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This book is about the life and work of David Milch, the writer who
created NYPD Blue, Deadwood and a number of other important US
television dramas. It provides a detailed account of Milch's
journey from academia to the heights of the television industry,
locating him within the traditions of achievement in American
literature over the past in order to evaluate his contribution to
fiction writing. It also draws on behind-the-scenes materials to
analyse the significance of NYPD Blue, Deadwood, John From
Cincinatti and Luck. Contributing to academic debates in film,
television and literary studies on authorship, the book will be of
interest to fans of Milch's work, as well as those engaged with the
intersection between literature and popular television. -- .
Although Film Studies has successfully (re)turned attention to
matters of style and interpretation, its sibling discipline has
left the territory uncharted - until now. The question of how
television operates on a stylistic level has been critically
underexplored, despite being fundamental to our viewing experience.
This significant new work redresses a vital gap in Television
Studies by engaging with the stylistic dynamics of TV; exploring
the aesthetic properties and values of both the medium and
particular types of output (specific programmes); and raising
important questions about the way we judge television as both
cultural artifact and art form. Global Television: Aesthetics and
Style provides a unique and vital intervention in the field,
raising key questions about television's artistic properties and
possibilities. Through a series of case-studies by internationally
renowned scholars, the collection takes a radical step forward in
understanding TV's stylistic achievements.
Hospital dramas like "ER, Casualty, Chicago Hope, "and "Gideon's
Crossing "became extremely popular over the past decade. This book
explores the stylistic, aesthetic, and thematic impact of this
successful genre. It argues that new medical dramas offer a very
different visual and affective landscape from their predecessors,
often seeking to disturb rather than reassure their audiences. Such
dramas are visually mobile, speedy, and explicit in their depiction
of body trauma: injury and illness are showcased as part of the
televisual style. The medical professional is now frequently
depicted as a modern day existentialist, forced to confront insipid
new management cultures, ethical labyrinths, and noxious patients
that invade the white purity of the medical ward and emergency
room. The book traces the historical development of new medical
drama and explores the implications of, and anxieties within, their
depiction of modern healthcare. Finally, the book argues that there
are parallels between the cultural fascination with the body as
either sick or perfected and the attractions of a genre that seems
to revel in the juxtaposition of morbidity and glamor.
This book explores the formative period of British television
drama, concentrating on the years 193655. It examines the
continuities and changes of early television drama, and the impact
this had upon the subsequent 'golden age'. In particular, it
questions the caricature of early television drama as 'photographed
stage plays' and argues that early television pioneers in fact
produced a diverse range of innovative drama productions, using a
wide range of techniques. It also explores the often competing
definitions about the form and aesthetics of early television drama
both inside and outside the BBC. Given the absence of an
audio-visual record of early television drama, the book uses
written archive material in order to reconstruct how early
television drama looked, and how it was considered by producers and
critics, whilst also offering a critical examination of surviving
dramas, such as Rudolph Cartier's Nineteen Eighty-Four.
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