An introduction to television studies. 3rd edition.

This is a comprehensive textbook for students of Television Studies, now updated for its third edition. The book provides students with a framework for understanding the key concepts and main approaches to Television Studies, including audience research, television history and broadcasting policy, and the analytical study of individual programmes. The book includes a glossary of key terms used in the television industry and in the academic study of television, there are suggestions for further reading at the end of each chapter, and chapters include suggested activities for use in class or as assignments. The case studies in the book include analysis of advertisements, approaches to news reporting, television scheduling, and challenges to television in new contexts of viewing on computers and mobile devices. The topics of individual chapters are: studying television, television histories, television cultures, television texts and narratives, television genres and formats, television production, television quality and value, television realities and representation, television censorship and regulation, television audiences, and the likely future for television.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

Process scheduling by output considerations

In multi-tasking systems when it is not possible to guarantee completion of all activities by specified times, the scheduling problem is not straightforward. Examples of this situation in real-time programming include the occurrence of alarm conditions and the buffering of output to peripherals in on-line facilities. The latter case is studied here with the hope of indicating one solution to the general problem.

Graphical tracking systems revisited: a practical approach to computer scheduling in horticulture

Graphical tracking is a technique for crop scheduling where the actual plant state is plotted against an ideal target curve which encapsulates all crop and environmental characteristics. Management decisions are made on the basis of the position of the actual crop against the ideal position. Due to the simplicity of the approach it is possible for graphical tracks to be developed on site without the requirement for controlled experimentation. Growth models and graphical tracks are discussed, and an implementation of the Richards curve for graphical tracking described. In many cases, the more intuitively desirable growth models perform sub-optimally due to problems with the specification of starting conditions, environmental factors outside the scope of the original model and the introduction of new cultivars. Accurate specification for a biological model requires detailed and usually costly study, and as such is not adaptable to a changing cultivar range and changing cultivation techniques. Fitting of a new graphical track for a new cultivar can be conducted on site and improved over subsequent seasons. Graphical tracking emphasises the current position relative to the objective, and as such does not require the time consuming or system specific input of an environmental history, although it does require detailed crop measurement. The approach is flexible and could be applied to a variety of specification metrics, with digital imaging providing a route for added value. For decision making regarding crop manipulation from the observed current state, there is a role for simple predictive modelling over the short term to indicate the short term consequences of crop manipulation.

Developing protocols for nursery based scheduling trials

Most existing crop scheduling models are cultivar specific and are developed using academic resources. As such they rarely meet the particular needs of a grower. A series of protocols have been created to generate effective schedules for a changing product range using data generated on site at a commercial nursery. A screening programme has been developed to help determine a cultivar's photoperiod sensitivity and vernalisation requirement. Experimental conditions were obtained using a cold store facility set to 5degreesC and photoperiod cloches. Eight and 16 hour photoperiod treatments were achieved at low cost by growing plants in cloches of opaque plastic with a motorised rolling screen. Natural light conditions were extended where necessary using a high pressure sodium lamp. Batches of plants were grown according to different schedules based on these treatments. The screening programme found Coreopsis grandiflora 'Flying Saucers' to be a long day plant. Data to form the basis of graphical tracks was taken using variations on commercial schedules. The work provides a nursery based approach to the continuous improvement of crop scheduling practises.

Realism and politics in alienated space: Trevor Griffiths's plays of the 1970s in the television studio

The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.

Identification and minimization of IIR tap coefficients for the cancellation of complex multipath in terrestrial television

By using a deterministic approach, an exact form for the synchronous detected video signal under a ghosted condition is presented. Information regarding the phase quadrature-induced ghost component derived from the quadrature forming nature of the vestigial sideband (VSB) filter is obtained by crosscorrelating the detected video with the ghost cancel reference (GCR) signal. As a result, the minimum number of taps required to correctly remove all the ghost components is subsequently presented. The results are applied to both National Television System Committee (NTSC) and phase alternate line (PAL) television.

Television broadcast reception

The sections in this article are: Vestigial Sideband Modulation, Spectrum Allocation, VHF Versus UHF Propagation, Receivers, Interference, Multipath Equalization, and Digital Receivers