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|Author||: Alan Sepinwall,Matt Zoller Seitz|
|Editor||: Grand Central Publishing|
Is The Wire better than Breaking Bad? Is Cheers better than Seinfeld? What's the best high school show ever made? Why did Moonlighting really fall apart? Was the Arrested Development Netflix season brilliant or terrible? For twenty years-since they shared a TV column at Tony Soprano's hometown newspaper-critics Alan Sepinwall and Matt Zoller Seitz have been debating these questions and many more, but it all ultimately boils down to this: What's the greatest TV show ever? That debate reaches an epic conclusion in TV (THE BOOK). Sepinwall and Seitz have identified and ranked the 100 greatest scripted shows in American TV history. Using a complex, obsessively all- encompassing scoring system, they've created a Pantheon of top TV shows, each accompanied by essays delving into what made these shows great. From vintage classics like The Twilight Zone and I Love Lucy to modern masterpieces like Mad Men and Friday Night Lights, from huge hits like All in the Family and ER to short-lived favorites like Firefly and Freaks and Geeks, TV (THE BOOK) will bring the triumphs of the small screen together in one amazing compendium. Sepinwall and Seitz's argument has ended. Now it's time for yours to begin!
|Author||: Stefania Marghitu|
Teen TV explores the history of television’s relationship to teens as a desired, but elusive audience, and the ways in which television has embraced youth subcultures, tracing the shifts in American and global televisual and teen media. Organized chronologically to cover each generation since the inception of the medium in the 1940s, the book examines a wide range of historical and contemporary programming: from the broadcast bottleneck, multi-channel era that included youth-targeted spaces like MTV, the WB, and the CW, to the rise of streaming platforms and global crossovers. It covers the thematic concerns and narrative structure of the coming-of-age story, and the prevalent genre formations of teen TV and milestones faced by teen characters. The book also includes interviews with creators and showrunners of hit network television teen series, including Degrassi’s Linda Schuyler, and the costume designer that established a heightened turn in the significance of teen fashion on the small screen in Gossip Girl, Eric Daman. This book will be of interest to students, scholars, and teachers interested in television aesthetics, TV genres, pop culture, and youth culture, as well as media and television studies.
|Author||: Denise D. Bielby,C. Lee Harrington|
|Editor||: NYU Press|
A reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale.
|Author||: Laurie Ouellette|
From HGTV and the Food Network to Keeping Up With the Kardashians, television is preoccupied with the pursuit and exhibition of lifestyle. Lifestyle TV analyzes a burgeoning array of lifestyle formats on network and cable channels, from how-to and advice programs to hybrid reality entertainment built around the cultivation of the self as project, the ethics of everyday life, the mediation of style and taste, the regulation of health and the body, and the performance of identity and "difference." Ouellette situates these formats historically, arguing that the lifestyling of television ultimately signals more than the television industry's turn to cost-cutting formats, niche markets, and specialized demographics. Rather, Ouellette argues that the surge of reality programming devoted to the achievement and display of lifestyle practices and choices must also be situated within broader socio-historical changes in capitalist democracies.
|Author||: Catherine Johnson|
With growth in access to high-speed broadband and 4G, and increased ownership of smartphones, tablets and internet-connected television sets, the internet has simultaneously begun to compete with and transform television. Online TV argues that these changes create the conditions for an emergent internet era that challenges the language and concepts that we have to talk about television as a medium. In a wide-ranging analysis, Catherine Johnson sets out a series of conceptual frameworks designed to provide a clearer language with which to analyse the changes to television in the internet era and to bring into focus the power dynamics of the online TV industry. From providing definitions of online TV and the online TV industry, to examining the ways in which technology, rights, interfaces and algorithms are used to control and constrain access to audiovisual content, Online TV is a timely intervention into debates about contemporary internet and television cultures. A must-read for any students, scholars and practitioners who want to understand and analyse the ways in which television is intertwining with and being transformed by the internet.
|Author||: Victoria E. Johnson|
This book offers an introductory guide to sports TV, its history in the United States, the genre’s defining characteristics, and analysis of its critical significance for the business practices, formal properties, and social, cultural, and political meanings of the medium. Victoria E. Johnson discusses a range of examples, from textual analysis of programs such as Monday Night Football and Being Serena to examination of television rights details, to sports TV’s technological innovations and engagement of critical political debates. Johnson examines sports TV from its introduction to the ESPN+ era. She proposes that sports, as seen on TV in all of its iterations, is the central cultural forum for working through questions of community ideals, struggles over national and regional mythologies, and questions of representative citizenship. This book is an ideal guide for students and scholars of television, media, and cultural studies as well as those with an interest in television genre, sports TV history, and contemporary sport and media culture.
|Author||: Sharon Marie Ross,Louisa Ellen Stein|
This essay collection explores the phenomenon of "teen TV" in the United States, analyzing the meanings and manifestations of this category of programming from a variety of perspectives. Part One views teen television through an industrial perspective, examining how networks such as WB, UPN, The CW, and The N have created a unique economic framework based on demographic niches and teen-focused narrowcasting. Part Two focuses on popular teen programs from a cultural context, evaluating how such programs reflect and at times stretch the envelope of the cultural contexts in which they are created. Finally, Part Three explores the cultures of reception (including the realms of teen consumerism, fan discourse, and unofficial production) through which teens and consumers of teen media have become authors of the teenage experience in their own right.
|Author||: Matt Whyman|
|Editor||: William Morrow|
A stunning full-color, illustrated, behind-the-scenes guide to the Good Omens television series, adapted for the screen by Neil Gaiman himself and starring Michael Sheen and David Tennant. Following the original novel’s chronological structure—from “the Beginning” to “End Times”—this official companion to the Good Omens television series, compiled by Matt Whyman, is a cornucopia of information about the show, its conception, and its creation. Offering deep and nuanced insight into Gaiman’s brilliantly reimagining of the Good Omens universe, The Nice and Accurate Good Omens TV Companion includes: A foreword from Neil Gaiman A profile of the director, Douglas McKinnon Neil’s take on the adaptation process, in which he explains his goals, approach, and diversions from the original text Interviews with the cast, including Michael Sheen, David Tennant, Nina Sosanya, Jon Hamm, Ned Dennehy, Josie Lawrence, Derek Jacobi, Nick Offerman, Frances McDormand, Miranda Richardson, Adria Arjona, and many others More than 200 color photographs And much more! The must-have official companion guide to the Good Omens television series, Nice and Accurate TV Companion is a treasure trove of delights for fans of Good Omens, Neil Gaiman, and Terry Pratchett.
|Author||: Jon Kraszewski|
|Editor||: Taylor & Francis|
From early first-wave programs such as Candid Camera, An American Family, and The Real World to the shows on our television screens and portable devices today, reality television consistently takes us to cities—such as New York, Los Angeles, and Boston—to imagine the place of urbanity in American culture and society. Jon Kraszewski offers the first extended account of this phenomenon, as he makes the politics of urban space the center of his history and theory of reality television. Kraszewski situates reality television in a larger economic transformation that started in the 1980s when America went from an industrial economy, when cities were home to all classes, to its post-industrial economy as cities became key points in a web of global financing, expelling all economic classes except the elite and the poor. Reality television in the industrial era reworked social relationships based on class, race, and gender for liberatory purposes, which resulted in an egalitarian ethos in the genre. However, reality television of the post-industrial era attempts to convince viewers that cities still serve their interests, even though most viewers find city life today economically untenable. Each chapter uses a key theoretical concept from spatial theory—such as power geometries, diasporic nostalgia, orientalism, the imagination of social expulsions, and the relationship between the country and the city—to illuminate the way reality television engages this larger transformation of urban space in America.
|Author||: Maeve Connolly|
|Editor||: Intellect Books|
TV Museum takes as its subject the complex and shifting relationship between television and contemporary art. Informed by theories and histories of art and media since the 1950s, this book charts the changing status of television as cultural form, object of critique, and site of artistic invention. Through close readings of artworks, exhibitions, and institutional practices in diverse cultural and political contexts, Connolly demonstrates television’s continued importance for contemporary artists and curators seeking to question the formation and future of the public sphere. Paying particular attention to developments since the early 2000s, TV Museumincludes chapters on exhibiting television as object; soaps, sitcoms, and symbolic value in art and television; reality TV and the social turn in art; TV archives, memory, and media events; broadcasting and the public realm; TV talk shows and curatorial practice; art workers and TV production cultures.
|Author||: Lisa Parks,Shanti Kumar|
|Editor||: NYU Press|
Provides an overview of the rapidly changing landscape of global television, combining previously published essays by pioneers of the study of television with new work by cutting-edge television scholars who refine and extend intellectual debates in the field.
|Author||: Gilly Smith|
|Editor||: Intellect Books|
Food journalist, podcast producer and former academic Gilly Smith offers fresh insights into the creation of contemporary British food culture. Her latest book explores the story of modern food culture with the creators of lifestyle and food TV and with the academics carving a new world in food and media studies. Taste and the TV Chef investigates how television changed the way Britain eats and sold it to the world. While cooking shows are far from new, they have exploded in popularity in recent years and changed consumption patterns at a time when what we eat has an enormous impact on climate change. What was once merely a genre is now a full-blown phenomenon: never before has food been so photographed, fawned over, fetishized and celebrated as various answers to saving the planet. Celebrity chefs and so-called ‘foodies’ have risen to new levels of fame, and the cultural capital of cooking has never been so valuable. Looks at the influence of chefs like Jamie Oliver, Nigella Lawson and Gordon Ramsay and the role of TV storytelling in transforming how and what we consume. A ground-breaking contribution to food and media studies, which includes rare interviews with the producers who created some of the most influential stories television ever told, Taste and the TV Chef investigates how food and lifestyle TV changed the way an entire country ate, and then fed it to the rest of the world. Main academic readership will be scholars, researchers and students in cultural studies, media studies. Also practitioners and students in the fields of TV production and writing. Will also appeal to anyone with an interest in the development of food TV and the rise of the TV chef.
|Author||: United States. Congress. Senate. Committee on Interstate and Foreign Commerce|
|Author||: John Javna|
Describes the best and worst comedy series of the 50's, 60's, 70's, and 80's, provides information on the basic plot and cast, and includes brief selections from critical reviews.