"While television genre was seen as static in the scholarship of the 1980s, Thinking Outside the Box explores the malleable and reflective nature of various TV programs. The book begins with a historical and theoretical overview of television genres and examines their influences on a national popular culture. The authors analyze less-studied genres such as cartoons, soap operas, and talk shows, locating their place and critical importance in American society."--BOOK JACKET.
Reading Televisionwas the first book to push the boundaries of television studies beyond the insights offered by cultural studies and textual analysis, creating a vibrant new field of study. Using the tools and techniques in this book, it is possible for everyone with a television set to analyze both the programmes, and the culture which produces them. In this edition, Hartley reflects on recent developments in television studies, and includes suggestions for further reading. His new foreword underlines the continuing relevance of this foundational text in the study of contemporary culture.
The 1980s saw the rise of Ronald Reagan and the New Right in American politics, the popularity of programs such asthirtysomethingandDynastyon network television, and the increasingly widespread use of VCRs, cable TV, and remote control in American living rooms. InSeeing Through the Eighties, Jane Feuer critically examines this most aesthetically complex and politically significant period in the history of American television in the context of the prevailing conservative ideological climate. With wit, humor, and an undisguised appreciation of TV, she demonstrates the richness of this often-slighted medium as a source of significance for cultural criticism and delivers a compelling decade-defining analysis of our most recent past. With a cast of characters including Michael, Hope, Elliot, Nancy, Melissa, and Gary; Alexis, Krystle, Blake, and all the other Carringtons; not to mention Maddie and David; even Crockett and Tubbs, Feuer smoothly blends close readings of well-known programs and analysis of television’s commercial apparatus with a thorough-going theoretical perspective engaged with the work of Baudrillard, Fiske, and others. Her comparative look at Yuppie TV, Prime Time Soaps, and made-for-TV-movie Trauma Dramas reveals the contradictions and tensions at work in much prime-time programming and in the frustrations of the American popular consciousness.Seeing Through the Eightiesalso addresses the increased commodification of both the producers and consumers of television as a result of technological innovations and the introduction of new marketing techniques. Claiming a close relationship between television and the cultures that create and view it, Jane Feuer sees the eighties through televison while seeing through television in every sense of the word.
The first edition of this book immediately became a defining text for feminist television criticism, with an influence extending across television, media and screen studies ndash; and the second edition will be similarly agenda-setting. Completely revised and updated throughout, it takes into account the changes in the television industry, the academic field of television studies and the culture and politics of feminist movements.With fifteen of the eighteen extracts being new to the second edition, the readings offer a detailed analysis of a wide range of case studies, topics and approaches, including genres, audiences, performers and programmes such as 'Sex and the City', 'Prime Suspect', Oprah and Buffy.With a new introduction to the volume tracing developments in the field and introductions to each thematic section, the editors engage in a series of debates surrounding the main issues of feminist television scholarship. They explore how television represents feminism and consider how critics themselves have created feminism and post-feminism as historical categories and political identities. Readings consider women who are engaged in various aspects of television production on both sides of the camera and examine how television targets and imagines its female audience, as well as how women respond to and use television in their everyday lives.Feminist Television Criticismis inspiring reading for film, media, cultural and gender studies students.Contributors:Ien Ang, Jane Arthurs, Sarah Banet-Weiser,Karen Boyle, Marsha F. Cassidy, Geok-lian Chua,Bonnie J. Dow, Joanne Hollows, Deborah Jermyn, Annette Kuhn, Elizabeth MacLachlan, Purnima Mankekar, Tania Modleski, Laurie Ouellette, Yeidy M. Rivero, Lee Ann Roripaugh, Beretta E. Smith-Shomade, Kimberly Springer, Ksenija Vidmar-Horvat, Susan J. Wolfe.
This revised edition of a now classic text includes a new introduction by Henry Jenkins, explaining ‘Why Fiske Still Matters’ for today’s students, followed by a discussion between former Fiske students Ron Becker, Aniko Bodroghkozy, Steve Classen, Elana Levine, Jason Mittell, Greg Smith and Pam Wilson on ‘John Fiske and Television Culture’. Both underline the continuing relevance of this foundational text in the study of contemporary media and popular culture. Television is unique in its ability to produce so much pleasure and so many meanings for such a wide variety of people. In this book, John Fiske looks at television’s role as an agent of popular culture, and goes on to consider the relationship between this cultural dimension and television’s status as a commodity of the cultural industries that are deeply inscribed with capitalism. He makes use of detailed textual analysis and audience studies to show how television is absorbed into social experience, and thus made into popular culture. Audiences, Fiske argues, are productive, discriminating, and televisually literate. Television Cultureprovides a comprehensive introduction for students to an integral topic on all communication and media studies courses.
Passengers disco dancing inThe Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertisingDeep Throatin the made-for-TV movieDawn: Portrait of a Teenage Runaway. A frustrated housewife borrowingOrgasm and Youfrom her local library inMary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing-or not representing-those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices. Wallowing in Sexis a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars ofCharlie’s AngelsandWonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour,Laugh-In), sitcoms (M*A*S*H,Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.