{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"522f0795-2372-4d31-8b2a-aee96946e042","title":"14410512","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787508681948","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"522f0795-2372-4d31-8b2a-aee96946e042","id":"522f0795-2372-4d31-8b2a-aee96946e042","uuid":"522f0795-2372-4d31-8b2a-aee96946e042","title":"14410512","normalized_title":"14410512","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787508681948","isbns":["9787508681948"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":466,"navigation_url":"https://workshop.closeclaw.top/ai/book/522f0795-2372-4d31-8b2a-aee96946e042","title_url":"https://workshop.closeclaw.top/ai/title/14410512","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/522f0795-2372-4d31-8b2a-aee96946e042/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/522f0795-2372-4d31-8b2a-aee96946e042/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/522f0795-2372-4d31-8b2a-aee96946e042","page_url":"https://workshop.closeclaw.top/api/ai/books/522f0795-2372-4d31-8b2a-aee96946e042/page","search_url":"https://workshop.closeclaw.top/api/ai/books/522f0795-2372-4d31-8b2a-aee96946e042/search"},"page":{"printed_page":433,"pdf_page":452,"physical_index":452,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"27dcf571d61ff660e6b9c4c12063328ff8a413097694a53a18546590e14ce4a6"},"chapter":"第18章 脱口秀模式","content":"21. Complaint, SEC v. Kelly, 817 F.Supp.2d 340 (S.D.N.Y. 2011) (08Civ. 04612), 2008 WL 2149270, at \\*2.\n\n22. Steven Levy, \"Dead Man Walking?,\" Newsweek, January 21, 1996, http://www .newsweek.com/dead-men-walking-176866.\n\n第17章 名人产业链的建立\n\nI. Edwin Diamond, “Why the Power Vacuum at Time Inc. Continues,\" New York, October 23, 1972.\n\n2. Alan Brinkley, The Publisher (New York: Alfred A. Knopf, 2o1o); David L. Larsen, Telling the Old, Old Story: The Art of Narrative Preaching(Grand Rapids, MI: Kregel Publications, 1995).\n\n3. Steve M. Barkin, American Television News: The Media Marketplace and the Public Interest (Armonk, NY: M. E. Sharpe, 2003).\n\n4. Edwin Diamond, \"People Who Need People,\" New York, January 31, 1994.\n\n5. David E. Sumner, The Magazine Century: American Magazines Since 1900 (New York: Peter Lang, 2010).\n\n6. Donald M. Wilson, The First 78 Years (Bloomington, IN: Xlibris Corporation, 2o04).\n\n7. Based on media kits visited in February 2016.\n\n8. Ellis Cashmore, Celebrity Culture (New York: Routledge, 2006).\n\n9. Karen Armstrong, Fields of Blood: Religion and the History of Violence (New York: Knopf, 2014).\n\n10. Chris Rojek, Celebrity (London: Reaktion Books, 2oo1). \"Are Celebrities Bigger than Religion?” Stuff, last modified November 9, 2o09, http://www.stuff.co.nz /entertainment/celebrities/2851918/Are-celebrities-bigger-than-religion.\n\nI. Donald Horton and Richard Wohl, \"Mass Communication and Parasocial Interaction: Observations on Intimacy at a Distance,\" Psychiatry 19 (1956).\n\n第18章 脱口秀模式\n\n1. Roger Ebert,\"How I Gave Oprah Winfrey Her Start,\" in Roger Ebert's Movie Yearbook 2007 (Kansas City, MO: Andrews McMeel, 2007),830.\n\n2. It is then no surprise that it didn't take long for Oprah's local morning show to surpass Donahue in the ratings. Eventually, Oprah would become so popular that Donahue would relocate to New York and changehis time slot to avoid competing with Oprah's show. General information about Oprah draws from Kitty Kelley, Oprah: A Biography (New York:H. B. Productions, 2o1o), 1–8.\n\n3. In 197o, the FCC adopted the Prime Time Access Rule, which was implemented during the 1971-1972 television season in order to increase the level of competition and diversity in programming. At the same time, the FCC adopted the Financial Interest and Syndication Rules, which prohibited broadcast network ownership of syndication arms. Consequently, existing syndication divisions had to be spun off as new, independent companies. As a result of this regime, Oprah had the choice either to sell rights to her show to the ABC network, which would then sell it into syndication and keep the profits, or to run her show as a \"first-run\" syndicate with King World Productions, an independent syndicator of television programming. As mentioned, Oprah would choose the latter onadvice from Ebert.\n\n注释\n\n433","previous_page":432,"next_page":434}