Eccentric, ironic and fantastic series like The Avengers and Danger Man, with their professional secret agents, or The Saint and The Persuaders, featuring flamboyant crime-fighters, still inspire mainstream and cult followings.
In 1997, the series "e;Stargate SG-1"e; first aired on American cable television and over the course of nearly nine seasons has developed its own unique mythological superstructure.
In 1955 a brand new television series, "e;Dixon of Dock Green"e;, came to Britain's screens, whose eponymous hero had featured in "e;The Blue Lamp"e; (1950).
Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world.
Television can be imagined in a number of ways: as a profuse flow of images, as a machine that produces new social relationships, as the last lingering gasp of Western metaphysical thinking, as a stuttering relay system of almost anonymous messages, as a fantastic construction of time.
In Refiguring Spain, Marsha Kinder has gathered a collection of new essays that explore the central role played by film, television, newspapers, and art museums in redefining Spain's national/cultural identity and its position in the world economy during the post-Franco era.
Carefully documenting the deceptions and excesses of television news coverage of the so-called cocaine epidemic, Cracked Coverage stands as a bold indictment of the backlash politics of the Reagan coalition and its implicit racism, the mercenary outlook of the drug control establishment, and the enterprising reporting of crusading journalism.
Since the 1990s, the knowledge, culture, and entertainment industries have found themselves experimenting, not altogether voluntarily, with communicating complex information across multiple media platforms.
Below the Line illuminates the hidden labor of people who not only produce things that the television industry needs, such as a bit of content or a policy sound bite, but also produce themselves in the service of capital expansion.
In Television as Digital Media, scholars from Australia, the United Kingdom, and the United States combine television studies with new media studies to analyze digital TV as part of digital culture.
In Scripted Affects, Branded Selves, Gabriella Lukacs analyzes the development of a new primetime serial called "e;trendy drama"e; as the Japanese television industry's ingenious response to market fragmentation.
"e;In its original run on HBO, The Sopranos mattered, and it matters still,"e; Dana Polan asserts early in this analysis of the hit show, in which he sets out to clarify the impact and importance of the series in both its cultural and media-industry contexts.
Tiki torches, cocktails, la dolce vita, and the music that popularized them-Mondo Exotica offers a behind-the-scenes look at the sounds and obsessions of the Space Age and Cold War period as well as the renewed interest in them evident in contemporary music and design.
In this exciting interdisciplinary collection, scholars, activists, and media producers explore the emergence of Indigenous media: forms of media expression conceptualized, produced, and created by Indigenous peoples around the globe.
The prolonged downturn in the Japanese economy that began during the recessionary 1990s triggered a complex set of reactions both within Japan and abroad, reshaping not only the country's economy but also its politics, society, and culture.
Novelist, television personality, political candidate, and maverick social commentator, Gore Vidal is one of the most innovative, influential, and enduring American intellectuals of the past fifty years.
In the early 1960s, whenever the Today Show discussed integration,WLBT-TV, the NBC affiliate in Jackson, Mississippi, cut away to local news after announcing that the Today Show content was "e;network news .
In Welcome to the Dreamhouse feminist media studies pioneer Lynn Spigel takes on Barbie collectors, African American media coverage of the early NASA space launches, and television's changing role in the family home and its links to the broader visual culture of modern art.
Although we tend to think of television primarily as a household fixture, TV monitors outside the home are widespread: in bars, laundromats, and stores; conveying flight arrival and departure times in airports; uniting crowds at sports events and allaying boredom in waiting rooms; and helping to pass the time in workplaces of all kinds.
During the twentieth century the Mexican government invested in the creation and promotion of a national culture more aggressively than any other state in the western hemisphere.
The 1980s saw the rise of Ronald Reagan and the New Right in American politics, the popularity of programs such as thirtysomething and Dynasty on network television, and the increasingly widespread use of VCRs, cable TV, and remote control in American living rooms.
Critics often claim that prime-time television seemed immune-or even willfully blind-to the landmark upheavals rocking American society during the 1960s.
