Background
Gomery, Douglas was born on April 5, 1945 in New York City. Son of John Edgar and Julia (Halsted) Gomery.
( Will shrinking budgets and growing competition force ne...)
Will shrinking budgets and growing competition force network television news to compromise program quality? Can big-city newspapers improve circulation in the audiences advertisers want to reach? Will the wire services diversify into other areas of communications technology? What changes lie ahead for nation newsmagazines? In The Future of News, top media experts offer a probing analysis of the news business today and its place in American culture tomorrow. Charting the past decade's media trends, the authors show how an increasing segment of the population is rejecting broadly targeted media "packages" in favor of more focused, specialized information. Television network news producers, for example, face a growing viewer preference for cable news services, attention-grabbing local news programs, and lurid "infotainment" shows often broadcast by the networks own affiliates. At the same time, urban newspapers and national newsmagazines are losing readers―and revenues―despite increased news and feature coverage and frequent graphic "makeovers." And with the advent of new, competing technologies, the nation's wire services also face an uncertain future. Analyzing these and other trends, The Future of News offers a thoughtful and provocative preview of the media's role in the coming century.
http://www.amazon.com/gp/product/094387534X/?tag=2022091-20
(This powerful history of broadcasting in the United State...)
This powerful history of broadcasting in the United States goes beyond traditional accounts to explore the field's important social, political, and cultural ramifications. It examines how broadcasting has been organized as a business throughout much of the 20th century, and focuses on the aesthetics of programming over the years. * Surveys four key broadcasting periods from 1921 to 1996, drawing on a range of new sources to examine recent changes in the field, including coverage of the recent impact of cable TV and home video * Includes new data from collections at the Library of Congress and the Library of American Broadcasting * Ideal for anyone seeking a readable history of the field, offering the most current coverage available
http://www.amazon.com/gp/product/140512282X/?tag=2022091-20
( Shared Pleasures presents the first comprehensive histo...)
Shared Pleasures presents the first comprehensive history of how Americans have watched their favorite movies. Douglas Gomery tells the complete story of the film exhibition business, from the humble nickelodeon to movie palaces to today's mass markets of cable TV and home video rentals. Along the way Gomery shows us how the American economy and society altered going to the movies. Shared Pleasures answers such questions as: How and where have Americans gone to the movies? What factors prompted the growth of specialized theaters? To what extent have corporations controlled the means of moviegoing? How has television changed the watching of motion pictures? Gomery analyzes social, technological, and economic transformations inside and outside the movie industry-sound, color (and later, colorization), television movies, cable movie networks, and home video, as well as automobiles, air conditioning, and mass transit. He traces the effects of immigration, growing urban and suburban cultures, two world wars, racial and ethnic segregation, and the baby boom on the movie theater industry, noting such developments as newsreel theaters and art cinemas. Gomery shows how the movie theater business has remained a profitable industry, transforming movie houses from storefronts to ornate movie palaces to the sticky-floored mall multiplexes of today. Contrary to some gloomy predictions, Gomery contends that movie watching is not declining as a form of entertainment. With the growth of cable TV, home movie rental, and other technical changes, more Americans are watching (and enjoying) more movies than ever before.
http://www.amazon.com/gp/product/0299132145/?tag=2022091-20
( Covering everything from Edison to Avatar, Gomery and P...)
Covering everything from Edison to Avatar, Gomery and Pafort-Overduin have written the clearest, best organized, and most user-friendly film history textbook on the market. It masterfully distills the major trends and movements of film history, so that the subject can be taught in one semester. And each chapter includes a compelling case study that highlights an important moment in movie history and, at the same time, subtly introduces a methodological approach. This book is a pleasure to read and to teach. Peter Decherney, University of Pennsylvania, USA In addition to providing a comprehensive overview of the development of film around the world, the book gives us examples of how to do film history, including organizing the details and discussing their implications.Hugh McCarney, Western Connecticut State University, USA Douglas Gomery and Clara Pafort-Overduin have created an outstanding textbook with an impressive breadth of content, covering over 100 years in the evolution of cinema. Movie History: A Survey is an engaging book that will reward readers with a contemporary perspective of the history of motion pictures and provide a solid foundation for the study of film. Matthew Hanson, Eastern Michigan University, USA How can we understand the history of film? Historical facts don’t answer the basic questions of film history. History, as this fascinating book shows, is more than the simple accumulation of film titles, facts and figures. This is a survey of over 100 years of cinema history, from its beginnings in 1895, to its current state in the twenty-first century. An accessible, introductory text, Movie History: A Survey looks at not only the major films, filmmakers, and cinema institutions throughout the years, but also extends to the production, distribution, exhibition, technology and reception of films. The textbook is divided chronologically into four sections, using the timeline of technological changes: Section One looks at the era of silent movies from 1895 to 1927; Section Two starts with the coming of sound and covers 1928 until 1950; Section Three runs from 1951 to 1975 and deals with the coming and development of television; and Section Four focuses on the coming of home video and the transition to digital, from 1975 to 2010. Key pedagogical features include: • timelines in each section help students to situate the films within a broader historical context • case study boxes with close-up analysis of specific film histories and a particular emphasis on film reception • lavishly illustrated with over 450 color images to put faces to names, and to connect pictures to film titles • margin notes add background information and clarity • glossary for clear understanding of the key terms described • references and further reading at the end of each chapter to enhance further study. A supporting website is available at www.routledge.com/textbooks/moviehistory, with lots of extra materials, useful for the classroom or independent study, including: • additional case studies – new, in-depth and unique to the website • international case studies – for the Netherlands in Dutch and English • timeline - A movie history timeline charting key dates in the history of cinema from 1890 to the present day • revision flash cards – ideal for getting to grips with key terms in film studies • related resources – on the website you will find every link from the book for ease of use, plus access to additional online material • students are also invited to submit their own movie history case studies - see website for details Written by two highly respected film scholars and experienced teachers, Movie History is the ideal textbook for students studying film history.
http://www.amazon.com/gp/product/0415775450/?tag=2022091-20
(This thorough update to Benjamin Compaine's original 1979...)
This thorough update to Benjamin Compaine's original 1979 benchmark and 1982 revisit of media ownership tackles the question of media ownership, providing a detailed examination of the current state of the media industry. Retaining the wealth of data of the earlier volumes, Compaine and his co-author Douglas Gomery chronicle the myriad changes in the media industry and the factors contributing to these changes. They also examine how the media industry is being reshaped by technological forces in all segments, as well as by social and cultural reactions to these forces. This third edition of Who Owns the Media? has been reorganized and expanded, reflecting the evolution of the media industry structure. Looking beyond conventional wisdom and expectations, Compaine and Gomery examine the characteristics of competition in the media marketplace, present alternative positions on the meanings of concentration, and ultimately urge readers to draw their own conclusions on an issue that is neither black nor white. Appropriate for media practitioners and sociologists, historians, and economists studying mass media, this volume can also be used for advanced courses in broadcasting, journalism, mass communication, telecommunications, and media education. As a new benchmark for the current state of media ownership, it is invaluable to anyone needing to understand who controls the media and thus the information and entertainment messages received by media consumers.
http://www.amazon.com/gp/product/0805829350/?tag=2022091-20
( Despite being one of the biggest industries in the worl...)
Despite being one of the biggest industries in the world, the "dream factory" that is Hollywood is little understood outside the business. The Hollywood Studio System fills that gap. It is the first book to describe and analyze the complete development, operation, and reinvention of the global corporate entities that produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, helped to fashion Hollywood into a vertically integrated system, a set of economic innovations that was firmly in place by 1930. For the next three decades, the movie industry operated according to these principles. Cultural, social, and economic changes ensured the demise of this system after WWII. Beginning in 1962, Lew Wasserman of Universal Studios emerged as the key innovator in creating a second studio system. Gomery relates the history of these two systems using primary materials from a score of archives across the United States as well as a close reading of both the business and trade press of the time. A number of previously unpublished photos illuminate the narrative.
http://www.amazon.com/gp/product/1844570649/?tag=2022091-20
writer communications educator
Gomery, Douglas was born on April 5, 1945 in New York City. Son of John Edgar and Julia (Halsted) Gomery.
Bachelor of Science, Lehigh University, 1967. Master of Arts, University Wisconsin, 1970. Doctor of Philosophy, University Wisconsin, 1975.
Doctor of Humane Letters (honorary), Marrietta College, 2007.
Assistant professor mass communication University Wisconsin, Milwaukee, 1974-1979, associate professor, 1980, University Maryland, College Park, 1981-1987, professor, 1987—2006, professor emeritus, since 2006. Senior researcher media studies project Woodrow Wilson Center for International Scholarship, Washington, 1988-1992. Visiting professor Northwestern University, Evanston, Illinois, 1980, University Iowa, Iowa City, 1982, University Utrecht, The Netherlands, 1990, 92.
Consultant American Film Institute, Washington, 1982-1990. Resident scholar Library. American Broadcasting, since 2004.
( Will shrinking budgets and growing competition force ne...)
(This thorough update to Benjamin Compaine's original 1979...)
( Covering everything from Edison to Avatar, Gomery and P...)
(This powerful history of broadcasting in the United State...)
( Despite being one of the biggest industries in the worl...)
( Shared Pleasures presents the first comprehensive histo...)
(Cover creased, page edges tanned and a few pages have som...)
Consultant Joint Committee on Landmarks Washington, 1983, 85, 86, 90, National Endowment of the Humanities, since 1980, National Endowment Arts, since 1980, Maryland State History Preservation Office, 1988, Voice of America, National Gallery Art., Wisconsin Department Revenue, 1978. Trustee American Film Institute, 1986-1989. Member Theatre History Society (chairman Weiss award committee 1984-1987, board directors 1987-1989, Weiss prize 1988), Society Cinema Studies, University Film and Video Association (editorial board journals 1983-1992), Broadcast Education Association (Distinguished Scholar award 2007), Association for Education in Journalism and Mass Communications, International Communications Association.
Married Marilyn L. Moon, January 13, 1973.