Television Books

Book SynopsisA multi- and interdisciplinary collection of essays addressing ethical, political and aesthetic questions raised in the ten-film cycle Decalogue (1989) by Polish filmmaker Krzysztof Kieślowski.Trade Review"This volume is true to the spirit of open engagement in relation to matters of ultimate concern. In their introduction, the editors cite a quote from Kieslowski that wonderfully expresses this openness: 'Both the deep believer and the habitual skeptic experience toothaches in exactly the same way. I always try to speak about toothaches--always. If I am successful in talking about toothaches, I think everyone will understand me.' Indeed, this collection as a whole speaks to this experience of 'toothaches' that afflicts us all. Like Kieslowski himself, the various contributors of this collection are willing to grope in the dark as they explore some of the most fundamental but uncharted facets of the human condition." -- -John Caruana Ryerson University "This is a strong and timely collection that fills a gap in the existing English-language scholarship on a very significant work, and the important issues it raises." -- -Paul Coates University of Western OntarioTable of ContentsAcknowledgments "Within unrest, there is always a question" Eva Badowska and Francesca Parmeggiani Rules and Virtues: The Moral Insight of Krzysztof Kiezlowski's Decalogue William Jaworski Tablets of Stone, Tablets of Flesh: Synesthetic Appeal in Kie?lowski's Decalogue Joseph G. Kickasola Kiezlowski's Decalogue One: Witnessing a Responsible Ethics of Response from a Jewish Perspective Moshe Gold Visual Reverberations: Decalogues Two and Eight Eva M. Stadler Remember the Sabbath Day, to Keep it Holy: Kiezlowski's Decalogue Three Joseph W. Koterski, S.J. Decalogue Four: "You Are Completely Free and I Pretend It Doesn't Affect Me At All" Anne-Katrin Titze Decalogue Five: A Short Film about Killing, Sin, and Community Michael Baur States of Exception: Politics and Poetics in Decalogue Six Eva Badowska Decalogue Seven: A Tale of Love, Failing Words, and Moving Images Francesca Parmeggiani Decalogue Eight: Childhood, Emotion and the Shoah Emma Wilson Divine Possession: Metaphysical Covetousness in Decalogue Nine Philip Sicker Laughter Makes Good Neighbors: Sociability and the Comic in Decalogue Ten Regina Small Notes List of Contributors Index

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Book SynopsisA multi- and interdisciplinary collection of essays addressing ethical, political and aesthetic questions raised in the ten-film cycle Decalogue (1989) by Polish filmmaker Krzysztof Kieślowski.Trade Review"This volume is true to the spirit of open engagement in relation to matters of ultimate concern. In their introduction, the editors cite a quote from Kieslowski that wonderfully expresses this openness: 'Both the deep believer and the habitual skeptic experience toothaches in exactly the same way. I always try to speak about toothaches--always. If I am successful in talking about toothaches, I think everyone will understand me.' Indeed, this collection as a whole speaks to this experience of 'toothaches' that afflicts us all. Like Kieslowski himself, the various contributors of this collection are willing to grope in the dark as they explore some of the most fundamental but uncharted facets of the human condition." -- -John Caruana Ryerson University "This is a strong and timely collection that fills a gap in the existing English-language scholarship on a very significant work, and the important issues it raises." -- -Paul Coates University of Western OntarioTable of ContentsAcknowledgments "Within unrest, there is always a question" Eva Badowska and Francesca Parmeggiani Rules and Virtues: The Moral Insight of Krzysztof Kiezlowski's Decalogue William Jaworski Tablets of Stone, Tablets of Flesh: Synesthetic Appeal in Kie?lowski's Decalogue Joseph G. Kickasola Kiezlowski's Decalogue One: Witnessing a Responsible Ethics of Response from a Jewish Perspective Moshe Gold Visual Reverberations: Decalogues Two and Eight Eva M. Stadler Remember the Sabbath Day, to Keep it Holy: Kiezlowski's Decalogue Three Joseph W. Koterski, S.J. Decalogue Four: "You Are Completely Free and I Pretend It Doesn't Affect Me At All" Anne-Katrin Titze Decalogue Five: A Short Film about Killing, Sin, and Community Michael Baur States of Exception: Politics and Poetics in Decalogue Six Eva Badowska Decalogue Seven: A Tale of Love, Failing Words, and Moving Images Francesca Parmeggiani Decalogue Eight: Childhood, Emotion and the Shoah Emma Wilson Divine Possession: Metaphysical Covetousness in Decalogue Nine Philip Sicker Laughter Makes Good Neighbors: Sociability and the Comic in Decalogue Ten Regina Small Notes List of Contributors Index

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Book SynopsisThis book investigates the religious identity and authority of Stephen Colbert and his character Stephen Colbert. By exploring Colbert’s position as a lay catechist and televised comedian, this book examines how Catholicism shapes Colbert’s experiences, and how Colbert and his persona nuance American Catholicism and the polarized American religious landscape.Table of Contents1. Colbert as Character | 1 2. Colbert as Catholic Authority | 23 3. Colbert as Catechist | 48 4. Colbert as Catholic Comedian | 76 5. Colbert Catholicism | 99 6. Colbert as Culture Warrior | 132 7. Colbert’s Continued Presence | 152 Appendix | 165 Acknowledgments | 173 Notes | 175 Selected Bibliography | 205 Index | 219

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Book SynopsisThe conventions of television and their impact on composer and opera are discussed, with particular reference to Amahl and the Night Visitors, Owen Wingrave, and The Triumph of Beauty and Deceit.Television opera - that is, opera commissioned for television - was one of the earliest attempts by television to bridge the distinction between high culture and popular culture: between 1951 and 2002, in Britain and the United States, over fifty operas were commissioned for television. This book discusses three case studies, the first a live broadcast, the second a video recording, and the third a filmed opera made for television: Gian Carlo Menotti's Amahl and the Night Visitors (NBC, 1951); Benjamin Britten's Owen Wingrave (BBC, 1971), taking into account Britten's earlier television experiences with The Turn of the Screw (Associated Rediffusion, 1959)and Billy Budd (NBC, 1952 and BBC 1966); and Gerald Barry's The Triumph of Beauty and Deceit (1995), part of Channel 4's decision in 1989 to embark upon a series of six hour-long television operas. In each case, thecomposer's response to the demands of television, and his place within the production's hierarchy, are examined; and the effect of the formats and techniques peculiar to television on the process of composing are discussed. JENNIFER BARNES is Assistant Principal and Dean of Studies at Trinity College of Music, London.Trade ReviewThe book's downbeat subtitle says it all: the genre seems to be dying on its shaky feet. It is a slightly esoteric subject, but one the author has pursued with laudable persistence based on extensive research. -- Alan Blyth * GRAMOPHONE *[This] study is a significant contribution to the growth of the still-young scholarship on mediated opera. * NOTES *Packed with closely researched detail, precisely and elegantly argued. It makes for compulsive and intelligent reading. * BBC MUSIC MAGAZINE *Table of Contents"A daring experiment"; Britten, opera and television; trial by television.

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Book SynopsisRecalls Bobbie Wygant trailblazing career as an arts and entertainment reporter for Dallas-Fort Worth's Channel 5. Started in 1948 by Amon G. Carter, WBAP (now KXAS) was the first television station west of the Mississippi, and Wygant was there from the beginning. This engaging and informative volume includes more than three hundred photographs of celebrity encounters.

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Book SynopsisSavor moments of Zen like never before, with our Senior Philosophical Correspondents The Ultimate Daily Show and Philosophy is revised, expanded, and updated to probe deeper than ever before the philosophical significance of the quintessential fake news show of the 21st century.Table of ContentsAcknowledgments xi Introduction: From Wiley-Blackwell’s World Philosophy Headquarters in Malden 1 Segment 1 Headlines: Faux News Is Good News 5 1 Rallying Against the Conflictinator: Jon Stewart, Neil Postman, and Entertainment Bias 7 Gerald J. Erion 2 The Fake, the False, and the Fictional: The Daily Show as News Source 23 Michael Gettings 3 The Daily Show: An Ethos for the Fifth Estate 38 Rachael Sotos 4 Seriously Funny: Mockery as a Political Weapon 56 Greg Littmann 5 Keeping It (Hyper) Real: Anchoring in the Age of Fake News 69 Kellie Bean Segment 2 Live Report: Jon Stewart (Not Mill) as Philosopher, Sort of 83 6 Jon Stewart: The New and Improved Public Intellectual 85 Terrance MacMullan 7 Stewart and Socrates: Speaking Truth to Power 102 Judith Barad 8 Jon the Cynic: Dog Philosophy 101 114 Alejandro Bárcenas 9 “Jews! Camera 3”: How Jon Stewart Echoes Martin Buber 125 Joseph A. Edelheit Segment 3 Field Report: Politics and Critical Thinking 137 10 More Bullshit: Political Spin and the PR-ization of Media 139 Kimberly Blessing and Joseph Marren 11 The Senior Black Correspondent: Saying What Needs to Be Said 155 John Scott Gray 12 The Daily Show’s Exposé of Political Rhetoric 167 Liam P. Dempsey 13 The Daily Show Way: Critical Thinking, Civic Discourse, and Postmodern Consciousness 181 Roben Torosyan Segment 4 Interview: Religion and Culture 197 14 GOP Almighty: When God Tells Me (and My Opponents) to Run for President 199 Roberto Sirvent and Neil Baker 15 Profaning the Sacred: The Challenge of Religious Diversity in “This Week in God” 211 Matthew S. LoPresti 16 Jon Stewart and the Fictional War on Christmas 231 David Kyle Johnson 17 Evolution, Schmevolution: Jon Stewart and the Culture Wars 247 Massimo Pigliucci Segment 5 Your Moment of Zen: Beyond The Daily Show 265 18 America (The Book): Textbook Parody and Democratic Theory 267 Steve Vanderheiden 19 A Tea Party for Me the People: The Living Revolution Meets the Originalists 281 Rachael Sotos 20 Neologization à la Stewart and Colbert 298 Jason Holt 21 Irrationality and “Gut” Reasoning: Two Kinds of Truthiness 309 Amber L. Griffioen 22 Thank God It’s Stephen Colbert! The Rally to Restore Irony on The Colbert Report 326 Kevin S. Decker Senior Philosophical Correspondents 341 Index 348

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Book SynopsisNo doubt the years hunting monsters and saving the universe have had their toll on the Winchesters, but their toughest and most gruesome battles are contained in this book.Think Lucifer was diabolically clever?Think again.No son is more wayward than the one who squanders his intellect and academic career pursuing questions as poignant as Half-awesome? That's full-on good, right?Gathered here for the first time since the formation of Purgatory, a collection of research so arcane and horrific that it would make even the late, great Bobby Singer blush. Supernatural and Philosophy tackles all the big ideas in the long-running hit show Supernatural, covering thorny issues in a fun and accessible way. Even those unfamiliar with the show will find fascinating insights into Heaven, Hell, Angels, Demons, God, and Lucifer. A unique collection of insights into the many philosophical, religious, and paranormal topics in the hit TV show, Supernatural Trade Review“Saying that, what is covered should be enough here for the ‘Supernatural’ fan to think about. Don’t get spooked.” (SFCrowsnest.org.uk, 1 December 2013) “All in all, through reading this book, I realized philosophical and religious examinations are a lot more fun when they’re done side by side with the adventures of Sam and Dean Winchester rather than traditional sources. The correlations make for a very good read. It will certainly change the way we fans see episodes both past and future. Thanks to pop culture, philosophy just isn’t for scholars anymore.” (The Winchester Family Business, 22 October 2013) Table of ContentsAcknowledgments vii Introduction: Codename: GhostPhacers 1 Part One Of Monsters and Morals 5 1 Are Monsters Members of the Moral Community? 7 Nathan Stout 2 Aristotle’s Metaphysics of Monsters and Why We Love Supernatural 16 Galen A. Foresman and Francis Tobienne, Jr. 3 Hunters, Warriors, Monsters 26 Shannon B. Ford 4 Team Free Will: Something Worth Fighting For 37 Devon Fitzgerald Ralston and Carey F. Applegate Part Two Life, Liberty, and the Apocalypse 47 5 What the Hell Is Going On? 49 Galen A. Foresman 6 Try Hell, It’s a Democracy and the Weather Is Warm 62 Dena Hurst 7 Hunting the American Dream: Why Marx Would Think It’s a Terrible Life 74 Jillian L. Canode 8 Mothers, Lovers, and Other Monsters: The Women of Supernatural 83 Patricia Brace 9 Night of the Living Dead Demons and a Life Worth Living 95 John Edgar Browning Part Three Evil by Design 109 10 Dean Winchester and the Supernatural Problem of Evil 111 Daniel Haas 11 Angels and Atheists 125 Fredrick Curry 12 Oh God, You Devil 139 Danilo Chaib Part Four It’s Supernatural 151 13 Naturally Supernatural 153 James Blackmon with Galen A. Foresman 14 Masculinity and Supernatural Love 169 Stacey Goguen 15 Naturalizing Supernatural 179 Joseph L. Graves, Jr. Contributors: Bona Fide, Card Carrying Wisdom Lovers and GhostPhacers 189 Index 195

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Book SynopsisVeronica Mars and Philosophy explores the philosophical issues that underpin this critically acclaimed neo-noir detective series featuring the crime-solving exploits of its title character, the smart and savvy teenage gumshoe Veronica Mars.Table of ContentsAcknowledgments x Introduction: The PI and the Philosophers 1 Part I Veronica Mars Is Rich Dude Kryptonite: Investigating Politics and the Social Order 5 1 Getting Past the Velvet Ropes: Status Anxiety in Neptune 7 William Irwin 2 “That’s Really Criminal of You”: Why It May Be Okay for Veronica Mars to Break the Law 19 Paul Hammond 3 “Got Any Enemies You Know About?” … “Well, There’s the Klan”: Race, Rancor, and Riches in Neptune, California 32 Rejena Saulsberry Part II Veronica Mars Is a Triple Threat—Girl, Teenager, and Private Detective: Investigating the World of noir 45 4 Breaking Bad in Neptune: How “Cool Guys” Become Psychopaths 47 George A. Dunn 5 Noir Neptune: Genre and Gender Bending in Veronica Mars 61 Daniel Wack 6 “Don’t Forget about Me, Veronica”: Time, Memory, and Mystery in Veronica Mars 72 Paul Hammond Part III Veronica Mars Doesn’t Hang with the Evil and Morally Bankrupt: Investigating Vice and Virtue 81 7 “I’m Old School, an Eye for an Eye”: Veronica and Vengeance 83 George A. Dunn 8 “We Used to be Friends”: An Aristotelian Analysis of Veronica’s Friendships 96 Catlyn Origitano 9 Does Veronica Trust Anyone? 109 Jon Robson Part IV Veronica Mars Is No Longer That Girl: Investigating Women in Society 123 10 Veronica’s Trip to the Dentist: Don’t Blame the Victim 125 James Rocha and Mona Rocha 11 “Grow a Sense of Humor, You Crazy Bitch”: Veronica Mars as a Feminist Icon 136 Kasey Butcher and Megan M. Peters 12 On Not Being a Slut (Even When Everyone Thinks You Are) 147 Jordan Pascoe Part V Veronica Mars Is Smarter Than Me: Investigating How and Why We Investigate 157 13 “I Used to Think that Solving the Case Was the Key to Our Happiness”: The Value of Truth in Veronica Mars 159 Dereck Coatney 14 “Have You Ever Heard of Occam’s Razor?” Veronica’s Use of Inductive Reasoning 170 Andrew Zimmerman Jones 15 “Not Pictured”: What Veronica Knew but Didn’t See 184 Daniel A. Wilkenfeld Part VI Veronica Mars Is a Marshmallow: Investigating Veronica’s Quest for Identity 199 16 Veronica Mars—She’s a Marshmallow 201 James B. South Notes on Contributors: Under Investigation 215 Index 219

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Book SynopsisThe latest edition of the acclaimed volume on television studies, featuring new original essays from leading scholars in the field Although the digital age has radically altered the media and communications landscape worldwide, television continues to play a significant part of our lives. From its earliest beginnings through to the present day, television and its influence has been the subject of extensive study, critique, and analysis. A Companion to Television brings together contributions from prominent international scholars comprising a wide range of perspectives on the medium. Original essays define television in its current state, explore why it is still relevant, survey the ways in which television has been studied, discuss how television has changed, and consider what television might look like in the future. Now in its second edition, this compendium includes fresh chapters that cover technological changes affecting television, contemporary apprTable of ContentsNotes on Contributors ix List of Tables and Figures xvii Part I Introduction 1 Introduction 3 Janet Wasko and Eileen R. Meehan Part II Theoretical Overview 15 1 Critical Perspectives on Television from the Frankfurt School to the Politics of Representation 17 Doug Kellner Part III History 39 2 Our TV Heritage: Tracing the Logics of the Television Archive 41 Lynn Spigel 3 Locating the Televisual in Golden Age Television 63 Caren J. Deming and Deborah V. Tudor 4 The Past is Now Present Onscreen: Television, History, and Collective Memory 79 Gary R. Edgerton Part IV Industry 105 5 Broadcasting in the Age of Netflix: When the Market is Master 107 Sylvia Harvey 6 The Audiovisual Industry and the Structural Factors of the Television Crisis 129 Giuseppe Richeri 7 Netflix, Inc. and Online Television 145 Jane Shattuc 8 Television Advertising: Texts, Political Economy, and Ideology 165 Matthew P. McAllister and Lars Stoltzfus‐Brown 9 Contested Connections: Public Broadcasting and Culture in Common 183 Graham Murdock Part V Genres 199 10 Reality TV: Performances and Audiences 201 Annette Hill 11 Revisiting the Trade in Television News 221 Andrew Calabrese and Christopher C. Barnes 12 Twitter Watchers: The Care and Feeding of Cable News Flow in the Age of Trump 247 Deborah L. Jaramillo 13 Television and Sports 265 Michael R. Real and William M. Kunz Part VI Programs 285 14 30 Rock and the Satirical Representation of the Television Industry 287 Lauren Bratslavsky 15 Nothing New Under the Sun: The Reimplementation of 80s Sitcom Tropes in NBC’s This is Us 307 Novotny Lawrence Part VII Audiences 325 16 Children and Television: A Special Audience for a Special Medium 327 Dafna Lemish 17 Watching Television: A Political Economic Approach 345 Eileen R. Meehan 18 The Female Television Audience Updated: Women’s Television Culture in the Age of New Media 361 Andrea Press and Sarah R. Johnson 19 Television as a Moving Aesthetic: In Search of the Ultimate Aesthetic – The Self 379 Julianne H. Newton Part VIII International Case Studies 403 20 Television in Latin America: Stages of Transition 405 John Sinclair 21 Drama, Audiences, and Authenticity: Television Programming and Audiences in Post‐Apartheid South Africa 423 Ruth Teer‐Tomaselli 22 Television in the Arab Region: History, Structure, and Transformations 439 Joe F. Khalil 23 Sixty Years of Chinese Television: History, Political Economy, and Ideology in a Conflicted Global Order 459 Yuezhi Zhao and Zhenzhi Guo Index 477

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Book SynopsisInternational in scope and more comprehensive than existing collections, A Companion to Reality Television presents a complete guide to the study of reality, factual and nonfiction television entertainment, encompassing a wide range of formats and incorporating cutting-edge work in critical, social and political theory.Table of ContentsNotes on Contributors ix Introduction 1Laurie Ouellette Part One Producing Reality: Industry, Labor, and Marketing 9 1 Mapping Commercialization in Reality Television 11June Deery 2 Reality Television and the Political Economy of Amateurism 29Andrew Ross 3 When Everyone Has Their Own Reality Show 40Mark Andrejevic 4 Cast-aways: The Plights and Pleasures of Reality Casting and Production Studies 57Vicki Mayer 5 Program Format Franchising in the Age of Reality Television 74Albert Moran Part Two Television Realities: History, Genre, and Realism 95 6 Realism and Reality Formats 97Jonathan Bignell 7 Reality TV Experiences: Audiences, Fact, and Fiction 116Annette Hill 8 From Participatory Video to Reality Television 134Daniel Marcus 9 Manufacturing “Massness”: Aesthetic Form and Industry Practice in the Reality Television Contest 155Hollis Griffin 10 God, Capitalism, and the Family Dog 171Eileen R. Meehan Part Three Dilemmas of Visibility: Identity and Difference 189 11 The Bachelorette’s Postfeminist Therapy: Transforming Women for Love 191Rachel E. Dubrofsky 12 Fractured Feminism: Articulations of Feminism, Sex, and Class by Reality TV Viewers 208Andrea L. Press 13 “It’s Been a While Since I’ve Seen, Like, Straight People”: Queer Visibility in the Age of Postnetwork Reality Television 227Joshua Gamson 14 The Wild Bunch: Men, Labor, and Reality Television 247Gareth Palmer 15 The Conundrum of Race and Reality Television 264Catherine R. Squires 16 Tan TV: Reality Television’s Postracial Delusion 283Hunter Hargraves Part Four Empowerment or Exploitation? Ordinary People and Reality Television 307 17 Reality Television and the Demotic Turn 309Graeme Turner 18 DI(t)Y, Reality-Style: The Cultural Work of Ordinary Celebrity 324Laura Grindstaff 19 Reality Television’s Construction of Ordinary People: Class-Based and Nonelitist Articulations of Ordinary People and Their Discursive Affordances 345Nico Carpentier Part Five Subjects of Reality: Making/Selling Selves and Lifestyles 367 20 Mapping the Makeover Maze: The Contours and Contradictions of Makeover Television 369Brenda Weber 21 House Hunters, Real Estate Television and Everyday Cosmopolitanism 386Mimi White 22 Life Coaches, Style Mavens, and Design Gurus: Everyday Experts on Reality Television 402Tania Lewis 23 Reality Television Celebrity: Star Consumption and Self-Production in Media Culture 421Julie A. Wilson 24 Producing “Reality”: Branded Content, Branded Selves, Precarious Futures 437Alison Hearn Part Six Affective Registers: Reality, Sentimentality, and Feeling 457 25 A Matter of Feeling: Mediated Affect in Reality Television 459Misha Kavka 26 “Walking in Another’s Shoes”: Sentimentality and Philanthropy on Reality Television 478Heather Nunn and Anita Biressi Part Seven The Politics of Reality: Global Culture, National Identity, and Public Life 499 27 Reality Television, Public Service, and Public Life: A Critical Theory Perspective 501Peter Lunt 28 Reality Talent Shows in China: Transnational Format, Affective Engagement, and the Chinese Dream 516Ling Yang 29 Reality Television from Big Brother to the Arab Uprisings: Neoliberal, Liberal, and Geopolitical Considerations 541Marwan M. Kraidy Index 557

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Book SynopsisThis powerful history of broadcasting in the United States goes beyond traditional accounts to explore the field''s important social, political, and cultural ramifications. It examines how broadcasting has been organized as a business throughout much of the 20th century, and focuses on the aesthetics of programming over the years Surveys four key broadcasting periods from 1921 to 1996, drawing on a range of new sources to examine recent changes in the field, including coverage of the recent impact of cable TV and home video Includes new data from collections at the Library of Congress and the Library of American Broadcasting Ideal for anyone seeking a readable history of the field, offering the most current coverage available Trade Review"The book is wonderfully punctuated with rare photographs from the Library of American Broadcasting. The organization easily guides the reader through the narrative. A lot of reference source material comes from the periodicals and publications of the time. In addition to the rich collection at the Maryland Library of American Broadcasting collection, Gomery ventured into other national archives." (Journal of Broadcasting & Electronic Media, September 2010) “The book remains distinctive on several levels. It is a somewhat provocative survey that in 357 pages effectively renders broadcasting’s first sixty years.” (Journalism History, Spring 2009) "Douglas Gomery is a master of the historical archive. This is a thoroughly researched, eminently readable book, written in a very accessible and entertaining style that holds the attention of readers, while also providing new information and documentation for scholars. A must read for media historians and media history courses." ( Richard Butsch, author of The Making of American Audiences) “Gomery [is] a leading historian … .Here’s a history worth reading. Producers, undergraduates in media studies, and fans of media history should be avid readers." ( Television Quarterly)Table of ContentsList of Illustrations vi Preface: Why a History of Broadcasting in the USA? ix Acknowledgments xvii Introduction: Broadcasting’s Beginning: The Big Bang 1 Part I: The Network Radio Era, 1921–1950 1 1. Industrial Innovation and Diffusion: The Radio Networks 13 2. Radio’s Social, Cultural, and Political Impact: The First Mass Medium 38 3. The Development of a New Aesthetic: Sounds 71 Part II: Transition, 1945–1957 105 4. TV Replaces Radio in the Living Room 107 5. Radio Reinvents Itself: Top 40 and Beyond 142 Part III: Network Television Dominates, 1958–1982 165 6. CBS, NBC, and ABC Covering the USA 167 7. Network TV’s Social, Cultural, and Political Impact 197 8. The Genre Machine: From Maverick to M*A*S*H 231 Part IV: Contemporary History, 1982–1996 279 9. Radio: The FM Era 281 10. Television: Remote Control Paradise 299 Epilogue: Still a Broadcasting Nation: 1996 and into the Future 338 Appendix: Sorry, Wrong Number 346 Index 353

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Book SynopsisThis powerful history of broadcasting in the United States goes beyond traditional accounts to explore the field''s important social, political, and cultural ramifications. It examines how broadcasting has been organized as a business throughout much of the 20th century, and focuses on the aesthetics of programming over the years Surveys four key broadcasting periods from 1921 to 1996, drawing on a range of new sources to examine recent changes in the field, including coverage of the recent impact of cable TV and home video Includes new data from collections at the Library of Congress and the Library of American Broadcasting Ideal for anyone seeking a readable history of the field, offering the most current coverage available Trade Review"The book is wonderfully punctuated with rare photographs from the Library of American Broadcasting. The organization easily guides the reader through the narrative. A lot of reference source material comes from the periodicals and publications of the time. In addition to the rich collection at the Maryland Library of American Broadcasting collection, Gomery ventured into other national archives." (Journal of Broadcasting & Electronic Media, September 2010) "Douglas Gomery is a master of the historical archive. This is a thoroughly researched, eminently readable book, written in a very accessible and entertaining style that holds the attention of readers, while also providing new information and documentation for scholars. A must read for media historians and media history courses." Richard Butsch, author of The Making of American Audiences “At once more expansive and finely detailed than almost any other book out there on the subject, this work will appeal to both experts in the field and those new to this history. A "must have" for media historians." Susan Murray, New York University “Gomery [is] a leading historian … .Here’s a history worth reading. Producers, undergraduates in media studies, and fans of media history should be avid readers." Television QuarterlyTable of ContentsList of Illustrations vi Preface: Why a History of Broadcasting in the USA? ix Acknowledgments xvii Introduction: Broadcasting’s Beginning: The Big Bang 1 Part I: The Network Radio Era, 1921–1950 1 1. Industrial Innovation and Diffusion: The Radio Networks 13 2. Radio’s Social, Cultural, and Political Impact: The First Mass Medium 38 3. The Development of a New Aesthetic: Sounds 71 Part II: Transition, 1945–1957 105 4. TV Replaces Radio in the Living Room 107 5. Radio Reinvents Itself: Top 40 and Beyond 142 Part III: Network Television Dominates, 1958–1982 165 6. CBS, NBC, and ABC Covering the USA 167 7. Network TV’s Social, Cultural, and Political Impact 197 8. The Genre Machine: From Maverick to M*A*S*H 231 Part IV: Contemporary History, 1982–1996 279 9. Radio: The FM Era 281 10. Television: Remote Control Paradise 299 Epilogue: Still a Broadcasting Nation: 1996 and into the Future 338 Appendix: Sorry, Wrong Number 346 Index 353

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Book SynopsisCombining cutting-edge theories of culture and government with programming examplesincluding Todd TV, Survivor, and American IdolBetter Living through Reality TV moves beyond the established concerns of political economy and cultural studies to conceptualize television''s evolving role in the contemporary period. A major textbook on the impact of reality and lifestyle television on today's programming, and on broader social, cultural and political trends Draws on a range of examples from The Apprentice and American Idol to Extreme Makeover and Wife Swap Argues that reality television teaches viewers to monitor, motivate, improve, transform and protect themselves in the name of freedom, enterprise, and personal responsibility Trade Review“This book does not simply pay lip service to the claim that reality television is a democratic and populist force.” (Communication Booknotes Quarterly, Jan.-Mar. 2009) “Better Living presents Foucault’s concept of govermentality in an accessible way as the authors combine this theoretical concept with rich textual examples from various reality TV shows. In fact, one of the strengths of Better Living is the detailed examples that Ouellette and Hay provide to support their arguments.” (Journal of the Communication Inquiry)Table of ContentsList of Illustrations. Introduction. 1. Charity TV: Privatizing Care, Mobilizing Compassion. 2. TV Interventions: Personal Responsibility and Techniques of the Self. 3 Makeover TV: Labors of Reinvention. 4. TV and the Self-Defensive Citizen. 5. TV's Constitutions of Citizenship. 6. Playing TV's Democracy Game. Notes. Index.

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Book SynopsisCombining cutting-edge theories of culture and government with programming examplesincluding Todd TV, Survivor, and American IdolBetter Living through Reality TV moves beyond the established concerns of political economy and cultural studies to conceptualize television''s evolving role in the contemporary period. A major textbook on the impact of reality and lifestyle television on today's programming, and on broader social, cultural and political trends Draws on a range of examples from The Apprentice and American Idol to Extreme Makeover and Wife Swap Argues that reality television teaches viewers to monitor, motivate, improve, transform and protect themselves in the name of freedom, enterprise, and personal responsibility Trade Review"Better Living through Reality TV achieves what cultural theory does at its best: a fascinating, insightful, and clear-eyed look at contemporary society as seen through the lens of pop culture." --Mark Andrejevic "With this book, reality TV finally 'gets real'." --Nick CouldryTable of ContentsList of Illustrations. Introduction. 1. Charity TV: Privatizing Care, Mobilizing Compassion. 2. TV Interventions: Personal Responsibility and Techniques of the Self. 3 Makeover TV: Labors of Reinvention. 4. TV and the Self-Defensive Citizen. 5. TV's Constitutions of Citizenship. 6. Playing TV's Democracy Game. Notes. Index.

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Book SynopsisBeyond the Box gives students and couch potatoes alike a better understanding of what it means to watch television in an era of profound technological change. Charts the revolution in television viewing that is currently underway in living rooms across the world Probes how the Internet's development has altered how television is made and consumed Looks at a range of topics and programmes - from voting practices on American Idol to online forums for Buffy the Vampire Slayer fans Offers a fresh and innovative perspective that focuses on the shift in audience experience and how it has blurred established boundaries Trade Review"Ross's stance is academic, but she also considers the stance of fans, producers, creators and marketers. Together, these voices combine to create a new understanding of the connectedness of all parties in the process of telling stories, both authorised and unauthorised." (Science Fiction Film and Television, July 2010) "Couch potato television students worldwide will gain immensely from Beyond the Box: Television and the Internet, an articulate examination of what it means to watch television in this era of profound technological change … .This book is an exciting example of what happens when an academic, spurred on by a passion, throws caution to the wind and mixes things up." (M/C Reviews: Culture & Media, January 2009)Table of ContentsIntroduction: Online/Offline~What It Means to “Watch (and Make) TV” in the Age of the Internet. 1. Fascinated with Fandom: the Interactively Aware Viewers of Xena and Buffy. 2. Power to the People, or the Industry?: American Idol Voting, “Adult Swim” Bumping, and Viral Video-ing. 3. Managing Millenials: Teen Expectations of Tele-Participation. 4. No Network Is An Island: Lost’s Tele-participation and ABC’s Return to Industry Legitimacy. 5. Conclusion: The Remains Of The Day: The Future Of “TV”

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Book SynopsisEuropean Television History brings together television historians and media scholars to chart the development of television in Europe since its inception. The volume interrogates the history of the medium in divergent political, economic, cultural and ideological national contexts Taking a comparative approach to the topic, the volume is organized around a set of common questions, themes, and methodological reflections Deals with European television in the context of television historiography and transnational traditions Case study chapters written by scholars from different European countries to reflect their specific areas of expertise Trade Review"The approaches of this book...should become part of the preparation of anyone teaching about television." (Communication Research Trends, 2009) "A European Television History brings together television historians and media scholars to chart the development of television in Europe since its inception. The volume interrogates the history of the medium in divergent political, economic, cultural and ideological national contexts." (Viewfinder, March 2009)Table of ContentsList of Contributors vii Acknowledgements ix 1 Introduction: Comparative European Perspectives on Television History 1Jonathan Bignell and Andreas Fickers 2 Early TV: Imagining and Realising Television 55Knut Hickethier 3 Institutionalising European Television: The Shaping of European Television Institutions and Infrastructures 79Christina Adamou, with Isabelle Gaillard and Dana Mustata 4 Searching for an Identity for Television: Programmes, Genres, Formats 101Jérôme Bourdon, with Juan Carlos Ibáñez, Catherine Johnson and Eggo Müller 5 TV Nations or Global Medium? European Television Between National Institution and Window on the World 127Sonja de Leeuw, with Alexander Dhoest, Juan Francisco Gutiérrez Lozano, François Heinderyckx, Anu Koivunen and Jamie Medhurst 6 American Television: Point of Reference or European Nightmare? 154Ib Bondebjerg, with Tomasz Goban-Klas, Michele Hilmes, Dana Mustata, Helle Strandgaard-Jensen, Isabelle Veyrat-Masson and Susanne Vollberg 7 European Television Events and Euro-visions: Tensions between the Ordinary and the Extraordinary 184Rob Turnock, with Alexander Hecht, Dana Mustata, Mari Pajala and Alison Preston 8 European Television Audiences: Localising the Viewers 215Mats Björkin, with Juan Francisco Gutiérrez Lozano 9 Conclusion: Reflections on Doing European Television History 229Andreas Fickers and Jonathan Bignell 10 European Television Archives and the Search for Audiovisual Sources 257Andy O’Dwyer Index 264

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Book SynopsisEuropean Television History brings together television historians and media scholars to chart the development of television in Europe since its inception. The volume interrogates the history of the medium in divergent political, economic, cultural and ideological national contexts Taking a comparative approach to the topic, the volume is organized around a set of common questions, themes, and methodological reflections Deals with European television in the context of television historiography and transnational traditions Case study chapters written by scholars from different European countries to reflect their specific areas of expertise Trade Review"The approaches of this book...should become part of the preparation of anyone teaching about television." (Communication Research Trends, 2009) "With this collection, Bignell and Fickers bring together an outstanding team of scholars to draw together the best of existing and new scholarship in the field. This collection should inform all future studies of television, media history and, given the centrality of media to the formation of contemporary Europe, the study of European history as a whole." Sean Cubitt, Director of the Program in media and Communications, University of MelbourneTable of ContentsList of Contributors vii Acknowledgements ix 1 Introduction: Comparative European Perspectives on Television History 1Jonathan Bignell and Andreas Fickers 2 Early TV: Imagining and Realising Television 55Knut Hickethier 3 Institutionalising European Television: The Shaping of European Television Institutions and Infrastructures 79Christina Adamou, with Isabelle Gaillard and Dana Mustata 4 Searching for an Identity for Television: Programmes, Genres, Formats 101Jérôme Bourdon, with Juan Carlos Ibáñez, Catherine Johnson and Eggo Müller 5 TV Nations or Global Medium? European Television Between National Institution and Window on the World 127Sonja de Leeuw, with Alexander Dhoest, Juan Francisco Gutiérrez Lozano, François Heinderyckx, Anu Koivunen and Jamie Medhurst 6 American Television: Point of Reference or European Nightmare? 154Ib Bondebjerg, with Tomasz Goban-Klas, Michele Hilmes, Dana Mustata, Helle Strandgaard-Jensen, Isabelle Veyrat-Masson and Susanne Vollberg 7 European Television Events and Euro-visions: Tensions between the Ordinary and the Extraordinary 184Rob Turnock, with Alexander Hecht, Dana Mustata, Mari Pajala and Alison Preston 8 European Television Audiences: Localising the Viewers 215Mats Björkin, with Juan Francisco Gutiérrez Lozano 9 Conclusion: Reflections on Doing European Television History 229Andreas Fickers and Jonathan Bignell 10 European Television Archives and the Search for Audiovisual Sources 257Andy O’Dwyer Index 264

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Book SynopsisTelevision Truths considers what we know about TV, whether we love it or hate it, where TV is going, and whether viewers should bother going along for the ride.Trade Review“John Hartley’s Television Truths is a complex and engaging work, inspired by an ambitious project of knowledge — a distinctive characteristic of this original and farsighted scholar.” (International Journal of Communication, April 2009) “Grand in scope, bold, witty, and engaging, Television Truths fashions a provocative new philosophy for the study and appreciation of both TV and a TV polity.” ( Jonathan Gray, author of Watching with The Simpsons: Television, Parody, and Intertextuality, co-editor of Fandom: Identities and Communities in a Mediated World) “As always, John Hartley’s provocative arguments and examples push against the boundaries and restrictions of conventional approaches. His focus on the multiple contexts of television adds greatly to our store of key questions about ‘television.’” ( Horace Newcomb, Director, George Foster Peabody Awards, The University of Georgia)Table of ContentsList of Figures. List of Tables. Acknowledgments. 1. Television Truths (Argumentation of TV). Part I: Is TV True? (Epistemology of TV):. 2. The Value Chain of Meaning. 3. Public Address Systems: Time, Space, and Frequency. 4. Television and Globalization. Part II: Is TV a Polity? (Ethics/Politics of TV):. 5. Television, Nation, and Indigenous Media. 6. A Television Republic?. 7. Reality and the Plebiscite. Part III: Is TV Beautiful? (Aesthetics of TV):. 8. From a “Wandering Booby” to a Field of Cows: The Television Live Event. 9. Shakespeare, Big Brother, and the Taming of the Self. 10. Sync or Swim? Plebiscitary Sport and Synchronized Voting. Part IV: What Can TV Be? (Metaphysics of TV):. 11. “Laughs and Legends” or the Furniture that Glows? Television as History. 12. Television in Knowledge Paradigms. References. Index

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Book SynopsisDefining Visions is a powerful narrative social history that examines television's rise as the great certifying agent in American life. This newly updated and fully revised edition extends its coverage to the end of the 20th century. It defines the Television Age as a discrete period in American history bracketed by monumental eventsthe triumph of the Allied victory of WWII and the devastation of 9/11. A powerful narrative social history that examines television's rise as the great ''certifying agent'' in American life Extends its coverage to the end of the twentieth century, and defines the ''Television Age'' as a discrete period in American history that is bracketed by the end of WWII and 9/11 Includes discussions of the Monica Lewinsky scandal and Clinton impeachment; the massacre at Columbine High School; the 2000 presidential election; and the tragic events of September 11, 2001 Considers the cultural impact of recent prime-time programsTrade Review“In this engaging, old-fashioned look at television, Watson argues that television defined for Americans the social issues of race, gender, violence, sex, work, consumption, behavior, and values in the decades following WW II. The book delights with its engaging style, sometimes savoring of Variety. Include[es] new illustrations, bringing each chapter up to the present, and significantly expanding the epilogue. Highly recommended.” Choice “Once again one of our most eminent broadcast historians has produced a work that is both good history and good reading, and a brilliant and analytic integration of sources – many of them mined from heretofore unavailable material. This elegant history of television is a study of the box that changed history and its changing status in the era of the web with implications for democracy and society writ large.” Everette E. Dennis, Fordham Graduate School of Business, New York “A really good book about the history of American television would, by necessity, also be a book about all of the most important social and cultural themes of the last half of the twentieth century. Defining Visions is that really good book.” Robert Thompson, Newhouse School of Public Communication, Syracuse University Praise for the first edition of Defining Visions: “Cogent and discerning assessment ... .A comprehensively revised second edition … . As one of our most astute media observers, Watson makes an estimable case.” Television Quarterly "[Defining Visions] is a beautifully-written, textured analysis of American television. Watson has produced good history and good analytic integration of sources and original observations..." Everette Dennis, Felix E. Larkin Distinguished Professor of Communications and Media Management, Fordham University "Watson's Defining Visions ably introduces the reader to television culture in an informative, often entertaining manner. ....Watson might well join the ranks of authors Neil Postman and Erik Barnouw...attracting those within and outside the academy. As it stands, Defining Visions will most likely find a receptive readership among undergraduates." Robin R. Means, Journal of Popular Film & Television “Especially versatile for teaching the influence of television on race, class and gender and presents a rich background for examining violence, advertising, character and democracy.” The Docket "This refreshing approach--devoid of cultural studies--has an important strength: in revealing television as a powerful part of American life, not just an idle preference, it presents youthful readers with a view that contrasts with much they have heard about television. The book delights with its engaging style." -R.W. Morrow, Morgan State University Table of Contents1: Television Enters the Picture. 2: Television and the Melting Pot: Race and Ethnicity. 3: Home on screen: Gender and Family. 4: The Killing Tube: Violence and Crime. 5: TV Goes all the Way: Romance and Sexuality. 6: The Boxed-In Workplace: Jobs and Professions. 7: Tuning Out Restraint: Indulgence and Advertising. 8: Taking the Cue: Television and the American Personality. 9: Deep Focus: Television and the American Character. 10: The Webbed Republic: Democracy in the Television Age. Epilogue. Select Bibliography. Index

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Book SynopsisDefining Visions is a powerful narrative social history that examines television's rise as the great certifying agent in American life. This newly updated and fully revised edition extends its coverage to the end of the 20th century. It defines the Television Age as a discrete period in American history bracketed by monumental eventsthe triumph of the Allied victory of WWII and the devastation of 9/11. A powerful narrative social history that examines television's rise as the great ''certifying agent'' in American life Extends its coverage to the end of the twentieth century, and defines the ''Television Age'' as a discrete period in American history that is bracketed by the end of WWII and 9/11 Includes discussions of the Monica Lewinsky scandal and Clinton impeachment; the massacre at Columbine High School; the 2000 presidential election; and the tragic events of September 11, 2001 Considers the cultural impact of recent prime-time programsTrade Review“In this engaging, old-fashioned look at television, Watson argues that television defined for Americans the social issues of race, gender, violence, sex, work, consumption, behavior, and values in the decades following WW II. The book delights with its engaging style, sometimes savoring of Variety. Include[es] new illustrations, bringing each chapter up to the present, and significantly expanding the epilogue. Highly recommended.” Choice “Once again one of our most eminent broadcast historians has produced a work that is both good history and good reading, and a brilliant and analytic integration of sources – many of them mined from heretofore unavailable material. This elegant history of television is a study of the box that changed history and its changing status in the era of the web with implications for democracy and society writ large.” Everette E. Dennis, Fordham Graduate School of Business, New York “A really good book about the history of American television would, by necessity, also be a book about all of the most important social and cultural themes of the last half of the twentieth century. Defining Visions is that really good book.” Robert Thompson, Newhouse School of Public Communication, Syracuse University Praise for the first edition of Defining Visions: “Cogent and discerning assessment ... .A comprehensively revised second edition … . As one of our most astute media observers, Watson makes an estimable case.” Television Quarterly "[Defining Visions] is a beautifully-written, textured analysis of American television. Watson has produced good history and good analytic integration of sources and original observations..." Everette Dennis, Felix E. Larkin Distinguished Professor of Communications and Media Management, Fordham University "Watson's Defining Visions ably introduces the reader to television culture in an informative, often entertaining manner. ....Watson might well join the ranks of authors Neil Postman and Erik Barnouw...attracting those within and outside the academy. As it stands, Defining Visions will most likely find a receptive readership among undergraduates." Robin R. Means, Journal of Popular Film & Television “Especially versatile for teaching the influence of television on race, class and gender and presents a rich background for examining violence, advertising, character and democracy.” The Docket "This refreshing approach--devoid of cultural studies--has an important strength: in revealing television as a powerful part of American life, not just an idle preference, it presents youthful readers with a view that contrasts with much they have heard about television. The book delights with its engaging style." -R.W. Morrow, Morgan State University Table of Contents1: Television Enters the Picture. 2: Television and the Melting Pot: Race and Ethnicity. 3: Home on screen: Gender and Family. 4: The Killing Tube: Violence and Crime. 5: TV Goes all the Way: Romance and Sexuality. 6: The Boxed-In Workplace: Jobs and Professions. 7: Tuning Out Restraint: Indulgence and Advertising. 8: Taking the Cue: Television and the American Personality. 9: Deep Focus: Television and the American Character. 10: The Webbed Republic: Democracy in the Television Age. Epilogue. Select Bibliography. Index

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Book SynopsisJust when you thought paper couldn't be more exciting, this book comes your way! This bookjammed full of paperunites philosophy with one of the best shows ever: The Office. Addressing both the current American incarnation and the original British version, The Office and Philosophy brings these two wonders of civilization together for a frolic through the mundane yet curiously edifying worlds of Scranton's Dunder-Mifflin and Slough's Wernham-Hogg. Is Michael Scott in denial about death? Are Pam and Jim ever going to figure things out? Is David Brent an essentialist? Surprisingly, The Office can teach us about the mind, Aristotle, and humiliation. Even more surprisingly, paper companies can allow us to better understand business ethics. Don't believe it? Open this book, and behold its beautiful paper Join the philosophical fray as we explore the abstract world of philosophy through concrete scenes of the unexamineTrade Review"An entertaining look at the ethical and philosophical lessons of 'The Office'." (Venue, November 2008)Table of ContentsIntroduction. A note to our Suppliers in the US and the UK: Support Philosophy - it uses lots of paper…. A Note to Bitter Brits and Confused Americans…. The Dundies: Some Awards for Making this Book Possible. Memo 1: Paper Thin Morality. 1. Screws and Nails: Paper Tigers and Moral Monsters in The Office (US): J. Jeremy Wisnewski (Hartwick College). 2. Flirting in The Office: What Can Jim and Pam’s Romantic Antics Teach Us about Moral Philosophy? (US): Mark D. White (College of Staten Island). 3. Can Michael Ever Learn?: Empathy and the Self-Other Gap (US): Andrew Terjesen (Rhodes College). 4. Leaving the Dice Alone: Pointlessness and Helplessness at Wernham-Hogg (UK): Wim Vandekerckhove (Ghent University) and Eva Tsahuridu (University of Greenwich Business School). 5. The Virtues of Humor: What The Office Can Teach Us About Aristotle’s Ethics (UK): Sean McAleer (University of Wisconsin-Eau Claire). Memo 2: Know Thyself!. 6. Pam and Jim on the Make: The Epistemology of Self-Deception (US): Stefanie Rocknak (Hartwick College). 7. What Dwight Doesn’t Know Can’t Hurt Him—Or Can It?. Deception and Self-Deception in The Office (US): Randall M. Jensen (Northwestern College in Orange City, Iowa). 8. Authenticity or Happiness? Michael Scott and the Ethics of Self-Deception (US): Peter Murphy (University of Indianapolis) and Jonathan Evans (University of Indianapolis). 9. Humiliation in The Office (and at Home) (US): John Elia (Wilson College). Memo 3: Funny and not-so-funny Business. 10. Laughter between Distraction and Awakening: Marxist Themes in The Office (US): Michael Bray (at Southwestern University). 11. Being-in-The Office: Sartre, the Look, and the Viewer (US): Matthew Meyer (University of Wisconsin-Eau Claire) and Greg Schneider (University of Minnesota). 12. A Boy that Swims Faster than a Shark: Jean Baudrillard Visits The Office (UK): Russell Manning (Yarra Valley Grammar, Melbourne). Memo 4: Mind Your Business!. 13. Stakeholders vs. Stockholders in the American Office (US): Rory E. Kraft, Jr. (York College of Pennsylvania). 14. Attacking with the North: Affirmative Action and The Office (US): David Kyle Johnson (King’s College in Wilkes-Barre). 15. Darkies, Dwarves, and Benders: Political (In)Correctness in The Office (UK): Thomas Nys (Utrecht University). 16. The Hostile Office: Michael as a Sexual Harasser (US): Keith Dromm (Northwestern State University). 17. The Obscene Watermark: Corporate Responsibility at Dunder-Mifflin (US): David Kyle Johnson (King’s College in Wilkes-Barre). Memo 5: Philosophy at the water-cooler…. 18. For L’Amour: Love and Friendship in The Office (US): Robert Arp (University at Buffalo) and Jamie Watson (Florida State University). 19. Look at the Ears! The Problem of Natural Kinds (UK): Thomas Nys (Utrecht University). 20. Gareth Keenan Investigates Paraconsistent Logic: The Case of the Missing Tim and the Redundancy Paradox (UK): Morgan Luck (Charles Sturt University). 21. Being Your Self in The Office (US): Rick Mayock (West Los Angeles College). 22. Michael Scott is Going to Die (US): Meg Lonergan (Hartwick College) and J. Jeremy Wisnewski (Hartwick College). Appendix A, From Our Office to Yours: The University of Scranton and The Office. Appendix B, Question: What do you need to know about Dwight K. Schrute?. Corporate Filing System (Index). Employees (Notes on Contributors)

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Book SynopsisMiami Vice captures the glitter and glamour embodied by Crockett and Tubbs by offering an anatomy of a ground-breaking work in the police procedural genre. The volume explores Vice's combination of disparate influences (MTV, film noir, soap opera, action films) as well as the social and cultural moments when it burst onto the network.Trade Review"All in all, the careful, detailed analysis of the various contexts of network television turns this study into a useful handbook especially for film students who can use it as blueprint for analysing other series." (European Journal of American Studies, 2011) "[Lyons] displays, in addition to still other virtues, an attentiveness to visual texture and theme as refined as that in the best film criticism. This book offers the richest account of a single television program I've ever read, describing a defining show of the Reagan years...Lyons's treatment of the series' conflicted ideology is equally illuminating." (Cinema Journal, 1 June 2011) Table of ContentsAcknowledgments. Introduction. 1. I Want My MTV Cops: Miami Vice as Television Commodity. 2. Guns, Glitter, and Glamour: Styling the Show. 3. Losing the Plot?: Storytelling in Miami Vice. 4. Risky Business: the Cultural Politics of Vice. Afterword. Broadcast Date Notes. Notes. Bibliography. Index.

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Book SynopsisEurope Un-Imagined examines one of the world’s first and only trans nationally produced television channels, Association relative à la télévision européenne (ARTE). ARTE calls itself the European culture channel and was launched in 1991 with a French-German intergovernmental mandate to produce television and other media that promoted pan-European community and culture. Damien Stankiewicz’s ground-breaking ethnographic study of the various contexts of media production work at ARTE (the newsroom, the editing studio, the screening room), reveals how ideas about French, German, and European culture coalesce and circulate at the channel. He argues that the reproduction of nationalism often goes unacknowledged and unremarked upon, and questions whether something like a European imagination can be produced. Stankiewicz describes the challenges that ARTE staff face, including rapidly changing media technologies and audiences, unreflective national stereotyping,Trade Review"Stankiewicz’s work is provocative, and it should be taught in all courses in media studies and on the anthropology of the media because it will provide fodder for lively discussions about the role of television in crafting shared cultural and national identities." -- Kristen Ghodsee * H-Net Reviews, June 2018 *Table of ContentsIntroduction Chapter 1: Bienvenue a ARTE / Wilkommen bei ARTE Chapter 2: Producing trans/national media Chapter 3: Trans/national belonging Chapter 4: Re-presenting history on and at ARTE Chapter 5: culture, "culture," Culture Chapter 6: Trans/national audiences Conclusions and Provocations

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Book SynopsisEurope Un-Imagined examines one of the world’s first and only trans nationally produced television channels, Association relative à la télévision européenne (ARTE). ARTE calls itself the European culture channel and was launched in 1991 with a French-German intergovernmental mandate to produce television and other media that promoted pan-European community and culture. Damien Stankiewicz’s ground-breaking ethnographic study of the various contexts of media production work at ARTE (the newsroom, the editing studio, the screening room), reveals how ideas about French, German, and European culture coalesce and circulate at the channel. He argues that the reproduction of nationalism often goes unacknowledged and unremarked upon, and questions whether something like a European imagination can be produced. Stankiewicz describes the challenges that ARTE staff face, including rapidly changing media technologies and audiences, unreflective national stereotyping,Trade Review"Stankiewicz’s work is provocative, and it should be taught in all courses in media studies and on the anthropology of the media because it will provide fodder for lively discussions about the role of television in crafting shared cultural and national identities." -- Kristen Ghodsee * H-Net Reviews, June 2018 *Table of ContentsIntroduction Chapter 1: Bienvenue a ARTE / Wilkommen bei ARTE Chapter 2: Producing trans/national media Chapter 3: Trans/national belonging Chapter 4: Re-presenting history on and at ARTE Chapter 5: culture, "culture," Culture Chapter 6: Trans/national audiences Conclusions and Provocations

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Book SynopsisThe first study of its kind, Directed by God analyzes several representations of Jewish religiosity in Israeli film and television that challenge secular Zionism in contemporary Israeli society.Table of Contents Preface and Acknowledgments A Note on Transliteration Introduction Chapter 1. Jewish and Human: Images of Orthodox Jews Chapter 2. Jewish and Israeli: Images of Mizrahi Jews Chapter 3. Jewish and Fanatic: Images of Religious Zionists Chapter 4. Jewish and Popular: Images of Religion on TV Afterword Notes Bibliography Filmography Index

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Book SynopsisThe first study of its kind, Directed by God analyzes several representations of Jewish religiosity in Israeli film and television that challenge secular Zionism in contemporary Israeli society.Table of Contents Preface and Acknowledgments A Note on Transliteration Introduction Chapter 1. Jewish and Human: Images of Orthodox Jews Chapter 2. Jewish and Israeli: Images of Mizrahi Jews Chapter 3. Jewish and Fanatic: Images of Religious Zionists Chapter 4. Jewish and Popular: Images of Religion on TV Afterword Notes Bibliography Filmography Index

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Book SynopsisThe first comprehensive, season-by-season analysis of the critically acclaimed HBO series The Wire, this book explicates the complex narrative arc of the entire series and its sweeping vision of institutional failure in the postindustrial United States.Trade Review[A] smart, engaging book-length examination . . . . Stanley Corkin, in his deep analysis, approaches David Simon’s masterful series from a media studies perspective without losing any of the sociological focus. * Film International *Despite The Wire’s run on HBO ending in 2008, many of the themes and topics examined are still relevant today. . . Connecting the Wire provides a comprehensive resource for utilizing the HBO series as a device for further geographic, sociological, and media studies research and discussions. Whether a loyal viewer of the series while it aired, or someone only vaguely familiar with the show (which can easily still be binged watched today), Corkin’s treatment of the television show provides depth, insight and context for what the back cover touts as “critically acclaimed as one of the best television shows ever produced." * Popular Culture Studies Journal *A careful analysis of the popular HBO television series The Wire...Connecting the Wire is an important read for…scholars of race, poverty and urban inequality. Corkin works to analyze The Wire in the context of some of the important discussions about deindustrialization and urban decline. Connecting the Wire is also an important tool or those who teach in this area. * Ethnic and Racial Studies *Table of Contents Acknowledgments Introduction One. Season 1: Drugs, Race, and the Structures of Social Immobility Two. Season 2: The Wire, the Waterfront, and the Ravages of Neoliberalism Three. Season 3: Drugs, Space, and Redevelopment Four. Season 4: A Neoliberal Education: Space, Knowledge, and Schooling Five. Season 5: The Demise of the Public Sphere—News, Lies, and Policing Conclusion: The Wire and the New Dawn (Maybe) Notes Bibliography Index

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Book SynopsisAnalyzing humanized zombies in popular culture across nearly a century, this innovative book discloses how the extra-ordinary undead mediate our fears of losing agency in the world of the living.Trade ReviewKee provides a compelling synthesis of theory and criticism...useful for horror scholars interested in how portrayals of zombie intersect with race and gender. * Popular Culture Studies Journal *[An] ambitious study...Not Your Average Zombie is an insightful, clearly written, and well-researched book that both students and experts in the field of zombie studies will enjoy. * Alphaville *Kee's Not Your Average Zombie is an important book…Put simply: if it's the one book you read about or cite on zombie, you've made an excellent choice. * American Quarterly *[Not Your Average Zombie] offers a fresh theoretical framework to a fast-growing field…a fascinating contribution to the critical conversation about the zombie as a fantastic figure. * Journal of the Fantastic in the Arts *Rather than conclude that the zombie genre is static, [Kee] highlights extraordinary examples of the zombies, zombification, and zombie culture that hint at human agency amongst those often deemed brainless pawns or dehumanized bodies...In each chapter, Kee spends several pages establishing context before she focuses on her examples of extraordinary zombies. What results is robust coverage of every possible example. * ImageTexT *Table of Contents Acknowledgments Introduction. From the Zombi to the Zombie: The Extra-Ordinary Undead Part I. Zombie Identities Chapter 1. From Cannibals to Dead Men Working in the Cane Fields: Haiti, Vodou, and Early Zombie Films Chapter 2. Racialized and Raceless: Race after Death and Zombie Revolution Chapter 3. "You Can't Hurt Me, You Can't Destroy Me, You Can't Control Me": White Women in Zombie Films Chapter 4. A Proud and Powerful Line: Women of Color and Voodoo Part II. Playing the Zombie Chapter 5. "Be Safe, Have Fun, Eat Brains": Playing the Zombie in Video Games Chapter 6. I Walked with a Zombie: Performing the Living Dead Conclusion. "I Think I'm Dead." Notes Bibliography Index

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Book SynopsisAnalyzing humanized zombies in popular culture across nearly a century, this innovative book discloses how the “extra-ordinary” undead mediate our fears of losing agency in the world of the living.Trade ReviewKee provides a compelling synthesis of theory and criticism...useful for horror scholars interested in how portrayals of zombie intersect with race and gender. * Popular Culture Studies Journal *[An] ambitious study...Not Your Average Zombie is an insightful, clearly written, and well-researched book that both students and experts in the field of zombie studies will enjoy. * Alphaville *Kee's Not Your Average Zombie is an important book…Put simply: if it's the one book you read about or cite on zombie, you've made an excellent choice. * American Quarterly *[Not Your Average Zombie] offers a fresh theoretical framework to a fast-growing field…a fascinating contribution to the critical conversation about the zombie as a fantastic figure. * Journal of the Fantastic in the Arts *Rather than conclude that the zombie genre is static, [Kee] highlights extraordinary examples of the zombies, zombification, and zombie culture that hint at human agency amongst those often deemed brainless pawns or dehumanized bodies...In each chapter, Kee spends several pages establishing context before she focuses on her examples of extraordinary zombies. What results is robust coverage of every possible example. * ImageTexT *Table of Contents Acknowledgments Introduction. From the Zombi to the Zombie: The Extra-Ordinary Undead Part I. Zombie Identities Chapter 1. From Cannibals to Dead Men Working in the Cane Fields: Haiti, Vodou, and Early Zombie Films Chapter 2. Racialized and Raceless: Race after Death and Zombie Revolution Chapter 3. "You Can't Hurt Me, You Can't Destroy Me, You Can't Control Me": White Women in Zombie Films Chapter 4. A Proud and Powerful Line: Women of Color and Voodoo Part II. Playing the Zombie Chapter 5. "Be Safe, Have Fun, Eat Brains": Playing the Zombie in Video Games Chapter 6. I Walked with a Zombie: Performing the Living Dead Conclusion. "I Think I'm Dead." Notes Bibliography Index

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Book SynopsisA study of the largely hidden world of primary media market research and the different methods used to understand how the viewer is pictured in the industry. The first book on the intersection between market research and media, Creating the Viewer takes a critical look at media companies’ studies of television viewers, the assumptions behind these studies, and the images of the viewer that are constructed through them. Justin Wyatt examines various types of market research, including talent testing, pilot testing, series maintenance, brand studies, and new show “ideation,” providing examples from a range of programming including news, sitcoms, reality shows, and dramas. He looks at brand studies for networks such as E!, and examines how the brands of individuals such as showrunner Ryan Murphy can be tested. Both an analytical and practical work, the book includes sample questionnaires and paths for study moderators and research analysts to foll

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Book SynopsisRevisiting early debates about TV content and censorship from industry and government perspectives, this book recounts the development of the Television Code, the TV counterpart to the Hays Motion Picture Production Code.Trade Review[A] valuable resource for media scholars and graduate students. * Choice *Jaramillo has authored a work with applications across many disciplines, especially history, media law, and even political science. Her search for primary sources in both the development of the code and the short life of the [Television Broadcasters Association] is a valuable insight into the origins of U.S. television. * Journal of Broadcasting & Electronic Media *[The Television Code] is a strong intellectual contribution to debates about what television is and who it serves which will no doubt become a staple in reading lists of television history and regulation...The Television Code is an engaging, well-written, and thought-provoking study on the key role played by regulation in the early negotiations about television’s identity. * Critical Studies in Television *An essential account of a transitional period in television’s rise, The Television Code establishes the [National Association of Radio and Television Broadcasters'] role in crafting the industry’s master narratives and would interest scholars and students of US broadcast history, media policy, and censorship... Jaramillo’s careful attention to the voices of the various players involved in the Code further enriches the complicated history of commercial broadcasting and provides a model for rigorous archival research. * Television & New Media *[The Television Code] is a well-researched, articulate, and sound book that would contribute toward thinking of popular culture studies in ways that intersect with overlooked subfields such as media policy, and, perhaps, political sociology. This book effectively maps out the road to the Television Code, along with the detours and back roads that led to its ultimate implementation. * Popular Culture Studies Journal *Table of Contents Illustrations Abbreviations Acknowledgments Introduction: The Television Code and the Trade Association 1. Regulatory Precedents before Television: The Government and the NAB Experiment with Radio 2. Distinguishing Television from Radio via the Trade Association: The Rise and Fall of the Television Broadcasters Association 3. The Industry Talks about a Television Code: Discourses of Decency, Self-Regulation, and Medium Specificity 4. The Television Audience Speaks Out: Viewer Complaints and the Demand for Government Intervention 5. The Federal Communications Commission: Impotent Bureaucrats, Underhanded Censors, or Exasperated Intermediaries? 6. Senator William Benton Challenges the Commercial Television Paradigm Conclusion: After the Code Appendix A. The Television Code: Section on “Acceptability of Program Material” Appendix B. The Television Code: Section on “Decency and Decorum in Production” Notes Bibliography Index

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Book SynopsisFrom Twin Peaks (including the 2017 return) to Girls, a veteran critic and scholar draws on decades of industry expertise and exclusive interviews with renowned creators to examine the rise of art television.Trade ReviewNochimson's book is well worth reading not only for its insights but for the dialogue and reflection it opens up among readers. * Lost in the Movies *Television Rewired is an essential contribution to the still-crystallizing critical definition of auteur television…from the unique perspective of a critic who has engaged with the medium in profound ways. * 25 Years Later *This book details the creative process of each of the series [that developed the concept of the television auteur], based on interviews and detailed research by the author…Recommended. * CHOICE *A lively and fascinating book...Throughout Nochimson is thoroughly consumed by the question of what constitutes television art, and what plausibly counts as a defense of its achievements; her prose is utterly compelling in its gentle unfolding of such complex and challenging questions. * New Review of Film and Television Studies *[Nochimson provides] solid, but accessible, insights into the process of auteur television expression....After reading Television Rewired, I learned a new vocabulary for television viewing. The book is not a judgment of what is good or bad. Nochimson expanded my appreciation for television by explaining exactly what it is I am watching. * Popular Culture Studies Journal *Table of Contents Introduction: The David Effect The Founding Titans: Men without Formula Chapter 1. David Lynch, Twin Peaks Chapter 2. David Chase, The Sopranos Chapter 3. David Simon, The Wire The Legacy: New Options, New Questions, Retooled Formulas Chapter 4. David Simon and Eric Overmyer, Treme Chapter 5. Matt Weiner, Mad Men Chapter 6. Lena Dunham, Girls Chapter 7. Backlash! Formula 2.0 Coda: The Return of David Lynch Acknowledgments Notes Bibliography Index

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Book SynopsisAs the saying goes, Comedy equals tragedy plus time, but in the face of tragedies on a national scale, comedy becomes the medium through which audiences untangle accepted understandings of what it means to be American.Trade ReviewFocusing on comedy programs from the 1990s and early 2000s, including Family Guy, South Park, The Simpsons, and In Living Color, the author adeptly explains how these programs not only offer a means of escape for viewers processing national trauma, but also create new narratives that bleed out into national dialogue, with perhaps unintentional but wide-reaching consequences reverberating in the United States today...A must for media and communication studies departments, this work will also appeal to many comedy fans, traumatologists, and the generally curious. * Library Journal *Tragedy plus Time feels prescient. Reading the book, I got the sense that I was immersed in a discourse that society will be examining for the foreseeable future in trying to understand the relationship between comedy and trauma...Tragedy plus Time advances a noteworthy collection of ideas about how collective trauma is (often unexpectedly) processed through humor...While aimed toward comedy scholars broadly, this book is particularly valuable to those curious about comedy’s intersection with history and politics. * Studies in American Humor *[An] insightful and innovative book...Scepanski is fairly thorough in his writing on both the general topic as well as its neatly-ordered subtopics. * Houston Press *[A] truly excellent new book...Tragedy Plus Time is sophisticated, compelling, timely and well-written. It has a wide appeal for readers of all generations and backgrounds—just like television itself. * Northeast Popular & American Culture Association *Scepanski effectively demonstrates throughout his book that the perceived status of television comedy as lowbrow entertainment, its ever-narrowing target audience, and its propensity to offend combine to place the TV comedy genre in an opportune position to address sensitive topics...Perhaps more than ever, this sort of historical and contextual perspective on television comedy is urgently needed for the complex mapping of the current American media culture and its ramifications. If comedy is an often quickly overlooked or dismissed genre, Scepanski proves that it should not be, given its significance in shaping Americans’ sense of national identity and history. * Film Quarterly *Tragedy Plus Time takes a serious look at how comedy and satire in American media make light of dark matters...thorough and engaging...Scepanki’s study is useful to understand the ways that comedy constructs a view of the past, thereby influencing perceptions of historical events. Those lessons do not disappear but become integrated into worldviews going forward, shaping how national trauma plays a role in both national and individual identity. * PopMatters *Table of ContentsAcknowledgments Introduction: Broadcast Nationalism, National Trauma, and Television Comedy Chapter 1: The Kennedy Assassination and the Growth of Sick Humor on American Television Chapter 2: Censored Comedies and Comedies of Censorship Chapter 3: Emotional Nonconformity in Comedy Chapter 4: Conspiracy Theories and Comedy Chapter 5: African American Comedies and the 1992 Los Angeles Riots Chapter 6: Television Comedy and Islamophobia after 9/11 Chapter 7: Comedy and Trump as Trauma in Narrowcast America Conclusion Afterword Notes Bibliography Index

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Book SynopsisIn the postwar era, the police procedural series Dragnet informed Americans on the workings of the criminal justice system and instructed them in their responsibilities as citizens.Table of Contents Acknowledgments Introduction: Dragnet and the Police Procedural Chapter 1. “Our Neo-realism”: The Hollywood Semi-documentary Cycle Chapter 2. Silence, Not Sirens: Dragnet’s Aural Realism Chapter 3. Saturation and Citizenship: Dragnet on Television and in Culture Chapter 4. Professionalization and Public Relations: Dragnet and the LAPD Epilogue: “One of Us” Notes Bibliography Index

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Book SynopsisA study of the largely hidden world of primary media market research and the different methods used to understand how the viewer is pictured in the industry.

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Book SynopsisFrom early sitcoms such as I Love Lucy to contemporary prime-time dramas like Scandal and How to Get Away with Murder, African Americans on television have too often been asked to portray tired stereotypes of blacks as villains, vixens, victims, and disposable minorities. In Technicolored black feminist critic Ann duCille combines cultural critique with personal reflections on growing up with the new medium of TV to examine how televisual representations of African Americans have changed over the last sixty years. Whether explaining how watching Shirley Temple led her to question her own self-worth or how televisual representation functions as a form of racial profiling, duCille traces the real-life social and political repercussions of the portrayal and presence of African Americans on television. Neither a conventional memoir nor a traditional media study, Technicolored offers one lifelong television watcher''s careful, personal, and timely anaTrade Review"Ann duCille offers an eloquent analysis of the relationship between representations of people of color and their absence in television from the 1950s to the present. She skillfully blends her comprehensive, historically grounded research with personal memories and her present connection to television. . . . Recommended. Lower-division undergraduates through faculty." -- K. Sorensen * Choice *"In her book Technicolored, Ann duCille deftly blends memoir and television criticism to create an important critical intervention into the study of race and media." -- Jacqueline Johnson * Film Quarterly *"Technicolored is a beautifully written and deeply engaging text that makes media criticism available in multiple registers. Media critics, Black Studies scholars, those interested in literary experiments that bridge memoir and theory, and all students of culture will learn considerably from duCille’s achievement." -- Michael Litwack * The Black Scholar *Table of ContentsAcknowledgments ix Introduction. Black and White and Technicolored: Channeling the TV Life 1 1. What's in a Game? Quiz Shows and the "Prism of Race" 22 2. "Those Thrilling Days of Yesteryear": Stigmatic Blackness and the Rise of Technicolored TV 52 3. The Shirley Temple of My Familiar: Take Two 83 4. Interracial Loving: Sexless in the Suburbs of the 1960s 112 5. "A Credit to My Race": Acting Black and Black Acting from Julia to Scandal 134 6. A Clear and Present Absence: Perry Mason and the Case of the Missing "Minorities" 159 7. "Soaploitation": Getting Away with Murder in Primetime 183 8. The Punch and Judge Judy Shows: Really Real TV and the Dangers of a Day in Court 209 9. The Autumn of His Discontent: Bill Cosby, Fatherhood, and the Politics of Palatability 232 10. The "Thug Default": Why Racial Representation Still Matters 261 Epilogue. Final Spin: "That's Not My Food" 285 Notes 289 Bibliography 311 Index 325

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Book SynopsisFrom early sitcoms such as I Love Lucy to contemporary prime-time dramas like Scandal and How to Get Away with Murder, African Americans on television have too often been asked to portray tired stereotypes of blacks as villains, vixens, victims, and disposable minorities. In Technicolored black feminist critic Ann duCille combines cultural critique with personal reflections on growing up with the new medium of TV to examine how televisual representations of African Americans have changed over the last sixty years. Whether explaining how watching Shirley Temple led her to question her own self-worth or how televisual representation functions as a form of racial profiling, duCille traces the real-life social and political repercussions of the portrayal and presence of African Americans on television. Neither a conventional memoir nor a traditional media study, Technicolored offers one lifelong television watcher's careful, personal, and timely analysis of how television continues to shape notions of race in the American imagination.Trade Review"Ann duCille offers an eloquent analysis of the relationship between representations of people of color and their absence in television from the 1950s to the present. She skillfully blends her comprehensive, historically grounded research with personal memories and her present connection to television. . . . Recommended. Lower-division undergraduates through faculty." -- K. Sorensen * Choice *"In her book Technicolored, Ann duCille deftly blends memoir and television criticism to create an important critical intervention into the study of race and media." -- Jacqueline Johnson * Film Quarterly *"Technicolored is a beautifully written and deeply engaging text that makes media criticism available in multiple registers. Media critics, Black Studies scholars, those interested in literary experiments that bridge memoir and theory, and all students of culture will learn considerably from duCille’s achievement." -- Michael Litwack * The Black Scholar *Table of ContentsAcknowledgments ix Introduction. Black and White and Technicolored: Channeling the TV Life 1 1. What's in a Game? Quiz Shows and the "Prism of Race" 22 2. "Those Thrilling Days of Yesteryear": Stigmatic Blackness and the Rise of Technicolored TV 52 3. The Shirley Temple of My Familiar: Take Two 83 4. Interracial Loving: Sexless in the Suburbs of the 1960s 112 5. "A Credit to My Race": Acting Black and Black Acting from Julia to Scandal 134 6. A Clear and Present Absence: Perry Mason and the Case of the Missing "Minorities" 159 7. "Soaploitation": Getting Away with Murder in Primetime 183 8. The Punch and Judge Judy Shows: Really Real TV and the Dangers of a Day in Court 209 9. The Autumn of His Discontent: Bill Cosby, Fatherhood, and the Politics of Palatability 232 10. The "Thug Default": Why Racial Representation Still Matters 261 Epilogue. Final Spin: "That's Not My Food" 285 Notes 289 Bibliography 311 Index 325

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Book SynopsisThe contributors to The Apartment Complex offer global perspectives on films from a diverse set of genres—from film noir and comedy to horror and musicals—that use apartment living to explore modern urbanism's various forms and possibilities.Trade Review"[The Apartment Complex is] a concise, remarkably wide-ranging book on an unusual topic. ... Stark and satisfying. ... Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals; general readers." -- W. W. Dixon * Choice *"The Apartment Complex builds upon the premise of Wojcik’s earlier book that wedded cinema studies to urban studies. . . Its strength lies in how the individual essayists apply Wojcik’s thesis— developed for post–World War II American films— to the more recent output of international films and television." -- Carrie Rickey * Film Quarterly *"Wojcik has produced a book unrestricted by the limits of genre, history, nation, or industry figure, and illuminates important visual and thematic connections between films in global screen culture." -- Anna Maria Sapountzi * Open Screens *Table of ContentsAcknowledgments ix Introduction: What Makes the Apartment Complex? / Pamela Robertson Wojcik 1 1. Palaces of Pleasure and Deceit among the Clouds: The Depression-Era Cinematic Penthouse Plot / Merrill Schleier 21 2. From Walter Neff to C.C. Baxter: Billy Wilder's Apartment Plots / Steven Cohan 44 3. Alain Renais, Tsai Ming-liang, and the Apartment Plot Musical / Joe McElhaney 65 4. Movement and Stasis in Fassbinder's Apartment Plot / Michael DeAngelis 84 5. Housework, Sex Work: Feminist Ambivalence at 23 Quai de Commerce, 1080 Bruxelles / Annamarie Jagose 105 6. Home's Invasion: Repulsion and the Horror of Apartments / Veronica Fitzpatrick 126 7. Reattachment Theory: Gay Marriage and the Apartment Plot / Lee Wallace 145 8. "We Don't Need to Dream No More. We Got Real Estate": The Wire, Urban Development, and the Racial Boundaries of the American Dream / Paula J. Massood 168 Bibliography 187 Contributors 195 Index 197

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Book SynopsisThe contributors to The Apartment Complex offer global perspectives on films from a diverse set of genresfrom film noir and comedy to horror and musicalsthat use apartment living to explore modern urbanism's various forms and possibilities.Trade Review"[The Apartment Complex is] a concise, remarkably wide-ranging book on an unusual topic. ... Stark and satisfying. ... Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals; general readers." -- W. W. Dixon * Choice *"The Apartment Complex builds upon the premise of Wojcik’s earlier book that wedded cinema studies to urban studies. . . Its strength lies in how the individual essayists apply Wojcik’s thesis— developed for post–World War II American films— to the more recent output of international films and television." -- Carrie Rickey * Film Quarterly *"Wojcik has produced a book unrestricted by the limits of genre, history, nation, or industry figure, and illuminates important visual and thematic connections between films in global screen culture." -- Anna Maria Sapountzi * Open Screens *Table of ContentsAcknowledgments ix Introduction: What Makes the Apartment Complex? / Pamela Robertson Wojcik 1 1. Palaces of Pleasure and Deceit among the Clouds: The Depression-Era Cinematic Penthouse Plot / Merrill Schleier 21 2. From Walter Neff to C.C. Baxter: Billy Wilder's Apartment Plots / Steven Cohan 44 3. Alain Renais, Tsai Ming-liang, and the Apartment Plot Musical / Joe McElhaney 65 4. Movement and Stasis in Fassbinder's Apartment Plot / Michael DeAngelis 84 5. Housework, Sex Work: Feminist Ambivalence at 23 Quai de Commerce, 1080 Bruxelles / Annamarie Jagose 105 6. Home's Invasion: Repulsion and the Horror of Apartments / Veronica Fitzpatrick 126 7. Reattachment Theory: Gay Marriage and the Apartment Plot / Lee Wallace 145 8. "We Don't Need to Dream No More. We Got Real Estate": The Wire, Urban Development, and the Racial Boundaries of the American Dream / Paula J. Massood 168 Bibliography 187 Contributors 195 Index 197

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Book SynopsisQuinlan Miller reframes American television history by tracing a camp aesthetic and the common appearance of trans queer gender characters in both iconic and lesser known sitcoms throughout the 1950s and 1960s.Trade Review"Camp TV offers us theoretical and methodological challenges to presumptions and argumentations common in queer media histories…hence the usefulness here of a new terminology entirely. What the book also offers, however, is an impressive model of full-scale approach to queer media histories." -- Taylor Cole Miller * New Review of Film and Television Studies *"A revelatory historical reassessment of US network sitcom of the 1950s and 1960s.… Miller combines scholarly rigor with the engaged, politicized vivacity of a subversive connoisseur and the banter of a raconteur in order to rewrite dominant histories of the sitcom, camp, and LGBTQIA+ media representation.… A tour de force abounding with compelling and witty textual analyses fueled by painstaking archival research." -- Ken Feil * Journal of Cinema and Media Studies *"A detailed picture of the production and cultural contexts of queer gender appearance in sitcoms, ranging from non-conforming dress and gestures to critiques of heterosexual marriage." -- Katharine Mussellam * Jump Cut *"[Camp TV] is impressive and provides a necessary re-reading of neglected and devalued texts that cast our present studies of contemporary queerness into provocative question. . . . This book will be a valuable contribution to courses in television history, queer studies and, especially, studies of the queer in popular culture, and will be an antidote to institutional narratives that have solidified unproductively around the ‘newness’ of queer TV." -- Judith Fathallah * Critical Studies in Television *Table of ContentsAcknowledgments ix Introduction. Trans Gender Queer: New Terms for TV History 1 1. Camp TV and Queer Gender: Sitcom History 27 2. Queer Gender and Bob Cummings: Hollywood Camp TV 55 3. Marriage Schmarriage: Sex and the Single Person 88 4. Trans Camp TV: Methods for Girl History 131 Conclusion. Around-the-Clock Queer Gender: Digital Camp TV 155 Notes 165 Bibliography 197 Index 211

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Book SynopsisAngelo Restivo uses the innovative show Breaking Bad as a point of departure for theorizing a new aesthetics of television in which the concept of the cinematic points to the ways in which television can change the ways viewers relate to and interact with the world.Trade Review"Graduate students, scholars, and professionals interested in how television has changed over- time, the filming and creation of Breaking Bad, and the shift in television should find this book to be in their lane." -- Natalie Brown * Communication Booknotes Quarterly *Table of ContentsNote to the Reader ix Acknowledgments xi Introduction 1 1. The Cinematic 25 2. The House 54 3. The Puzzle 81 4. Just Gaming 116 5. Immanence: A Life 137 Notes 159 Bibliography 171 Index 179

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Book SynopsisQuinlan Miller reframes American television history by tracing a camp aesthetic and the common appearance of trans queer gender characters in both iconic and lesser known sitcoms throughout the 1950s and 1960s.Trade Review"Camp TV offers us theoretical and methodological challenges to presumptions and argumentations common in queer media histories…hence the usefulness here of a new terminology entirely. What the book also offers, however, is an impressive model of full-scale approach to queer media histories." -- Taylor Cole Miller * New Review of Film and Television Studies *"A revelatory historical reassessment of US network sitcom of the 1950s and 1960s.… Miller combines scholarly rigor with the engaged, politicized vivacity of a subversive connoisseur and the banter of a raconteur in order to rewrite dominant histories of the sitcom, camp, and LGBTQIA+ media representation.… A tour de force abounding with compelling and witty textual analyses fueled by painstaking archival research." -- Ken Feil * Journal of Cinema and Media Studies *"A detailed picture of the production and cultural contexts of queer gender appearance in sitcoms, ranging from non-conforming dress and gestures to critiques of heterosexual marriage." -- Katharine Mussellam * Jump Cut *"[Camp TV] is impressive and provides a necessary re-reading of neglected and devalued texts that cast our present studies of contemporary queerness into provocative question. . . . This book will be a valuable contribution to courses in television history, queer studies and, especially, studies of the queer in popular culture, and will be an antidote to institutional narratives that have solidified unproductively around the ‘newness’ of queer TV." -- Judith Fathallah * Critical Studies in Television *Table of ContentsAcknowledgments ix Introduction. Trans Gender Queer: New Terms for TV History 1 1. Camp TV and Queer Gender: Sitcom History 27 2. Queer Gender and Bob Cummings: Hollywood Camp TV 55 3. Marriage Schmarriage: Sex and the Single Person 88 4. Trans Camp TV: Methods for Girl History 131 Conclusion. Around-the-Clock Queer Gender: Digital Camp TV 155 Notes 165 Bibliography 197 Index 211

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Book SynopsisAngelo Restivo uses the innovative show Breaking Bad as a point of departure for theorizing a new aesthetics of television in which the concept of the cinematic points to the ways in which television can change the ways viewers relate to and interact with the world.Trade Review"Graduate students, scholars, and professionals interested in how television has changed over- time, the filming and creation of Breaking Bad, and the shift in television should find this book to be in their lane." -- Natalie Brown * Communication Booknotes Quarterly *Table of ContentsNote to the Reader ix Acknowledgments xi Introduction 1 1. The Cinematic 25 2. The House 54 3. The Puzzle 81 4. Just Gaming 116 5. Immanence: A Life 137 Notes 159 Bibliography 171 Index 179

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Book SynopsisMany contemporary television series from Modern Family to How to Get Away with Murder open an episode or season with a conflict and then go back in time to show how that conflict came to be. In Figures of Time Toni Pape examines these narratives, showing how these leaps in time create aesthetic experiences of time that attune their audiences to the political doctrine of preemption—a logic that justifies preemptive action to nullify a perceived future threat. Examining questions of temporality in Life on Mars, the political ramifications of living under the auspices of a catastrophic future in FlashForward, and how Damages disrupts the logic of preemption, Pape shows how television helps shift political culture away from a model of rational deliberation and representation toward a politics of preemption and conformity. Exposing the mechanisms through which television supports a fear-based politics, Pape contends, will allow for the reTrade Review"Graduate students, scholars, and professions interested in media, time, and politics might find this book useful to help better understand the use of time in storytelling and its effects on politics and relatability." -- Morgan Danker * Communication Booknotes Quarterly *Table of ContentsIntroduction. Preemptive Narratives and Televisual Futures 1 1. The Serial Machine: Toward Figures of Time 38 2. Three Representations and a Figural: Bergsonian Variations on Metric Time, the Virtual, and Creative Becoming 73 3. Loop into Line: The Moral Command of Preemption 109 4. Damages as Procedural Television 142 Afterword. Anarchival Television 176 Acknowledgments 183 Notes 185 Works Cited 203 Index 215

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Book SynopsisToni Pape examines contemporary television that often presents a conflict-laden conclusion first before relaying the events that led up to that inevitable ending, showing how this narrative structure attunes audiences to the fear-based political doctrine of preemption—a logic that justifies preemptive action to nullify a perceived future threat.Trade Review"Graduate students, scholars, and professions interested in media, time, and politics might find this book useful to help better understand the use of time in storytelling and its effects on politics and relatability." -- Morgan Danker * Communication Booknotes Quarterly *Table of ContentsIntroduction. Preemptive Narratives and Televisual Futures 1 1. The Serial Machine: Toward Figures of Time 38 2. Three Representations and a Figural: Bergsonian Variations on Metric Time, the Virtual, and Creative Becoming 73 3. Loop into Line: The Moral Command of Preemption 109 4. Damages as Procedural Television 142 Afterword. Anarchival Television 176 Acknowledgments 183 Notes 185 Works Cited 203 Index 215

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Book SynopsisFrom The Guiding Light to Passions, Elana Levine traces the history of daytime television soap operas as an innovative and highly gendered mass cultural form.Trade Review“Her Stories is the definitive account of a sphere of televisual expression long overlooked and too often maligned, told clearly and compellingly by an accomplished historian and committed viewer whose research has left few stones unturned. A major contribution to our understanding of American television and its intersection with women's lives, traced across more than seven decades.” -- Michele Hilmes, Professor Emerita of Media and Cultural Studies, University of Wisconsin-Madison“Her Stories offers an important history of American soap operas, from the genre's transition from radio to television in the 1950s and its heyday in the classic network era to its diminished significance in the age of streaming. Elana Levine's rich industrial history smartly mines scripts, trade journals, and production notes, and sponsors' memos. Most significantly, it places these developments into the larger context of women's everyday lives and the changing politics of gender.” -- Lynn Spigel, author of * TV by Design: Modern Art and the Rise of Network Television *"For soap fans, past and present, who wonder why the shows they love have disappeared, or deteriorated beyond recognition, or who think they know what could-have-should-have been done, if only, Elana Levine’s new book, Her Stories, connects the dots with a combination of nuance and rigorous research." -- Lynn Liccardo, Soap Opera Critic and author of * as the world stopped turning... *"Elana Levine has crafted a comprehensive history that is about so much more than daytime dramas. In Levine's research, soap operas are also about cultural impacts, articulations of gender, and the production of media texts as both economic and cultural objects. . . . As soap opera become relics of television past, Her Stories becomes a valuable account of media history." -- Linda Levitt * Popmatters *"A fascinating study of the history of soap opera . . . full of wonderful details. . . . Levine makes clear that despite the widespread dismissal of soap operas, they were far from marginal to the history of television, but rather absolutely central." -- Kelly Faircloth * Jezebel *"Elana Levine is a longtime fan of soap operas, so in Her Stories, she merges personal experience with extensive research to examine how the genre has shaped our understanding of gender and predicted the potential decline of broadcast network television." -- Evette Dionne * Bitch Magazine *“Her Stories makes a compelling and rigorous case that soap opera indeed plays a leading role in shaping U.S. histories of both gender and television.... Levine’s study also, by its very existence, shows that television’s gendered past remains largely unsettled and unacknowledged – a search that is still worth pursuing.” -- Madeline Ullrich * View *“With Her Stories, Levine contributes a valuable refocalization of the history of American television. By using soaps as a through line, Levine provides profound insights into the shifting standards, approaches, and trends that shaped representation and industrial structure over the course of seven decades.” -- Lauren Wilks * New Review of Film and Television Studies *"Elana Levine masterfully examines the micro- and macrolevel issues of the American broadcast television industry through the lens of the daytime soap opera. . . . . Through the intertwining of daytime soap operas with the cultural, industrial, and economic aspects of television, Her Stories makes an airtight argument that the history of one is the history of the other." -- Laura C. Brown * Journal of Popular Culture *“Her Stories is not just a history of soap operas.... Her Stories is a compelling and exhaustive history of American culture told through soap operas.” -- Abby Whitaker * H-Soz-Kult *“Elana Levine’s terrific new book is accessible and authoritative, of interest to anyone concerned with the study of television, and an excellent demonstration of how to handle a complex media studies research project.” -- Christine Geraghty * Feminist Media Studies *“In Her Stories, as in her other work, Levine does not shy away from the high stakes of her history, forging an argument that proponents of prestige television are rarely compelled (or able) to make: that...soap operas index the conflicts and character of American culture from mid-century to the present day.” -- Annie Berke * Los Angeles Review of Books *“[Her Stories] will appeal to media scholars, broadcast and television historians, and women’s, gender and sexuality scholars.... The narrative sparkles with clear evidence from a variety of soaps and a compelling argument about the significance of soap opera to not only women’s history but also to network broadcast television history and American society at large.” -- Serenity Sutherland * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgments vii Introduction 1 Part I. The New TV Soap: Late 1940s to Early 1960s 1. Serials in Transition: From Radio to Television 19 2. Daytime Therapy: Help and Healing in the Postwar Soap 44 Part II. The Classic Network Era: Mid-1960s to Late 1980s 3. Building Network Power: The Broadcasting Business and the Craft of Soap Opera 73 4. Turning to Relevance: Social Issue Storytelling 106 5. Love in the Afternoon: The Fracturing Fantasies of the Soap Boom 153 Part III. A Post-Network Age: Late 1980s to 2010s 6. Struggles for Survival: Stagnation and Innovation 199 7. Reckoning with the Past: Reimagining Characters and Stories 236 8. Can Her Stories Go On? Soap Opera in a Digital Age 280 Notes 299 Bibliography 357 Index 369

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Book SynopsisAlready in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would see by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s such as the Telectroscope, the Phantoscope, and the Distant Seer to the emergence of broadcast television in the 1930s. Galili examines how televisual technologies were understood in relation to film at different cultural moments-whether as a perfection of cinema, a threat to the Hollywood industry, or an alternative medium for avant-garde experimentation. Highlighting points of overlap and divergence in the histories of television and cinema, Galili demonstrates that the intermedial relationship between the two media did not start with their economic and institutional rivalry of the late 1940s but rather goes back to their very origins. In so doing, he brings film studies and television studies together in ways that advance contemporary debates in media theory.Trade Review“Digging into television's origins and discovering secret lineages and unexpected ancestors, Doron Galili unearths the true reasons that fiercely opposed—and indissolubly linked—television and cinema. A masterful contribution to media archeology.” -- Francesco Casetti, author of * The Lumière Galaxy: Seven Key Words for the Cinema to Come *“Assembling wonderful material and offering nuanced readings of both filmic and theoretical texts, Doron Galili makes important interventions in the ongoing debates over media specificity and television's historiography. He is part of a new generation of scholars who are helping to put television's complicated and often occluded genealogy into conversation with the latest media studies debates. A page-turner, Seeing by Electricity will resonate with a broad spectrum of readers.” -- William Uricchio, Professor of Comparative Media Studies, MIT"Seeing By Electricity ... historicizes a prolonged moment, or a mediascape, when boundaries between media were porous, whereas the otherwise antagonistic relationships between media can be seen as symbiotic. From this perspective, the book challenges a commonly accepted historical narrative, and suggests instead a more flexible and broader contextualization of radio, television, and film as mutually contributing networks." -- Rea Amit * Critical Inquiry *“Galili’s writing is flowing and engaging which makes the book an interesting read not only for scholars of television and media but for anyone who is interested in the field and the development of the technology. In the world where questions about media and media specificity arise again with the introduction of streaming services, looking at the way film, radio and early television interact gives an insight into intermediality. A valuable perspective for our post-cinema and post-television era.” -- Julia Stolyar * Early Popular Visual Culture *“Seeing by Electricity is a major contribution to the rapidly developing field of media archaeology. Galili pays appropriate obeisance to theorists including Siegfried Zielinski and Mary Ann Doane, but he grounds his arguments firmly in deeply researched historical accounts of optical devices and electrical instruments, conceptions of vision, imperial fantasies and utopian imaginaries…. Galili succeeds with aplomb.” -- John Wyver * Critical Studies in Television *“Seeing by Electricity offers its reader a nuanced and digestible consideration of the forces, entities, and contexts that shaped the conception, development, and perception of television in the United States and Europe from the late 1870s until the late 1930s.” -- Laura C. Brown * Media Industries *“Galili’s careful attention to the nineteenth and early twentieth century makes Seeing By Electricity a kind of escape to the past. As such it is an especially good pandemic read, allowing us to travel backwards whiles nevertheless speaking to our present landscape of video calls, online cocktail parties, remote learning, telecommuting, and binge-watching—all accelerated and amplified by social distancing and stay at home orders.” -- Alison Reiko Loader * Nineteenth Century Theatre and Film *"The book is well written and offers interesting glimpses of the early fascination with television..." -- J. M. King * Choice *“From time to time a book in one’s field of research comes along and you pick it up and cannot put it down. This is one such book.... What Galili has achieved is not just a technology-focused account ... but one which engages with cultural, economic, social, and political contexts also.” -- Jamie Medhurst * Historical Journal of Film, Radio and Television *“Seeing by Electricity is a genuinely unique effort that is easy to read yet thought-provoking.... Seeing by Electricity is of tremendous value to those interested in television history, film and art theory, media and communications or cultural history, or the history of technology.” -- Bryant Macfarlane * JHistory, H-Net Reviews *“Seeing by Electricity is a scholarly work of the highest order, combining rigorous historical research and expansive theoretical engagement with key debates across television studies, film studies, and digital media studies to rethink fundamental assumptions about media history and notions of mediality and media change.” -- Ariel Rogers * Technology and Culture *“Galili’s excavation of the history of the medium that became known as television offers a model for how to think through both the recent past and the mercurial present of moving image transmission.... Deeply researched and thoroughly informed by theory, Seeing by Electricity’s discussion of media fantasy and reality ... offers exciting new pathways for thinking about the emergence of a new medium.” -- Christina G. Petersen * Journal of Cinema and Media Studies *"In its methodological and historiographical ambition to revisit some of the definitions of modernity as a guiding concept in media studies, Galili’s publication represents a culmination point of three decades of academic research into the medium’s long history." -- Anne-Katrin Weber * Cultural Critique *Table of ContentsAcknowledgments ix Introduction 1 Part I. Archaeologies of Moving Image Transmission 1. Ancient Affiliates: The Nineteenth-Century Origins of Cinema and Television 17 2. Severed Eyeballs and Prolonged Optic Nerves: Television as Modern Prosthetic Vision 50 3. Happy Combinations of Electricity and Photography: Moving Image Transmission in the Early Cinema Era 74 Part II. Debating the Specificity of Television, On- and Off-Screen 4. Cinema's Radio Double: Hollywood Comes to Terms with Television 105 5. "We Must Prepare!": Dziga Vertov and the Avant-Garde Reception of Television 145 6. Thinking across Media: Classical Film Theory's Encounter with Television 167 Conclusion 184 Notes 189 Bibliography 221 Index 239

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