Thirty Seconds To Air

Thirty Seconds to Air covers the professional and personal issues, concerns, and difficulties that a live broadcast reporter must confront and conquer in order to be successful. Filled with concrete examples and practice situations, and written in an easy-to-read conversational style, Thirty Seconds to Air will be useful to anyone, student or professional, seeking to improve his or her live broadcast performance.

When Peter took charge of the flight deck of the 777 and took off from Beijing airport, there was nothing to suggest that this trip would be anything other than a routine flight of the sort he had made so many times before. It was not until moments before landing that anything went wrong. Coming in to Heathrow Airport, the plane suffered inexplicable loss of power to both engines, and it was suddenly likely that the plane would plough into a built-up area outside the airport, with the loss of all lives on board. Peter tells us in graphic detail his thoughts and actions when he managed to help save the plane at the last moment thanks to a flash of inspiration that led him to change the position of the wing flaps, which appeared to gain the vehicle enough precious time to make it over the perimeter fence and land on the grass, short of the runway. For both Maria and Peter, their lives following the crash have resulted in experiences that they never would have expected to have happened. There isn't a handbook with rules to follow after a crash so the subsequent aftermath was laced with events that could have been handled better from all sides, which lead to Maria and Peter having to find strength inside them that they had never needed before. A little more than a year later, they have used these strengths to begin a new chapter in their lives; starting with leaving British Airways and celebrating a second chance to enjoy life. But there are still nights when they find themselves awake, crying about what could have happened on that fateful day.

Since its original publication in 1987, Channels of Discourse has provided the most comprehensive consideration of commercial television, drawing on insights provided by the major strands of contemporary criticism: semiotics, narrative theory, reception theory, genre theory, ideological analysis, psychoanalysis, feminist criticism, and British cultural studies. The second edition features a new introduction by Robert Allen that includes a discussion of the political economy of commercial television. Two new essays have been added--one an assessment of postmodernism and television, the other an analysis of convergence and divergence among the essays--and the original essays have been substantially revised and updated with an international audience in mind. Sixty-one new television stills illustrate the text. Each essay lays out the general tenets of its particular approach, discusses television as an object of analysis within that critical framework, and provides extended examples of the types of analysis produced by that critical approach. Case studies range from Rescue 911 and Twin Peaks to soap operas, music videos, game shows, talk shows, and commericals. Channels of Discourse, Reassembled suggests new ways of understanding relationships among television programs, between viewing pleasure and narrative structure, and between the world in front of the television set and that represented on the screen. The collection also addresses the qualities of popular television that traditional aesthetics and quantitative media research have failed to treat satisfactorily, including its seriality, mass production, and extraordinary popularity. The contributors are Robert C. Allen, Jim Collins, Jane Feuer, John Fiske, Sandy Flitterman-Lewis, James Hay, E. Ann Kaplan, Sarah Kozloff, Ellen Seiter, and Mimi White.

As a screenwriter, novelist, and political activist, Dalton Trumbo stands among the key American literary figures of the 20th century--he wrote the classic antiwar novel Johnny Got His Gun, and his credits for Spartacus and Exodus broke the anticommunist blacklist that infected the movie industry for more than a decade. By defining connections between Trumbo's most highly acclaimed films (including Kitty Foyle, Thirty Seconds Over Tokyo, and Roman Holiday) and his important but lesser-known movies (The Remarkable Andrew, He Ran All the Way, and The Boss), the author identifies how for nearly four decades Trumbo used the archetype of the rebel hero to inject social consciousness into mainstream films. This new critical survey--the first book-length work on Trumbo's screenwriting career--examines the scores of films on which Trumbo worked and explores the techniques that made him, at the time he was blacklisted in 1947, Hollywood's highest-paid writer. Hanson reveals how Trumbo dealt with major themes including rebellion, radical politics, and individualism--while also detailing lesser-known areas of Trumbo's screenwriting, such as his troubling portrayal of women, the dichotomy between his proletarian attitude and bourgeois lifestyle, and the almost surreptitious manner in which he included antiestablishment rhetoric in seemingly innocuous scripts. An extensive filmography is included.