Explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction.
Explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
SETH FRIEDMAN is an associate professor in the Department of Communication and Theatre at DePauw University. He is the author of Are You Watching Closely?: Cultural Paranoia, New Technologies, and the Contemporary Hollywood Misdirection Film. AMANDA KEELER is an associate professor of Digital Media in the Diederich College of Communication at Marquette University.
Inhaltsangabe
Introduction SETH FRIEDMAN AND AMANDA KEELER Part I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTIN Part II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEY Part III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index
Introduction SETH FRIEDMAN AND AMANDA KEELER Part I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTIN Part II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEY Part III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index
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