By John Fiske
A accomplished creation to tv reviews. Fiske analyzes either the commercial and cultural points of tv and investigates it by way of either idea and textual content established feedback.
Read Online or Download Television Culture: Popular Pleasures and Politics (Studies in Communication Series) PDF
Similar television books
** thoroughly UNAUTHORIZED ** In this eclectic anthology of essays, former forged member Jewel Staite, "Kaylee," thinker Lyle Zynda, intercourse therapist pleasure Davidson, and famous technological know-how fiction and fable authors Mercedes Lackey, David Gerrold, and Lawrence Watt-Evans give a contribution to a shrewdpermanent and insightful research of the short-lived cult hit Firefly.
Ron Athey is an iconic determine within the improvement of up to date artwork and function. In his often bloody portrayals of existence, demise, challenge, and fortitude in the course of AIDS, Athey calls into query the bounds of creative perform. those limits permit Athey to discover in his paintings key issues together with gender, sexuality, S&M and radical intercourse, queer activism, post-punk and commercial tradition, tattooing and physique amendment, ritual, and faith.
This quantity brings jointly modern renowned leisure, present political topics, and medieval heritage and tradition to enquire the intersecting and sometimes tangled relatives among politics, aesthetics, truth and fiction, relating to problems with morality, identification, social values, strength, and justice, either long ago and the current.
From the co-creator of the landmark sequence, the tale thousands of lovers were ready to get their fingers on for 25 lengthy years. the key historical past of dual Peaks enlarges the area of the unique sequence, putting the unexplained phenomena that opened up there right into a greatly layered, wide-ranging background, starting with the journals of Lewis and Clark and finishing with the surprising occasions that closed the finale.
- Television Network Prime Time Programming, 1985-2007
- Star Trek: The Next Generation 365
- Why Viewers Watch: A Reappraisal of Television's Effects
- The Essential Science Fiction Television Reader
- No Wonder My Parents Drank: Tales from a Stand-Up Dad
- Monitored Peril: Asian Americans and the Politics of TV Representation
Additional info for Television Culture: Popular Pleasures and Politics (Studies in Communication Series)
This power to constitute people as subjects-in-ideology appears to be so great that resistance is almost impossible, yet without resistance to ideology, resisting or oppositional readings of texts would be unlikely, if not impossible. Gramsci’s theory of hegemony grants resistance a far more important role than does Althusser’s theory of ideology. Briefly, hegemony may be defined as that process whereby the subordinate are led to consent to the system that subordinates them. This is achieved when they “consent” to view the social system and its everyday embodiments as “common sense, ” the self-evidently natural.
Reality, the argument goes, is only accessible through the discourses we have available to make sense of it. Perception is a process of making sense, and sense is a product of discourse. Nature, or objective reality, does not “make sense” on its own - we have only to look at the vastly different interpretations different cultures make of universal nature to see evidence for this assertion. Discourse, as we have seen, is not only a product of culture, it is also, in industrialized societies at least, the product of society, and the power of political relations within that society.
This common ground is to be found firstly in a shared dominant ideology and secondly in a set of textual conventions that producers and readers share because they are part of a common history and experience. Television is a conventional medium - its conventions suit both the audiences with their needs for familiarity and routinization and the producers, for established conventions not only keep the costs of production down, they also minimize the risks in the marketplace. The economic dimension of television gives it a conventional form, even when its content is more progressive.