Joseph Straubhaar – författare

Over the past few decades, Austin, Texas, has made a concerted effort to develop into a "technopolis," becoming home to companies such as Dell and numerous start-ups in the 1990s. It has been a model for other cities across the nation that wish to become high-tech centers while still retaining the livability to attract residents. Nevertheless, this expansion and boom left poorer residents behind, many of them African American or Latino, despite local and federal efforts to increase lower-income and minority access to technology.This book was born of a ten-year longitudinal study of the digital divide in Austin—a study that gradually evolved into a broader inquiry into Austin's history as a segregated city, its turn toward becoming a technopolis, what the city and various groups did to address the digital divide, and how the most disadvantaged groups and individuals were affected by those programs.The editors examine the impact of national and statewide digital inclusion programs created in the 1990s, as well as what happened when those programs were gradually cut back by conservative administrations after 2000. They also examine how the city of Austin persisted in its own efforts for digital inclusion by working with its public libraries and a number of local nonprofits, and the positive impact those programs had.

Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and HBO Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries. It also examines how this trend is creating new opportunities for independent producers and soft power for the producing nations. This book further considers the direct algorithmic targeting of individuals by their genre preferences across boundaries of culture, language, and nation, boundaries that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.

Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and HBO Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries. It also examines how this trend is creating new opportunities for independent producers and soft power for the producing nations. This book further considers the direct algorithmic targeting of individuals by their genre preferences across boundaries of culture, language, and nation, boundaries that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.

Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and HBO Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries. It also examines how this trend is creating new opportunities for independent producers and soft power for the producing nations. This book further considers the direct algorithmic targeting of individuals by their genre preferences across boundaries of culture, language, and nation, boundaries that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.

Examining the impact of streaming on the global production and flow of television and film, this book provides an innovative theoretical framework to conceptualize how asymmetric dynamics of power play out in the era of global streaming.This book analyses Netflix and Amazon Prime Video, two tech-based digital native streamers, and compares them to Disney+ and HBO Max (Warner Bros. Discovery), two legacy Hollywood studios with cable TV, and broadcasting operations, now pursuing global streaming. The book compares their different models of operation and specifically explores how these four streamers, particularly Netflix, are co-producing and commissioning television programs and films in an increasing number of countries. It also examines how this trend is creating new opportunities for independent producers and soft power for the producing nations. This book further considers the direct algorithmic targeting of individuals by their genre preferences across boundaries of culture, language, and nation, boundaries that previously protected national and regional television markets, creating a new flow of data colonialism. At a more local level, the book also examines some of the national and regional streaming platforms emerging in some of the key players in the Global South: Brazil, India, and Mexico.This is essential reading for students, researchers and academics interested in media studies, global media, and global television studies.

Reflecting the latest developments and emerging issues from the field, MEDIA NOW: UNDERSTANDING MEDIA, CULTURE, AND TECHNOLOGY, 10th Edition, thoroughly illustrates how media technologies develop, operate, converge, and affect society. The text gives you a comprehensive introduction to today's global media environment and explores the ongoing developments in technology, culture, and critical theory that transform this rapidly evolving industry -- and impact your everyday life. Cutting-edge coverage of the essential history, theories, concepts, and technical knowledge prepares you for a career in the fields of online, interactive, and traditional media. Expanded coverage includes mobile media consumption, policy changes for Internet governance, international trends, online privacy protection, media ethics, new media, and more. In addition, the MindTap digital learning platform available with this text delivers the ultimate personal learning experience to maximize your course success.

John Sinclair and Jospeh D. Straubhaar provide a comprehensive account of television production, distribution and reception in Spanish- and Portuguese-speaking Latin American countries, showing how Mexican and Brazilian programmes have dominated in the region, and placing regional output in the context of the global television industry.

This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streaming TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries, global, regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience.

This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streaming TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries, global, regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience.