Bøger i Television and Popular Culture serien

TV on Strike examines the 2007 upheaval in the entertainment industry by telling the inside story of the hundred-day writers' strike that crippled Hollywood. The television industry's uneasy transition to the digital age was the driving force behind the most significant labour dispute of the twenty-first century.

This volume focuses on the relationship between the rise of the multi-media environment-television and electronic media-and the decline of the humanities in academia, the changing role of print literacy, and the disintegration of historical consciousness. David Marc is as mad as hell about some things, and he's not going to take it any longer. He finds that most university humanities programs remain top-heavy with embittered careerists who would rather deny the evidence than admit that, with the rise and popular acceptance of mass media, their most cherished interests, their techniques, and skills have become archaic. New students are treated as if they read and write as often, and for the same purposes, as their counterparts before the rise of the television camera, telephone, and communications satellite. Professors get paid. Students receive diplomas. And yet, humanities courses are the joke of the campus. In analyzing the decline of the humanities on college campuses, Marc covers a wide range of issues, including political correctness, the growing tolerance of academic cheating, and institutionalized grade inflation.

The essays in this groundbreaking work constitute a serious look at this controversial-and phenomenally popular -- television show. The authors tackle such questions as: Why is The X-Files so popular Now? How does the show portray women's roles? Is The X-Files a modern myth?

Arguing for respect and serious attention to be given to the medium of television, this manifesto takes on the conventional wisdom about TV, challenging allegations that it discourages literacy and encourages violence. David Bianculli seeks to define, explore and embrace the mass medium, heralding television as an ideal forum for art, information and education.

Deborah Pearlman and Abby Finer of the Warner Bros. Television Writers Workshop reveal in this essential guide insider tips and tricks aimed at paving the way to better scripts by new writers. The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. The authors offer invaluable insider information on the keys to writing a good script and how to choose the right show for sample material. In particular, they provide instruction on troubleshooting scripts--with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, and write a beat sheet and outline through to a polished draft. Filled with practical advice and up-to-date industry information, each chapter provides strategies and insights that will jumpstart a fledgling writing career toward success.

Living-Room War is Arlen's valiant - and entertaining - attempt to figure out exactly what television does to us. This timeless collection of essays provides a poetic look at 1960s television culture, ranging from the Vietnam war to Captain Kangaroo, from the 1968 Democratic convention to televised sports.

Bringing together seventeen original essays by scholars from around the world, this title offers a variety of international perspectives on Gilmore Girls (WB/CW, 2000-2007).

This work shows that while the series ""The West Wing"" may be criticized as ""idealistic"", its clever techniques of camera work, lighting, editing, and mise en scene reflect America's best image of itself, and entertains a loyal audience that wants to believe in the nobility of the American Dream.

Focusing on themes of feminism, gender identity, and mental health, contributors explore the ways in which the CW dramedy Crazy Ex-Girlfriend challenged viewer expectations, as well as the role television critics play in identifying a show's ""authenticity"" or quality.

Focusing on themes of feminism, gender identity, and mental health, contributors explore the ways in which the CW dramedy Crazy Ex-Girlfriend challenged viewer expectations, as well as the role television critics play in identifying a show's ""authenticity"" or quality.

Charts the development and shifting popularity of two stereotypes of black masculinity in popular American film: "the shaman" or "the scoundrel". Starting with colonial times, Williams identifies the origins of these roles in an America where black men were forced either to defy or to defer to their white masters.

Reveals how the comic book hero has evolved to maintain relevance to America's fluctuating ideas of masculinity, patriotism, and violence. Stevens outlines the history of Captain America's adventures and places the unfolding storyline in dialogue with the comic book industry as well as America's varying political culture.

This title mixes interviews, essays, and representative scripts from three successful American television dramatists. It seeks to be of use to the novice scriptwriter by providing a ""close study of exemplary writing"".

The first book dedicated to the analysis of this immensely successful series, Interrogating The Shield brings together ten critical essays, written from a variety of methodological and theoretical perspectives. Topics range from an exploration of the series' derivation, genre, and production, to expositions of the ethics, aesthetics, and politics of the show.

A critical inquiry into the new woman warrior's appropriation of violence and the Western war narrative. It delves into the meaning of that appropriation for alternative storytelling, and provides a forum to recognize women's increasing role in popular culture as they are cast as action heroes.

This sequel provides yet another dozen of today's most acclaimed writers and producers an open, uncensored forum in which they discuss everything from their work ethic to the political, social and economic issues affecting the television industry.

ER, ""Law and Order"" and ""The Sopranos"" are just a few of the dramas that launched a new era of TV at the turn of the millennium. This text gives scholars and fans alike a firsthand account of the lives, philosophy and contribution of some of the best writers and producers of the 1980s and 1990s.

In attempting to define ""Generation X"", Rob Owens offers a history of network and cable television since the birth of Generation X, and goes on to explore the symbiotic relationship between television and this largely misunderstood age group. He maintains that television consumes innocence.

A collection of interviews with some of today's top episodic TV writers contains revealing insights to why people become television writers and what makes them successful. Each chapter's topic is distilled into a practical lesson for both professionals and aspirants to heed if they wish to find or maintain success in writing for television.

Analyses the communication, politics, stereotypes, and genre techniques featured in the television series Scandal while raising key questions about the intersections of race, gender, sexuality, and viewing audiences.

Explores questions of authorship and audience response as well as themes of horror, gore, cannibalism, queerness, and transformation in the NBC series Hannibal. Contributors also address Hannibal's distinctive visual, auditory, and narrative style.

Analyses the communication, politics, stereotypes, and genre techniques featured in the television series Scandal while raising key questions about the intersections of race, gender, sexuality, and viewing audiences.

Explores questions of authorship and audience response as well as themes of horror, gore, cannibalism, queerness, and transformation in the the NBC series Hannibal. Contributors also address Hannibal's distinctive visual, auditory, and narrative style.

Given the importance of finales to television viewers and critics alike, Howard and Bianculli along with the other contributors explore endings and what they mean to the audience, both in terms of their sense of narrative and as episodes that epitomize an entire show.

Given the importance of finales to television viewers and critics alike, Howard and Bianculli along with the other contributors explore endings and what they mean to the audience, both in terms of their sense of narrative and as episodes that epitomize an entire show.

First published in 1880, Ben-Hur became a best-seller. For over a century, it has become a ubiquitous pop cultural presence, representing a deeply powerful story and monumental experience for some and a defining work of bad taste and false piety for others. Bigger Than "Ben-Hur" to explores its polarizing effect and expands the contexts within which it can be studied.