Article

TELE-BRANDING IN TVIII

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Abstract

In the era of TVIII, characterised by deregulation, multimedia conglomeration, expansion and increased competition, branding has emerged as a central industrial practice. Focusing on the case of HBO, a particularly successful brand in TVIII, this paper argues that branding can be understood not simply as a feature of television networks, but also as a characteristic of television programmes. It begins by examining how the network as brand is constructed and conveyed to the consumer through the use of logos, slogans and programmes. The role of programmes in the construction of brand identity is then complicated by examining the sale of programmes abroad, where programmes can be seen to contribute to the brand identity of more than one network. The paper then goes on to examine programme merchandising, an increasingly central strategy in TVIII. Through an analysis of different merchandising strategies the paper argues that programmes have come to act as brands in their own right, and demonstrates that the academic study of branding not only reveals the development of new industrial practices, but also offers a way of understanding the television programme and its consumption by viewers in a period when the texts of television are increasingly extended across a range of media platforms.

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... The need for television branding is not confined only to the Ghanaian television landscape. Many television channels have turned to television branding strategies such as, animated logos, bugs, interstitials, upfront and television channel identification (TV idents) as an antidote to the cluttering and encumbering nature of the global television industry (Johnson, 2007). For many television channels in Ghana, the practice of television branding is more than just a way of identity. ...
... TV Idents are short videos or animated sequence of about 3-7 seconds that are played in between programmes to identify and promote a TV channel's corporate identity. According to Johnson (2007), Idents are the primary way through which brand philosophies of television channels can be communicated to audiences to establish relationships. Thus, Ghanaian television channels assiduously design and play their idents on their networks especially during peak and off-peak times. ...
... Television ident is one of the major strategies that television channels employ to promote and advertise their channels in order to attract more viewers, maintain existence viewers and to increase their revenues to survive the competitive nature of the television landscape (Meech, 2005;Johnson, 2007). This study takes a critical analysis at television idents as a channel brand identity for GTV, TV3 and UTV from the perspective of visual communication. ...
Thesis
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TV Idents are short videos or animated sequence of about 3-7 seconds that are played in between programmes to identify, promote and advertise a TV channel to its audience. This communication tool has become increasingly important the Ghanaian television landscape in recent times. A close observation of Ghanaian television Idents from both experts and laymen point of view suggest that the visual elements do not reflect channel philosophy. Besides, the design structure and aesthetic contents seem to lack the expected commensurability with the core philosophies of television channels in Ghana. The aim for this study was to investigate the extent to which TV Idents express the brand philosophies of GTV, TV3 and UTV. The study was conceptualized under the interpretivist worldview of research and therefore takes the disposition that knowledge, truth and reality regarding the construction and deconstruction of meanings through television Idents are subjective. In view of this, the qualitative research approach was employed to investigate motives, meanings, reasons, and other subjective experiences of television channels, visual communicators and audiences regarding the use television idents as a means of communication. Using the purposive sampling technique, the researcher sampled GTV, TV3 and UTV, which form the three top television channels out of the accessible population of 21 free-to -air television channels in Ghana. Data was collected through interviews, questionnaires and semiotic analysis. Findings indicate that, though the selected channels are deeply steeped in philosophies, there is a disconnection between the visual elements, design structure and the philosophical underpinnings of the selected channels. Rather than visually explaining their philosophies, television channels rely solely on their slogans. Again, the study discovered that the pattern of meanings from the television idents do not commensurate with their philosophical underpinnings. The researcher recommends that GTV, TV3 and UTV could improve on their Ident by expressing their core philosophies through visuals that simply explain their core philosophies rather than relying solely on slogan to communicate their core philosophies. Television channels should develop brand manual to guide designers in communications.
... Most of the literature pertaining to branding and online television has focused on the importance of network and programme brands and how their value is negotiated in the platform era (Johnson 2007;Wayne 2018;Havens 2018). Catherine Johnson has argued that 'branding has emerged as the defining industrial practice' (2007, 6) of television's recent past and both networks and programmes must be understood as brands which compete for audience time and attention within the shifting arrangements of network, cable, satellite, and increasingly online television providers. ...
... Here, Chuck Tryon's (2015) analysis of Netflix's promissory discourses of prestige, plenitude, participation, and personalization are particularly generative for thinking about the Apple ecosystem and the TV+ service. Apple's use of star power, high spending on a relatively small number of titles -USD $215 million for Martin Scorsese's Killers of the Flower Moon and USD $200 million for Ridley Scott's Napoleon -and foregrounding of content award recognition evokes prestige, calling to mind the more selective, high production value brand of HBO (Johnson 2007;Northrup 2024;Tryon 2015). Platform television, and now original television, is positioned as just one of many (plentiful) uses of Apple products and services, which promise personalization and optimization across its ecosystem of operations the more they are used (participation), as discussed above. ...
... Bu durum kamu hizmeti yayıncılarını da markalaşma gerekliliğiyle baş başa bırakmaktadır (bkz. Hoynes, 2003;Johnson, 2007;Johnson, 2013;Lowe ve Palokangas, 2010). Kamu hizmeti yayıncılarının markalaşmayı önemsemeye başlamaları ve bu hedef temelinde belirgin adımlar atmaları kamu hizmeti yayıncılığına dair yukarıda değinilen kaygılar ve çelişkilerin belirginleştiği en temel noktalardan birini oluşturmaktadır. ...
... Deregülasyon politikaları ve dijital teknolojilerin sağladığı olanaklar temelinde ticari ve küresel medya yapısının hâkimiyetini ilan ettiği bu süreçte rekabeti temel alan piyasa koşulları medya sektöründe de belirginleşirken bu sektörde faaliyet gösteren kuruluşlar da kısa sürede markalaşma yönelimini benimsemiş, hatta bu koşullarla baş başa kalan kamu hizmeti yayıncıları açısından da markalaşma giderek önemli hale gelmeye başlamıştır (bkz. Born, 2003;Hoynes, 2003;Johnson, 2007;Johnson, 2013;Lowe ve Palokangas, 2010). Johson'u izlediğimizde bu süreçte markalaşmanın önemini arttıran koşulları ortaya çıkaran üç temel değişim karşımıza çıkmaktadır. ...
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Neo-liberal politikalar ve hızlı teknolojik gelişmeler temelinde 1980 sonrası süreçte yaşanan köklü dönüşümler medya sektörünü yeniden yapılandıran gelişmeleri de beraberinde getirmiştir. Kamu hizmeti yayıncılarının piyasayla ilişkilerinin giderek artması bu gelişmelerle yakından bağlantılıdır. Bu durum, kendi temel ilke ve değerlerine bağlı kalma ile piyasa koşullarına uyum sağlayarak varlıklarını sürdürme çabaları arasındaki gerilimli ilişkiyi her geçen gün daha fazla hissetmelerine yol açmaktadır. Son yıllarda yaygınlaşmaya başlayan markalaşma çabaları da bu gelişmeler temelinde değerlendirilmesi gereken bir yönelim olarak ortaya çıkmaktadır. Bu eğilimin yansımaları kamu tekellerinin kırıldığı ve kamu hizmeti yayıncılarının piyasa aktörleriyle rekabet etme gerekliliği duymaya başladıkları tüm ülkelerde giderek ön plana çıkmaktadır. Özellikle, küresel medya yapılanmasının hâkimiyetinde kamu hizmeti yayıncılarının markalaşma çabaları uluslararası bir önem ve nitelik taşır hale gelmektedir. Bu çerçevede, çalışmada, medya sektörüne hâkim olan markalaşma eğiliminin kamu hizmeti yayıncılığında ortaya çıkış sürecine ve nedenlerine odaklanılmaktadır. Kamu hizmeti yayıncılarının markalaşma eğilimini benimseme nedenleri, markalaşma stratejilerinin ve ürettikleri markaların onlar açısından anlamı ve önemi sorgulanmaktadır. Bu noktada, kamu hizmeti yayıncılığının markalaşma eğiliminin yalnızca ekonomik öncelikler ve kaygılar temelinde ele alınmaması gerektiğine dair bir yaklaşım benimsenmektedir. Markalaşmanın kamu hizmeti yayıncılarının alandaki varlıkları ve konumlanma biçimleri açısından da önemli olduğu ileri sürülmektedir.
... 'TVIII', dating from the late 1990s to the late 2000s is the period that is characterized by deregulation, multimedia conglomeration, increased competition (Johnson, 2007) Some scholars argue that we have now entered into the age of 'TVIV', mediated by broadband internet connectivity and the IPTV. This era is associated with "peer-interactivity, person-to-computer interactivity, user-generated peer-to-peer content, asynchrono us viewing and individualization, multi-platform distribution" (Eli Noam, 2013). ...
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Purpose – The purpose of this paper is to propose that, within the practice of motion branding, transforming type has been largely neglected by existing theorists and its importance to wider marketing trends overlooked. It will be observed that previous texts on transitional letterforms have tended to focus on changes in global arrangement and in doing so have neglected to recognise the significance of changes that occur at a local level, within individual letterforms. Design/methodology/approach – Taking an interdisciplinary approach, with examples including idents and bumpers from Channel 4, Sky, FOX, Five and MTV. New methods of understanding these artefacts will be introduced, with emphasis on how they affect the relationship between broadcaster’s identities and the medium of television. Modes of definition and understanding that have previously been applied to holographic poetry will be applied to the field of on-screen artefacts. Findings – The paper will discuss how branding has adapted to incorporate the features of the medium of television, and propose new methods of classification for the associated processes of metamorphosis, construction, parallax and revelation. Originality/value – Motion branding, in the form of television idents, is frequently described as containing “motion typography”, but this and related terminology is vague or misleading – and reduces all forms of kineticism to simple motion. On-screen branding often operates more complex temporal behaviours. Lack of sufficient vocabulary to describe such transformations has forced practitioners to describe their work in terms of previously existing work, thereby limiting the perceived scope of their ideas and the possibility of innovation. This paper resolves the lack of existing vocabulary by providing new definitions of four categories of fluid transformation that appear in contemporary television idents.
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This article extends existing work in Television Studies on branding through a study of rebranding practices. To this end, the discussion takes the mainstream UK commercial broadcaster ITV's 2013 rebranding as a case study and examines both the institutional contexts motivating change and the construction of its altered brand image through publicity materials. Engaging with the latter allows for strategies of what I have called brand reconciliation to be discussed as, despite focusing on the channel' s contemporary output, publicity stills demonstrating the channel' s new logo attempt to activate popular audience memories of the broadcaster and unite its'past' and' present' incarnations.
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Gender anchors cultural negotiations over what media franchising is and how its serial production practices and narratives are valued. Cultural tensions between the economic viability and cultural legitimacy of seriality are both smoothed and exacerbated by the gendered discourses of media franchising. These discursive interventions are evidenced through examination of popular and trade talk about three television serials for which the term ‘franchise’ inflects, reworks, or disrupts the gendered values ascribed to them. First, although the CW’s Gossip Girl fits squarely into feminized models of serial narrative, franchise discourse claimed institutional and masculine legitimacy by stressing the economic rationality of its serial production. Second, in the case of ABC’s Lost, franchise discourse highlighted the serial repetition of industrialized culture production, challenging masculine valuation of the program based in perceptions of authenticity and singular artistic vision. Lastly, cultural backlash against Sci-Fi’s Battlestar Galactica demonstrates how franchise discourse has directly linked critique of serialized industrial production to moral panic about the feminine. Although dynamic franchise discourses have been deployed across an eclectic, even contradictory range of industrial and narrative practices, in common across each is that the accrual of serial value depends in great part upon gendered meanings ascribed to and by franchising.
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/ This article examines economic aspects of convergence and of multi-platform expansion in the media sector. Focusing on television broadcasters in the UK, it analyses the recent migration of conventional media towards multi-platform strategies and asks whether digitization is making content delivery more resource—intensive than before or whether it is facilitating greater efficiency. Findings suggest that adaptation to a multi-platform outlook on the part of conventional media requires investment in staffing and re-versioning of content. Funding this, especially in a period of economic downturn, has encouraged a more selective approach towards content, with concomitant implications for diversity. Notwithstanding generally low commercial returns from online activities so far, the potential economic advantages to be had from multi-platform are significant. The experience of UK broadcasters suggests a well-executed ‘360-degree’ approach to commissioning and distribution will increase the value that can be realized from any given universe of content, partly because of extended opportunities for consumption of that content, but also because modes of engagement in a digital multi-platform context allow for an improved audience experience and for better signalling of audience preferences back to suppliers.
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This article uses a striking example of digital remix promotion - BBC Radio 2's Elvis ad - to examine developments in the contemporary branding and broadcast environment. Developing work by John Caldwell, it examines the Elvis ad as a 'deep text', a promotionally reflexive articulation by media industries about the nature of corporate media identity and aesthetics. Suggestive of the BBC's attempt since the late 1990s to make its brand 'sing', and relating specifically to the visualization of radio in the digital age, the article uses the Elvis ad to investigate the performance of network personality in the multi-channel era, the growing role of specialist brand/design companies such as Red Bee Media, and the operational and ontological transition of the BBC to a digital media world. More generally, the article considers the relation of found-footage promotion to the 'spatialization of audiovisual culture'.
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The reputation of British current affairs and documentary series such as the BBC's Panorama, Channel 4's Dispatches or the now defunct Granada series World in Action have rested on an image of conscientious ‘public service’. These popular, long running series have, at various points in their history, acted as the ‘conscience of the nation’, seeking to expose social injustice, investigate misdemeanours by the powerful and take on venal or corrupt vested interest. The BBC's flagship current affairs series Panorama is Britain's longest running television programme and, according to the Panorama website, ‘the world's longest running investigative TV show’. It has provided a template for other current affairs series both in Britain, Europe and around the world while undergoing several transformations in form and style since its launch in 1953, the latest and arguably most dramatic being in 2007. This article will chart the development of Panorama as a distinctive, ‘flagship’ current affairs series over six decades. It will attempt to answer why the Panorama brand has survived so long, while so many other notable current affairs series have not. Using research and material from Bournemouth University's Panorama Archive, the Video Active website, the BFI and other European archives this article explores the development of an iconic current affairs series that has, at different stages in its history, proved a template for other news and current affairs programmes. Various breaks and continuities are highlighted in Panorama's history and identity, and an attempt will be made to characterise and specify the Panorama ‘brand’ and pinpoint the series’ successes and failures in reinventing itself in a rapidly changing media context.
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If there is one television programming staple for which Australian television drama is known internationally, it is the long-running television soap, with Neighbours (originally produced by Grundy in 1985) lauded as the most outstanding example of Australian series export (Cunningham and Jacka, 1996). Twenty-five years on, this program still airs on domestic and international TV schedules five days a week, despite waning popularity with local Australian audiences. Considering past interest in the success and longevity of this soap, it is apposite to look again at the continuing progress of Neighbours foremost as a global brand. In comparison, Packed to the Rafters is treated here as a contemporary version of familiar Aussie themes related to everyday middle-class suburbia, populated with blue skies and feel-good characters expressing wholesome family values, but with a stylistic innovation defined here as domestic realism. As part of the production ecology of the late 2000s, Packed to the Rafters demonstrates the considerable role for local drama productions as loss leaders and flagship programming for commercial freeto-air networks up against an increasingly difficult domestic market.
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This is a case study of the Australian company Jonathan M. Shiff Productions and its ‘tween’ program, action series H 2 0: Just Add Water. The program has sold in 150 countries including the United States, where it was ‘the first non-American live action to be bought by Nickelodeon in America’ and screens every Sunday night as family entertainment. It is also the highest rating children’s drama series on Nickelodeon UK. While Australia’s content regulations are important to its production, of critical importance is ZDF Enterprises, the commercial arm of one of Germany’s two public service broadcasting channels, and worldwide distributor and production partner for all Jonathan M. Shiff productions. Case studies such as the following provide useful insights into the shape and operations of mediascapes elsewhere, and where our own media environment may be heading. They also offer a glimpse into the way the international market place is organising along forms of cooperation designed to facilitate global distribution of cultural content. A central proposition of this case study is that the structural conditions of multi-channel environments require certain adjustments in form, content and business modelling that have essentially coalesced around the operation of brand management.
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Serial Television focuses on contemporary television drama, offering detailed accounts of hugely popular, influential and ground-breaking shows such as The Sopranos, Queer as Folk, Sex and the City, Twin Peaks, This Life, Prime Suspect, Cold Lazarus, The Kingdom, Holocaust, Heimat and Roots. The author argues that the demise of the single play has not meant the end of original, challenging and innovative television drama. Instead, he seeks to reveal how contemporary television drama is frequently more complex, radical and multi-layered than its historical predecessors. In particular, the book examines how serial dramas have breathed new life into representations of gender politics and refreshed genre formats while also re-considering trends such as ‘Art Television’, ‘Soap Drama’ and the power of the historical mini-series. The author gives a lucid and revealing account of some of the most watched, revered and original drama to come out of television in the last thirty years.
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Despite Channel 4's past success with imported American programming, Steve Clarke wondered how viewers in the United Kingdom would react to its acquisition of ER (NBC, 1994–2009), when first transmitted on British terrestrial television in February 1995. Even at the beginning of series seven, shown first on Channel 4's new pay-TV entertainment digital channel E4 in January 2001, reviewers still expressed concerns that new viewers would find its frenetic pace and dense plotting an unnerving experience. Despite reservations, ER was dubbed ‘must-see TV’ from the start. This chapter investigates how Channel 4 imagined its audience as it repositioned ER into the British television flow. The point here is that ER emerged as a distinctive quality televisual product within the abundant and highly competitive television flow precisely because it was contained and represented by institutional frameworks that said that this is what it is.
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Despite its relative academic invisibility, the episode guide has become an increasingly prominent companion to cult television serials. Cult television's series/serial hybridity often combines soap-operatic elements with limited runs or ‘seasons’ of episodes concluding with a cliffhanger. It is this series/serial combination which has especially facilitated the rise of the cult TV episode guide. This chapter explores the fact that work on cult television has somewhat neglected the role of official and fan-produced episode/programme guides. It argues that the phenomenon of the episode guide can tell us much about cult television's seriality, thus challenging the assumptions of Sara Gwenllian Jones and Henry Jenkins that episode guides contribute to an erosion of ‘the processual order of cause and effect, enigma and resolution’ or that they ‘distort...narrative’. Both Jones and Jenkins seem to view the episode guide as somehow inimical to the seriality of cult television shows. The episode guide constructs a corpus of canonical televised episodes, allowing for comparative aesthetic evaluations and the attribution of discourses of ‘quality’ to cult television series.
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Why are some contemporary television shows so compelling? The Sopranos, Buffy the Vampire Slayer, Friends and ER are examples among many of a new era of the ‘must-see’ programme. These shows and others like The X Files and Ally McBeal, have a compulsiveness, a depth of characterisation and ‘back-story’ that puts much of mainstream cinema to shame. Quality Popular Television examines this new category of mostly US-produced ‘cult’ television and the reasons for its emergence. Looking at shows as diverse as Ally McBeal, Martial Law, Buffy, Lois and Clark, Star Trek: The Next Generation and Ellen the book identifies the particular qualities necessary for success and how they relate to issues such as the economics of network scheduling, the growth of the internet and contemporary debates about television audiences. This important new book provides an invaluable window on to transformations in contemporary television culture.
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Serial Television focuses on contemporary television drama, offering detailed accounts of hugely popular, influential, and groundbreaking shows such as The Sopranos, Queer as Folk, Sex and the City, Twin Peaks, This Life, Prime Suspect, Cold Lazarus, The Kingdom, Holocaust, Heimat, and Roots. Serial Television focuses on contemporary television drama, offering detailed accounts of hugely popular, influential, and groundbreaking shows such as The Sopranos, Queer as Folk, Sex and the City, Twin Peaks, This Life, Prime Suspect, Cold Lazarus, The Kingdom, Holocaust, Heimat, and Roots. Glen Creeber argues that the demise of the single play has not meant the end of original, challenging, and innovative television drama. Instead, he reveals how contemporary television drama is frequently more complex, radical, and multilayered than its historical predecessors. In particular, he shows how serial dramas have breathed new life into representations of gender politics and refreshed genre formats, and he reconsiders trends such as art television, soap operas, and the historical mini-series.
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Brands are everywhere: in the air, on the high-street, in the kitchen, on television and, maybe even on your feet. But what are they? The brand, that point of connection between company and consumer, has become one of the key cultural forces of our time and one of the most important vehicles of globalization. This book offers a detailed and innovative analysis of the brand. Illustrated with many examples, the book argues that brands: mediate the supply and demand of products and services in a global economy, frame the activities of the market by functioning as an interface, communicate interactively, selectively promoting and inhibiting communication between producers and consumers, operate as a public currency while being legally protected as private property in law, introduce sensation, qualities and affect into the quantitative calculations of the market, organize the logics of global flows of products, people, images and events. This book will be essential reading for students of sociology, cultural studies and consumption.
The family business', Broadcasting and CableCult TV, quality and the role of the episode/programme guide', in The Contemporary Television Series
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The brutality of meat and the abruptness of seafood'': food, violence, and family in The Sopranos
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Lewis Dunne, Sara (2002) '''The brutality of meat and the abruptness of seafood'': food, violence, and family in The Sopranos', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 215-226.
Introduction', in Six Feet Under: Better Living Through Death
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Growing pains', The Guardian
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Beckett, Andy (2000) 'Growing pains', The Guardian, 23 March, pp. 2-4.
David Chase, The Sopranos, and television creativity', in This Thing of Ours: Investigating The Sopranos
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Lavery, David and Thompson, Robert J. (2002) 'David Chase, The Sopranos, and television creativity', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 18–25.
MTM: 'Quality Television Inside Prime TimeBranding Hollywood: studio logos and the aesthetics of memory and hype
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The Sopranos as HBO brand equity: the art of commerce in the age of digital reproduction', in This Thing of Ours: Investigating The Sopranos
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Rogers, Mark C., Epstein, Michael and Reeves, Jimmie L. (2002) 'The Sopranos as HBO brand equity: the art of commerce in the age of digital reproduction', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 42–57.
The Sopranos Family Cookbook
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Rucker, Allen (2002) The Sopranos Family Cookbook, Warner Books and HBO, New York.
Home Box Office', in Encyclopedia of Television
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Metz, Walter (2004) 'Home Box Office', in Encyclopedia of Television: Volume 2, D–L, 2nd edn, ed. Horace Newcomb, Fitzroy Dearborn, New York, pp. 1113–1115.
Cultural Rights: Technology, Legality and Personality, Routledge Brands: The Logos of the Global EconomyCreating ''quality'' audiences for ER on Channel Four', in The Contemporary Television Series
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Lury, Celia (1993) Cultural Rights: Technology, Legality and Personality, Routledge, London. Lury, Celia (2004) Brands: The Logos of the Global Economy, Routledge, London and New York. McCabe, Janet (2005) 'Creating ''quality'' audiences for ER on Channel Four', in The Contemporary Television Series, eds Michael Hammond and Lucy Mazdon, Edinburgh University Press, Edinburgh, pp. 207–223.
Rocking the industry: HBO at 30', Broadcasting and Cable
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Haley, Kathy (2002) 'Rocking the industry: HBO at 30', Broadcasting and Cable, 4 November, pp. 1A-22A.
Introduction: ''Why do people have to die?'' ''To make contemporary television drama important, I guess''', in Reading Six Feet Under: TV to Die For
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Akass, Kim and McCabe, Janet (2005) 'Introduction: ''Why do people have to die?'' ''To make contemporary television drama important, I guess''', in Reading Six Feet Under: TV to Die For, eds Kim Akass and Janet McCabe, I. B. Tauris, London and New York, pp. 1-15.
Why buy the best TV has to offer?', Media WeekBranding', in: Encyclopedia of Television
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Television's Second Golden Age: From Hill Street Blues to ER
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Thompson, Robert J. (1997) Television's Second Golden Age: From Hill Street Blues to ER, Syracuse University Press, Syracuse.
One for the boys? The Sopranos and its male British audience', in This Thing of Ours: Investigating The Sopranos
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Branding in Action: Cases and Strategies for Profitable Brand Management
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Hankinson, Graham and Cowking, Philippa (1993) Branding in Action: Cases and Strategies for Profitable Brand Management, McGraw-Hill, London and New York.
E4 nabs second Six Feet Under', Broadcast, 16 August
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It's not television, it's magic realism'': the mundane, the grotesque and the fantastic in Six Feet Under', in Reading Six Feet Under: TV to Die For
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Lavery, David (2005) '''It's not television, it's magic realism'': the mundane, the grotesque and the fantastic in Six Feet Under', in Reading Six Feet Under: TV to Die For, eds Kim Akass & Janet McCabe, I. B. Tauris, London and New York, pp. 19-33.
C4I takes on HBO factual outputThe changing face of American television programmes on British screens', in Quality Popular Television
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Mutel, Glen (2004) 'C4I takes on HBO factual output', Broadcast, 27 February, p. 9. Rixon, Paul (2003) 'The changing face of American television programmes on British screens', in Quality Popular Television, eds Mark Jancovich and James Lyons, BFI, London, pp. 48–61.
Special report: top 25 television networks', Broadcasting and Cable
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Anon (1999) 'Special report: top 25 television networks', Broadcasting and Cable, 13
Why buy the best TV has to offer?', Media Week
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Bell, Emily (1999) 'Why buy the best TV has to offer?', Media Week, 8 October, p. 20.
Branding', in: Encyclopedia of Television
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Caldwell, John (2004) 'Branding', in: Encyclopedia of Television: Volume 1, A-C, 2nd edn, ed. Horace Newcomb, Fitzroy Dearborn, New York, pp. 305-308.
High-pop: an introduction
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Collins, Jim (2002) 'High-pop: an introduction', in High-Pop: Making Culture into Popular Entertainment, ed. Jim Collins, Blackwell, Malden, MA and Oxford, pp. 1-31.
The family business', Broadcasting and Cable
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Higgins, John M. and Romano, Allison (2004) 'The family business', Broadcasting and Cable, 1 March, pp. 1, 6, 31.
E4 nabs second Six Feet Under', Broadcast
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Hughes, Penny (2002) 'E4 nabs second Six Feet Under', Broadcast, 16 August, p. 1. Jancovich, Mark and Lyons, James (eds) (2003) Quality Popular Television, BFI, London.
One for the boys? The Sopranos and its male British audience
  • Joanne Lacey
Lacey, Joanne (2002) 'One for the boys? The Sopranos and its male British audience', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 95-108.
David Chase, The Sopranos, and television creativity
  • David Lavery
  • Robert J Thompson
Lavery, David and Thompson, Robert J. (2002) 'David Chase, The Sopranos, and television creativity', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 18-25.
The changing face of American television programmes on British screens
  • Glen Mutel
Mutel, Glen (2004) 'C4I takes on HBO factual output', Broadcast, 27 February, p. 9. Rixon, Paul (2003) 'The changing face of American television programmes on British screens', in Quality Popular Television, eds Mark Jancovich and James Lyons, BFI, London, pp. 48-61.
The Sopranos as HBO brand equity: the art of commerce in the age of digital reproduction
  • Mark C Rogers
  • Michael Epstein
  • Jimmie L Reeves
Rogers, Mark C., Epstein, Michael and Reeves, Jimmie L. (2002) 'The Sopranos as HBO brand equity: the art of commerce in the age of digital reproduction', in This Thing of Ours: Investigating The Sopranos, ed. David Lavery, Wallflower, London, pp. 42-57.
Value Creation and Branding in Television's Digital Age
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Todreas, Timothy M. (1999) Value Creation and Branding in Television's Digital Age, Quorum Books, Westport, CT and London.
Spinning off profits
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Westcott, Tim (1999) 'Spinning off profits', Broadcast International, 1 October, pp. 25-26.
Bob the banker', Broadcast, 24 May
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Wood, David (2002) 'Bob the banker', Broadcast, 24 May, p. 17.
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