共查询到20条相似文献，搜索用时 687 毫秒
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David Cullen 《Journal of Radio & Audio Media》2013,20(2):287-288
Three pioneer radio rating services contributed to the development of basic audience measurement concepts, which have become part of a standardized ratings vocabulary. Archibald Crossley gave to radio and, later TV measurement, its most basic term, rating. Claude E. Hooper made Hooperatings a part of the nation's vocabulary and contributed the available audience base and the average minute rating. Arthur Nielsen Sr., designed the first probability sample. In the long term, Nielsen's most important innovation was his projectable ratings. As a result, Nielsen championed CPM theory, which tied advertising prices to audience size. Nielsen also was the first to provide a wealth of analytical detail, such as reach, frequency, and audience flow. 相似文献
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《Library Collections, Acquisitions, and Technical Services》2002,26(1):90-91
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Wendy Su 《Critical Studies in Media Communication》2017,34(5):480-494
The unprecedented growth in U.S.-China film coproductions and Chinese companies’ high-profile investment in Hollywood studios and U.S. cinemas signal a shift in global power relationships and a reshaping of the global media structure. Combining textual and document analysis with interviews of policy makers and film professionals in China and Hollywood, this article explores the implications of U.S.-China coproduction for global communication. The article proposes three ways of understanding coproductions: as a market-driven and profit-seeking partnership, as a policy and power negotiation, and as a brave experimental adventure. This article contends that the current state of U.S.-China coproduction manifests the contradiction between desire and reality. Although coproductions have the potential to create a space for a new global culture, to develop innovative communication models, and to achieve a China-U.S. consensus, the fulfillment of these potentials will require a steadfast effort and the commitment of more than one generation of filmmakers from both China and the U.S.A. Nevertheless, a global culture and a reshaping of the global media structure are in the making. 相似文献
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《Library & information science research》2004,26(2):291-292
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Delmus Williams 《The Journal of Academic Librarianship》2008,34(1):85-86
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《Journal of Government Information》2001,28(1):134-136
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《Journal of Government Information》2000,27(1):101-105
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《Journal of Radio & Audio Media》2013,20(2):286-288
For most of the 20th century, international broadcasting was characterized by state-run broadcasts carried over shortwave radio. Such broadcasting was at the core of the Cold War and World War II, as well as the decade leading up to World War II. After the end of the Cold War in the early 1990s, the geopolitical context that had structured international broadcasting for so long dissolved, allowing for the possibility of significant changes in international broadcasting. One of these changes since the end of the Cold War is the development of Web radio. The year 1995 marks the point when broadcasting over the Web began in earnest. Included in this movement were a number of the primary broadcasters who had been, and still were, active in international shortwave broadcasting. Then, in 2001, after gradually reducing shortwave output to North America, Australia, and New Zealand, the BBC World Service terminated official shortwave broadcasts to these areas. In place of shortwave, listeners were directed to receive BBC World Service programming primarily through Web broadcasts and secondarily through local AM/FM rebroadcasts. The announcement of the termination of these shortwave broadcasts provoked a large and vocal opposition to the cuts from shortwave listeners, professionals in international broadcasting, and even the British Parliament. This article documents the BBC World Service's announcement as well as the reaction it generated. 相似文献
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《Library Acquisitions: Practice & Theory #》1996,20(2):261-262
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