It s Not TV

" This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies’ interests in market positioning, style, content, technology, ...

Author: Marc Leverette

Publisher: Routledge

ISBN: 9781135902735

Category: Performing Arts

Page: 272

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Since first going on the air in 1972, HBO has continually attempted to redefine television as we know it. Today, pay television (and HBO in particular) is positioned as an alternative to network offerings, consistently regarded as the premier site for what has come to be called "quality television." This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies’ interests in market positioning, style, content, technology, and political economy. The contributors focus on pioneering areas of analysis and new critical approaches in television studies today, highlighting unique aspects of the "HBO effect" to explore new perspectives on contemporary television from radical changes in technology to dramatic shifts in viewing habits. It’s Not TV provides fresh insights into the "post-television network" by examining HBO’s phenomenally popular and pioneering shows, including The Sopranos, The Wire, Six Feet Under, Sex and the City as well as its failed series, such as K Street and The Comeback. The contributors also explore the production process itself and the creation of a brand commodity, along with HBO’s place as a market leader and technological innovator. Contributors: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa Williamson Foreword by Toby Miller Marc Leverette is Assistant Professor of Media Studies at Colorado State University. He is author of Professional Wrestling, the Myth, the Mat, and American Popular Culture and co-editor of Zombie Culture: Autopsies of the Living Dead and Oh My God, They Deconstructed South Park! Those Bastards! Brian L. Ott is Associate Professor of Media Studies at Colorado State University. He is author of The Small Screen: How Television Equips Us to Live in the Information Age. Cara Louise Buckley is a lecturer at Emerson College.

I Like to Watch

This response made some sense, given that The Sopranos was produced and distributed by HBO, a velvetrope pay cable network whose new slogan was “It's not TV. It's HBO.” HBO, with its fat budget and its breakthrough reliance on ...

Author: Emily Nussbaum

Publisher: Random House

ISBN: 9780525508977

Category: Performing Arts

Page: 384

View: 278

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From The New Yorker’s fiercely original, Pulitzer Prize-winning culture critic, a provocative collection of new and previously published essays arguing that we are what we watch. “Emily Nussbaum is the perfect critic—smart, engaging, funny, generous, and insightful.”—David Grann, author of Killers of the Flower Moon NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • Chicago Tribune • Esquire • Library Journal • Kirkus Reviews From her creation of the “Approval Matrix” in New York magazine in 2004 to her Pulitzer Prize–winning columns for The New Yorker, Emily Nussbaum has argued for a new way of looking at TV. In this collection, including two never-before-published essays, Nussbaum writes about her passion for television, beginning with Buffy the Vampire Slayer, the show that set her on a fresh intellectual path. She explores the rise of the female screw-up, how fans warp the shows they love, the messy power of sexual violence on TV, and the year that jokes helped elect a reality-television president. There are three big profiles of television showrunners—Kenya Barris, Jenji Kohan, and Ryan Murphy—as well as examinations of the legacies of Norman Lear and Joan Rivers. The book also includes a major new essay written during the year of #MeToo, wrestling with the question of what to do when the artist you love is a monster. More than a collection of reviews, the book makes a case for toppling the status anxiety that has long haunted the “idiot box,” even as it transformed. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism, one that resists the false hierarchy that elevates one kind of culture (violent, dramatic, gritty) over another (joyful, funny, stylized). I Like to Watch traces her own struggle to punch through stifling notions of “prestige television,” searching for a more expansive, more embracing vision of artistic ambition—one that acknowledges many types of beauty and complexity and opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean. FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY “This collection, including some powerful new work, proves once and for all that there’s no better American critic of anything than Emily Nussbaum. But I Like to Watch turns out to be even greater than the sum of its brilliant parts—it’s the most incisive, intimate, entertaining, authoritative guide to the shows of this golden television age.”—Kurt Andersen, author of Fantasyland “Reading Emily Nussbaum makes us smarter not just about what we watch, but about how we live, what we love, and who we are. I Like to Watch is a joy.”—Rebecca Traister

Television Magazine

( continued from page 31 ) ( " It's good research if it proves our point " ) has made them wary of it . ... BMI Service in TV BMI offers its facilities not only to its TV licensees , but to producers , advertising agencies and their ...

Author: Frederik A. Kugel

Publisher:

ISBN: UOM:39015080016416

Category: Television broadcasting

Page:

View: 624

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Here There

Unlike speech or the telephone, TV is not a bidirectional medium. It is, as Debord wrote, “essentially one way”: TV sets are “receivers,” and the pictured scene is impervious to the activities of the viewers.

Author: Kris Paulsen

Publisher: MIT Press

ISBN: 9780262035729

Category: Art

Page: 264

View: 490

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An examination of telepresence technologies through the lens of contemporary artistic experiments, from early video art through current “drone vision” works. "Telepresence” allows us to feel present—through vision, hearing, and even touch—at a remote location by means of real-time communication technology. Networked devices such as video cameras and telerobots extend our corporeal agency into distant spaces. In Here/There, Kris Paulsen examines telepresence technologies through the lens of contemporary artistic experiments, from early video art through current “drone vision” works. Paulsen traces an arc of increasing interactivity, as video screens became spaces for communication and physical, tactile intervention. She explores the work of artists who took up these technological tools and questioned the aesthetic, social, and ethical stakes of media that allow us to manipulate and affect far-off environments and other people—to touch, metaphorically and literally, those who cannot touch us back. Paulsen examines 1970s video artworks by Vito Acconci and Joan Jonas, live satellite performance projects by Kit Galloway and Sherrie Rabinowitz, and CCTV installations by Chris Burden. These early works, she argues, can help us make sense of the expansion of our senses by technologies that privilege real time over real space and model strategies for engagement and interaction with mediated others. They establish a political, aesthetic, and technological history for later works using cable TV infrastructures and the World Wide Web, including telerobotic works by Ken Goldberg and Wafaa Bilal and artworks about military drones by Trevor Paglen, Omar Fast, Hito Steyerl, and others. These works become a meeting place for here and there.

A Companion to British and Irish Cinema

reconceive TV' in which notions of 'quality' in American television facilitated the targeting of a demographic on a subscription model, hence the disavowal: 'It's not TV, it's HBO.' So pervasive is broadsheet misuse of 'cinematic' that ...

Author: John Hill

Publisher: Wiley-Blackwell

ISBN: 9781118477519

Category: Performing Arts

Page: 608

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A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies—from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both ‘British’ and ‘Irish’ cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.

FCC Record

IT IS FURTHER ORDERED , That the petitions for leave to amend filed by TV 54 on August 11 , 1986 , by Capital City ... Moreover , from our review of its proffered exhibit , DB Exh . 9 ( rejected ) , we do not find any indication by DB ...

Author: United States. Federal Communications Commission

Publisher:

ISBN: OSU:32435025410549

Category: Telecommunication

Page:

View: 899

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A Companion to the War Film

Although The Wire had a hard time locating an audience, its rejection of the rules of cop dramas reinforced the provocative HBO tagline: “It's Not TV. It's HBO.” The vision and voice that Simon and Burns represent as HBO showrunners are ...

Author: Douglas A. Cunningham

Publisher: John Wiley & Sons

ISBN: 9781118288894

Category: Performing Arts

Page: 472

View: 249

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A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, to the diverse formats war stories assume in today’s digital culture. It includes new work from experienced and emerging scholars that expands the scope of the genre by applying fresh theoretical approaches and archival resources to the study of war films. The essays discuss “the combat film” but then also move beyond those limited confines to cover home-front films, international and foreign- language films, and the uses of alternative media—including Internet videos, military recruitment ads, government-produced films, and TV programs—across a range of conflicts, nations, and time periods. The essays address complex questions of gender, race, forced internment, international terrorism, and war protest in films such as American Sniper, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty. Taken together, these essays provide a nuanced vision of war film that brings the genre firmly into the 21st century and points the way for exciting future scholarship.

The Film Daily

The stock can be and shorts figure over $ 200 , 000 ,It is not planned to sell to TV deals . Because such deals require made valuable with the right 000 . This will not only include such theatrical hits as “ Gone daily contact with ...

Author:

Publisher:

ISBN: STANFORD:36105005914390

Category: Film criticism

Page:

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Indianapolis Monthly

"I was always telling the dog, 'It's not my house; it's your house,'" Aliev jokes. ... "you come home exhausted, and you turn on the TV, and half an hour later you realize you're not watching TVyou're watching the saltwater tank.

Author:

Publisher:

ISBN:

Category:

Page: 264

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Indianapolis Monthly is the Circle City’s essential chronicle and guide, an indispensable authority on what’s new and what’s news. Through coverage of politics, crime, dining, style, business, sports, and arts and entertainment, each issue offers compelling narrative stories and lively, urbane coverage of Indy’s cultural landscape.

Federal Communications Commission Reports

It is within a licensee's discretion to determine that programming which is responsive to the needs of the ... Further , although PRMAEC has alleged that WNET - TV has not sufficiently taken into consideration the uniqueness of Hispanic ...

Author: United States. Federal Communications Commission

Publisher:

ISBN: MINN:31951D03465773V

Category: Telecommunication

Page:

View: 714

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