In Divine Programming, author Charlotte E. Howell investigates the disconnect between dramatic television narratives of white Christianity and the religion they are meant to represent, focusing on key series including 7th Heaven, Friday Night Lights, Supernatural, Jane the Virgin, and Daredevil.
In Divine Programming, author Charlotte E. Howell investigates the disconnect between dramatic television narratives of white Christianity and the religion they are meant to represent, focusing on key series including 7th Heaven, Friday Night Lights, Supernatural, Jane the Virgin, and Daredevil.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Charlotte E. Howell is Assistant Professor of Television Studies in the Department of Film and Television at Boston University. Her work has been published in the Cinema Journal, Critical Studies in Television, Networking Knowledge, Kinephanos, and in the anthology Supernatural, Humanity, and the Soul: On the Highway to Hell and Back.
Inhaltsangabe
* List of Figures * Introduction: Christianity, Religion, and Hollywood Television Production Cultures * Two Preachers, 2016 and 1996 * Understanding Religion in Hollywood's Production Culture * The Boom in Religious Representation in the Post-Network Era (early 2000s-2016) * Religion Among Expansive Options: Toward Peak TV (2015-2016) * Methods and Chapters * Part One: Establishing White Christianity's Middlebrow Associations * Chapter One - Christianity's Broad Appeal in the 1990s: Touched by an Angel and 7th Heaven * A Brief History: Establishing The Norms of Representing Christianity on American Television * The Neo-Network Legacy: Defining and Avoiding "Religious TV" Within Middlebrow Appeal * Old Networks and New Netlets: Broadcast in the Neo-Network Era * Religious Messages and the Middlebrow Audience: Touched by an Angel * Attempting to Avoid "Preachy" : 7th Heaven * Conclusion * Chapter Two - Biblical Miniseries in the 2010s: Mark Burnett, Roma Downey, and Faithful Christian Representation * Touched by an Angel as Model: Roma Downey and Mark Burnett's Pursuit of Faithful TV in an Increasingly Upscale-oriented Industry * The Bible Miniseries: The Rewards of Risk for the History Channel * A.D.: The Bible Continues and The Dovekeepers: Failures of Faith on Network Television * The Persistent Perception of Antagonism between Faith and Mainstream Television * Part Two: Distancing Christianity Through Place and Race * Chapter Three - Southern Realism: Christianity in Friday Night Lights and Rectify * Christianity in Quality Representations of the American South * Southern Realism and Authenticity Claims in the Post-Network Era * Heartland Subjects, Quality Audience: Friday Night Lights * Authentic Artistic Vision, Quality Channel: Rectify * Conclusion * Chapter Four - Non-White Christian Dramas: Exploration through Otherness in Jane the Virgin and Greenleaf * Latinx Catholicism on TV * The Tele-Novelty of Jane the Virgin's Catholicism * Christianity and Black TV Identity * Oprah's Soap Opera on the Megachurch Pulpit: Greenleaf * Conclusion * Part Three: Displacing Christianity in Fantastic Genres * Chapter Five - Religion as Unreality: Fantastic TV's Generic Displacement of Christianity * Containment Through Displacement: Battlestar Galactica * Abstraction to Supernatural Spirituality: Lost * Minimizing Genre, Maximizing Quality: The Leftovers * Adapting Edginess and the Pursuit of God: Preacher * Conclusion * Chapter Six - The Biblical Book of Revelation as Mythology: Apocalyptic TV * The Post-Christian End of the World and Apocalyptic Television * Containment Through Pastiche: Supernatural * Containment Through Denial: Dominion and Constantine * Conclusion * Part Four: Acknowledging Christianity in the Era of Peak TV * Chapter Seven - Streaming Religion: Netflix's Daredevil and Amazon's Hand of God * Peak TV is Still TV: New Television, Old Ideologies * Netflix and Amazon: History, Branding, and Models of Success in a Changing Industry * Religion in the Context of Marvel's Brand: Daredevil * Religion to Cultivate Edge: Amazon's Hand of God * Conclusion * Conclusion - Polarized Culture and Dual Approaches to Christianity on TV * The Tipping Point * Appendix A: Interviews * Bibliography
* List of Figures * Introduction: Christianity, Religion, and Hollywood Television Production Cultures * Two Preachers, 2016 and 1996 * Understanding Religion in Hollywood's Production Culture * The Boom in Religious Representation in the Post-Network Era (early 2000s-2016) * Religion Among Expansive Options: Toward Peak TV (2015-2016) * Methods and Chapters * Part One: Establishing White Christianity's Middlebrow Associations * Chapter One - Christianity's Broad Appeal in the 1990s: Touched by an Angel and 7th Heaven * A Brief History: Establishing The Norms of Representing Christianity on American Television * The Neo-Network Legacy: Defining and Avoiding "Religious TV" Within Middlebrow Appeal * Old Networks and New Netlets: Broadcast in the Neo-Network Era * Religious Messages and the Middlebrow Audience: Touched by an Angel * Attempting to Avoid "Preachy" : 7th Heaven * Conclusion * Chapter Two - Biblical Miniseries in the 2010s: Mark Burnett, Roma Downey, and Faithful Christian Representation * Touched by an Angel as Model: Roma Downey and Mark Burnett's Pursuit of Faithful TV in an Increasingly Upscale-oriented Industry * The Bible Miniseries: The Rewards of Risk for the History Channel * A.D.: The Bible Continues and The Dovekeepers: Failures of Faith on Network Television * The Persistent Perception of Antagonism between Faith and Mainstream Television * Part Two: Distancing Christianity Through Place and Race * Chapter Three - Southern Realism: Christianity in Friday Night Lights and Rectify * Christianity in Quality Representations of the American South * Southern Realism and Authenticity Claims in the Post-Network Era * Heartland Subjects, Quality Audience: Friday Night Lights * Authentic Artistic Vision, Quality Channel: Rectify * Conclusion * Chapter Four - Non-White Christian Dramas: Exploration through Otherness in Jane the Virgin and Greenleaf * Latinx Catholicism on TV * The Tele-Novelty of Jane the Virgin's Catholicism * Christianity and Black TV Identity * Oprah's Soap Opera on the Megachurch Pulpit: Greenleaf * Conclusion * Part Three: Displacing Christianity in Fantastic Genres * Chapter Five - Religion as Unreality: Fantastic TV's Generic Displacement of Christianity * Containment Through Displacement: Battlestar Galactica * Abstraction to Supernatural Spirituality: Lost * Minimizing Genre, Maximizing Quality: The Leftovers * Adapting Edginess and the Pursuit of God: Preacher * Conclusion * Chapter Six - The Biblical Book of Revelation as Mythology: Apocalyptic TV * The Post-Christian End of the World and Apocalyptic Television * Containment Through Pastiche: Supernatural * Containment Through Denial: Dominion and Constantine * Conclusion * Part Four: Acknowledging Christianity in the Era of Peak TV * Chapter Seven - Streaming Religion: Netflix's Daredevil and Amazon's Hand of God * Peak TV is Still TV: New Television, Old Ideologies * Netflix and Amazon: History, Branding, and Models of Success in a Changing Industry * Religion in the Context of Marvel's Brand: Daredevil * Religion to Cultivate Edge: Amazon's Hand of God * Conclusion * Conclusion - Polarized Culture and Dual Approaches to Christianity on TV * The Tipping Point * Appendix A: Interviews * Bibliography
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