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How cable television upended American political life in the pursuit of profits and influenceAs television began to overtake the political landscape in the 1960s, network broadcast companies, bolstered by powerful lobbying interests, dominated screens across the nation. Yet over the next three decades, the expansion of a different technology, cable, changed all of this. 24/7 Politics tells the story of how the cable industry worked with political leaders to create an entirely new approach to television, one that tethered politics to profits and divided and distracted Americans by feeding their appetite for entertainment—frequently at the expense of fostering responsible citizenship.In this timely and provocative book, Kathryn Cramer Brownell argues that cable television itself is not to blame for today's rampant polarization and scandal politics—the intentional restructuring of television as a political institution is. She describes how cable innovations—from C-SPAN coverage of congressional debates in the 1980s to MTV's foray into presidential politics in the 1990s—took on network broadcasting using market forces, giving rise to a more decentralized media world. Brownell shows how cable became an unstoppable medium for political communication that prioritized cult followings and loyalty to individual brands, fundamentally reshaped party politics, and, in the process, sowed the seeds of democratic upheaval.24/7 Politics reveals how cable TV created new possibilities for antiestablishment voices and opened a pathway to political prominence for seemingly unlikely figures like Donald Trump by playing to narrow audiences and cultivating division instead of common ground.

A fascinating look at artistic experiments with televisual forms. Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image, groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television's mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televised happenings, among other forms. For Levin, “the channeled image” names a constellation of practices that mimic, simulate, or disrupt the appearance of televised images. This formal experimentation influenced new modes of installation, which took shape as multi-channel displays and mobile or split-screen projections, or in some cases, experimental work produced for broadcast. Above all, this book asks how artistic experimentation with televisual forms was shaped by events that challenged television broadcasters'claims to authority, events that set the stage for struggles over how access to the airwaves would be negotiated in the future.

Although, by all appearances, House of Cards is a television series about politics, it in fact explores some of the most subversive questions raised by Machiavelli's writings: what if the Prince were a ferocious animal? What would happen if our political world were overtaken by vampires? Would they be capable of mastering their bloodthirsty instincts, or would they remain true to their fundamental nature? In their relentless quest for power, Frank Underwood, his wife Claire and his chief of staff Doug Stamper are so ruthlessly ambitious that they demolish all boundaries between good and evil. According to a Machiavellian logic taken to its extreme, the specific necessity of a given situation always wins out over common morality. In the struggle for survival, these people are the predators, determined to come out on top whatever the cost. This book examines how the producers of the series take monstrous characters – who would not be out of place in a crime series or a horror film – and set them in the world of politics, which offers little resistance to violence and turns into a laboratory for systematic destruction. In this variation on the conflict between brutalization and civilization at the heart of power, the political sphere therefore becomes the scene of crime par excellence. Although the book contains concepts and theories in political science, it is accessibly written. It is also didactic: many examples are taken from the series and from the novels, so the reader always understands what is at stake in the analysis. It will find both an academic and a more general audience. Primary academic readership will be scholars and students in law, political science, film studies, media studies and cultural studies. The wider readership will include fans of the show, and of course people interested in politics, political thrillers, political philosophy, corruption and democracy, as well as the nature of political leadership.

Quelle image de notre époque renvoient les fictions télévisées? Du portrait qu'elles brossent des sociétés occidentales, quel trait saillant retenir? À se pencher sur les fictions télévisées qui ont marqué la décennie écoulée, on observe qu'elles représentent parfaitement les deux facettes de l'évolution actuelle des mœurs : l'émancipation féminine et la crise de la masculinité. Au nombre impressionnant de femmes portées à l'écran parvenant, à force de ténacité et d'intelligence, à gagner leur indépendance répond un nombre tout aussi impressionnant d'hommes en proie à un profond désarroi. Qu'il s'agisse de la crise de la paternité, de l'immaturité masculine ou du déclin du rôle du mari pourvoyeur, on ne compte plus les fictions télévisées mettant en lumière le mal-être masculin.

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The strange and wonderful place of Twin Peaks captivated audiences for more than two decades before its long-awaited return to television in 2017. David Lynch and Mark Frost created a land that embodies the politics of American culture. With its focus on small-town America and life outside urban centers, rural and suburban values play a big part in the overall Twin Peaks narrative. More than just a soapy murder investigation or a mysterious puzzle to be solved, Twin Peaks and Twin Peaks: The Return are metaphors for the political years in which they are set. The Politics of Twin Peaks investigates the show's engagement with American politics and identity. With a close relationship between the two, Twin Peaks is the rare cultural landmark in both film and television whose timelessness is defined by the fact that it can constantly be reinterpreted. Within that sometimes dreamlike Lynchian narrative, Twin Peaks hints at, sometimes explicitly and sometimes subtly, the political fault lines in the United States. In this edited collection, the politics inherent in Twin Peaks is approached from numerous points of view.

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This book seeks to investigate ‘platform power'in the multi-platform era and unravels the evolution of power structures in the TV industry as a result of platformisation. Multiple TV platforms and modes of distribution are competing–not necessarily in a zero-sum game–to control the market. In the volume, the contributors work to extend established ‘platform theory'to the TV industry, which has become increasingly organised as a platform economy. The book helps to understand how platform power arises in the industry, how it destabilises international relations, and how it is used in the global media value chain. Platform Power and Policy in Transforming Television Markets contributes to the growing field of media industry studies, and draws on scholarly work in communication, political economy and public policy whilst providing a deeper insight into the transformation of the TV industry from an economic, political and consumer level. Avoiding a merely legal analysis from a technology-driven perspective, the book provides a critical analysis of the dominant modes of power within the evolving structures of the global TV value chain.

La télévision est un média, qui divertit, informe et cultive mais c'est aussi une invention; sans doute l'innovation du XXe siècle qui, jusqu'à nos jours, a pris la plus grande place dans la vie quotidienne de chacun. Elle est l'œuvre d'une foule de scientifiques, techniciens, ingénieurs, amateurs éclairés. Ce sont les aventures et les réalisations de ces pionniers que raconte en partie ce livre. Car ces hommes n'ont pas pu agir seuls. Pour parvenir à leurs fins, il leur a fallu convaincre ceux qui organisent la société et financent les grandes infrastructures, les hommes politiques.

How political incivility broadcast in close-up by the media affects public opinionAmericans are disgusted with watching politicians screaming and yelling at one another on television. But does all the noise really make a difference? Drawing on numerous studies, Diana Mutz provides the first comprehensive look at the consequences of in-your-face politics. Her book contradicts the conventional wisdom by documenting both the benefits and the drawbacks of in-your-face media.'In-your-face'politics refers to both the level of incivility and the up-close and personal way that we experience political conflict on television. Just as actual physical closeness intensifies people's emotional reactions to others, the appearance of closeness on a video screen has similar effects. We tend to keep our distance from those with whom we disagree. Modern media, however, puts those we dislike in our faces in a way that intensifies our negative reactions. Mutz finds that incivility is particularly detrimental to facilitating respect for oppositional political viewpoints and to citizens'levels of trust in politicians and the political process. On the positive side, incivility and close-up camera perspectives contribute to making politics more physiologically arousing and entertaining to viewers. This encourages more attention to political programs, stimulates recall of the content, and encourages people to relay content to others.In the end, In-Your-Face Politics demonstrates why political incivility is not easily dismissed as a disservice to democracy—it may even be a necessity in an age with so much competition for citizens'attention.

This innovative collection investigates the ways in which television programs around the world have highlighted modernization and encouraged nation-building. It is an attempt to catalogue and better understand the contours of this phenomenon, which took place as television developed and expanded in different parts of the world between the 1950s and the 1990s. From popular science and adult education shows to news magazines and television plays, few themes so thoroughly penetrated the small screen for so many years as modernization, with television producers and state authorities using television programs to bolster modernization efforts. Contributors analyze the hallmarks of these media efforts: nation-building, consumerism and consumer culture, the education and integration of citizens, and the glorification of the nation's technological achievements.

Over the last half of the twentieth century, television has become the predominant medium through which the public accesses information about the world. Through the news, situation comedies, police dramas, and commercials, we learn about the world around us, and our role within it. These genres, narratives, and cultural forms are not simply entertainment, but powerful socializing agents that show the world as we might never see it in real life. How Television Shapes Our Worldview brings together a diverse set of scholars, methodologies, and theoretical frameworks to interrogate the ways through which television molds our vision of the outside world. The essays include advertising and public relations analyses, audience interviews, and case studies that touch on genres ranging from science fiction in the 1970s to current “reality” television. Television truly provides a powerful influence over how we learn about the world around us and understand its social processes.

TV-Debatten gehören zu den wichtigsten Ereignissen in modernen Medienwahlkämpfen. Nicht nur vor Bundestagswahlen, auch vor Landtagswahlen haben sich TV-Duelle zwischen den Spitzenkandidaten etabliert und erreichen zahlreiche Wählerinnen und Wähler. Während TV-Duelle vor Bundestagswahlen häufig untersucht werden, existieren bislang keine umfassenden Analysen von TV-Duellen vor Landtagswahlen. Dieser Band schließt die Forschungslücke am Beispiel der Landtagswahl 2011 in Baden-Württemberg. Das TV-Duell zwischen Stefan Mappus (CDU) und Nils Schmid (SPD) vor dieser Landtagswahl wurde mit Spannung erwartet, denn sowohl „Stuttgart 21“ als auch die Folgen der Reaktorkatastrophe in Japan haben dem Wahlkampf eine besondere Dynamik verliehen. Die Inhalte, Wahrnehmungen und Wirkungen des TV-Duells werden mittels zahlreicher Methoden systematisch erfasst: Befragungen, Inhaltsanalysen, Experten-Interviews und Real-Time-Response-Messungen.

This revised edition of a now classic text includes a new introduction by Henry Jenkins, explaining ‘Why Fiske Still Matters'for today's students, followed by a discussion between former Fiske students Ron Becker, Aniko Bodroghkozy, Steve Classen, Elana Levine, Jason Mittell, Greg Smith and Pam Wilson on ‘John Fiske and Television Culture'. Both underline the continuing relevance of this foundational text in the study of contemporary media and popular culture.Television is unique in its ability to produce so much pleasure and so many meanings for such a wide variety of people. In this book, John Fiske looks at television's role as an agent of popular culture, and goes on to consider the relationship between this cultural dimension and television's status as a commodity of the cultural industries that are deeply inscribed with capitalism. He makes use of detailed textual analysis and audience studies to show how television is absorbed into social experience, and thus made into popular culture. Audiences, Fiske argues, are productive, discriminating, and televisually literate.Television Culture provides a comprehensive introduction for students to an integral topic on all communication and media studies courses.

'The Queer Politics of Television'is a radical book, which brings together the fields of political theory and television studies. In one of the first books to do so, Samuel A. Chambers exposes and explores the cultural politics of television by treating television shows - including'Six Feet Under','Buffy the Vampire Slayer','Desperate Housewives','The L Word', and'Big Love'- as serious, important texts and reading them in detail through the lens of queer theory. Chambers makes the case for the profound significance of'the cultural politics of television': the way in which the text of a television show itself engages with the politics of its day. He argues for queer theory's essential contribution to any understanding of the political, and initiates a larger project of queer television studies, treading the same path as queer film studies. This book makes an important and fresh contribution to queer theory and to the understanding of television as politics.

Cultural studies scholarship on the television talk show, especially the'audience discussion'genre, was guardedly hopeful about its democratic or feminist potential. In this exciting new volume, Kathleen Dixon investigates the relationship between the talk genre and democracy, but through a new emphasis on art, broadly defined. The Global Village Revisited: Art, Politics, and Television Talk Shows explores three case studies from Belgium, Bulgaria, and the United States, and reveals how these cases interanimate to produces a new view of the talk show as a global phenomenon, and as a negotiation among the forces of late capitalism, the unnamed but still palpable audience, and the individual rhetors, artists, and technicians who make the shows. Dixon treats the globalization of media and culture as a dynamic process that yields different results according to time and place. While the way in which television talk shows serve democracy may be hard to define precisely, The Global Village Revisited demonstrates the importance and necessity of this question in cultural studies.

The significant changes that have swept the television industry over the last two decades, most notably a shift to deregulation in broadcast media, prompt a discussion on how to ensure that meaningful content is available to the viewer. Television and Public Policy analyzes the current state of television systems in a selected group of countries by exploring the political, economic, and technological factors that have shaped the sector in such a short span of time. Consequently, by positioning the television sector within issues of media policy and the regulatory framework, the book questions what these trends mean for television, and the historical, political, and cultural role in our societies.Television and Public Policy distinguishes itself in several ways:•It is a global project in its comparative scope and subject area. Contributors represent countries including Australia, Brazil, Canada, China, Egypt, India, Iran, Ireland, Israel, Italy, Japan, the Netherlands, New Zealand, Poland, the United Kingdom, and the United States.•It is contemporary and filled with information largely absent in current literature.•It offers original analysis of the contemporary television sector.This book speaksto a broad range of academics, postgraduate, and undergraduate students, and can serve as a key resource for courses ranging from media studies, to development studies, international relations, and law.

'Winner of the 2003 Ray and Pat Browne Book Award, given by the Popular Culture Association The contributors to Hollywood's White House examine the historical accuracy of these presidential depictions, illuminate their influence, and uncover how they reflect the concerns of their times and the social and political visions of the filmmakers. The volume, which includes a comprehensive filmography and a bibliography, is ideal for historians and film enthusiasts.