By Derek Kompare
Rerun Nation is an interesting method of tv historical past and thought throughout the ubiquitous but ignored phenomenon of reruns. Kompare covers either historic and conceptual floor, weaving jointly a refresher path within the historical past of tv with a severe research of ways reruns have formed the cultural, fiscal, and criminal terrains of yank tv. Given the increasing use of earlier media texts not just within the usa, but additionally in nearly each media-rich society, this ebook addresses a serious part of lifestyle.
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Ezra Pound, top identified for his Cantos, spoke of himself as a "poet and composer" within the 1929 variation of Who? s Who. His BBC radio operas were obscured via the polemics of his Italian radio pronounces and his indictment by means of the U.S. govt for treason in the course of international warfare II. during this research of Pound's radio operas of the Nineteen Thirties, Margaret Fisher attracts at the unpublished correspondence among Pound and his maverick BBC manufacturer, Edward Archibald Fraser Harding, to bare a little-known point of Pound's profession.
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Extra info for Rerun Nation: How Repeats Invented American Television
This concept of presence was further inflected with uppermiddle-class aesthetics and mannerisms, particularly in broadcasting’s first decade. Indeed, as the photographs of early professional broadcasting operations reveal, this rhetoric of high-class aesthetics (or at least fidelity and ‘‘authenticity’’) even extended to studio de´cor and the talent’s wardrobe, despite the fact that these visual factors would be inconsequential to listeners. 5 Moreover, even in the more elaborate broadcasting environment that had developed by the late 1920s, FRC rules still considered recordings to be something less than standard broadcasting.
Unlike typical network programs, which were owned, produced by, and identified with a major sponsor in conjunction with an advertising agency, transcribed series were generally produced ‘‘openended,’’ without specific sponsors, leaving appropriate silent breaks for live or recorded commercials to be inserted. Most importantly, the transcribed program existed not only as a potential broadcast event, but also as a physical set of disk recordings; once produced, these programs could (at least theoretically) be used and reused many times over.
In 1927, at the very beginning of network broadcasting, radio promoter Edgar H. ’’10 The success of transcription syndication proved that effective radio could be scheduled locally, and that ad hoc, transcription-based ‘‘networks’’ (identical programming, but different schedules, sponsors, and stations) were a viable alternative to the dominant networks. 11 Sponsors could target specific markets and times rather than take the all-or-nothing deal offered by the networks. Local stations could program a transcription at their discretion, instead of relinquishing control to the New York network feed.