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In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee.
In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences. In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment. A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.
The Fox-TV series 24 might have been in production long before its premier just two months after 9/11, but its storyline—and that of many other television programs—has since become inextricably embedded in the nation's popular consciousness. This book marks the first comprehensive survey and analysis of War on Terror themes in post-9/11 American television, critiquing those shows that—either blindly or intentionally—supported the Bush administration's security policies. Stacy Takacs focuses on the role of entertainment programming in building a national consensus favoring a War on Terror, taking a close look at programs that comment both directly and allegorically on the post-9/11 world. In show after show, she chillingly illustrates how popular television helped organize public feelings of loss, fear, empathy, and self-love into narratives supportive of a controversial and unprecedented war. Takacs examines a spectrum of program genres—talk shows, reality programs, sitcoms, police procedurals, male melodramas, war narratives—to uncover the recurrent cultural themes that helped convince Americans to invade Afghanistan and Iraq and compromise their own civil liberties. Spanning the past decade of the ongoing conflict, she reviews not only key touchstones of post-9/11 popular culture such as 24, Rescue Me, and Sleeper Cell, but also less remarked-upon but relevant series like JAG, Off to War, Six Feet Under, and Jericho. She also considers voices of dissent that have emerged through satirical offerings like The Daily Show and science fiction series such as Lost and Battlestar Galactica. Takacs dissects how the War on Terror has been broadcast into our living rooms in programs that routinely offer simplistic answers to important questions—Who exactly are we fighting? Why do they hate us?—and she examines the climate of fear and paranoia they've created. Unlike cultural analyses that view the government's courting of Hollywood as a conspiracy to manipulate the masses, her book considers how economic and industry considerations complicate state-media relations throughout the era. Terrorism TV offers fresh insight into how American television directly and indirectly reinforced the Bush administration's security agenda and argues for the continued importance of the medium as a tool of collective identity formation. It is an essential guide to the televisual landscape of American consciousness in the first decade of the twenty-first century.
This work examines what happens when comedy becomes political, and politics become funny. A series of original essays focus on a range of programmes, from 'The Daily Show' to 'South Park'.
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.
Television studies must now address a complex environment where change has been vigorous but uneven, and where local and national conditions vary significantly. Globalizing media industries, deregulatory policy regimes, the multiplication, convergence and trade in media formats, the emergence of new content production industries outside the US/UK umbrella, and the fragmentation of media audiences are all changing the nature of television today: its content, its industrial structure and how it is consumed. Television Studies after TV leads the way in developing new ways of understanding television in the post-broadcast era. With contributions from leading international scholars, it considers the full range of convergent media now implicated in understanding television, and also focuses on large non-Anglophone markets – such as Asia and Latin America — in order to accurately reflect the wide variety of structures, forms and content which now organise television around the world.
DIVA critical reassessment of television and television studies in the age of new media./div
Television studies must now address a complex environment where change has been vigorous but uneven, and where local and national conditions vary significantly. Globalizing media industries, deregulatory policy regimes, the multiplication, convergence and trade in media formats, the emergence of new content production industries outside the US/UK umbrella, and the fragmentation of media audiences are all changing the nature of television today: its content, its industrial structure and how it is consumed. Television Studies after TV leads the way in developing new ways of understanding television in the post-broadcast era. With contributions from leading international scholars, it considers the full range of convergent media now implicated in understanding television, and also focuses on large non-Anglophone markets – such as Asia and Latin America — in order to accurately reflect the wide variety of structures, forms and content which now organise television around the world.
Combining cutting-edge theories of culture and government with programming examples—including Todd TV, Survivor, and American Idol—Better Living through Reality TV moves beyond the established concerns of political economy and cultural studies to conceptualize television's evolving role in the contemporary period. A major textbook on the impact of reality and lifestyle television on today’s programming, and on broader social, cultural and political trends Draws on a range of examples from The Apprentice and American Idol to Extreme Makeover and Wife Swap Argues that reality television teaches viewers to monitor, motivate, improve, transform and protect themselves in the name of freedom, enterprise, and personal responsibility
This book reports findings from a major, multidisciplinary study of the impact of broadcast television on the remote island community of St. Helena in the South Atlantic Ocean. Broadcast television was introduced to the island for the first time in March 1995. This introduction represented a major event on the island, whose only televisual experience had been through video. In the years leading up to the introduction of TV, the researchers who wrote this book collected data by observing the island's young children in classroom settings, and during free-play. In addition to these observations they asked the children's teachers to rate their students' behavior, and invited the children to explain to them what leisure time activities they engaged in. With the data they were able to amass on these key variables they have assembled and coded the results into baseline measures central to the study. Once TV had arrived, they collected data annually on the key dependent measures to determine if the introduction of broadcast TV had any discernible influence on the behavior of the children.