The Sopranos, more than any American television in memory, looks, feels and sounds like real life . . . it just may be the greatest work of American popular culture of the last quarter century. — TV Critic Stephen Holden in the New York Times (1999)
This book draws upon the Journal of Popular Film and Television's rich and longstanding legacy of scholarship on the Western to examine and analyze the evolution and significance of this screen genre from its earliest beginnings to its current global reach and relevance in the 21st century. Westerns: The Essential Collection addresses the rise, fall and durability of this story form, and explores its preoccupation with multicultural matters with an organizational structure that is divided into six sections covering Silent Westerns, Classic Westerns, Race and Westerns, Gender and Westerns, Revisionist Westerns and Westerns in Global Context.
Every few years a new television program comes along to capture and express the zeitgeist. Mad Men is now that show. This book examines and analyzes this cutting-edge TV drama and popular phenomenon. It also includes an interview with the show's executive producer Scott Hornbacker and an episode guide.
This book is a comprehensive and compelling examination of one of cable television’s most innovative and popular networks. The Essential HBO Reader looks at every aspect of HBO’s development as a corporation, a creative force, and a brand.
This book is an interpretive (rather than exhaustive) history of television which underscores the ascendancy of the communication revolution from the point of view of its most instrumental catalyst—TV.
Genre has been a fundamental tool in analyzing television since the earliest days of the medium during the late 1940s. Thinking Outside the Box: A Contemporary Television Genre Reader is a cross-section of some of the best and most challenging scholarship presently being conducted in this particular subject area.
Ken Burns’s America is the first book-length study to comprehensively examine this innovative filmmaker as a television auteur, a pivotal programming influence within the industry, and a popular historian who portrays a uniquely singular and compelling version of the country’s past.
This book maps out the enormous repository that is “television as historian” into manageable and analytically useful categories, such as prime-time entertainment programming, the historical documentary, and TV news and public affairs; and seeks to establish quality criteria and levels of merit for television as “popular history,” rather than judging it by the very different yardstick of professional history, or just dismissing the entire phenomenon as hopelessly flawed and ahistorical.
The primary purpose of In the Eye of the Beholder is to provide a representative cross section of the most current analytical approaches to film and television, highlighting their heterogeneity, their critical strategies, and their main areas of interest.
This book examines the key relationships and abundant interconnections between motion pictures and radio, television, video art, the new media technologies, literature, theatre, painting, the graphic arts, photography, classical music, and popular music.
This book investigates the evolving market structure of the American motion picture industry between 1963 and 1980. Essentially, the analysis begins with the Paramount litigation and concentrates its focus on domestic exhibition, tracing its changing relationship to the rest of the system that is the American film business.