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Mediasprawl: Springfield U.S.A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Iowa Journal of Cultural Studies Volume 3, Issue 1 2003 Article 10 SUBURBIA Mediasprawl: Springfield U.S.A Douglas Rushkoff∗ ∗ Copyright c 2003 by the authors. Iowa Journal of Cultural Studies is produced by The Berkeley Electronic Press (bepress). https://ir.uiowa.edu/ijcs Mediasprawl: Springfield U.S.A. Douglas Rushkoff The Simpsons are the closest thing in America to a national media literacy program. By pretending to be a kids’ cartoon, the show gets away with murder: that is, the virtual murder of our most coercive media iconography and techniques. For what began as entertaining interstitial material for an alternative network variety show has revealed itself, in the twenty-first century, as nothing short of a media revolu tion. Maybe that’s the very reason The Simpsons works so well. The Simpsons were bom to provide The Tracey Ullman Show with a way of cutting to commercial breaks. Their very function as a form of media was to bridge the discontinuity inherent to broadcast television. They existed to pave over the breaks. But rather than dampening the effects of these gaps in the broadcast stream, they heightened them. They acknowledged the jagged edges and recombinant forms behind the glossy patina of American television and, by doing so, initiated its deconstruction. They exist in the outlying suburbs of the American media landscape: the hinter lands of the Fox network. And living as they do—simultaneously a part of yet separate from the mainstream, primetime fare—they are able to bear witness to our cultural formulations and then comment upon them. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Watching Television with Friends: Tween Girls' Inclusion Of
WATCHING TELEVISION WITH FRIENDS: TWEEN GIRLS’ INCLUSION OF TELEVISUAL MATERIAL IN FRIENDSHIP by CYNTHIA MICHIELLE MAURER A dissertation submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies written under the direction of Daniel Thomas Cook and approved by ______________________________ Daniel T. Cook ______________________________ Anna Beresin ______________________________ Todd Wolfson Camden, New Jersey May 2016 ABSTRACT Watching Television with Friends: Tween Girls’ Inclusion of Televisual Material in Friendship By CYNTHIA MICHIELLE MAURER Dissertation Director: Daniel Thomas Cook This qualitative work examines the role of tween live-action television shows in the friendships of four tween girls, providing insight into the use of televisual material in peer interactions. Over the course of one year and with the use of a video camera, I recorded, observed, hung out and watched television with the girls in the informal setting of a friend’s house. I found that friendship informs and filters understandings and use of tween television in daily conversations with friends. Using Erving Goffman’s theory of facework as a starting point, I introduce a new theoretical framework called friendship work to locate, examine, and understand how friendship is enacted on a granular level. Friendship work considers how an individual positions herself for her own needs before acknowledging the needs of her friends, and is concerned with both emotive effort and social impact. Through group television viewings, participation in television themed games, and the creation of webisodes, the girls strengthen, maintain, and diminish previously established bonds. -
Breaking Bad and Cinematic Television
temp Breaking Bad and Cinematic Television ANGELO RESTIVO Breaking Bad and Cinematic Television A production of the Console- ing Passions book series Edited by Lynn Spigel Breaking Bad and Cinematic Television ANGELO RESTIVO DUKE UNIVERSITY PRESS Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Typeset in Warnock and News Gothic by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data Names: Restivo, Angelo, [date] author. Title: Breaking bad and cinematic television / Angelo Restivo. Description: Durham : Duke University Press, 2019. | Series: Spin offs : a production of the Console-ing Passions book series | Includes bibliographical references and index. Identifiers: LCCN 2018033898 (print) LCCN 2018043471 (ebook) ISBN 9781478003441 (ebook) ISBN 9781478001935 (hardcover : alk. paper) ISBN 9781478003083 (pbk. : alk. paper) Subjects: LCSH: Breaking bad (Television program : 2008–2013) | Television series— Social aspects—United States. | Television series—United States—History and criticism. | Popular culture—United States—History—21st century. Classification: LCC PN1992.77.B74 (ebook) | LCC PN1992.77.B74 R47 2019 (print) | DDC 791.45/72—dc23 LC record available at https: // lccn.loc.gov/2018033898 Cover art: Breaking Bad, episode 103 (2008). Duke University Press gratefully acknowledges the support of Georgia State University’s College of the Arts, School of Film, Media, and Theatre, and Creative Media Industries Institute, which provided funds toward the publication of this book. Not to mention that most terrible drug—ourselves— which we take in solitude. —WALTER BENJAMIN Contents note to the reader ix acknowledgments xi Introduction 1 1 The Cinematic 25 2 The House 54 3 The Puzzle 81 4 Just Gaming 116 5 Immanence: A Life 137 notes 159 bibliography 171 index 179 Note to the Reader While this is an academic study, I have tried to write the book in such a way that it will be accessible to the generally educated reader. -
The West Wing Weekly Episode 1:05: “The Crackpots and These Women
The West Wing Weekly Episode 1:05: “The Crackpots and These Women” Guest: Eli Attie [West Wing Episode 1.05 excerpt] TOBY: It’s “throw open our office doors to people who want to discuss things that we could care less about” day. [end excerpt] [Intro Music] JOSH: Hi, you’re listening to The West Wing Weekly. My name is Joshua Malina. HRISHI: And I’m Hrishikesh Hirway. JOSH: We are here to discuss season one, episode five, “The Crackpots and These Women”. It originally aired on October 20th, 1999. This episode was written by Aaron Sorkin; it was directed by Anthony Drazan, who among other things directed the 1998 film version of David Rabe’s Hurlyburly, the play on which it was based having been mentioned in episode one of our podcast. We’re coming full circle. HRISHI: Our guest today is writer and producer Eli Attie. Eli joined the staff of The West Wing in its third season, but before his gig in fictional D.C. he worked as a political operative in the real White House, serving as a special assistant to President Bill Clinton, and then as Vice President Al Gore’s chief speechwriter. He’s also written for Studio 60 on the Sunset Strip, House, and Rosewood. Eli, welcome to The West Wing Weekly. ELI: It’s a great pleasure to be here. JOSH: I’m a little bit under the weather, but Lady Podcast is a cruel mistress, and she waits for no man’s cold, so if I sound congested, it’s because I’m congested. -
Ebook Download Seinfeld Ultimate Episode Guide Ebook Free Download
SEINFELD ULTIMATE EPISODE GUIDE PDF, EPUB, EBOOK Dennis Bjorklund | 194 pages | 06 Dec 2013 | Createspace Independent Publishing Platform | 9781494405953 | English | none Seinfeld Ultimate Episode Guide PDF Book Christmas episodes have also given birth to iconic storylines. Doch das vermeintliche Paradies hat auch seine Macken. Close Share options. The count includes both halves of three one-hour episodes, including the finale , and two retrospective episodes, each split into two parts: " The Highlights of ", covering the first episodes; and " The Clip Show ", also known as "The Chronicle", which aired before the series finale. Doch zuerst geht es um ihr eigenes Zuhause: Mobile 31 Quadratmeter werden auf mehrere Ebenen aufgeteilt. December is the most festive month of the year and plenty of TV shows — both new and old — have Christmas-themed episodes ready to rewatch. Spike Feresten. Finden sie ein Haus nach ihrer Wunschvorstellung - in bezahlbar? Main article: Seinfeld season 1. Cory gets a glimpse at what life would be like without Topanga and learns that maybe it's worth making a few compromises. Das Ehepaar hat in der Region ein erschwingliches Blockhaus mit Pelletheizung entdeckt. Doch noch fehlt ein Zuhause. Doch es wird immer schwieriger, geeignete Objekte auf dem Markt zu finden. Sound Mix: Mono. As they pass the time, the pair trade stories about their lives, which ultimately give clues to their current predicament. Was this review helpful to you? Jason Alexander. Favorite Seinfeld Episodes. Schimmel und ein kaputtes Dach sind nur der Anfang. Auch das Wohn-, Ess- und Badezimmer erstrahlen in neuem Glanz. Deshalb bauen die Do-it-yourself-Experten seinen Keller um. -
Using Artistic Markers and Speaker Identification for Narrative-Theme
Using Artistic Markers and Speaker Identification for Narrative-Theme Navigation of Seinfeld Episodes Gerald Friedland, Luke Gottlieb, and Adam Janin International Computer Science Institute 1947 Center Street, Suite 600 Berkeley, CA 94704-1198 [fractor|luke|janin]@icsi.berkeley.edu Abstract ysis, thus completely ignoring the rich information within the video/audio medium. Even portable devices such as This article describes a system to navigate Seinfeld smartphones are sufficiently powerful for more intelligent episodes based on acoustic event detection and speaker browsing than play/pause/rewind. identification of the audio track and subsequent inference of In the following article, we present a system that ex- narrative themes based on genre-specific production rules. tends typical navigation features significantly. Based on the The system distinguishes laughter, music, and other noise idea that TV shows are already conceptually segmented by as well as speech segments. Speech segments are then iden- their producers into narrative themes (such as scenes and tified against pre-trained speaker models. Given this seg- dialog segments), we present a system that analyzes these mentation and the artistic production rules that underlie “markers” to present an advanced “narrative-theme” navi- the “situation comedy” genre and Seinfeld in particular, gation interface. We chose to stick to a particular exam- the system enables a user to browse an episode by scene, ple presented in the description of the ACM Multimedia punchline, and dialog segments. The themes can be filtered Grand Challenge [1] ; namely, the segmentation of Seinfeld by the main actors, e.g. the user can choose to see only episodes 2. -
Rebooting Roseanne: Feminist Voice Across Decades
Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. -
Will & Grace Data Report
SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 1 WILL & GRACE DATA REPORT HISTORICAL UNIT COST ANALYSIS SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 2 [pronounced skwäd] For more than 4 decades, SQAD has provided dynamic research & planning data intelligence for advertisers, agencies, and brands to review, analyze, plan, manage, and visualize their media strategies around the world. ADVERTISING RESEARCH ANALYTICS & PLANNING SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 3 ABOUT THIS REPORT WILL & GRACE REPORT: HISTORICAL UNIT COST ANALYSIS DATA SOURCE: SQAD MediaCosts: National (NetCosts) Our Data SQAD Team has pulled historical cost data (2004-2006 season) for the NBC juggernaut, Will & Grace to see where the show was sitting for ad values compared to the competition; and to see how those same numbers would compete in the current TV landscape. The data in this report is showing the AVERAGE :30sec AD COST for each of the programs listed, averaged across the date range indicated. When comparing ad costs for shows across different years, ad costs for those programs have been adjusted for inflation to reflect 2017 rates in order to create parity and consistency. IN THIS REPORT: 2004-2005 Comedy Programming Season Comparison 4 2005-2006 Comedy Programming Season Comparison 5 2004-2006 Comedy Programming Trend Report 6 Comedy Finale Episode Comparison 7 Will & Grace -vs- 2016 Dramas & Comedies 8-9 Will & Grace -vs- 2017 Dramas & Comedies 10-11 SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 4 WILL & GRACE V.S. TOP SITCOMS ON MAJOR NETWORKS - 04/05 SEASON Reviewing data from the second to last season of Will & Grace, we see that among highest rated sitcoms on broadcast TV of the time, Will & Grace came out on top for average unit costs for a 30 second ad during the Fall 2004 season. -
Nickelodeon's Groundbreaking Hit Comedy Icarly Concludes Its Five-Season Run with a Special Hour-Long Series Finale Event, Friday, Nov
Nickelodeon's Groundbreaking Hit Comedy iCarly Concludes Its Five-season Run With A Special Hour-long Series Finale Event, Friday, Nov. 23, At 8 P.M. (ET/PT) Carly Shay's Air Force Colonel Father Appears for First Time in Emotional Culmination of Beloved Series SANTA MONICA, Calif., Nov. 14, 2012 /PRNewswire/ -- Nickelodeon's groundbreaking and beloved hit comedy, iCarly, which has entertained millions of kids and made random dancing and spaghetti tacos pop culture phenomenons, will end its five- season run with an unforgettable hour-long series finale event on Nickelodeon Friday, Nov. 23, at 8 p.m. (ET/PT) . (Photo: http://photos.prnewswire.com/prnh/20121114/NY13645 ) In "iGoodbye," Spencer (Jerry Trainor) offers to take Carly (Miranda Cosgrove) to the Air Force father-daughter dance when their dad, Colonel Shay, isn't able to accompany her because of his overseas deployment. When Spencer gets sick and can't take her, Freddie (Nathan Kress) and Gibby (Noah Munck) try to cheer Carly up by offering to go with her. Colonel Shay surprises everyone when he arrives just in time to take Carly to the dance. When they return from their wonderful evening together, Carly is disappointed to learn her dad must return to Italy that evening and she is faced with a very difficult decision. "iCarly has been a truly definitional show that was the first to connect the web and TV into the fabric of its story-telling, and we are so very proud of it and everyone who worked on it," said Cyma Zarghami, President, Nickelodeon Group. -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV.