David Fincher's Zodiac (2007), written by producer James Vanderbilt and adapted from the true crime works of James Graysmith, remains one of the most respected films of the early 21st century. As the second film featuring a serial killer (and the first based on fact) by Fincher, Zodiac remains a standout in a varied but stylistically unified career. It similarly stands out among a new wave of crime cinema in the early 2000s, including the modern classics Inside Man, Michael Clayton, and Academy Award winner No Country for Old Men. While commonly described as a serial killer film, Zodiac also hybridizes the policier genre and the investigative reporter film. And yet, scholarship has largely ignored the film. This collection, edited by Matthew Sorrento and David Ryan, is the first book-length study dedicated to the film. Section One focuses on early influences, such as serial and spree killer films of the 1960s and 70s and how their treatments helped to shape Fincher's film. The second section analyses the film's unique treatment of narrative with studies of rhetoric onscreen, intertextuality, and gender. The book closes with a section on media studies, including chapters focusing on game theory, data and hegemony, the Zodiac's treatment in music, and the use of sound in cinema. By offering new avenues in Zodiac studies and continuing a few established ones, this book will interest scholars of cinema and true crime along with fans and enthusiasts in these areas.

Deborah L. Jaramillo investigates cable news' presentation of the Iraq War in relation to "high concept" filmmaking. High concept films can be reduced to single-sentence summaries and feature pre-sold elements; they were considered financially safe projects that would sustain consumer interest beyond their initial theatrical run. Using high concept as a framework for the analysis of the 2003 coverage of the Iraq War paying close attention to how Fox News and CNN packaged and promoted the U.S. invasion of Iraq Ugly War, Pretty Package offers a new paradigm for understanding how television news reporting shapes our perceptions of events."

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.

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.