Live Television in a Digital Library

Nowadays nearly everyone has access to digital television with a growing number of channels available for free. However due to the nature of broadcasting, this huge mass of information that reaches us is not, for the main part, organised—it is principally a succession of images and sound transmitted in a flow of data. Compare this with digital libraries which are powerful at organising a large but fixed set of documents. This project brings together these two concepts by concurrently capturing all the available live television channels, and segments them into files which are then imported into a digital video library. The system leverages off the information contained in the electronic program guide and the video recordings to generate metadata suitable for the digital library. By combining these two concepts together this way, the aim of this work is to look beyond what is currently available in the digital TV set top boxes on the market today and explore the full potential—unencumbered by commercial market constraints—to what the raw technology can provide

Football's coming home ? digital reterritorialization, contradictions in the transnational coverage of sport and the sociology of alternative football broadcasts.

This article critically utilizes the work of Manuel Castells to discuss the issue of parallel imported broadcasts (specifically including live-streams) in football. This is of crucial importance to sport because the English Premier League is premised upon the sale of television rights broadcasts to domestic and overseas markets, and yet cheaper alternative broadcasts endanger the price of such rights. Evidence is drawn from qualitative fieldwork and library/Internet sources to explore the practices of supporters and the politics involved in the generation of alternative broadcasts. This enables us to clarify the core sociological themes of ‘milieu of innovation’ and ‘locale’ within today's digitally networked global society

Iowa Public Television Performance Report, FY2010

Agency Performance Repor

“Reporters Gone Wild” Reporters and Their Critics on Hurricane Katrina, Gender, Race & Place

The great fiction of the southern United States is frequently characterized by its passionate embrace of place. In her classic essay, “Place in Fiction,” the widely beloved Mississippi author Eudora Welty writes, “Place in history partakes of feeling, as feeling about history partakes of place. Feelings are bound up in place. Location is the ground conductor of all the currents of emotion and belief and moral conviction that charge out from the story in its course.” Welty\u27s rich stories evoke larger traditions of southern art and everyday culture imbued with multifaceted understandings of place. Starting with Welty\u27s insight, in this essay I discuss the relationship of place and emotion and the expression of that relationship in journalistic storytelling—specifically, the rituals and techniques evident in the televised cable network news coverage of Hurricane Katrina as the storm and its aftermath devastated parts of the U.S. South. My aim is not primarily to provide yet another critique of network reporting (although much of it is ripe for such analysis), nor is it to present a systematic content analysis of television news texts. Rather, this essay offers a meta-critique, examining prominent published evaluations of the reporting in the earliest hours of the disaster, with a particular focus on moments in which normative national network news practices quite literally “broke down.

Iowa Public Television’s Planning Targets 2011-2014

Agency Performance Plan, Iowa Public Televisio

Print Media vs. Digital Manifest Destiny

Every communications medium reflects and reinforces intellectual habits and content patterns unique to the medium. A digital/internet hegemony is a paradoxical foreclosure on breadth of mind since digital formats do not reflect or reinforce the intellectual habits and content patterns unique to other media, especially books. A credible educational process w ill take appropriate advantage of digital media without allowing its influence to repress breadth of mind

Repurposing literacy: the uses of Richard Hoggart for creative education

After 50 years, what are the implications of Uses of Literacy for educational modernisation, in the light of subsequent changes from 'read only' literacy to 'read-write' uses of multimedia? This chapter argues that a broad extension of popular literacy via consumer-created digital content offers not only emancipationist potential in line with Hoggart's own project, but also economic benefits via the dynamics of creative innovation. Multimedia 'popular entertainments' pose a challenge to formal education, but not in the way that Hoggart feared. Instead of producing 'tamed helots,' commercial culture may be outpacing formal schooling in promoting creative digital literacy via entrepreneurial and distributed learning. It may indeed be that those in need of a creative make-over are not teenagers but teachers

Wall Street’s Content Wars: Financing Media Consolidation

If we frame the ongoing streaming transition occurring in the cultural industries as ‘content wars,’ with metaphoric ‘battlefronts’ in Hollywood, in Silicon Valley, and on Madison Avenue, then the silent arms dealer in this conflict is Wall Street and the investor class, whose financial engineering goes largely unacknowledged in studies of the media industries. This chapter will explore the impact of private equity in the American film, television, and music industries since 2004. The mercenaries of these content wars, private equity firms have enacted leveraged buyouts in every sector of the cultural industries: major music labels (Warner, EMI), radio networks (Cumulus, Clear Channel/iHeartMedia), film and television production and distribution companies (MGM, Miramax, Univision, Dick Clark Productions), exhibition (AMC, Odeon), the top talent agencies (CCA, WME, IMG), audience measurement (Nielsen), and the trade press (Variety, The Hollywood Reporter, Billboard). The arms race in this conflict is the ability to monetize content catalogues across streaming platforms, which is a lucrative opportunity for financialization. From a critical political economy of media perspective attuned to the significance of financial capital, this chapter demonstrates that the financialization of various components of the media sector is facilitating a dramatic extraction of value from the cultural industries, leaving further consolidation in its wake. Who is profiting from the streaming transition and who is losing out? The answers are the same as in the wider economy of the second gilded age: the wealthy are extracting private, untaxed profit from the public arena while the middle class of creatives is being hollowed out. The ‘creative destruction’ of this war is being fueled by financial engineering