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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.
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.
Hey Monie! is an American animated sitcom produced by Soup2Nuts. It features heavily improvised dialogue by the Second City cast,similarly to Soup2Nuts animated sitcom Home Movies.
The James H. and Mary B. Quello Center for Telecommunication Management &Law is a research center at Michigan State University in East Lansing,Michigan. Part of the Department of Media and Information at the College of Communication Arts and Sciences,the Quello Center is dedicated to original research on issues of information and communication management,law and policy. It is named for former Federal Communications Commission chairman James H. Quello.
The Financial Interest and Syndication Rules,widely known as the fin-syn rules,were a set of United States rules imposed by the Federal Communications Commission (FCC) in 1970 on the television industry.
Stuart Cunningham is Distinguished Emeritus Professor of Communication and Media Studies at QUT.
Television deficit financing is the practice of a network or channel paying the studio that creates a show a license fee in exchange for the right to air the show,and in which the license fee is less than the cost of the show. A major broadcast network will ask a program producer to share in the financial risk when considering adopting a new program to its schedule;at least for the first season of the series. Deficit financing is often the norm for scripted television,this came during the Post Network Era. Deficit financing however,does not cover the cost of product,which leads to a deficit for the studio.
John Brookshire Thompson is a British sociologist. He is a sociology professor at the University of Cambridge and a fellow of Jesus College.
Terry Flew is an Australian media and communications scholar,and Professor of Digital Communication and Culture in the Department of Media and Communication at the University of Sydney,Australia. He was formerly the 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 include digital media,global media,media policy,creative industries,media economics,and the future of journalism.
Monroe Edwin Price was 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.
Jean Burgess is a Distinguished Professor of Digital Media at the QUT Digital Media Research Centre,and in the QUT School of Communication. She is currently Associate Director of the ARC Centre of Excellence for Automated Decision-Making and Society. She was the Deputy Director of the former ARC Centre of Excellence for Creative Industries and Innovation (CCI) at the Queensland University of Technology. From 2010-2013 Jean was an Australian Research Council Postdoctoral Fellow (APD),working with Axel Bruns on the ARC Discovery Project 'New Media and Public Communication'. She researches and publishes on issues of cultural participation in new media contexts,with a particular focus on user-created content,online social networks,and co-creative media including digital storytelling.
According to Amanda D. Lotz,the multi-channel transition began in the mid-1980s and ended in the late 1990s. During this era,multichannel television became popular in the United States,leading to the breakdown of the network era which had been dominated by the Big Three broadcast networks. Many changes happened during this transition,such as the invention of the remote control,the video cassette player,and analog cable systems expanding viewers' 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. The multi-channel transition was followed by the post-network era and Second Golden Age of Television.
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 in American television that was popularized by Amanda D. Lotz. It denotes the period that followed an earlier network era,the nation'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 in the United States,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. It is concurrent with the Second Golden Age of Television.
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.
Horace Newcomb held the Lambdin Kay Chair for the Peabody Award in the Grady College of Journalism and Mass Communication at the University of Georgia from 2001 through June 2013. Prior to this,he was a member of the Board of Jurors from 1989 to 1995.
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.
Ramon Lobato is an author,researcher,and scholar of cultural industries. The focus of his research is on video distribution networks,and how they structure audience access,discovery,and content diversity. He is currently Associate Professor of Media and Communication at RMIT University in Melbourne,Australia.
David Hesmondhalgh is a British sociologist. He is currently Professor of Media,Music and Culture at the University of Leeds. His research focusses on the media and cultural industries,critical approaches to media in the digital age,and the sociology of music.
References
- ↑ "Home". amandalotz.com.
- ↑ "Amanda Lotz's University of Michigan web page". Archived from the original on 2013-01-12. Retrieved 2013-01-14.
- ↑ "Media Business Matters Podcast". Amanda D. Lotz. Retrieved 2016-08-05.
- ↑ "DMRC academics 'virtually' honoured at media conference". 26 May 2020.
- ↑ "Peabody launches Media Center". 16 November 2016.
- ↑ "Amanda Lotz's University of Michigan web page". Archived from the original on 2013-01-12. Retrieved 2013-01-14.
- ↑ "Depauw University News Archive" . Retrieved 2013-01-14.
- ↑ "Amanda Lotz's Amazon Books listing". Amazon. Retrieved 2013-01-15.
- ↑ "Google Scholar Reference of Amanda Lotz" . Retrieved 2013-02-05.
