chapters, and conference presentations.
Lotz is the author of:
Lotz is the co-author of:
And editor of:
Media economics embodies economic theoretical and practical economic questions specific to media of all types. Of particular concern to media economics are the economic policies and practices of media companies and disciplines including journalism and the news industry, film production, entertainment programs, print, broadcast, mobile communications, Internet, advertising and public relations. Deregulation of media, media ownership and concentration, market share, intellectual property rights, competitive economic strategies, company economics, "media tax" and other issues are considered parts of the field. Media economics has social, cultural, and economic implications. Regular study of media economic issues began in the 1970s but flourished in the 1980s with the addition of classes on the subject at U.S. and European universities. The Journal of Media Economics began publishing in 1988, edited by Robert G. Picard, one of the founding fathers of the discipline. Since that time the field of inquiry has flourished and there are now hundreds of universities offering courses and programs in media economics. Other significant figures in the field have included Steven S. Wildman, Alan Albarran, Bruce M. Owen, Ben Compaine, Ghislain Deslandes, Stuart McFadyen, Gillian Doyle, Karl Erik Gustafsson, Lucy Küng, Gregory Ferrell Lowe, Nadine Toussaint Desmoulins, Achour Fenni, Amanda D. Lotz, and Stephen Lacy.
Audience measurement measures how many people are in an audience, usually in relation to radio listenership and television viewership, but also in relation to newspaper and magazine readership and, increasingly, web traffic on websites. Sometimes, the term is used as pertaining to practices which help broadcasters and advertisers determine who is listening rather than just how many people are listening. In some parts of the world, the resulting relative numbers are referred to as audience share, while in other places the broader term market share is used. This broader meaning is also called audience research.
Television studies is an academic discipline that deals with critical approaches to television. Usually, it is distinguished from mass communication research, which tends to approach the topic from a social sciences perspective. Defining the field is problematic; some institutions and syllabuses do not distinguish it from media studies or classify it as a subfield of popular culture studies.
Ann Kirschner is an American entrepreneur, educator, and author of the books Sala's Gift: My Mother's Holocaust Story and Lady at the OK Corral: The True Story of Josephine Marcus Earp. A veteran of four start-ups, Kirschner launched the National Football League's NFL.COM and co-founded Columbia University's interactive knowledge network Fathom.com. She is Dean Emerita of Macaulay Honors College of the City University of New York (CUNY), a University Professor at the CUNY Graduate Center, and a faculty fellow of the Futures Initiative. She is the co-founder of the Women In Technology and Entrepreneurship in New York (WiTNY), a collaboration between CUNY and Cornell Tech to increase participation of women in computer science, and a trustee of Princeton University.
The Financial Interest and Syndication Rules, widely known as the fin-syn rules, were a set of rules imposed by the Federal Communications Commission in the United States in 1970. The FCC sought to prevent the Big Three television networks from monopolizing the broadcast landscape by preventing them from owning any of the programming that they aired in prime time. The rules also prohibited networks from airing syndicated programming they had a financial stake in.
John Hartley AM, FAHA, FRSA, ICA Fellow, is an academic who is Professor of Cultural Science and the previous Director of the Centre for Culture and Technology (CCAT) at Curtin University in Western Australia, and Professor of Journalism, Media and Cultural Studies at Cardiff University. He has published over twenty books about communication, journalism, media and cultural studies, many of which have been translated into other languages.
Terry Flew is an Australian media and communications scholar who currently works as Professor and Assistant Dean (Research) in the Creative Industries Faculty at the Queensland University of Technology. He has produced award-winning research in creative industries, media and communications, and online journalism. He is primarily known for his publication, New Media: An Introduction, which is currently in its fourth edition. His research interests includes digital media, global media, media policy, creative industries, media economics, and the future of journalism.
Nielsen Media Research (NMR) is an American firm that measures media audiences, including television, radio, theatre films and newspapers. NMR, headquartered in New York City, is best known for the Nielsen ratings, an audience measurement system of television viewership that for years has been the deciding factor in canceling or renewing television shows by television networks. As of May 2012, it is part of Nielsen Holdings.
Monroe Edwin Price is director of the University of Pennsylvania's Center for Global Communication Studies (CGCS) at the Annenberg School for Communication at the University of Pennsylvania and director of the Stanhope Centre for Communications Policy Research in London.
Stuart N. Brotman is an American government policymaker; university professor; management consultant; lawyer; author and editorial adviser; and non-profit organization executive. He has taught students from 42 countries in six separate disciplines — Communications, Journalism, Business, Law, International Relations and Public Policy. He also has advised private and public sector clients in more than 30 countries in five continents.
In television broadcasting, the Network Era refers to the period in American television history from 1952 to the mid-1980s, when the television market was controlled by a few large television networks, ABC, CBS, and NBC. This determination is established by institutional aspects that regularized television for the majority of the country, including the color television standard option.
According to Amanda D. Lotz, the multi-channel transition began in the early 1980s and lasted about 20 years. Many changes happened during this transition such as the invention of the remote control, the video cassette player, and analog cable systems expanded viewer's choice and control. This era gave viewers more choice and control over what and when they wanted to view a program. Viewers were able to defy the networks' schedules, because they could record the program and watch it whenever they wanted, using the VCR and later the DVR. Producers adjusted to the government regulations and networks were forced to give up some of the control they had over program creation. Subscription channels emerged with no advertisements and the method for measuring audiences grew with the Nielsen People Meter.
Ancillary markets are non-theatrical markets for feature films, like home video, television, Pay Per View, VOD, Internet streaming, airlines and others.
The post-network era, also known as the post-broadcast era, is a concept that was popularized by Amanda D. Lotz. It denotes the period that followed an earlier network era, television's first institutional phase that started in the 1950s and ran through to the mid-1980s, and television's later multi-channel transition. It describes a period that saw the deterioration of the dominance of the Big Three television networks: ABC, CBS and NBC, and follows the creation of a wide variety of cable television channels that catered specifically to niche groups. The post-network era saw the development of networks that deliver a wider diversity of programming choice, less constraints on a consumers choice of medium, decentralization of the location of viewing, and freedom of choice over time of viewing.
Repurposing refers to a television industry practice in which content providers negotiate deals that allow a series to earn additional revenue during its original run. This is made possible by airing the series multiple times on the broadcast network which licensed it, or airing it concurrently on a cable network. As a result, the window between original run and syndication is shortened dramatically. Repurposing was the first significant adaptation of industry distribution practice since the advent of cable.
Reallocation is a term in the media industry used to describe the practice of relocating an unsuccessful series that was originally developed for a broadcast network onto a cable network in hopes of gaining the attention and interest of a niche audience as well as growing a larger audience.
Convenience technologies enable viewers and users of television, Internet, mobile devices, Digital Video Recorders (DVR), Video on Demand (VOD) and Digital Versatile Disc (DVD) to more easily seek out specific content and view it in individualized patterns. These technologies increase viewers’ ability to choose when they want to watch a program with the use of DVR, VOD and DVD, and where to watch a program with the use of DVD, iPOD, TiVo ToGo and mobile phones. These technological enhancers provide the most comprehensive and varied adjustments in the technological potential of the medium.
Jeffrey P. Jones is Executive Director of the George Foster Peabody Awards and Lambdin Kay Chair for the Peabodys at the University of Georgia. Jones was appointed as only the fifth director of the program in July 2013. He is also Director of the Peabody Media Center. Jones is the author and editor of six books including Entertaining Politics: Satirical Television and Political Engagement and Satire TV: Politics and Comedy in the Post-Network Era.
Joseph Turow is the Robert Lewis Shayon Professor of Communication at the Annenberg School for Communication at the University of Pennsylvania. His research specialises in marketing, new media and privacy. A 2005 New York Times Magazine article referred to him as “probably the reigning academic expert on media fragmentation." In 2010, the New York Times called Turow “the ranking wise man on some thorny new-media and marketing topics."
Ramon Lobato is an author, researcher, and professor of media and communication at RMIT University in Melbourne, Australia. He serves as a Senior Research Fellow with the Technology, Communication, and Policy Lab at the Digital Ethnography Research Centre at RMIT University. Lobato's research includes media markets, accessibility to streaming services, distribution of digital content, piracy, and media infrastructures.