The book goes on to explain how media businesses have used new technologies and production innovations to reduce costs and increase profits, resulting in dramatic changes to established production practices and roles.īy comparing media production across media industries, in the UK and US, and illustrating the links between economic, socio-political and cultural influences on production, Understanding Media Production opens up a constructive debate between media practitioners and theorists about key questions of creativity and innovation in production. They also explain the development of the production roles associated with these content forms directors, producers, reporters, correspondents etc.

Chapters describe the key production practices associated with each format, including single and multi-camera filming, news reporting, three-point lighting and gameplay animation. The book tracks the evolution of these entertainment formats and the emergence of the media businesses which produce them. With detailed contemporary examples, including Pirates of The Caribbean, Game of Thrones, Love Island and PewDiePie’s ‘letsplay’ videos, Dwyer highlights similarities and differences in the production strategies and styles used for a wide range of media products. Using in-depth analysis of film, TV, news and online productions, Understanding Media Production shows how media theory helps aspiring producers understand good practice in media production. The chapter first proposes a new framework for analysing the behavior of traditional and online media providers and then applies the framework to analyse the social media strategies of UK online radio providers. The study results from the author’s involvement in the RadioConnected R&D project, involving UK radio’s main online platform Radioplayer, and so provides a rare insight into the development of the social media strategy of major broadcasters. The chapter examines the experience of UK online radio providers in using social media, and Facebook’s “frictionless sharing” in particular, to distribute radio content. But have social media really revolutionised media distribution and consumption? Social media platforms appear to enable exponential increases in global audience reach via automated distribution mechanisms like “frictionless sharing” and architectures based on “social design”. The phenomenal success of ‘viral’ videos like KONY 2012 has attracted even greater attention to the potential of social media for distributing traditional media content.

Commercial free radio player