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Since the debut of These Are My Children in 1949, the daytime television soap opera has been foundational to the history of the medium as an economic, creative, technological, social, and cultural institution. In Her Stories, Elana Levine draws on archival research and her experience as a longtime soap fan to provide an in-depth history of the daytime television soap opera as a uniquely gendered cultural form and a central force in the economic and social influence of network television. Closely observing the production, promotion, reception, and narrative strategies of the soaps, Levine examines two intersecting developments: the role soap operas have played in shaping cultural understandings of gender and the rise and fall of broadcast network television as a culture industry. In so doing, she foregrounds how soap operas have revealed changing conceptions of gender and femininity as imagined by and reflected on the television screen.
New and Noteworthy —New York Times Book Review Must-Read Book of March —Entertainment Weekly Best Books of March —HelloGiggles “Leaps at the throat of television history and takes down the patriarchy with its fervent, inspired prose. When Women Invented Television offers proof that what we watch is a reflection of who we are as a people.” —Nathalia Holt, New York Times bestselling author of Rise of the Rocket Girls New York Times bestselling author of Seinfeldia Jennifer Keishin Armstrong tells the little-known story of four trailblazing women in the early days of television who laid the foundation of the industry we know today. It was the Golden Age of Radio and powerful men were making millions in advertising dollars reaching thousands of listeners every day. When television arrived, few radio moguls were interested in the upstart industry and its tiny production budgets, and expensive television sets were out of reach for most families. But four women—each an independent visionary— saw an opportunity and carved their own paths, and in so doing invented the way we watch tv today. Irna Phillips turned real-life tragedy into daytime serials featuring female dominated casts. Gertrude Berg turned her radio show into a Jewish family comedy that spawned a play, a musical, an advice column, a line of house dresses, and other products. Hazel Scott, already a renowned musician, was the first African American to host a national evening variety program. Betty White became a daytime talk show fan favorite and one of the first women to produce, write, and star in her own show. Together, their stories chronicle a forgotten chapter in the history of television and popular culture. But as the medium became more popular—and lucrative—in the wake of World War II, the House Un-American Activities Committee arose to threaten entertainers, blacklisting many as communist sympathizers. As politics, sexism, racism, anti-Semitism, and money collided, the women who invented television found themselves fighting from the margins, as men took control. But these women were true survivors who never gave up—and thus their legacies remain with us in our television-dominated era. It's time we reclaimed their forgotten histories and the work they did to pioneer the medium that now rules our lives. This amazing and heartbreaking history, illustrated with photos, tells it all for the first time.
As the notorious Reva Shayne on the daytime television drama Guiding Light, Kim Zimmer portrayed a vixen, a manic-depressive, an Amish woman, a time traveler, a Civil War belle, a talk show host, a cancer survivor, a loving mother, and a devoted wife. In her more than two decades on the show, she earned eleven Daytime Emmy nominations and four wins, not to mention a legion of loving fans. Now, in this heartfelt memoir, Zimmer delves into her experiences as a daytime diva. Packed with on- and off-set photographs and behind-the-scenes information, blatantly honest and wildly indiscreet, I’m Just Sayin’ tells all in an insightful journey through the parallel lives of Reva Shayne and Kim Zimmer—and the true stories behind the longest-running drama in television and radio history.
On November 8, 1965, Days of Our Lives debuted on NBC. The show overcame a rocky beginning to become one of the best-loved and longest running soap operas on daytime television. For 30 years, the story of the show's Horton family has been closely followed by a dedicated audience. Through extensive research, including the first-ever examination of the show's archives, and interviews with cast members, writers, producers and production personnel, the show's history is told here. This reference work provides a complete cast list from the show's debut through 1994, as well as the most comprehensive storyline of the show ever available. Also included are family trees of the show's characters, tracing the often confusing relationships involved in thirty years of developing roles.
Fusing audience research and ethnography, the book presents a compelling account of women’s changing lives and identities in relation to the impact of the most popular media culture in everyday life: television. Within the historically-specific social conditions of Korean modernity, Youna Kim analyzes how Korean women of varying age and class group cope with the new environment of changing economical structure and social relations. The book argues that television is an important resource for women, stimulating them to research their own lives and identities. Youna Kim reveals Korean women as creative, energetic and critical audiences in their responses to evolving modernity and the impact of the West. Based on original empirical research, the book explores the hopes, aspirations, frustrations and dilemmas of Korean women as they try to cope with life beyond traditional grounds. Going beyond the traditional Anglo-American view of media and culture, this text will appeal to students and scholars of both Korean area studies and media and communications studies.
From the Emmy-winning creator and writer of All My Children and One Life to Live, a memoir of her trailblazing rise to the top of the television industry, including behind-the-scenes stories from some of the most beloved soaps of all time. Before there was Erica Kane, Adam Chandler, or Victoria Lord, there was Agnes Nixon, a young girl who dreamed up stories for paper dolls. Those tales she imagined--ones filled with ambitions, rivalries, and romances--would soon parallel her own path to success. In a memoir filled with as much drama as the soaps she penned, Nixon shares her journey from Nashville to New York City, as she overcomes the loss of her fiancé in World War II, a father intent on crushing her writing dreams, and the jealousy of her male colleagues on her way to becoming one of the most successful names in television. While fans will delight in Nixon’s own incredible life, they will also love her behind-the-scenes insight into her most popular shows. Inside, she shares the inspiration for Erica Kane and how she cast Susan Lucci in the role; an excerpt from the never-before-seen All My Children story bible; entertaining anecdotes about her shows’ beloved casts and special guests, including Carol Burnett, Kelly Ripa, Oprah Winfrey, and Warren Buffett; and more. But My Life to Live is also a portrait of a pioneer. Driven to use her ratings power for good, Nixon fought and broke network taboos by wrestling with controversial social issues ranging from women’s health, interracial relationships, and the Vietnam War to drug addiction, LGBT rights, and AIDS. By infusing her characters with sensitivity, humor, and humanity, she enabled millions to examine an opposite point of view. And long before Shonda Rhimes launched a golden age of female showrunners, Agnes Nixon positioned ABC to become the media giant it is today. She is a true television legend, and her candid and inspiring glimpse behind the curtain of the television industry will charm soap fans and story lovers alike.
To Be Continued... explores the world's most popular form of television drama; the soap opera. From Denver to Delhi, Moscow to Manchester, audiences eagerly await the next episode of As the World Turns, The Rich Also Weep or Eastenders. But the popularity of soap operas in Britain and the US pales in comparison to the role that they play in media cultures in other parts of the world. To Be Continued... investigates both the cultural specificity of television soap operas and their reception in other cultures, covering soap production and soap watching in the U.S., Asia, Europe, Australia and Latin America. The contributors consider the nature of soap as a media text, the history of the serial narrative as a form, and the role of the soap opera in the development of feminist media criticism. To Be Continued... presents the first scholarly examination of soap opera as global media phenomenon.
In On Living with Television, Amy Holdsworth examines the characteristics of intimacy, familiarity, repetition, and duration that have come to exemplify the medium of television. Drawing on feminist television studies, queer theory, and disability studies as well as autobiographical life-writing practices, Holdsworth shows how television shapes everyday activities, from eating and sleeping to driving and homemaking. Recounting her own life with television, she offers a sense of the joys and pleasures Disney videos brought to her disabled sister, traces how bedtime television becomes part of a daily routine between child and caregiver, explores her own relationship to binge-eating and binge-viewing, and considers the idea of home through the BBC family drama Last Tango in Halifax. By foregrounding the ways in which television structures our relationships, daily routines, and sense of time, Holdsworth demonstrates how television emerges as a potent vehicle for writing about life.
The soap opera, one of U.S. television's longest-running and most influential formats, is on the brink. Declining ratings have been attributed to an increasing number of women working outside the home and to an intensifying competition for viewers' attention from cable and the Internet. Yet, soaps' influence has expanded, with serial narratives becoming commonplace on most prime time TV programs. The Survival of Soap Opera investigates the causes of their dwindling popularity, describes their impact on TV and new media culture, and gleans lessons from their complex history for twenty-first-century media industries. The book contains contributions from established soap scholars such as Robert C. Allen, Louise Spence, Nancy Baym, and Horace Newcomb, along with essays and interviews by emerging scholars, fans and Web site moderators, and soap opera producers, writers, and actors from ABC's General Hospital, CBS's The Young and the Restless and The Bold and the Beautiful, and other shows. This diverse group of voices seeks to intervene in the discussion about the fate of soap operas at a critical juncture, and speaks to longtime soap viewers, television studies scholars, and media professionals alike.