New and Noteworthy —New York Times Book Review Must-Read Book of March —Entertainment Weekly Best Books of March —HelloGiggles “Leaps at the throat of television history and takes down the patriarchy with its fervent, inspired prose. When Women Invented Television offers proof that what we watch is a reflection of who we are as a people.” —Nathalia Holt, New York Times–bestselling author of Rise of the Rocket Girls New York Times–bestselling author of Seinfeldia Jennifer Keishin Armstrong tells the little-known story of four trailblazing women in the early days of television who laid the foundation of the industry we know today. It was the Golden Age of Radio and powerful men were making millions in advertising dollars reaching thousands of listeners every day. When television arrived, few radio moguls were interested in the upstart industry and its tiny production budgets, and expensive television sets were out of reach for most families. But four women—each an independent visionary—saw an opportunity and carved their own paths, and in so doing invented the way we watch tv today. Irna Phillips turned real-life tragedy into daytime serials featuring female dominated casts. Gertrude Berg turned her radio show into a Jewish family comedy that spawned a play, a musical, an advice column, a line of house dresses, and other products. Hazel Scott, already a renowned musician, was the first African American to host a national evening variety program. Betty White became a daytime talk show fan favorite and one of the first women to produce, write, and star in her own show. Together, their stories chronicle a forgotten chapter in the history of television and popular culture. But as the medium became more popular—and lucrative—in the wake of World War II, the House Un-American Activities Committee arose to threaten entertainers, blacklisting many as communist sympathizers. As politics, sexism, racism, anti-Semitism, and money collided, the women who invented television found themselves fighting from the margins, as men took control. But these women were true survivors who never gave up—and thus their legacies remain with us in our television-dominated era. It's time we reclaimed their forgotten histories and the work they did to pioneer the medium that now rules our lives. This amazing and heartbreaking history, illustrated with photos, tells it all for the first time.
Defining Women explores the social and cultural construction of gender and the meanings of woman, women, and femininity as they were negotiated in the pioneering television series Cagney and Lacey, starring two women as New York City police detectives. Julie D'Acci illuminates the tensions between the television industry, the series production team, the mainstream and feminist press, various interest groups, and television viewers over competing notions of what women could or could not be--not only on television but in society at large. Cagney and Lacey, which aired from 1981 to 1988, was widely recognized as an innovative treatment of working women and developed a large and loyal following. While researching this book, D'Acci had unprecedented access to the set, to production meetings, and to the complete production files, including correspondence from network executives, publicity firms, and thousands of viewers. She traces the often heated debates surrounding the development of women characters and the representation of feminism on prime-time television, shows how the series was reconfigured as a 'woman's program,' and investigates questions of female spectatorship and feminist readings. Although she focuses on Cagney and Lacey, D'Acci discusses many other examples from the history of American television.
In the 1990s, American televison audiences witnessed an unprecedented rise in programming devoted explicitly to women. Cable networks such as Oxygen Media, Women's Entertainment Network, and Lifetime targeted a female audience, and prime-time dramatic series such as Buffy the Vampire Slayer, Judging Amy, Gilmore Girls, Sex and the City, and Ally McBeal empowered heroines, single career women, and professionals struggling with family commitments and occupational demands. After establishing this phenomenon's significance, Amanda D. Lotz explores the audience profile, the types of narrative and characters that recur, and changes to the industry landscape in the wake of media consolidation and a profusion of channels. Employing a cultural studies framework, Lotz examines whether the multiplicity of female-centric networks and narratives renders certain gender stereotypes uninhabitable, and how new dramatic portrayals of women have redefined narrative conventions. Redesigning Women also reveals how these changes led to narrowcasting, or the targeting of a niche segment of the overall audience, and the ways in which the new, sophisticated portrayals of women inspire sympathetic identification while also commodifying viewers into a marketable demographic for advertisers.
From a leading cultural journalist, the definitive cultural history of female showrunners—including exclusive interviews with such influential figures as Shonda Rhimes, Amy Sherman-Palladino, Mindy Kaling, Amy Schumer, and many more. “An urgent and entertaining history of the transformative powers of women in TV” (Kirkus Reviews, starred review). In recent years, women have radically transformed the television industry both behind and in front of the camera. From Murphy Brown to 30 Rock and beyond, these shows and the extraordinary women behind them have shaken up the entertainment landscape, making it look as if equal opportunities abound. But it took decades of determination in the face of outright exclusion to reach this new era. In this “sharp, funny, and gorgeously researched” (Emily Nussbaum, The New Yorker) book, veteran journalist Joy Press tells the story of the maverick women who broke through the barricades and the iconic shows that redefined the television landscape starting with Diane English and Roseanne Barr—and even incited controversy that reached as far as the White House. Drawing on a wealth of original interviews with the key players like Amy Sherman-Palladino (Gilmore Girls), Jenji Kohan (Orange is the New Black), and Jill Soloway (Transparent) who created storylines and characters that changed how women are seen and how they see themselves, this is the exhilarating behind-the-scenes story of a cultural revolution.
Women have been involved with jazz since its inception, but all too often their achievements were not as well known as those of their male counterparts. Some Liked It Hot looks at all-girl bands and jazz women from the 1920s through the 1950s and how they fit into the nascent mass culture, particularly film and television, to uncover some of the historical motivations for excluding women from the now firmly established jazz canon. This well-illustrated book chronicles who appeared where and when in over 80 performances, captured in both popular Hollywood productions and in relatively unknown films and television shows. As McGee shows, these performances reflected complex racial attitudes emerging in American culture during the first half of the twentieth century. Her analysis illuminates the heavily mediated representational strategies that jazz women adopted, highlighting the role that race played in constituting public performances of various styles of jazz from "swing" to "hot" and "sweet." The International Sweethearts of Rhythm, Hazel Scott, the Ingenues, Peggy Lee, and Paul Whiteman are just a few of the performers covered in the book, which also includes a detailed filmography.
In Shaded Lives, Beretta Smith-Shomade sets out to dissect images of the African American woman in television from the 1980s. She calls their depiction "binaristic," or split. African American women, although an essential part of television programming today, are still presented as distorted and deviant. By closely examining the television texts of African-American women in comedy, music video, television news and talk shows (Oprah Winfrey is highlighted), Smith-Shomade shows how these voices are represented, what forces may be at work in influencing these images, and what alternate ways of viewing might be available.
The American Television Industry offers a concise and accessible introduction to TV production, programming, advertising, and distribution in the United States. The authors outline how programs are made and marketed, and furthermore provide an insightful overview of key players, practices, and future trends.
Branded Women in U.S. Television examines how The Real Housewives of New York City, Martha Stewart, and other female entrepreneurs create branded televised versions of the iconic U.S. housewife. Using their television presence to establish and promote their own product lines, including jewelry, cookware, clothing, and skincare, they become the primary physical representations of these brands. While their businesses are serious and seriously lucrative, especially reality television enables a certain representational flexibility that allows participants to create campy and sometimes tongue-in-cheek personas. Peter Bjelskou explores their innovative branding strategies, specifically the complex relationships between their entrepreneurial endeavors and their physical bodies, attires, tastes, and personal histories. Generally these branded women speak volumes about their contemporaneous political environments, and this book illustrates how they, and many other women in U.S. television history, are indicative of larger societal trends and structures.