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Since first going on the air in 1972, HBO has continually attempted
to redefine television as we know it. Today, pay television (and
HBO in particular) is positioned as an alternative to network
offerings, consistently regarded as the premier site for what has
come to be called "quality television." This collection of new
essays by an international group of media scholars argues that HBO,
as part of the leading edge of television, is at the center of
television studies' interests in market positioning, style,
content, technology, and political economy. The contributors focus
on pioneering areas of analysis and new critical approaches in
television studies today, highlighting unique aspects of the "HBO
effect" to explore new perspectives on contemporary television from
radical changes in technology to dramatic shifts in viewing habits.
It's Not TV provides fresh insights into the "post-television
network" by examining HBO's phenomenally popular and pioneering
shows, including The Sopranos, The Wire, Six Feet Under, Sex and
the City as well as its failed series, such as K Street and The
Comeback. The contributors also explore the production process
itself and the creation of a brand commodity, along with HBO's
place as a market leader and technological innovator. Contributors:
Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia,
Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet
McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo,
Lisa Williamson Foreword by Toby Miller Marc Leverette is Assistant
Professor of Media Studies at Colorado State University. He is
author of Professional Wrestling, the Myth, the Mat, and American
Popular Culture and co-editor of Zombie Culture: Autopsies of the
Living Dead and Oh My God, They Deconstructed South Park! Those
Bastards! Brian L. Ott is Associate Professor of Media Studies at
Colorado State University. He is author of The Small Screen: How
Television Equips Us to Live in the Information Age. Cara Louise
Buckley is a lecturer at Emerson College.
Since first going on the air in 1972, HBO has continually attempted
to redefine television as we know it. Today, pay television (and
HBO in particular) is positioned as an alternative to network
offerings, consistently regarded as the premier site for what has
come to be called "quality television." This collection of new
essays by an international group of media scholars argues that HBO,
as part of the leading edge of television, is at the center of
television studies' interests in market positioning, style,
content, technology, and political economy. The contributors focus
on pioneering areas of analysis and new critical approaches in
television studies today, highlighting unique aspects of the "HBO
effect" to explore new perspectives on contemporary television from
radical changes in technology to dramatic shifts in viewing habits.
It's Not TV provides fresh insights into the "post-television
network" by examining HBO's phenomenally popular and pioneering
shows, including The Sopranos, The Wire, Six Feet Under, Sex and
the City as well as its failed series, such as K Street and The
Comeback. The contributors also explore the production process
itself and the creation of a brand commodity, along with HBO's
place as a market leader and technological innovator. Contributors:
Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia,
Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet
McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo,
Lisa Williamson Foreword by Toby Miller Marc Leverette is Assistant
Professor of Media Studies at Colorado State University. He is
author of Professional Wrestling, the Myth, the Mat, and American
Popular Culture and co-editor of Zombie Culture: Autopsies of the
Living Dead and Oh My God, They Deconstructed South Park! Those
Bastards! Brian L. Ott is Associate Professor of Media Studies at
Colorado State University. He is author of The Small Screen: How
Television Equips Us to Live in the Information Age. Cara Louise
Buckley is a lecturer at Emerson College.
This timely, highly readable edited collection undertakes an
interdisciplinary analysis of the innovative ways in which both the
political process and the entertainment industry appeal to voters
under the age of 30 and how the intended audience receives these
endeavors. Along the way, contributors shed light on the state of
the modern American political system and its relationship to
entertainment and popular culture. By integrating academic
investigations with a 'real-world' point of view, the essays in
this collection present information in an engaging, accessible
manner that will show readers how the articulation of youth culture
has influenced the political engagement of young voters.
This timely, highly readable edited collection undertakes an
interdisciplinary analysis of the innovative ways in which both the
political process and the entertainment industry appeal to voters
under the age of 30 and how the intended audience receives these
endeavors. Along the way, contributors shed light on the state of
the modern American political system and its relationship to
entertainment and popular culture. By integrating academic
investigations with a 'real-world' point of view, the essays in
this collection present information in an engaging, accessible
manner that will show readers how the articulation of youth culture
has influenced the political engagement of young voters.
Why have zombies resonated so pervasively in the popular
imagination and in media, especially films? Why have they proved to
be one of the most versatile and popular monster types in the
growing video game industry? What makes zombies such widespread
symbols of horror and dread, and how have portrayals of zombies in
movies changed and evolved to fit contemporary fears, anxieties,
and social issues? Zombies have held a unique place in film and
popular culture throughout most of the 20th century. Rare in that
this enduring monster type originated in non-European folk culture
rather than the Gothic tradition from which monsters like vampires
and werewolves have emerged, zombies have in many ways superseded
these Gothic monsters in popular entertainment and the public
imagination and have increasingly been used in discussions ranging
from the philosophy of mind to computer lingo to the business
press. Zombie Culture brings together scholars from a variety of
fields, including cinema studies, popular culture, and video game
studies, who have examined the living dead through a variety of
lenses. By looking at how portrayals of zombies have evolved from
their folkloric roots and entered popular culture, readers will
gain deeper insights into what zombies mean in terms of the public
psyche, how they represent societal fears, and how their evolving
portrayals continue to reflect underlying beliefs of The Other,
contagion, and death.
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