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In the early 20th century, a new and distinctive concept of the
audience rose to prominence. The audience was seen as a mass -- a
large collection of people mostly unknown to one another -- that
was unified through exposure to media. This construct offered a
pragmatic way to map audiences that was relevant to industry,
government, and social theorists. In a relatively short period of
time, it became the dominant model for studying the audience.
Today, it is so pervasive that most people simply take it for
granted.
In the early 20th century, a new and distinctive concept of the
audience rose to prominence. The audience was seen as a mass -- a
large collection of people mostly unknown to one another -- that
was unified through exposure to media. This construct offered a
pragmatic way to map audiences that was relevant to industry,
government, and social theorists. In a relatively short period of
time, it became the dominant model for studying the audience.
Today, it is so pervasive that most people simply take it for
granted.
Writing Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do their jobs is heavily dependent not only on the demands of commercial business, but also on the uncertainties inherent in a writing career in Hollywood. Drawing on literature in the fields of Media Industry Studies and Occupational Culture, Writing Hollywood explains writers' efforts to control risk and survive in a constantly changing environment. Using data from personal interviews and a six-week participant observation at a prime time drama, Dr. Phalen analyzes the relationships among writers in series television, describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession.
Writing Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do their jobs is heavily dependent not only on the demands of commercial business, but also on the uncertainties inherent in a writing career in Hollywood. Drawing on literature in the fields of Media Industry Studies and Occupational Culture, Writing Hollywood explains writers' efforts to control risk and survive in a constantly changing environment. Using data from personal interviews and a six-week participant observation at a prime time drama, Dr. Phalen analyzes the relationships among writers in series television, describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession.
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