Drawing on the work of international contributors Media Organization and Production examines a wide range of global-local media organizations and the production of different mediums and genres. Following the editor's introduction which sets out the principal differences of approach and defining debates, chapters address: transnational and national, commercial and public service corporations; international film and TV co-productions; children's television news production, the historical development of ‘liveness’ on radio, and music journalism; the politics and organizational forms of alternative media production including radical newspapers, video and the internet; and the changing ߢproduction ecology’ of natural history television. These topics are examined through a variety of theoretical and conceptual frameworks that help to illuminate how cultural production often involves a complex articulation of differing influences and constraints, both material and discursive, intended and unintended, structurally determined and culturally mediated. Together the chapters in this book help to recover this complexity and thereby help us to better understand the nature and output of today's media.

Producing Nature(s): The Changing Production Ecology of Natural History TV

Producing nature(s): The changing production ecology of natural history TV

In keeping with the other chapters in this book, this final chapter further explores the complexities of media organisation and production.1 It deliberately adopts a case-study approach to the production of a particular genre of television: that of natural history programmes. This long-established but ‘neglected tradition’ (Bousé 2000) has undergone dramatic evolution and change in recent years, reflecting wider processes of industrial reorganisation and cultural shifts within national and international television marketplaces. New technologies of production and delivery, heightened competitiveness, industrial centralisation, fragmenting audiences and internationalising markets have all, as we shall hear, dramatically impacted on the ‘production ecology’ of wildlife programmes. As such, this case ...

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