Employing a unique research methodology that enables people to report on their normal activities as they occur, the authors examine how people actually use and experience television -- and how television viewing both contributes to and detracts from the quality of everyday life. Studied within the natural context of everyday living, and drawing comparisons between television viewing and a variety of other daily activities and leisure pursuits, this unusual book explores whether television is a boon or a detriment to family life; how people feel and think before, during, and after television viewing; what causes television habits to develop; and what causes heavy viewing -- and what heavy viewing causes -- in the short and long term. Television and the Quality of Life also compares the viewing experience cross-nationally using samples from the United States, Italy, Canada, and Germany -- and then interprets the findings within a broad theoretical and historical framework that considers how information use and daily activity contribute to individual, familial, societal, and cultural development.
Employing a unique research methodology that enables people to report on their normal activities as they occur, the authors examine how people actually use and experience television -- and how television viewing both contributes to and detracts from the quality of everyday life. Studied within the natural context of everyday living, and drawing comparisons between television viewing and a variety of other daily activities and leisure pursuits, this unusual book explores whether television is a boon or a detriment to family life; how people feel and think before, during, and after television viewing; what causes television habits to develop; and what causes heavy viewing -- and what heavy viewing causes -- in the short and long term. Television and the Quality of Life also compares the viewing experience cross-nationally using samples from the United States, Italy, Canada, and Germany -- and then interprets the findings within a broad theoretical and historical framework that considers how information use and daily activity contribute to individual, familial, societal, and cultural development.
Ever since Newton Minow taught us sophisticates to bemoan the descent of television into a vast wasteland, the dyspeptic chorus of jeremiahs who insist that television news in particular has gone from gold to dross gets noisier and noisier. Charles Ponce de Leon says here, in effect, that this is misleading, if not simply fatuous. He argues in this well-paced, lively, readable book that TV news has changed in response to broader changes in the TV industry and American culture. It is pointless to bewail its decline. "That s the Way It Is "gives us the very first history of American television news, spanning more than six decades, from Camel News Caravan to Countdown with Keith Oberman and The Daily Show. Starting in the latter 1940s, television news featured a succession of broadcasters who became household names, even presences: Eric Sevareid, Walter Cronkite, David Brinkley, Peter Jennings, Brian Williams, Katie Couric, and, with cable expansion, people like Glenn Beck, Jon Stewart, and Bill O Reilly. But behind the scenes, the parallel story is just as interesting, involving executives, producers, and journalists who were responsible for the field s most important innovations. Included with mainstream network news programs is an engaging treatment of news magazines like "60 Minutes" and "20/20, " as well as morning news shows like "Today" and "Good Morning America." Ponce de Leon gives ample attention to the establishment of cable networks (CNN, and the later competitors, Fox News and MSNBC), mixing in colorful anecdotes about the likes of Roger Ailes and Roone Arledge. Frothy features and other kinds of entertainment have been part and parcel of TV news from the start; viewer preferences have always played a role in the evolution of programming, although the disintegration of a national culture since the 1970s means that most of us no longer follow the news as a civic obligation. Throughout, Ponce de Leon places his history in a broader cultural context, emphasizing tensions between the public service mission of TV news and the quest for profitability and broad appeal."
The big picture : how Buffy the vampire slayer turned me into a TV critic -- The long con ("The Sopranos") -- The great divide : Norman Lear, Archie Bunker, and the rise of the bad fan -- Difficult women ("Sex and the city") -- Cool story, bro ("True detective," "Top of the lake" and "The fall") -- Last girl in Larchmont : the legacy of Joan Rivers -- Girls girls girls : "Girls," "Vanderpump rules," "House of cards and Scandal," "The Amy Schumer show," "Transparent" -- Confessions of the human shield -- How jokes won the election -- In praise of sex and violence : "Hannibal," "Law et order : SVU," "Jessica Jones," -- "The jinx," "The Americans" -- The price is right : what advertising does to TV -- In living color : Kenya Barris' -- Breaking the box : "Jane the virgin," "The comeback," "The good wife," "The newsroom," "Adventure time," "The leftovers," "High maintenance." -- Riot girl : Jenji Kohan's hot provocations -- A disappointed fan is still a fan ("Lost") -- Mr. big : how Ryan Murphy became the most powerful man in television.
"Slow TV" refers to a form of broadcasting long events for their entire duration, preferably in real time. Popularized by the Norwegian Broadcasting Corporation (NRK), the form became a phenomenon in 2009 after NRK's broadcast of a seven-hour train ride between Bergen and Oslo. Since then, slow TV programming has gained traction outside of Norway on television stations around the world and via streaming services like Netflix. In this academic study, Roel Puijk combines quantitative and qualitative research methods to explore different aspects of the Norwegian slow TV phenomenon, from the programming's production and development to its viewing and ultimate reception. Puijk relates slow TV to media events and media tourism, discussing its effects on cultural and economic developments and its evolving relationship to local and national identity. The result is an illuminating interdisciplinary study of media innovation and its effects on contemporary culture.
Here are household names and fascinating unknowns, from the brilliant RCA scientists, flying paper airplanes off the top of the Empire State Building, to Uncle Miltie, Rod Steiger, Imogene Coca, Studs Terkel, Edward R. Murrow, and Paddy Chayefsky. Go behind the scenes of many of television's classic shows and learn whether Father really did know best, and laugh at the hilarious low-budget antics of Captain Video (remember the opticon scillometer?).
A comprehensive and sustained analysis of the development of storytelling for television Over the past two decades, new technologies, changing viewer practices, and the proliferation of genres and channels has transformed American television. One of the most notable impacts of these shifts is the emergence of highly complex and elaborate forms of serial narrative, resulting in a robust period of formal experimentation and risky programming rarely seen in a medium that is typically viewed as formulaic and convention bound. Complex TV offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Through close analyses of key programs, including The Wire, Lost, Breaking Bad, The Sopranos, Veronica Mars, Curb Your Enthusiasm, and Mad Men the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time.
A comparison of the similarities and differences in how children and adults perceive and experience television, stressing the differences in children as they mature and develop. Draws on a wealth of intriguing commentaries by children themselves.