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In an age of proliferating choices, television nevertheless remains
the most popular medium in the United States. Americans spend more
time with TV than ever before, and many 'new media' forms, such as
blu-ray movies, Hulu videos, and Internet widgets, are produced and
delivered by the world's most lucrative and powerful television
industry. Yet that industry has undergone profound changes since
the 1980s, moving from a three-network oligopoly to a sprawling
range of channels and services dominated by a handful of major
conglomerates. Viewers can now access hundreds of channels at all
hours of the day and can search and select from hundreds of
thousands of individual programmes on video and Internet services.
This diversity has fragmented the size of television audiences and
transformed relationships between viewers and television companies.
Unlike the first fifty years of television, today's industry
leaders can no longer rely on mass audiences and steady revenue
flows from big-budget advertisers, and this in turn affects their
programming and production strategies.
"Television, Tabloids, and Tears " was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. "I am Biberkopf," Rainer Werner Fassbinder declared, aligning himself with the protagonist of his widely seen television adaptation of Berlin Alexanderplatz. The statement provoked an unprecedented national debate about what constituted an acceptable German artist and who has the power to determine art. More than any recent German director, Fassbinder embodied this debate, and Jane Shattuc shows us how much this can tell us, not just about the man and his work, but also about the state of "culture" in Germany. It is fascinating in itself that Fassbinder, a highly controversial public figure, was chosen to direct Berlin Alexanderplatz, Germany's longest, costliest, and most widely viewed television drama. Shattuc exposes the dichotomy of institutional support for this project versus the scandalous controversial reputation of Fassbinder as a gay man who flaunted his sexuality and involvement with drugs. Fassbinder built his reputation on two separate images of the director-the faithful adapter and the underground star; with Berlin Alexanderplatz these two identities came together explosively. Tracing the two artistic paths that led Fassbinder to this moment, Shattuc offers us a look at cultural class divisions in Germany. Her account of Fassbinder's history as an Autor reveals both the triumph and the failure of bourgeois cultural domination in postwar West Germany.
"Hop on Pop" showcases the work of a new generation of
scholars--from fields such as media studies, literature, cinema,
and cultural studies--whose writing has been informed by their
ongoing involvement with popular culture and who draw insight from
their lived experiences as critics, fans, and consumers. Proceeding
from their deep political commitment to a new kind of populist
grassroots politics, these writers challenge old modes of studying
the everyday. As they rework traditional scholarly language, they
search for new ways to write about our complex and compelling
engagements with the politics and pleasures of popular culture and
sketch a new and lively vocabulary for the field of cultural
studies. "Contributors." John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O'Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
"Hop on Pop" showcases the work of a new generation of
scholars--from fields such as media studies, literature, cinema,
and cultural studies--whose writing has been informed by their
ongoing involvement with popular culture and who draw insight from
their lived experiences as critics, fans, and consumers. Proceeding
from their deep political commitment to a new kind of populist
grassroots politics, these writers challenge old modes of studying
the everyday. As they rework traditional scholarly language, they
search for new ways to write about our complex and compelling
engagements with the politics and pleasures of popular culture and
sketch a new and lively vocabulary for the field of cultural
studies. "Contributors." John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O'Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
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