This collection of essays examines landmark British television programs of the last forty years, from Doctor Who to The Office, and from The Demon Headmaster to Queer As Folk. Contributions from prominent academics focus on the full range of popular genres, from sitcoms to science fiction, gothic horror and children's drama, and reconsider how British television drama can be analyzed. This book will be of interest to students and researchers in many academic disciplines that study television drama.
Popular television drama: critical perspectives' is a collection of essays examining landmark programmes of the last forty years, from 'Doctor Who' to 'The Office', and from 'The Demon Headmaster' to 'Queer As Folk'. Contributions from prominent academics focus on the full range of popular genres, from sitcoms to science fiction, gothic horror and children's drama, and challenge received wisdom by reconsidering how British television drama can be analysed. Each section is preceded by an introduction in which the editors discuss how the essays address existing problems in the field and also suggest new directions for study. The book is split into three sections, addressing the enduring appeal of popular genres, the notion of 'quality' in television drama, and analysing a range of programmes past and present. Popular television drama: critical perspectives will be of interest to students and researchers in many academic disciplines that study television drama. Its breadth and focus on popular programmes will also appeal to those interested in the shows themselves.
When Lou Grant premiered in the fall of 1977, it quickly became a symbol of television drama at its best. During its five years on the air, Lou Grant earned critical acclaim as an entertaining yet thoughtful drama about important social and political issues, a rarity for episodic television in the late 1970s. Douglass K. Daniel reveals how the creators of Lou Grant investigated journalism in the post-Watergate era to present a modem-day portrayal of the profession. They based characters, dialogue, and plots on the experiences of dozens of professional journalists. By researching social problems, they developed relevant story lines that gave episodes unusual immediacy. The show won thirteen Emmy Awards, among them two for Best Drama, and a Peabody Award. Journalists hailed the series as television's most realistic newspaper drama. The book describes the bitter controversy that erupted in 1982 when lead actor Edward Asner came under fire for his political beliefs regarding American involvement in El Salvador. Amid calls for advertiser boycotts, right-wing charges that Asner had aided the enemy, and falling ratings, CBS canceled the series. Daniel's intensive retrospect includes interviews with actors, producers, writers, directors, network censors, and journalists. He summarizes all 114 episodes. discusses original character sketches, and includes editorial cartoons.
This collection of essays brings together the first comprehensive study of TV drama in China. Examining in depth the production, distribution and consumption of TV drama, the international team of experts demonstrate why it remains the pre-eminent media form in China. The examples are diverse, highlighting the complexity of producing narrative content in a rapidly changing political and social environment. Genres examined include the revisionist Qing drama, historical and contemporary domestic dramas, anti-corruption dramas, "pink" dramas, Red Classics, stories from the Diaspora, and sit-coms. In addition to genres, the collection explores industry dynamics: how TV dramas are marketed and consumed on DVD, and China's aspirations to export its television drama rights. The book provides an international and cross-cultural perspective with chapters on Taiwanese TV drama in China, the impact of South Korean drama, and trans-border production between the Mainland and Hong Kong.
In 2011, Showtime premiered Shameless, a comedy-drama about the audacious behaviors of the Gallaghers, a white, working-class family living in Chicago’s South Side. In 2020, the series headed into the production of its eleventh and final season, making it the longest-running original scripted program in Showtime’s history. Shameless explores topics such as poverty, alcoholism, teen pregnancy, and mental illness. The series has been credited with “reinventing working-class TV” and for humanizing groups that are typically “othered” or simply laughed at. However, others have critiqued the show for relying on and promoting stereotypes, and for the cavalier ways in which it portrays controversial social issues like rape and abortion. Shameless Sociology: Critical Perspectives on a Popular Television Series offers a critical eye toward topics such as gentrification, pregnancy and abortion, racial and gender inequality, and homophobia, and illustrates the ways in which Shameless sometimes confronts and topples stereotypes, yet, at other times, serves to reinforce and perpetuate them. Given the broad appeal of the show and the diverse topics it covers, this book will appeal to the general public, as well as researchers of media, culture, and social inequalities, and undergraduate and graduate students at institutions of higher education.
Breaking onto the scene in 1982 with Diner, which was hailed by one critic as a masterpiece of observation, Academy Award-winner Barry Levinson has since become recognized as one of the preeminent writer/directors of our time. Diner was set in Levinson's native Baltimore, during the late 1950s of his youth, and is, as Pauline Kael wrote in the New Yorker, "that rare autobiographical movie made by someone who knows how to get the texture right."...With Tin Men Levinson returned to richly detailed middle class milieu of Baltimore and introduced another group of characters -- the "tin men" who make their living hard-selling aluminum siding to unsuspecting homeowners...In Avalon Levinson continues his cycle of Baltimore stories.
Is The Wire better than Breaking Bad? Is Cheers better than Seinfeld? What's the best high school show ever made? Why did Moonlighting really fall apart? Was the Arrested Development Netflix season brilliant or terrible? For twenty years-since they shared a TV column at Tony Soprano's hometown newspaper-critics Alan Sepinwall and Matt Zoller Seitz have been debating these questions and many more, but it all ultimately boils down to this: What's the greatest TV show ever? That debate reaches an epic conclusion in TV (THE BOOK). Sepinwall and Seitz have identified and ranked the 100 greatest scripted shows in American TV history. Using a complex, obsessively all-encompassing scoring system, they've created a Pantheon of top TV shows, each accompanied by essays delving into what made these shows great. From vintage classics like The Twilight Zone and I Love Lucy to modern masterpieces like Mad Men and Friday Night Lights, from huge hits like All in the Family and ER to short-lived favorites like Firefly and Freaks and Geeks, TV (THE BOOK) will bring the triumphs of the small screen together in one amazing compendium. Sepinwall and Seitz's argument has ended. Now it's time for yours to begin!
Serialized television drama (dianshiju), perhaps the most popular and influential cultural form in China over the past three decades, offers a wide and penetrating look at the tensions and contradictions of the post-revolutionary and pro-market period. Zhong Xueping’s timely new work draws attention to the multiple cultural and historical legacies that coexist and challenge each other within this dominant form of story telling. Although scholars tend to focus their attention on elite cultural trends and avant garde movements in literature and film, Zhong argues for recognizing the complexity of dianshiju’s melodramatic mode and its various subgenres, in effect "refocusing" mainstream Chinese culture. Mainstream Culture Refocused opens with an examination of television as a narrative motif in three contemporary Chinese art-house films. Zhong then turns her attention to dianshiju’s most important subgenres. "Emperor dramas" highlight the link between popular culture’s obsession with emperors and modern Chinese intellectuals’ preoccupation with issues of history and tradition and how they relate to modernity. In her exploration of the "anti-corruption" subgenre, Zhong considers three representative dramas, exploring their diverse plots and emphases. "Youth dramas’" rich array of representations reveal the numerous social, economic, cultural, and ideological issues surrounding the notion of youth and its changing meanings. The chapter on the "family-marriage" subgenre analyzes the ways in which women’s emotions are represented in relation to their desire for "happiness." Song lyrics from music composed for television dramas are considered as "popular poetics." Their sentiments range between nostalgia and uncertainty, mirroring the social contradictions of the reform era. The Epilogue returns to the relationship between intellectuals and the production of mainstream cultural meaning in the context of China’s post-revolutionary social, economic, and cultural transformation. Provocative and insightful, Mainstream Culture Refocused will appeal to scholars and students in studies of modern China generally and of contemporary Chinese media and popular culture specifically.
Here's Johnny is like sitting with Ed and Johnny over lunch: The last time I saw Johnny, about a year before he died, we had chicken, a couple of glasses of red wine, and then we just sat there and reminisced, going back and forth the way we did on the show. We talked about our kids, and our careers and the state of America, just two lucky guys who loved each other and the good luck of our careers. Ed McMahon is the only person who was with Johnny Carson, even before The Tonight Show, when they both first appeared on Who Do You Trust. Now, with Johnny's blessing before he died, McMahon can finally share all the stories that only he knows. From the sofa at Johnny's right, to backstage, to their personal relationship - McMahon will provide a real view of the man who was so careful to only show one side of himself to the public. Brilliant in front of the camera, but shy in person, Carson seldom gave interviews. Only McMahon can tell the stories and provide the insights into the personality that made Johnny Carson more of a friend we invited into our home than a television star. This entertaining tribute will feature over 200 pictures, many never before published, from both McMahon's and Carson's private archives.
