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Difficult Women on Television Drama analyses select case studies
from international TV dramas to examine the unresolved feminist
issues they raise or address: equal labor force participation, the
demand for sexual pleasure and freedom, opposition to sexual and
domestic violence, and the need for intersectional approaches.
Drawing on examples from The Killing, Orange is the New Black, Big
Little Lies, Wentworth, Outlander, Westworld, Being Mary Jane,
Queen Sugar, Vida, and other television dramas with a focus on
complex female characters, this book illustrates how female
creative control in key production roles (direct authorship)
together with industrial imperatives and a conducive cultural
context (indirect authorship) are necessary to produce feminist
texts. Placed within the larger context of a rise in feminist
activism and political participation by women; the growing embrace
of a feminist identity; and the ascendance of post-feminism, this
book reconsiders the unfinished nature of feminist struggle(s) and
suggests the need for a broader sweep of economic change. This book
is a must-read for scholars of media and communication studies;
television and film studies; cultural studies; American studies;
sociology of gender and sexualities; women and gender studies; and
international film, media and cinema studies.
Camp TV of the 1960s offers a comprehensive understanding of all of
the many forms camp TV took during that critical decade. In
reevaluating the history of camp on television, the authors
reconsider the infantilized conceptualization of sixties
television, which has generally been characterized as the creative
and cultural ebb between the 1950s Golden Age of television and the
networks' shift to "relevance" in the early 1970s. Encompassing
contributions from a broad range of media and television scholars
that (re)consider programs like Batman, The Monkees, The Addams
Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan
& Martin's Laugh-In, chapters closely examine beloved 1960s
American prime-time programs that drew significantly on aspects of
camp, many of which were widely syndicated and left continuing
imprints on popular culture. Other chapters consider key TV
precursors from the early sixties; British camp television programs
such as The Avengers; the use of musical codes to convey camp humor
(even on black-and-white sets); the role that the viewing
strategies of queer communities played - and continued to play even
decades later; and how camp's multivalence allowed for more
conservative readings, especially among older audiences, which were
critical for the move to "mass camp" throughout American culture by
the early seventies. Camp TV of the 1960s is essential reading for
students and scholars in television studies and others interested
in the history and theory of camp, the 1960s, or popular culture,
as well as fans of these well-known but generally understudied
television programs.
Camp TV of the 1960s offers a comprehensive understanding of all of
the many forms camp TV took during that critical decade. In
reevaluating the history of camp on television, the authors
reconsider the infantilized conceptualization of sixties
television, which has generally been characterized as the creative
and cultural ebb between the 1950s Golden Age of television and the
networks' shift to "relevance" in the early 1970s. Encompassing
contributions from a broad range of media and television scholars
that (re)consider programs like Batman, The Monkees, The Addams
Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan
& Martin's Laugh-In, chapters closely examine beloved 1960s
American prime-time programs that drew significantly on aspects of
camp, many of which were widely syndicated and left continuing
imprints on popular culture. Other chapters consider key TV
precursors from the early sixties; British camp television programs
such as The Avengers; the use of musical codes to convey camp humor
(even on black-and-white sets); the role that the viewing
strategies of queer communities played - and continued to play even
decades later; and how camp's multivalence allowed for more
conservative readings, especially among older audiences, which were
critical for the move to "mass camp" throughout American culture by
the early seventies. Camp TV of the 1960s is essential reading for
students and scholars in television studies and others interested
in the history and theory of camp, the 1960s, or popular culture,
as well as fans of these well-known but generally understudied
television programs.
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