By Bill Osgerby
A part of the successful Routledge Introductions to Media and Communications sequence which supplies concise introductions to key parts in modern communications, Bill Osgerby's leading edge early life Media strains the improvement of latest formative years tradition and its courting with the media. From the times of diners, drive-ins and jukeboxes, to contemporary international of iPods and the net, formative years Media examines early life media in its financial, cultural and political contexts and explores: formative years tradition and the media the 'Fab Phenomenon': markets, funds and media new release and degeneration within the media: representations, responses and 'effects' media, way of life and way of life worldwide media, formative years tradition and identification early life and new media. studying the character of alternative types of communique in addition to reviewing their construction and intake, this is often an important introduction to this key quarter in conversation and cultural reports.
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Additional resources for Youth Media (Routledge Introductions to Media and Communications)
As a consequence, the 1980s and 1990s saw a proliferation of cable and satellite TV stations targeted at particular sections of the youth audience. In Britain, for example, the menu of choices stretched from the interactive smorgasbord available on The Box (‘Smash Hits You Control’), to the remorseless helpings of heavy rock served up on Kerrang! (‘Life Is Loud 24/7’). Music Choice, meanwhile, tempted viewers with a selection of over 30 specialised options (from ‘Hard Rock’ to ‘Chillout Gold’), while MTV’s eight specially devoted channels included the R’n’B and urban music channel MTV Base (‘Check out the booty shakin’, bumpin’ and grindin’ that went down at the hardest beach party ever’), and MTV Dance (‘Droppin’ in some bangin’ tunes to get you in the party mood’).
In 2003, meanwhile, in response to sliding music sales, Bertelsmann and Sony announced plans to merge their music divisions. 9 per cent share commanded by Vivendi Universal. Alongside this conglomeration of business interests, media industries have also increasingly operated on a transnational basis. Major political events in the late twentieth century (for example, the break-up of the Soviet Union and trends towards deregulation in the world economy) had a major impact on the strategic thinking of media corporations.
The recent attempts by the large corporations to innovate in this sector means that the independents are, in effect, dependent sub-contracted suppliers. And where such contracts are to be had, in a context of increasing competition, it is hard to imagine that there is time and space for private reading never mind wider critical debate. (McRobbie, 2002:523) In these terms, then, any suggestion that the growth of ‘independent’ businesses in the youth market has represented a move outside (or in opposition to) conglomerate control is questionable.
Youth Media (Routledge Introductions to Media and Communications) by Bill Osgerby