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Hollywood TV - Christopher Anderson - Bog - University of Texas Press - Plusbog.dk

Who Got the Camera? - Eric Harvey - Bog - University of Texas Press - Plusbog.dk

Spanish-Language Television - Jillian M. Baez - Bog - University of Texas Press - Plusbog.dk

Spanish-Language Television - Jillian M. Baez - Bog - University of Texas Press - Plusbog.dk

The New Gay for Pay - Julia Himberg - Bog - University of Texas Press - Plusbog.dk

The New Gay for Pay - Julia Himberg - Bog - University of Texas Press - Plusbog.dk

Television conveys powerful messages about sexual identities, and popular shows such as Will & Grace, Ellen, Glee, Modern Family, and The Fosters are often credited with building support for gay rights, including marriage equality. At the same time, however, many dismiss TV’s portrayal of LGBT characters and issues as “gay for pay”—that is, apolitical and exploitative programming created simply for profit. In The New Gay for Pay, Julia Himberg moves beyond both of these positions to investigate the complex and multifaceted ways that television production participates in constructing sexuality, sexual identities and communities, and sexual politics. Himberg examines the production stories behind explicitly LGBT narratives and characters, studying how industry workers themselves negotiate processes of TV development, production, marketing, and distribution. She interviews workers whose views are rarely heard, including market researchers, public relations experts, media advocacy workers, political campaigners designing strategies for TV messaging, and corporate social responsibility department officers, as well as network executives and producers. Thoroughly analyzing their comments in the light of four key issues—visibility, advocacy, diversity, and equality—Himberg reveals how the practices and belief systems of industry workers generate the conceptions of LGBT sexuality and political change that are portrayed on television. This original approach complicates and broadens our notions about who makes media; how those practitioners operate within media conglomerates; and, perhaps most important, how they contribute to commonsense ideas about sexuality.

DKK 246.00
1

The Television Code - Deborah L. Jaramillo - Bog - University of Texas Press - Plusbog.dk

The Television Code - Deborah L. Jaramillo - Bog - University of Texas Press - Plusbog.dk

The broadcasting industry’s trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues. Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry’s trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

DKK 246.00
1

Living Room Lectures - Nina C. Leibman - Bog - University of Texas Press - Plusbog.dk

Living Room Lectures - Nina C. Leibman - Bog - University of Texas Press - Plusbog.dk

With a breadwinner dad, a homemaker mom, and squeaky-clean kids, the 1950s television family has achieved near mythological status as a model of what real families "ought" to be. Yet feature films of the period often portrayed families in trouble, with parents and children in conflict over appropriate values and behaviors. Why were these representations of family apparently so far apart? Nina Leibman analyzes many feature films and dozens of TV situation comedy episodes from 1954 to 1963 to find surprising commonalities in their representations of the family. Redefining the comedy as a family melodrama, she compares film and television depictions of familial power, gender roles, and economic attitudes. Leibman''s explorations reveal how themes of guilt, deceit, manipulation, anxiety, and disfunctionality that obviously characterize such movies as Rebel without a Cause, A Summer Place, and Splendor in the Grass also crop up in such TV shows as The Adventures of Ozzie and Harriet, Father Knows Best, Leave It to Beaver, The Donna Reed Show, and My Three Sons. Drawing on interviews with many of the participants of these productions, archival documents, and trade journals, Leibman sets her discussion within a larger institutional history of 1950s film and television. Her discussions shed new light not only on the reasons for both media''s near obsession with family life but also on changes in American society as it reconfigured itself in the postwar era.

DKK 278.00
1

Only the Names Have Been Changed - Claudia Calhoun - Bog - University of Texas Press - Plusbog.dk

Only the Names Have Been Changed - Claudia Calhoun - Bog - University of Texas Press - Plusbog.dk

2022 Peter C. Rollins Book Award, Northeast Texas Popular Culture and American Culture Associations (NEPCA) In the postwar era, the police procedural series Dragnet informed Americans on the workings of the criminal justice system and instructed them in their responsibilities as citizens. Among shifting politics, tastes, and technology in television history, one genre has been remarkably persistent: the cop show. Claudia Calhoun returns to Dragnet, the pioneering police procedural and an early transmedia franchise, appearing on radio in 1949, on TV and in film in the 1950s, and in later revivals. More than a popular entertainment, Dragnet was a signifier of America’s postwar confidence in government institutions—and a publicity vehicle for the Los Angeles Police Department. Only the Names Have Been Changed shows how Dragnet ’s “realistic” storytelling resonated across postwar culture. Calhoun traces Dragnet ’s “semi-documentary” predecessors, and shows how Jack Webb, Dragnet ’s creator, worked directly with the LAPD as he produced a series that would likewise inspire public trust by presenting day-to-day procedural justice, rather than shootouts and wild capers. Yet this realism also set aside the seething racial tensions of Los Angeles as it was. Dragnet emerges as a foundational text, one that taught audiences to see police as everyday heroes not only on TV but also in daily life, a lesson that has come under scrutiny as Americans increasingly seek to redefine the relationship between policing and public safety.

DKK 425.00
1

The Television Code - Deborah L. Jaramillo - Bog - University of Texas Press - Plusbog.dk

The Television Code - Deborah L. Jaramillo - Bog - University of Texas Press - Plusbog.dk

The broadcasting industry’s trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues. Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry’s trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

DKK 777.00
1

From Threatening Guerrillas to Forever Illegals - Yajaira M. Padilla - Bog - University of Texas Press - Plusbog.dk

From Threatening Guerrillas to Forever Illegals - Yajaira M. Padilla - Bog - University of Texas Press - Plusbog.dk

Watching Television Come of Age - - Bog - University of Texas Press - Plusbog.dk

A Good Long Drive - Bob Phillips - Bog - University of Texas Press - Plusbog.dk

6000 Miles of Fence - Cordia Sloan Duke - Bog - University of Texas Press - Plusbog.dk