Jackie Gleason once said, ""Television critics are men who report traffic accidents to eyewitnesses."" But aren't we all TV critics? It's a question that overlooks the importance of professional critics whose print and online columns reach large audiences. Their work helps viewers engage with programming and shapes the conversations that arise. This book covers more than five decades of American criticism, from the early days to the present. Whether praising or condemning programming trends, evaluating production and ratings, analyzing storylines or weighing in on policy decisions, a television critic's work is more than a consumer guide - it is part of a rich history that offers an insightful view of American culture.

This work offers a complete episode guide and comprehensive history of Second City Television. The influential Canadian sketch comedy series created dozens of memorable characters (i.e. station president Guy Caballero and showbiz mogul Johnny LaRue) and featured well-known performers such as John Candy, Catherine O'Hara, and Martin Short, at the height of their comedic careers. Presenting a thorough summary and review for each of SCTV's 135 episodes, the author traces the initial appearance and evolution of some of comedy's best known television characters and sketches. Two appendices provide guides to the program's compilation shows and recently released boxed sets on DVD.

This unprecedented volume includes 30 essays by teachers and students about the teacher characters who have inspired them. Drawing on film and television texts, the authors explore screen lessons from a variety of perspectives. Arranged in topical categories, the contributors examine the "good" teacher; the "bad" teacher; gender, sexuality, and teaching; race and ethnicity in the classroom; and lessons on social class. From such familiar texts as the Harry Potter series and School of Rock to classics like Blackboard Jungle and Golden Girls to unexpected narratives such as the Van Halen music video "Hot for Teacher" and Linda Ellerbee's Nick News, the essays are both provocative and instructive. Courses that could use this book include Education and Popular Culture, Cultural Foundations, Popular Culture Studies, other media studies and television genre classes.

Widely hailed as one of the best feminist-oriented series on television, NBC's Parks and Recreation (2009-2015) presents a multifaceted text for examining the incorporation of feminist ideology into its storylines. This book analyzes the various ways the series presented feminism as a positive force, such as the satirical portrayal of patriarchy; alternative depictions of masculinity; the feminist ideology and political career of main character Leslie Knope; the inclusion of actual political figures; and depictions of love and romance as related to feminist thinking. A much-needed treatment that adds to the literature on feminism in media and popular culture, this book serves as an ideal resource for instructors and scholars of gender and mass media, women's studies, and media criticism by investigating Parks and Recreation's place in the continuum of other feminist-leaning television programs.

This critical anthology sets out to explore the boom that horror cinema and TV productions have experienced in Spain in the past two decades. It uses a range of critical and theoretical perspectives to examine a broad variety of films and filmmakers, such as works by Alejandro Amenabar, Alex de la Iglesia, Pedro Almodovar, Guillermo del Toro, Juan Antonio Bayona, and Jaume Balaguero and Paco Plaza. The volume revolves around a set of fundamental questions: What are the causes for this new Spanish horror-mania? What cultural anxieties and desires, ideological motives and practical interests may be behind such boom? Is there anything specifically "Spanish" about the Spanish horror film and TV productions, any distinctive traits different from Hollywood and other European models that may be associated to the particular political, social, economic or cultural circumstances of contemporary Spain?

Across the globe, nations are switching to digital television at dramatic speed. The technology was in its infancy in the 1990s, but by the end of 2012 about half of the world's 1.2 billion TV households had converted to digital reception and some thirty nations, including the United Kingdom, had switched off analogue terrestrial television.In analogue television the broadcasters chose what we watched, when and where. With the full switch to digital television, and with broadcasting's convergence with the Internet, we can make these choices for ourselves. But can we shape those choices or are we at the mercy of technology and market forces? This book describes and analyses the digital television switchover with two broad aims: to show how lessons can be learned and transferred from one country to another, and to inform public debate about media policy during and after the switchover process, empowering citizens to influence and manage the outcomes.

The study of television and music has expanded greatly in recent years, yet to date no book has focused on the genre of comedy television as it relates to music. Music in Comedy Television: Notes on Laughs fills that gap, breaking new critical ground. With contributions from an array of established and emerging scholars representing a range of disciplines, the twelve essays included cover a wide variety of topics and television shows, spanning nearly fifty years across network, cable, and online structures and capturing the latest research in this growing area of study. From Sesame Street to Saturday Night Live, from Monty Python to Flight of the Conchords, this book offers the perfect introduction for students and scholars in music and media studies seeking to understand the role of music in comedy onscreen and how it relates to the wider culture.

The study of television and music has expanded greatly in recent years, yet to date no book has focused on the genre of comedy television as it relates to music. Music in Comedy Television: Notes on Laughs fills that gap, breaking new critical ground. With contributions from an array of established and emerging scholars representing a range of disciplines, the twelve essays included cover a wide variety of topics and television shows, spanning nearly fifty years across network, cable, and online structures and capturing the latest research in this growing area of study. From Sesame Street to Saturday Night Live, from Monty Python to Flight of the Conchords, this book offers the perfect introduction for students and scholars in music and media studies seeking to understand the role of music in comedy onscreen and how it relates to the wider culture.

Appalachian literature has no small share of silent or non-discursive characters, though the reasons for their wordlessness vary. Some are mute or pretend to be, some choose not to speak or are silenced by grief, trauma or fear. Others mutter monosyllabic responses, stutter, grunt and point, speak in tongues or use idiosyncratic language such as twin-speak. They capture the reader's attention by what they don't say. This collection of new essays analyzes characters who are unable or unwilling to communicate orally, whose lack of voice conveys physical, mental or social hindrance.

Popular film and television hold valuable potential for learning about sex and sexuality beyond the information-based model of sex education currently in schools. This book argues that the representation of complicated-or "messy"-relationships in these popular cultural forms makes them potent as affective pedagogical moments. It endeavours to develop new sexual literacies by contemplating how pedagogical moments, that is, fleeting moments which disrupt expectations or create discomfort, might enrich the available discourses of sexuality and gender, especially those available to adolescents. In Part One, Clarke critiques the heteronormative discourses of sex education that produce youth in particularly gendered ways, noting that "rationality" is often expected to govern experiences that are embodied and arguably inherently incoherent. Part Two explores public intimacy, contemplating the often overlapping and confused boundaries between public and private.

Since the early 2000s, Disney Channel has been dominated by original live-action programming popular among tween girls. The shows' successes rely not only on their popularity among girl audiences, but also on the development of star personae by girl performers, such as Raven-Symone, Miley Cyrus, and Selena Gomez. In addition, these programs and their performers have spawned lucrative media and merchandising franchises for the Walt Disney Company. This book includes analyses of this Disney Channel programming, as well as Disney corporate reports and executive statements, together with Disney Channel stars' performances, promotional appearances, media production, philanthropic efforts, and entrepreneurism. Analyzing these texts, performances, activities, and personae, it considers the ways in which they reproduce celebrity, visibility, and feminine performativity as central to successful twenty-first century girlhood.

When the final episode of Seinfeld aired on 14th May 1998, an amazing 76.3 million Americans tuned in, making it the most popular situation comedy is US television history. * The first show-by-show episode guide to be written about this iconic television series * Not just a hit in the USA, Seinfeld remains a cult show in the UK and Europe, now available on DVD and on Amazon Prime * Bang up to date, the book includes recent Seinfeld-related activity including the revival episode on 'Curb Your Enthusiasm' and Seinfeld's own 'Comedians in Cars Getting Coffee' Co-created by Larry David, this 'comedy about nothing' made celebrities of its four stars: stand-up comedian Jerry Seinfeld; comedian and actor Michael Richards who played eccentric neighbour Kramer; Julia Louis-Dreyfus who played Seinfeld's former girlfriend Elaine and Jason Alexander as Jerry's volatile best friend George. Completely unique in its outlook and execution, the success of the series lay in its early years, able to develop its own style below the radar as a minor network hit, before reaching a mass public with its fourth season in 1992. Much analyzed during its time on screen, the show has not been re-evaluated for many years. Now, 21 years since the series finished, Stephen Lambe's timely and superbly-crafted new book examines Seinfeld's first five seasons episode by episode, tracing the development of every character, catchphrase and quirk, from the series' embryonic pilot episode in 1989, to its status as an Emmy award-winning show by the time that season five wrapped in 1994. While the series was a huge success in the USA, it was also a cult hit across the globe and its legacy continues into the new millennium.

Humor and Latina/o Camp in Ugly Betty: Funny Looking expands the vista of critical approaches to comedy and representational politics on mainstream television from an interdisciplinary Latina/o studies approach. Gonzalez and Rodriguez y Gibson examine how Ugly Betty uses humor and Latina/o camp to reframe socially charged issues on the show: representations of masculinity and familia, immigration, drag and queer subjectivities, Latina sexuality, and finally, a Latina feminist critique of the American Dream. Ugly Betty moves beyond the binaries of traditional representational politics and opens a vista of critical possibility applicable to all mainstream texts that portray people of color through comedy. This work will be of interest to scholars in media studies, Latina/o studies, and communication studies.

Digital Politics in Canada addresses a significant gap in the scholarly literature on both media in Canada and Canadian political science. Using a comprehensive, multidisciplinary, historical, and focused analysis of Canadian digital politics, this book covers the full scope of actors in the Canadian political system, including traditional political institutions of the government, elected officials, political parties, and the mass media. At a time when issues of inclusion are central to political debate, this book features timely chapters on Indigenous people, women, and young people, and takes an in-depth look at key issues of online surveillance and internet voting. Ideal for a wide-ranging course on the impact of digital technology on the Canadian political system, this book encourages students to critically engage in discussions about the future of Canadian politics and democracy.

On September 26, 1968, ""Hawaii Five-O"" premiered on CBS. The show's exotic locale and quality writing and acting made it a fixture in the network's line-up for the next 12 years. Today the detective series continues to be very popular in syndication. The show's history is covered first, focusing on its development and its stars. Complete casts and credits for all regulars are provided for each season; the episode guide gives the title, original air date, director, producer, guest stars, a detailed synopsis of each show, and information on Honolulu residents who appeared in it.

Introducing the first authoritative guide to cover every aspect of religious broadcasting from its inception in 1921 to the present. "Prime Time Religion" contains over 430 entries chosen for their historical importance, national or international impact, exemplary nature, and longevity in the field of religious broadcasting. The book covers all religious groups who have turned to radio and television to promote their messages.

As American television continues to garner considerable esteem, rivalling the seventh art in its "cinematic" aesthetics and the complexity of its narratives, one aspect of its development has been relatively unexamined. While film has long acknowledged its tendency to adapt, an ability that contributed to its status as narrative art (capable of translating canonical texts onto the screen), television adaptations have seemingly been relegated to the miniseries or classic serial. From remakes and reboots to transmedia storytelling, loose adaptations or adaptations which last but a single episode, the recycling of pre-existing narrative is a practice that is just as common in television as in film, and this text seeks to rectify that oversight, examining series from M*A*S*H to Game of Thrones, Pride and Prejudice to Castle.

The greatest conversation in the history of Hollywood.

From the archives of the American Film Institute comes a unique picture of what it was like to work in Hollywood from its beginnings to its present day. Hollywood: The Oral History, lets a reader ‘listen in’ on candid remarks from the biggest names in front of the camera – Bette Davis, Meryl Streep, Tom Hanks, Jane Fonda, Harold Lloyd – the biggest behind it – Frank Capra, Steven Spielberg, Alfred Hitchcock, Jordan Peele, as well as the musicians, writers, sound men, editors, make-up artists, and even script timers, messengers, and publicists who shaped what was heard and seen on screen.

Legendary film scholar Jeanine Basinger and New York Times bestselling author Sam Wasson have undertaken the monumental task of weaving these thousands of hours of talk into a conversation that is lively, funny, insightful, historically accurate and authentically honest in its portrait of workaday Hollywood.

The years following the Cultural Revolution saw the arrival of television as part of China's effort to 'modernize' and open up to the West. Endorsed by the Deng Xiaoping regime as a 'bridge' between government and the people, television became at once the official mouthpiece of the Communist Party and the most popular form of entertainment for Chinese people living in the cities. But the authorities failed to realize the unmatched cultural power of television to inspire resistance to official ideologies, expectations, and lifestyles. The presence of television in the homes of the urban Chinese strikingly broadened the cultural and political awareness of its audience and provoked the people to imagine better ways of living as individuals, families, and as a nation. Originally published in 1991, set within the framework of China's political and economic environment in the modernization period, this insightful analysis is based on ethnographic data collected in China before and after the Tiananmen Square disaster. From interviews with leading Chinese television executives and nearly one hundred families in Beijing, Shanghai, Guangzhou, and Xian, the author outlays how Chinese television fosters opposition to the government through the work routines of media professionals, television imagery, and the role of critical, active audience members.

More than 400 films and 150 television series have featured time travel - stories of rewriting history, lovers separated by centuries, journeys to the past or the (often dystopian) future. This book examines some of the roles time travel plays on screen in science fiction and fantasy. Plot synopses and credits are listed for TV series from England, Canada, the UK and Japan, as well as for films from around the world. Tropes and plot elements are highlighted. The author discusses philosophical questions about time travel, such as the logic of timelines, causality (what's to keep time-travelers from jumping back and correcting every mistake?) and morality (if you correct a mistake, are you still guilty of it?).

The issue of ethnicity in France, and how ethnicities are represented there visually, remain one of the most important and polemical aspects of French post-colonial politics and society. Representing ethnicity in contemporary French visual culture is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies - ranging from the worldwide hit film Amelie to France's popular TV series Plus belle la vie - it explores how ethnicities have been represented in contemporary France across a wide variety of different media. Its innovative, interdisciplinary approach and novel subject matter will complement university courses that focus on contemporary French society and visual culture. It will interest those researching and studying French and European film and photography, ethnicity in post-colonial France and visual culture generally. -- .

Cuteness is one of the most culturally pervasive aesthetics of the new millennium and its rapid social proliferation suggests that the affective responses it provokes find particular purchase in a contemporary era marked by intensive media saturation and spreading economic precarity. Rejecting superficial assessments that would deem the ever-expanding plethora of cute texts trivial, The Aesthetics and Affects of Cuteness directs serious scholarly attention from a variety of academic disciplines to this ubiquitous phenomenon. The sheer plasticity of this minor aesthetic is vividly on display in this collection which draws together analyses from around the world examining cuteness's fundamental role in cultural expressions stemming from such diverse sources as military cultures, high-end contemporary art worlds, and animal shelters. Pushing beyond prevailing understandings that associate cuteness solely with childhood or which posit an interpolated parental bond as its primary affective attachment, the essays in this collection variously draw connections between cuteness and the social, political, economic, and technological conditions of the early twenty-first century and in doing so generate fresh understandings of the central role cuteness plays in the recalibration of contemporary subjectivities.

This guided tour of the American situation comedy is given by one of the most prolific directors of the genre. Brooklyn native Joel Zwick began his career in the late 1960s at La Mama, a New York experimental theater club, before moving to Hollywood to become a successful director during the sitcom's golden age. He describes the 10 steps of sitcom production and outlines the five-day process, from the early table draft to the final shooting in front of a live audience. Behind-the-scenes anecdotes include personal and professional experiences with actors Tom Hanks, Penny Marshall, Robin Williams, Jamie Foxx, the cast of Full House and many more.

Television for Women brings together emerging and established scholars to reconsider the question of 'television for women'. In the context of the 2000s, when the potential meanings of both terms have expanded and changed so significantly, in what ways might the concept of programming, addressed explicitly to a group identified by gender still matter? The essays in this collection take the existing scholarship in this field in significant new directions. They expand its reach in terms of territory (looking beyond, for example, the paradigmatic Anglo-American axis) and also historical span. Additionally, whilst the influential methodological formation of production, text and audience is still visible here, the new research in Television for Women frequently reconfigures that relationship. The topics included here are far-reaching; from television as material culture at the British exhibition in the first half of the twentieth century, women's roles in television production past and present, to popular 1960s television such as The Liver Birds and, in the twenty-first century, highly successful programmes including Orange is the New Black, Call the Midwife, One Born Every Minute and Wanted Down Under. This book presents ground-breaking research on historical and contemporary relationships between women and television around the world and is an ideal resource for students of television, media and gender studies.

Hollywood's live-action superhero films currently dominate the worldwide box-office, with the characters enjoying more notoriety through their feature film and television depictions than they have ever before. This book argues that this immense popularity reveals deep cultural concerns about politics, gender, ethnicity, patriotism and consumerism after the events of 9/11. Superheroes have long been agents of hegemony, fighting for abstract ideals of justice while overall perpetuating the American status quo. Yet at the same time, the book explores how the genre has also been utilized to question and critique these dominant cultural assumptions.