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Designed to inspire the fledgling scriptwriter, this book combines analytical essays on the work of three successful television writers with interviews and complete scripts printed in correct professional format. The writers Marion Hargrove (Maverick, The Waltons), Joseph Dougherty (thirtysomething), and Michael Kozoll (Hill Street Blues) are used as examples of professionals who developed a personal voice and a distinctive style while serving as staff writers for existing prime-time television programs. Douglas Heil theorizes that students of television scriptwriting need to engage in "close study of exemplary," and the three full scripts he offers a.re useful models of humane and entertaining drama. The book is of value not only to aspiring scriptwriters but also to those readers with a general interest in media history.
Designed to inspire the fledgling scriptwriter, this book combines analytical essays on the work of three successful television writers with interviews and complete scripts printed in correct professional format. The writers Marion Hargrove (Maverick, The Waltons), Joseph Dougherty (thirtysomething), and Michael Kozoll (Hill Street Blues) are used as examples of professionals who developed a personal voice and a distinctive style while serving as staff writers for existing prime-time television programs. Douglas Heil theorizes that students of television scriptwriting need to engage in "close study of exemplary," and the three full scripts he offers a.re useful models of humane and entertaining drama. The book is of value not only to aspiring scriptwriters but also to those readers with a general interest in media history.
Shanti Kumar's Gandhi Meets Primetime examines how cultural imaginations of national identity have been transformed by the rapid growth of satellite and cable television in postcolonial India. To evaluate the growing influence of foreign and domestic satellite and cable channels since 1991, the book considers a wide range of materials including contemporary television programming, historical archives, legal documents, policy statements, academic writings and journalistic accounts. Kumar argues that India's hybrid national identity is manifested in the discourses found in this variety of empirical sources. He deconstructs representations of Mahatma Gandhi as the Father of the Nation on the state-sponsored network Doordarshan and those found on Rupert Murdoch's STAR TV network. The book closely analyzes print advertisements to trace the changing status of the television set as a cultural commodity in postcolonial India and examines publicity brochures, promotional materials and programming schedules of Indian-language networks to outline the role of vernacular media in the discourse of electronic capitalism. The empirical evidence is illuminated by theoretical analyses that combine diverse approaches such as cultural studies, poststructuralism and postcolonial criticism.
Part of Praeger's Media and Society Series, this contributed volume is the only collection of essays on television authorship. It includes work of some of the most prominent scholars in television studies. Rather than assigning one author to individual television texts, the contributors probe the relationship between the various authors at work within the institutional, cultural, and economic settings that characterize the television industry. This book analyzes and defines the unique methods of television authorship and suggests numerous candidates for authorial accountability allowing the medium to enter the realm of contemporary criticism. The first part of the volume provides a case study in four chapters on authorship issues surrounding Frank's Place, the short lived but compelling situation comedy. This is followed by three chapters focusing on issues of authorship in international television. The book then probes the studio's role as author, including essays on Warner Brothers, Desilu, and Screen Gems. Finally the contributors examine individual TV authors and cover such topics as point of view in music video, television production as collective action, and unconventional television.
Media Industries: History, Theory and Method is among the first texts to explore the evolving field of media industry studies and offer an innovative blueprint for future study and analysis. capitalizes on the current social and cultural environment of unprecedented technical change, convergence, and globalization across a range of textual, institutional and theoretical perspectives brings together newly commissioned essays by leading scholars in film, media, communications and cultural studies includes case studies of film, television and digital media to vividly illustrate the dynamic transformations taking place across national, regional and international contexts
In this essential guide, Abby Finer and Deborah Pearlman of the Warner Bros. Television Writers Workshop reveal insider tips and tricks aimed at paving the way to better scripts by new writers. The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. In particular, the authors provide instruction on troubleshooting scripts—with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, choose the right show, as well as write a beat sheet and outline in order to achieve a polished draft. Filled with practical advice and up-to-elate industry information, each chapter provides strategies and insights that will jump-start a fledgling writing career toward success.
From 1960 to 1990, Alfred R. Schneider served as head of standards and practices, or "chief censors," for the ABC television network. From his unique vantage point, Schneider managed issues of taste and morality that determined what millions of U.S. viewers watched. During his tenure the nation's attitudes changed drastically, as did the content shown on American airwaves. Controversies arose about TV's influence on children, its portrayal of violence, and its introduction of once taboo subjects.
This important new contribution to studies on authorship and film explores the ways in which shared and disputed opinions on aesthetic quality, originality and authorial essence have shaped receptions of Lynch's films. It is also the first book to approach David Lynch as a figure composed through language, history and text. Tracing the development of Lynch's career from cult obscurity with Eraserhead, to star auteur through the release of Blue Velvet, and TV phenomenon Twin Peaks, Antony Todd examines how his idiosyncratic style introduced the term 'Lynchian' to the colloquial speech of new Hollywood and helped establish Lynch as the leading light among contemporary American auteurs. Todd explores contemporary manners and attitudes for artistic reputation building, and the standards by which Lynch's reputation was dismantled following the release of Wild at Heart and Twin Peaks: Fire Walk with Me, only to be reassembled once more through films such as Lost Highway, Mulholland Dr. and INLAND EMPIRE. In its account of the experiences at play in the encounter between ephemera, text and reader, this book reveals how authors function for pleasure in the modern filmgoer's everyday consumption of films.
The new edition of this bestselling literary theory anthology has been thoroughly updated to include influential texts from innovative new areas, including disability studies, eco-criticism, and ethics. Covers all the major schools and methods that make up the dynamic field of literary theory, from Formalism to Postcolonialism Expanded to include work from Stuart Hall, Sara Ahmed, and Lauren Berlant. Pedagogically enhanced with detailed editorial introductions and a comprehensive glossary of terms
This sequel provides yet another dozen of today's most acclaimed writers and producers an open, uncensored forum in which they discuss everything from their work ethic to the political, social, and economic issues affecting the television industry. The West Wing, C.S.I., and Judging Amy are just a few of the dramas that launched a new era of television at the turn of the millennium. TV Creators gives scholars and fans alike an exclusive, firsthand account of the lives, philosophies, and contributions of some of the best television scribes of the past two decades. TV Creators: Volume Two includes revelations such as Aaron Sorkin (The West Wing) admitting that he is not a natural storyteller, and Martha Williamson (Touched by an Angel) announcing that "There is nothing more gender blind than an executive producer who desperately needs a good writer." Glenn Gordon Caron (Moonlighting, Now & Again) confesses, "I always think that disaster is an inch away," while Paul Haggis (Family Law) reveals, "I always like to do something that I think I can fail at." Also interviewed are: Aaron Spelling (Charmed, Beverly Hills 90210); Joss Whedon (Buffy the Vampire Slayer); Roy Huggins (The Fugitive); Clifton Campbell (Profiler); Barbara Hall (Judging Amy); Anthony Zuiker (CSI: Crime Scene Investigation); John McNamara (The Fugitive); and Don Bellisario (JAG, Magnum P.I.).