In The Revolution Was Televised, celebrated TV critic Alan Sepinwall chronicles the remarkable transformation of the small screen over the past fifteen years. Focusing on twelve innovative television dramas that changed the medium and the culture at large forever, including The Sopranos, Oz, The Wire, Deadwood, The Shield, Lost, Buffy the Vampire Slayer, 24, Battlestar Galactica, Friday Night Lights, Mad Men, and Breaking Bad, Sepinwall weaves his trademark incisive criticism with highly entertaining reporting about the real-life characters and conflicts behind the scenes. Drawing on interviews with writers David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, and Vince Gilligan, among others, along with the network executives responsible for green-lighting these fresh shows, The Revolution Was Televised is the story of how a new golden age was born, one that's as rich with drama and thrills as the very shows themselves.

The classic collection of criticism about television and American culture from the late, multi-award-winning legend. From 1968 through 1972, Harlan Ellison penned a series of weekly columns, sharing his uncompromising thoughts about contemporary television programming for the Los Angeles Free Press , a.k.a. "The Freep," a countercultural, underground newspaper. Sitcoms and variety shows, westerns and cop dramas, newscasts and commercials, Ellison left no pixilated stone unturned, expounding on the insipidness, hypocrisy, and malaise found in the glowing images projected into the faces of American audiences. The Glass Teat: Essays of Opinion on the Subject of Television collects fifty-two of Ellison's columns--including his 2011 introduction "Welcome to the Gulag," his unapologetic commentary about how cellphones and the internet have extended television's reach, eroding intelligence and freedom and creating a legion of bloodshot eyed zombies unable to communicate beyond their screens or think for themselves. Provocative and prescient, irreverent and insightful, Ellison's critical analyses of the glowing box that became the center of American life are even more relevant in the twenty-first century. Also available: The Other Glass Teat: Further Essays of Opinion on the Subject of Television

Constituting a new television genre, live broadcasts of "historic" events have become, in effect, world rituals--high holidays of mass communication. Daniel Dayan and Elihu Katz show us that these media events have the potential for transforming societies as they transfix viewers around the globe. The authors apply this original thesis to public spectacles such as the Olympic Games, Anwar el-Sadat's journey to Jerusalem, the wedding of Prince Charles and Lady Diana, John.

Over het beeld dat in de media wordt weergegeven van Islamisme en 'religieus extremisme' Na de gebeurtenissen van 11 september 2011 kreeg de westerse media een negatiever en meer sterotiep beeld geven van islamisten en van Moslims in het algemeen. Eind jaren negentig beschouwden veel regimes in de Arabische moslimwereld de islamisten echter ook als een bedreiging. Dat vond zijn neerslag in de populaire Arabische media. Door het bestuderen van de media-aandacht op televisie, met name in Egypte, analyseert Lila Abu-Lughod op welke manier Islamisme en 'religieus extremisme' worden geportretteerd. Deze titel kunt u inzien in Google Books - http://books.google.com/books?vid=ISBN9789053568248. Lila Abu-Lughod is hoogleraar Antropologie en Gender Studies, en directeur van het Institute for Research on Women and Gender aan de Columbia University, New York.

"In the 1990s when I was watching reruns of The Fugitive on the Arts and Entertainment Network twice a day, I couldn't take my eyes off it. . . . No one in The Fugitive ever relaxes as you watch and you can't relax either, even though for long stretches absolutely nothing happens. It was the combination of nonstop tension with the (relative) absence of slam-bang action that attracted me, and as I now reflect on it, the same combination characterizes the literary works I have been reading and writing about for more than forty-five years."—Stanley Fish, from the Introduction In the stark television drama The Fugitive , Dr. Richard Kimble, an innocent man convicted of murder, is on the run from the police and in pursuit of the real killer. The award-winning show, which aired on ABC from 1963 to 1967 and inspired a 1993 blockbuster movie, still has many devoted fans, none more passionate than literary and legal theorist and intellectual provocateur Stanley Fish. In The Fugitive in Flight , Fish examines the moral structure of the long-running series and explains why he thinks this may well be the greatest show ever aired on American network television. Analyzing key episodes, The Fugitive in Flight goes beyond plot summaries and behind-the-scenes stories. For Fish, the real action of The Fugitive takes place in confined spaces where the men and women Richard Kimble encounters are forced to choose what kind of person they will be for the rest of their lives. Kimble is the catalyst of such choices and changes, but he himself never changes. Breaking free from the political and social problems of his time, he is always the bearer and exemplar of the very middle-class values informing the system that has misjudged him. Kimble is the perfect representative of a mid-twentieth-century liberalism that values above all independence, personal integrity, and the refusal to surrender oneself to obsessions or causes. He is so consistently faithful to his liberal vision of life that he displays both its virtues and its dark side, the side that flees attachments, entanglements, responsibilities, and human connections. Stanley Fish's Richard Kimble is the ultimate man in a gray flannel suit, even when he is wearing a windbreaker and walking down a dark, lonely road.