Derek Johnson – författare

Now in a second edition, this textbook surveys the channels, platforms, and programming through which television distribution operates, with a diverse selection of contributors providing thorough explorations of global media industries in flux.Even as legacy media industries experience significant disruption in the face of streaming and online delivery, the power of the television channel persists. Far from disappearing, television channels have multiplied and adapted to meet the needs of old and new industry players alike. Television viewers now navigate complex choices among broadcast, cable, and streaming services across a host of different devices. From Networks to Netflix guides students, instructors, and scholars through that complex and transformed channel landscape to reveal how these industry changes unfold and why they matter. This second edition features new players like Disney+, HBO Max, Crunchyroll, Hotstar, and more, increasing attention to TV services across the world.An ideal resource for students and scholars of media criticism, media theory, and media industries, this book continues to offer a concrete, tangible way to grasp the foundations of television—and television studies—even as they continue to be rewritten.

Now in a second edition, this textbook surveys the channels, platforms, and programming through which television distribution operates, with a diverse selection of contributors providing thorough explorations of global media industries in flux.Even as legacy media industries experience significant disruption in the face of streaming and online delivery, the power of the television channel persists. Far from disappearing, television channels have multiplied and adapted to meet the needs of old and new industry players alike. Television viewers now navigate complex choices among broadcast, cable, and streaming services across a host of different devices. From Networks to Netflix guides students, instructors, and scholars through that complex and transformed channel landscape to reveal how these industry changes unfold and why they matter. This second edition features new players like Disney+, HBO Max, Crunchyroll, Hotstar, and more, increasing attention to TV services across the world.An ideal resource for students and scholars of media criticism, media theory, and media industries, this book continues to offer a concrete, tangible way to grasp the foundations of television—and television studies—even as they continue to be rewritten.

A Companion to Media Authorship “Gray and Johnson have brought together a stellar group of authors whose works deftly explicate the complexities of negotiating ‘authorship’ across a range of cultural production sites. This definitive collection is an important and long-overdue contribution to contemporary media studies.”Serra Tinic, author of On Location: Canada’s Television Industry in a Global Market“Wide-ranging and global, historical and contemporary, brimming with insights enlarging our understanding of media production and reception, this book is an important contribution to the study of authorship.”Michael Z. Newman, author of Indie: An American Film CultureWhile the idea of authorship has transcended the literary to play a meaningful role in the cultures of film, television, games, comics, and other emerging digital forms, our understanding of it is still too often limited to assumptions about solitary geniuses and individual creative expression. A Companion to Media Authorship is a ground-breaking collection that reframes media authorship as a question of culture in which authorship is as much a construction tied to authority and power as it is a constructive and creative force of its own.Gathering together the insights of leading media scholars and practitioners, 28 original chapters map the field of authorship in a cutting-edge, multi-perspective, and truly authoritative manner. The contributors develop new and innovative ways of thinking about the practices, attributions, and meanings of authorship. They situate and examine authorship within collaborative models of industrial production, socially networked media platforms, globally diverse traditions of creativity, complex consumption practices, and a host of institutional and social contexts. Together, the essays provide the definitive study on the subject by demonstrating that authorship is a field in which media culture can be transformed, revitalized, and reimagined.

Within corporate media industries, adults produce children’s entertainment. Yet children, presumed to exist outside the professional adult world, make their own contributions to it—creating and posting unboxing videos, for example, that provide content for toy marketers. Many adults, meanwhile, avidly consume entertainment products nominally meant for children. Media industries reincorporate this market-disrupting participation into their strategies, even turning to adult consumers to pass fandom to the next generation.Derek Johnson presents an innovative perspective that looks beyond the simple category of “kids’ media” to consider how entertainment industry strategies invite producers and consumers alike to cross boundaries between adulthood and childhood, professional and amateur, new media and old. Revealing the social norms, reproductive ideals, and labor hierarchies on which such transformations depend, he identifies the lines of authority and power around which legacy media institutions like television, comics, and toys imagine their futures in a digital age. Johnson proposes that it is not strategies of media production, but of media reproduction, that are most essential in this context. To understand these critical intersections, he investigates transgenerational industry practice in television co-viewing, recruitment of adult comic readers as youth outreach ambassadors, media professionals’ identification with childhood, the branded management of adult fans of LEGO, and the labor of child YouTube video creators. These dynamic relationships may appear to disrupt generational and industry boundaries alike. However, by considering who media industries empower when generating the future in these reproductive terms and who they leave out, Johnson ultimately demonstrates how their strategies reinforce existing power structures.This book makes vital contributions to media studies in its fresh approach to the intersections of adulthood and childhood, its attention to the relationship between legacy and digital media industries, and its advancement of dialogue between media production and consumption researchers. It will interest scholars in media industry studies and across media studies more broadly, with particular appeal to those concerned about the current and future reach of media industries into our lives.

Within corporate media industries, adults produce children’s entertainment. Yet children, presumed to exist outside the professional adult world, make their own contributions to it—creating and posting unboxing videos, for example, that provide content for toy marketers. Many adults, meanwhile, avidly consume entertainment products nominally meant for children. Media industries reincorporate this market-disrupting participation into their strategies, even turning to adult consumers to pass fandom to the next generation.Derek Johnson presents an innovative perspective that looks beyond the simple category of “kids’ media” to consider how entertainment industry strategies invite producers and consumers alike to cross boundaries between adulthood and childhood, professional and amateur, new media and old. Revealing the social norms, reproductive ideals, and labor hierarchies on which such transformations depend, he identifies the lines of authority and power around which legacy media institutions like television, comics, and toys imagine their futures in a digital age. Johnson proposes that it is not strategies of media production, but of media reproduction, that are most essential in this context. To understand these critical intersections, he investigates transgenerational industry practice in television co-viewing, recruitment of adult comic readers as youth outreach ambassadors, media professionals’ identification with childhood, the branded management of adult fans of LEGO, and the labor of child YouTube video creators. These dynamic relationships may appear to disrupt generational and industry boundaries alike. However, by considering who media industries empower when generating the future in these reproductive terms and who they leave out, Johnson ultimately demonstrates how their strategies reinforce existing power structures.This book makes vital contributions to media studies in its fresh approach to the intersections of adulthood and childhood, its attention to the relationship between legacy and digital media industries, and its advancement of dialogue between media production and consumption researchers. It will interest scholars in media industry studies and across media studies more broadly, with particular appeal to those concerned about the current and future reach of media industries into our lives.

There is more to becoming a great pitcher than sound mechanics, a blazing fastball, and a live arm. A pitcher must know how to pitch—what to throw, when to throw it, and where to locate it. He must have a me-versus-you mind-set, that unique blend of confidence and determination that fuels a passion to set the tone of the game, own the mound, and shut down the opponent. The Complete Guide to Pitching is the most comprehensive pitching resource available. Derek Johnson, one of the game's premier pitching coaches, takes you inside the art and science of pitching. You'll discover these strategies: • Upper- and lower-body pitching mechanics • Most effective arm and shoulder strengthening workouts • Shutting down the opponent's running game • Developing a potent pitching arsenal, including the splitter, curve, and changeup • Creating a pregame pitching plan • Situational strategies and recognizing hitters' weaknesses • Fielding the position • In- and off-season conditioning programs • Windup, stretch, and follow-through From pregame warm-ups to cultivating the pitcher–catcher relationship, it's all here in this one-of-a-kind book and DVD package. Featuring skill instruction, development drills, exercises, personal insights, and instruction on every aspect of pitching, The Complete Guide to Pitching is a must-have for every pitching coach, pitcher, and baseball fan.

Point of Sale offers the first significant attempt to center media retail as a vital component in the study of popular culture.  It brings together fifteen essays by top media scholars with their fingers on the pulse of both the changes that foreground retail in a digital age and the history that has made retail a fundamental part of the culture industries.  The book reveals why retail matters as a site of transactional significance to industries as well as a crucial locus of meaning and interactional participation for consumers. In addition to examining how industries connect books, DVDs, video games, lifestyle products, toys, and more to consumers, it also interrogates the changes in media circulation driven by the collision of digital platforms with existing retail institutions.  By grappling with the contexts in which we buy media, Point of Sale uncovers the underlying tensions that define the contemporary culture industries.

Point of Sale offers the first significant attempt to center media retail as a vital component in the study of popular culture.  It brings together fifteen essays by top media scholars with their fingers on the pulse of both the changes that foreground retail in a digital age and the history that has made retail a fundamental part of the culture industries.  The book reveals why retail matters as a site of transactional significance to industries as well as a crucial locus of meaning and interactional participation for consumers. In addition to examining how industries connect books, DVDs, video games, lifestyle products, toys, and more to consumers, it also interrogates the changes in media circulation driven by the collision of digital platforms with existing retail institutions.  By grappling with the contexts in which we buy media, Point of Sale uncovers the underlying tensions that define the contemporary culture industries.

"Johnson astutely reveals that franchises are not Borg-like assimilation machines, but, rather, complicated ecosystems within which creative workers strive to create compelling 'shared worlds.' This finely researched, breakthrough book is a must-read for anyone seeking a sophisticated understanding of the contemporary media industry."—Heather Hendershot, author of What's Fair on the Air?: Cold War Right-Wing Broadcasting and the Public Interest While immediately recognizable throughout the U.S. and many other countries, media mainstays like X-Men, Star Trek, and Transformers achieved such familiarity through constant reincarnation. In each case, the initial success of a single product led to a long-term embrace of media franchising—a dynamic process in which media workers from different industrial positions shared in and reproduced familiar cultureacross television, film, comics, games, and merchandising. In Media Franchising, Derek Johnson examines the corporate culture behind these production practices, as well as the collaborative and creative efforts involved in conceiving, sustaining, and sharing intellectual properties in media work worlds. Challenging connotations of homogeneity, Johnson shows how the cultural and industrial logic of franchising has encouraged media industries to reimagine creativity as an opportunity for exchange among producers, licensees, and evenconsumers. Drawing on case studies and interviews with media producers, he reveals the meaningful identities, cultural hierarchies, and struggles for distinction that accompany collaboration within these production networks.Media Franchising provides a nuanced portrait of the collaborative cultural production embedded in both the mediaindustries and our own daily lives.

"Johnson astutely reveals that franchises are not Borg-like assimilation machines, but, rather, complicated ecosystems within which creative workers strive to create compelling 'shared worlds.' This finely researched, breakthrough book is a must-read for anyone seeking a sophisticated understanding of the contemporary media industry."—Heather Hendershot, author of What's Fair on the Air?: Cold War Right-Wing Broadcasting and the Public Interest While immediately recognizable throughout the U.S. and many other countries, media mainstays like X-Men, Star Trek, and Transformers achieved such familiarity through constant reincarnation. In each case, the initial success of a single product led to a long-term embrace of media franchising—a dynamic process in which media workers from different industrial positions shared in and reproduced familiar cultureacross television, film, comics, games, and merchandising. In Media Franchising, Derek Johnson examines the corporate culture behind these production practices, as well as the collaborative and creative efforts involved in conceiving, sustaining, and sharing intellectual properties in media work worlds. Challenging connotations of homogeneity, Johnson shows how the cultural and industrial logic of franchising has encouraged media industries to reimagine creativity as an opportunity for exchange among producers, licensees, and evenconsumers. Drawing on case studies and interviews with media producers, he reveals the meaningful identities, cultural hierarchies, and struggles for distinction that accompany collaboration within these production networks.Media Franchising provides a nuanced portrait of the collaborative cultural production embedded in both the mediaindustries and our own daily lives.

The management and labor culture of the entertainment industry. In popular culture, management in the media industry isfrequently understood as the work of network executives, studio developers, andmarket researchers—"the suits"—who oppose the more productive forces ofcreative talent and subject that labor to the inefficiencies and risk aversionof bureaucratic hierarchies. However, such portrayals belie the realityof how media management operates as a culture of shifting discourses,dispositions, and tactics that create meaning, generate value, and shape mediawork throughout each moment of production and consumption.Making Media Work aims to provide a deeper and more nuanced understanding ofmanagement within the entertainment industries. Drawing from work in criticalsociology and cultural studies, the collection theorizes management as apervasive, yet flexible set of principlesdrawn upon by a wide range ofpractitioners—artists, talent scouts, performers, directors, show runners, andmore—in their ongoing efforts to articulate relationships and bridgepotentially discordant forces within the media industries. The contributorsinterrogate managerial labor and identity, shine a light on how managementunderstands its roles within cultural and creative contexts, and reconfigurethe complex relationship between labor and managerial authority as productiverather than solely prohibitive. Engaging with primary evidence gathered throughinterviews, archives, and trade materials, the essays offer tremendous insightinto how management is understood and performed within media industry contexts.The volume as a whole traces the changing roles of management both historicallyand in the contemporary moment within US and international contexts, and acrossa range of media forms, from film and television to video games and socialmedia.

The management and labor culture of the entertainment industry. In popular culture, management in the media industry isfrequently understood as the work of network executives, studio developers, andmarket researchers—"the suits"—who oppose the more productive forces ofcreative talent and subject that labor to the inefficiencies and risk aversionof bureaucratic hierarchies. However, such portrayals belie the realityof how media management operates as a culture of shifting discourses,dispositions, and tactics that create meaning, generate value, and shape mediawork throughout each moment of production and consumption.Making Media Work aims to provide a deeper and more nuanced understanding ofmanagement within the entertainment industries. Drawing from work in criticalsociology and cultural studies, the collection theorizes management as apervasive, yet flexible set of principlesdrawn upon by a wide range ofpractitioners—artists, talent scouts, performers, directors, show runners, andmore—in their ongoing efforts to articulate relationships and bridgepotentially discordant forces within the media industries. The contributorsinterrogate managerial labor and identity, shine a light on how managementunderstands its roles within cultural and creative contexts, and reconfigurethe complex relationship between labor and managerial authority as productiverather than solely prohibitive. Engaging with primary evidence gathered throughinterviews, archives, and trade materials, the essays offer tremendous insightinto how management is understood and performed within media industry contexts.The volume as a whole traces the changing roles of management both historicallyand in the contemporary moment within US and international contexts, and acrossa range of media forms, from film and television to video games and socialmedia.

Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century.Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed.Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.

Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century.Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed.Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.