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This edited collection is the first book to offer a wide-ranging examination of the interface between American independent film and a converged television landscape that consists of terrestrial broadcasters, cable networks and streaming providers, in which independent film and television intersect in complex, multifaceted and creative ways. The book covers the long history of continuities and connections between the two sectors, as seen in the activities of PBS, HBO or Sundance. It considers the movement of filmmakers between indie film and TV such as Steven Soderbergh, Rian Johnson, the Duplass brothers, Joe Swanberg, Lynn Shelton and Gregg Araki; details the confluence of aesthetic and thematic elements seen in shows such as Girls, Breaking Bad, Master of None, or Glow; points to a shared interest in regional sensibilities evident in shows like One Mississippi or Fargo; and makes the case for documentaries and web series as significant entities in this domain. Collectively, the book builds a compelling picture of indie TV as a significant feature of US screen entertainment in the 21st Century. This interdisciplinary landmark volume will be a go-to reference for students and scholars of Television Studies, Film Studies and Media Studies.
Introduction: independents change the channel -- Developing open tv: innovation for the open network, 1995-2005 -- Open tv production: revaluing creative labor -- Open tv representation: reforming cultural politics -- Open tv distribution: struggling for an independent market -- Scaling open tv: the challenges of big data television -- Epilogue: open tv and the future of the networked era
Introduction: independents change the channel -- Developing open tv: innovation for the open network, 1995-2005 -- Open tv production: revaluing creative labor -- Open tv representation: reforming cultural politics -- Open tv distribution: struggling for an independent market -- Scaling open tv: the challenges of big data television -- Epilogue: open tv and the future of the networked era
Hollywood Divas, Indie Queens, and TV Heroines offers an entertaining and critical look at the representation of women in recent movies. Written in a refreshingly accessible style, the book analyzes over thirty box-office hits. The authors explore the screen personae of top stars such as Julia Roberts, Sandra Bullock, Meg Ryan, and Renée Zellweger, as well as independent movie queens like Parker Posey and TV heroines like Sarah Michelle Gellar of Buffy the Vampire Slayer. A must-read book for all film buffs who are tired of the mixed gender messages of mainstream culture.
A new edition that brings the ways we watch and think about television up to the present We all have opinions about the television shows we watch, but television criticism is about much more than simply evaluating the merits of a particular show and deeming it “good” or “bad.” Rather, criticism uses the close examination of a television program to explore that program’s cultural significance, creative strategies, and its place in a broader social context. How to Watch Television, Second Edition brings together forty original essays—more than half of which are new to this edition—from today’s leading scholars on television culture, who write about the programs they care (and think) the most about. Each essay focuses on a single television show, demonstrating one way to read the program and, through it, our media culture. From fashioning blackness in Empire to representation in Orange is the New Black and from the role of the reboot in Gilmore Girls to the function of changing political atmospheres in Roseanne, these essays model how to practice media criticism in accessible language, providing critical insights through analysis—suggesting a way of looking at TV that students and interested viewers might emulate. The contributors discuss a wide range of television programs past and present, covering many formats and genres, spanning fiction and non-fiction, broadcast, streaming, and cable. Addressing shows from TV’s earliest days to contemporary online transformations of the medium, How to Watch Television, Second Edition is designed to engender classroom discussion among television critics of all backgrounds. To access additional essays from the first edition, visit the "links" tab at nyupress.org/9781479898817/how-to-watch-television-second-edition/.
This book presents a compelling case for a paradigmatic shift in the analysis of television drama production that recentres questions of power, control and sustainability. Television drama production has become an increasingly lucrative global export business as drama as a form enjoys increased prestige. However, this book argues that the growing emphasis on international markets and global players such as Netflix and Amazon Prime neglects the realities of commissioning and making television drama in specific national and regional contexts. Drawing on extensive empirical research, Producing British Television Drama demonstrates the centrality of public service broadcasters in serving audiences and sustaining the commercial independent sector in a digital age. It attends closely to three elements—the role of place in the production of content; the experiences of those working in the sector; and the interventions from cultural intermediaries in articulating and ascribing value to television drama. With chapters examining the evolution of British TV drama, as well as what might be in store in its future, this book offers invaluable insights into the UK as a major supplier of and market for television drama.
TV Outside the Box: Trailblazing in the Digital Television Revolution explores the new and exploding universe of on-demand, OTT (Over the Top) networks: Netflix, Amazon, Hulu, Crackle, CW Seed, Vimeo, AwesomenessTV, and many more. Featuring in-depth conversations with game-changing content creators, industry mavericks, and leading cultural influencers, TV Outside the Box is essential reading for anyone interested in the dynamics of a global media revolution – while it’s happening. Readers will discover: How the new "disruptors" of traditional television models are shaping the future of the television and feature film business. You’ll hear directly from the visionaries behind it all – from concept genesis to predictions for the future of streaming platforms; their strategies for acquisitions and development of new original content; and how the revolution is providing unprecedented opportunities for both established and emerging talent. What’s different about storytelling for the progressive, risk-taking networks who are delivering provocative, groundbreaking, binge-worthy content, without the restraints of the traditional, advertiser-supported programming model. Through interviews with the showrunners, content creators, and producers of dozens of trailblazing series – including Orange Is the New Black, House of Cards, Transparent, and many more – you’ll learn how and why the best and the brightest TV content creators and filmmakers are defining the new digital entertainment age – and how you can, too.
Media independence is central to the organization, make-up, working practices and output of media systems across the globe. Often stemming from western notions of individual and political freedoms, independence has informed the development of media across a range of platforms: from the freedom of the press as the "fourth estate" and the rise of Hollywood’s Independent studios and Independent television in Britain, through to the importance of "Indy" labels in music and gaming and the increasing importance of independence of voice in citizen journalism. Media independence for many, therefore, has come to mean working with freedom: from state control or interference, from monopoly, from market forces, as well as freedom to report, comment, create and document without fear of persecution. However, far from a stable concept that informs all media systems, the notion of media independence has long been contested, forming a crucial tension point in the regulation, shape, size and role of the media around the globe. Contributors including David Hesmondhalgh, Gholam Khiabany, José van Dijck, Hector Postigo, Anthony Fung, Stuart Allan and Geoff King demonstrate how the notion of independence has remained paramount, but contested, in ideals of what the media is for, how it should be regulated, what it should produce and what working within it should be like. They address questions of economics, labor relations, production cultures, ideologies and social functions.
"What Linda Stradling doesn't know about production management isn't worth knowing" The Documentary Filmmakers Group Playing a key role in helping producers to interpret and realise the directors' vision, production managers are responsible for all organisational aspects of TV and film production - from start to finish. Now this essential handbook tells you how it's done. Written by highly experienced production manager and specialist tutor, Linda Stradling, this is a complete guide to the profession. It includes details on self-organisation and the best systems to use, budgets, schedules and cost control, hiring and firing, contracts, insurance, setting up a shoot, dealing with contributors, acquiring copyright, people skills and ethics. So whether you're just starting out or want to improve your knowledge and skills, this is the book for you.
BPP Learning Media's Study Text for TOPCIMA will help you pass CIMA's Test of Professional Competence in Management Accounting case study exam. In preparing the Text we have taken note of past papers, questions put to the examiners, the assessment methodology and previous case study exams.The key to the case is to prepare and to practise. Prepare by working through this Study Text before CIMA issues the pre-seen data. Later, practise with the BPP Learning Media TOPCIMA Toolkit that is written around the real pre-seen data. The Toolkit contains analyses and exercises to get you thinking, as well as a number of 'mock' unseens to get you ready for the real thing