Books on the topic 'Thai television drama'
To see the other types of publications on this topic, follow the link: Thai television drama.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 29 books for your research on the topic 'Thai television drama.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse books on a wide variety of disciplines and organise your bibliography correctly.
1
ʻAdirēkchōttikun, Nanthaphō̜n. Rāingān kānwičhai rư̄ang phrưktikam kānrapchom lakhō̜n thōrathat Thai læ kānchai prayōt nai kānnampai phatthanā tonʻēng khō̜ng naksưksā Sathāban Rātchaphat Nakhō̜n Rātchasīma: Thai television drama exposure and perceived utility for self development of Rajabhat Institute Nakhon Ratchasima students. [Nakhon Ratchasima]: Prōkrǣm Wichā Nithētsāt, Khana Witthayākānčhatkān, Sathāban Rātchaphat Nakhō̜n Rātchasīmā, 2002.
Find full text
2
Tibballs, Geoff. Kavanagh Q.C.: Starring John Thaw : the official story behind the hugely popular ITV drama. London: Carlton Books, 1996.
Find full text
3
Hilmes, Michele, Matt Hills, and Roberta Pearson. Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.001.0001.
Full textAbstract:
A tide of high-quality television drama is sweeping the world. The new transnational television series has developed not only global appeal but innovative new modes of production, distribution, and reception. Nowhere is the transnational exchange of television drama more vital than between Britain and the United States, where it builds on more than sixty years of import, adaptation, coproduction, and fandom. This edited volume explores the transatlantic flow of television drama, focusing on key programs, industry strategies, critical debates, and audience reception, from an international roster of scholars and researchers. The chapters explore some of the most widely discussed programs on the transatlantic circuit. The book's first part focuses on media industries, tracing the history of transatlantic exchange and investigating contemporary practices such as coproduction, digital distribution, global partnerships, promotion, and branding. The second part concentrates on specific television texts and their negotiation of meaning across cultural contexts, exploring critical issues in the creation of transnational drama, such as heritage, proximity, performance, and self-reflexivity. Part III turns to the lively sphere of transatlantic fandom and commentary, including fan conventions, fan fiction, the role of both traditional and social media, and fan strategies for negotiating cultural differences. Transatlantic Television Drama provides a wide-ranging analysis of a phenomenon at the forefront of today’s television universe. It is focused on the serial dramatic programs that have gained the bulk of critical and popular attention and is particularly concerned with the impact of digital technologies on the production, distribution, and reception of television drama.
4
Holdsworth, Amy. On Living with Television. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022060.
Full textAbstract:
In On Living with Television, Amy Holdsworth examines the characteristics of intimacy, familiarity, repetition, and duration that have come to exemplify the medium of television. Drawing on feminist television studies, queer theory, and disability studies as well as autobiographical life-writing practices, Holdsworth shows how television shapes everyday activities, from eating and sleeping to driving and homemaking. Recounting her own life with television, she offers a sense of the joys and pleasures Disney videos brought to her disabled sister, traces how bedtime television becomes part of a daily routine between child and caregiver, explores her own relationship to binge-eating and binge-viewing, and considers the idea of home through the BBC family drama Last Tango in Halifax. By foregrounding the ways in which television structures our relationships, daily routines, and sense of time, Holdsworth demonstrates how television emerges as a potent vehicle for writing about life.
5
Sepinwall, Alan. Revolution Was Televised: From Buffy to Breaking Bad - the People and the Shows That Changed TV Drama Forever. Black Inc., 2013.
Find full text
6
All in the Family: The Show That Changed Television. Universe Publishing, 2021.
Find full text
7
Hughes, Kit. Television at Work. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.001.0001.
Full textAbstract:
This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the twinned rise of the technologically mediated corporation and a globalizing information economy. Among other things, business and industry built extensive private television networks to distribute live and taped programming, leased satellite time for global “meetings” and program distribution, created complex closed-circuit television (CCTV) data search and retrieval systems, encouraged the use of videotape for worker self-evaluation, used videocassettes for training distributed workforces, and wired cantinas for employee entertainment. Television at work describes the myriad ways the medium served business’ attempts to shape employees’ relationships to their labor and the workplace in order to secure industrial efficiency, support corporate expansion, and inculcate preferred ideological orientations. By uncovering industrial television as a prolific sphere of media practice—one that continually sought to reshape the technology’s cultural meanings, affordances, and uses—Television at Work positions the medium at the heart of Post-Fordist experiments into reconfiguring the American workplace and advancing understandings of labor that increasingly revolved around dehumanized technological systems and information flows.
8
Hiltunen, Ari. Aristotle in Hollywood: Visual Stories That Work (Studies in Scriptwriting). Intellect L & D E F a E, 2001.
Find full text
9
Malley, Shawn. Excavating the Future. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941190.001.0001.
Full textAbstract:
Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.
10
Bodroghkozy, Aniko. Bringing “Urgent Issues” to the Vast Wasteland. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0007.
Full textAbstract:
This chapter examines how entertainment television addressed the theme of race relations and “black and white together” by focusing on CBS's East Side/West Side, one of the first prime-time shows to feature an African American in a continuing role. Many cultural critics complained about the perceived decline in quality of television programming. Federal Communications Commission Chairman Newton Minow even described network television as “a vast wasteland.” This chapter considers the television networks' inauguration of a new form of programming dubbed “New Frontier character dramas” as they tried to soothe their presumed white audiences about race relations. It explores how East Side/West Side presented to its viewers issues of racism, black rage, white guilt, the place of African Americans in American society, and the appropriate response by white liberals. It explains how East Side/West Side became a terrain of struggle for mostly Northern, mostly white Americans trying to negotiate positions around race and Kennedy-era liberalism. It also argues that the series was out of step with the story that television really wanted to tell.
11
Magerstädt, Sylvie. TV antiquity. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781784995324.001.0001.
Full textAbstract:
TV antiquity explores representations of ancient Greece and Rome throughout television history. It is the first comprehensive overview of the genre in television. More specifically, the author argues that serial television set in antiquity offers a perspective on the ancient world quite distinct from their cinematic counterparts. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 60s to the most recent digital spectacles. A key argument explored throughout the book is that the structure of serial television (with its focus on intimacy and narrative complexity) is at times better suited to explore the complex mythic and historic plots of antiquity. Therefore, the book consciously focusses on multipart television dramas rather than made-for-TV feature films. This enables the author to explore the specific narrative and aesthetic possibilities of this format. The book features a range of insightful case studies, from the high-profile serials I, Claudius (1976) and Rome (2005-8) to lesser known works like The Caesars (1968) or The Eagle of the Ninth (1976) and popular entertainment shows such as Hercules: The Legendary Journeys (1995-9) and STARZ Spartacus (2010-3). Each of the case studies also draws out broader issues in the specific decade under consideration. Consequently, the book highlights the creative interplay between television genres and production environments and illustrates how cultural and political events have influenced the representations of antiquity in television.
12
Oh, Youjeong. Pop City. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.001.0001.
Full textAbstract:
This book examines the use of Korean television dramas and K-pop music to promote urban and rural places in South Korea. Building on the phenomenon of Korean pop culture, the book argues that pop culture-featured place selling mediates two separate domains: political decentralization and the globalization of Korean popular culture. By analyzing the process of culture-featured place marketing, the book shows that urban spaces are produced and sold just like TV dramas and pop idols by promoting spectacular images rather than substantial physical and cultural qualities. The book demonstrates how the speculative, image-based, and consumer-exploitive nature of popular culture shapes the commodification of urban space and ultimately argues that pop-culture-mediated place promotion entails the domination of urban space by capital in more sophisticated and fetishized ways.
13
Richards, Rashna Wadia. Cinematic TV. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190071257.001.0001.
Full textAbstract:
In the last two decades, media scholars have often suggested that television has become cinematic. Once considered “a mere instrument of transmission,” as Rudolf Arnheim put it, or derided as a vast wasteland, TV is now praised for its visual density and complexity. Serial dramas, in particular, are acclaimed for their imitations of cinema’s stylistically innovative and narratively challenging conventions. But what exactly does “cinematic TV” mean? Cinematic TV takes up this question comprehensively, arguing that TV dramas quote, copy, and appropriate (primarily) American cinema in multiple ways and toward multiple ends. Putting together an innovative framework by combining intertextuality and memory studies, Cinematic TV focuses on four modalities of intermedial borrowings: homage, evocation, genre, and parody. Through close readings of such exemplary shows as Stranger Things, Mad Men, Damages, and Dear White People, the book demonstrates how serial dramas reproduce and rework, undermine and idolize, and, in some cases, compete with and outdo cinema. Ultimately, Cinematic TV argues that serial dramas function archivally in relation to cinema, for cinematic moments, motifs, and contours hover around the televisual frame, constantly breaking through. How serial dramas handle such cinematic hauntings is the story that this book tells.
14
Howell, Charlotte E. Divine Programming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054373.001.0001.
Full textAbstract:
Divine Programming chronicles how the Hollywood television industry negotiated Christianity’s middle-American associations as attention to elite audiences increased from 1996 to 2016. From Touched by an Angel and 7th Heaven to Preacher and Daredevil, this book explores how Christianity has been used and discussed within the cultures of Hollywood television production. During this twenty-year span, Christian representation on television dramas evolved to exemplify the cultural divide between white middle America and concentrated urban elites. To balance a diminishing and fractured audience, upscale secular audience niches have become increasingly significant to the development and positioning of serial dramatic television since the 1990s, displacing the power that the mass, middlebrow, and assumed Christian audience previously held. As the importance of that middle-American audience waned during this period, creatives paradoxically used white Christianity’s stories and tropes with greater frequency and different strategies. Once white Christianity had become associated with middlebrow tastes, its representation, to appeal to elite audiences, had to be othered, shifted into the unreality of fantastic genres, and eventually—tentatively—acknowledged and used when the potential reward outweighed the legacy sense of risk. This process was dynamic and required constant, difficult negotiation between using Christianity as part of a show’s plot and attempting to avoid its religious, cultural, and class-based associations.
15
Moss-Wellington, Wyatt. Cognitive Film and Media Ethics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552889.001.0001.
Full textAbstract:
Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television, and screen media ethics. This book extends prior works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigor, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive Film and Media Ethics presents the rigors of normative reasoning, cognitive science, and consequentialist ethics as complementary, arguing that each seeks progressive elaboration on its own models of causality, and causal projections are crucial for any reflection on our moral responsibilities in the world. A hermeneutics of “ethical cognitivism” is applied in the latter half of the book, with each essay addressing a different case study in film, television, news, and social media: cinema that sets out to inspire moral dissonance in the viewer, satirical and humorous depictions of family drama in film and television, the politics of the romantic comedy, formal aspects of screen media bullying in an era dubbed the “television renaissance,” and contemporary problems in the conflation of news and social media. Cognitive Film and Media Ethics synthesizes current research in social psychology, anthropology, memory studies, emotion and cognition, personality and media selection, and evolutionary biology, integrating wide-ranging concepts from the various disciplines that make up cognitive theory to provide new vantages on the applied ethics of film and screen media.
16
Parr, Connal. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0001.
Full textAbstract:
This book is a synthesis of the political and the creative, telescoping modern history and politics with theatre and television drama. It centres on ten writers: St John Ervine (1883–1971), Thomas Carnduff (1886–1956), John Hewitt (1907–87), Sam Thompson (1916–65), Stewart Parker (1941–88), Graham Reid (1945–), Ron Hutchinson (1947–), Gary Mitchell (1965–), Christina Reid (1942–2015), and Marie Jones (1951–). While never intending to ghettoize Protestant writers, or indeed suggest that only those from this background can write illuminatingly about it, one of the reasons the book does not focus on the work of a playwright like Donegal-born Frank McGuinness—especially ...
17
Cohen, Annabel J. Music in performance arts. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0041.
Full textAbstract:
This article considers the psychology of music in the contexts of performance arts, in particular the arts of the moving image, drama, and dance. Research in the psychology of music far exceeds psychological research in any of the other arts. Within music psychology, research on the role of music in film and television constitutes a small but vibrant subdomain. The growing research on the psychology of film music reveals that the role of music in the context of other performance arts is amenable to psychological investigation. Similar progress can be envisioned for a psychology of music in theatre and dance, where foundations are fortunately beginning to emerge.
18
Yousman, Bill. Challenging the Media-Incarceration Complex through Media Education. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037702.003.0008.
Full textAbstract:
This chapter argues that the United States faces a crisis of representation, for while crime rates remain stable, the TV and other corporate-controlled mass media bury viewers beneath an avalanche of fear-based spectacles in which crime and violence are portrayed as escalating, even life-threatening crises. It then outlines a new program of media education that enables consumers of mass media to develop more informed and empowering views of the complexities of crime and violence. Focusing on prime-time dramatic television as the most prevalent source of fictional images of violence, crime, and incarceration, the chapter addresses the distorted narratives and images that saturate popular television dramas. Drawing upon interviews with ex-prisoners, it also shows how media representations of imprisonment, though inaccurate and misleading, shape the perceptions even of those who have themselves been incarcerated.
19
Groscup, Jennifer L. The Impact of Legally Relevant Media Exposure on Criminal Juror Decision-Making. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190658113.003.0007.
Full textAbstract:
Exposure to various forms of media can potentially impact decision-making by jurors in criminal trials. Cases like the highly publicized Casey Anthony trial, in which jurors’ media exposure might have affected the verdict, highlight the importance of understanding what messages jurors receive from the media and how those messages might influence their perceptions of trial participants and evidence. This chapter first explores research on the content of legally relevant news media, reality television, and scripted television dramas to better understand the messages the media might be delivering. Next, it reviews research suggesting how various media sources influence the development of legally relevant attitudes and, in turn, juror decision-making. The chapter then investigates the media’s direct influence on juror decision-making, focusing particularly on the CSI Effect. Finally, it discusses recommendations for jury system reform that might decrease media influence as well as future research directions.
20
Williams, Sonja D. Struggling to Fly. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039874.003.0010.
Full textAbstract:
This chapter focuses on Richard Durham's career as a scriptwriter for television. Durham had been wanting to write for television since the early 1950s. The year 1969 brought the promise of creating a unique TV series, to be called More from My Life. The show, to air on noncommercial station WTTW-TV, would be a soap opera about black life in Chicago. In the past, Durham's TV scriptwriting desires had been dashed while he legally sparred with NBC. But after that fight ended, Durham served as a ghostwriter for science fiction shows like One Step Beyond, Climax, and The Outer Limits, as well as other TV dramas during the late 1950s. By the time Durham began his stint with WTTW, Blacks were becoming more visible on America's TV screens, especially in advertisements and public service announcements. Durham transformed More from My Life into Bird of the Iron Feather, which made its broadcast debut on January 19, 1970. After only seven weeks on the air, however, it was terminated by WTTW.
21
Gong, Qian. The Red Sister-in-Law Remakes. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390892.003.0009.
Full textAbstract:
Ode to Yimeng (Yingmeng Song), a major ballet production created in May 1974, was based on the short story “Red Sister-in-Law” (Hongsao). It is one of the “red classics” that deals with a revolutionary “base area,” and in essence, is about how the Communist Party won the support of the subaltern, the backbone of Chinese society at a tipping point in modern Chinese history, when CCP triumphed over the Nationalist army. The story of heroine, Sister-in-Law Ying, who saved a seriously wounded Communist soldier with her breast milk and nurtured him back to life, was once metaphoric and metonymic of the symbiotic relationships between army and the people. This chapter argues that the post-Mao remake in the format of a television drama has significantly re-defined the essence of the “fish-and-water” relationship in the spirit of traditional Chinese values and, in particular, Confucian values.
22
Lawson-Peebles, Robert. The Beggar’s Legacy. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.24.
Full textAbstract:
This chapter traces the impact of the 1920 revival of The Beggar’s Opera on a wide variety of texts, ranging from Brecht and Weill’s Die Dreigroschenoper and Ayckbourn’s A Chorus of Disapproval, to BBC dramas of ordinary life, the early productions of Theatre Workshop, Charles Parker’s radio ballads, Osborne’s The Entertainer, and some television plays of Alan Plater and Dennis Potter. It suggests that Gay’s ballad opera, rooted in folk song, provided a model of articulated dramaturgy that raised questions about the nature of authenticity, and that could be adapted by differing media to disintegrate the conventional form of the musical. This open structure responded to the purposes of cultural politics, in particular the needs of a provincial, and sometimes working-class, aesthetic.
23
Ames, Melissa. Small Screen, Big Feels. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.001.0001.
Full textAbstract:
While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010--2020), ABC's reality franchises, The Bachelor (2002--present) and The Bachelorette (2003--present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.
24
Brian C, Kalt. Unable. Oxford University Press, 2019. http://dx.doi.org/10.1093/law/9780190083199.001.0001.
Full textAbstract:
Since President Trump’s election, Section 4 of the Twenty-Fifth Amendment has been a frequent topic of public discussion. It has also become a mainstay in television dramas, which usually present it inaccurately.The country needs this complicated but essential topic explained. Unable: The Law, Politics, and Limits of Section 4 of the Twenty-Fifth Amendment is designed to educate and inform the public about Section 4 in an even-handed and accessible way. This book is not about President Trump; it offers no opinions on his fitness for office. By the end of the book, though, it will be clear how Section 4 applies to him, as well as to any other arguably unfit president.Unable begins by explaining the basics of Section 4, correcting common misconceptions, and resolving some of its ambiguities. Part II explores history: presidential disability before Section 4; the creation of Section 4 in 1965; the (non)use of Section 4 since then; and Section 4’s portrayal in movies, books, and television. Part III presents a series of hypothetical scenarios that dramatize how Section 4 would work—or not work—in a wide variety of situations. Part IV concludes with some thoughts on how Section 4 interacts with constitutional law more generally, and some suggestions on how to improve Section 4’s operation.
25
Cavender, Gray, and Nancy C. Jurik. Prime Suspect and Progressive Moral Fiction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037191.003.0007.
Full textAbstract:
This chapter discusses the strengths and limitations of Prime Suspect as a work of progressive moral fiction. It identifies ways that the conventions of the crime genre and the strictures of television work against the transformative potential of the series. It elaborates apparent flaws in the character of Jane Tennison: incidents of personality issues and unethical behavior that appear in the series. It suggests that Tennison's flaws can actually enhance debates about gender and justice. The chapter draws on the work of feminist critical race scholar Patricia Hill Collins (2000) in her work Black Feminist Thought to describe a “both/and” perspective for understanding Tennison's character. It compares Prime Suspect with other contemporary police procedural dramas. The chapter concludes with a discussion of the theoretical and pedagogical implications of Prime Suspect and the model of progressive moral fiction. It focuses on how the model can be used in the classroom to address the justice implications in Prime Suspect and media productions more generally.
26
Sohn-Rethel, Martin. Real to Reel. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993071768.001.0001.
Full textAbstract:
What happens when we watch feature films or television dramas? Many of our responses to moving-image fiction texts embody “realism” or “truth,” but what are we responding to, exactly, and how is our notion of reality or truth to be understood? For film and media students and makers of moving-image fiction in new digital forms, the question of how to get a more objective, rigorous handle on realism has never been more important. The author of this book brings a lifetime of teaching film and media to bear on developing a new approach to analyzing the “realism” of the moving image: a set of seven “codes” that plot this tricky field of enquiry more systematically. In doing so, the book considers a wide range of film and media texts chosen for their accessibility, including Do the Right Thing (1989), In the Name of the Father (1993), Erin Brockovich (2000), and District 9 (2009).
27
Meng, Jing. Fragmented Memories and Screening Nostalgia for the Cultural Revolution. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528462.001.0001.
Full textAbstract:
This book explores the way personal memories and micro-narratives of the Cultural Revolution are represented in post-2001 films and television dramas in mainland China, unravelling the complex political, social and cultural forces imbricated within the personalized narrative modes of remembering the past in postsocialist China. While representations of personal stories mushroomed after the Culture Revolution, the deepened marketization and privatization after 2001 have triggered a new wave of representations of personal memories on screen, which divert from those earlier allegorical narratives and are more sentimental, fragmented and nostalgic. The personalized reminiscences of the past suggest an alternative narrative to official history and grand narratives, and at the same time, by promoting the sentiment of nostalgia, they also become a marketing strategy. Rather than perceiving the rising micro-narratives as either homogeneous or autonomous, this book argues that they often embody disparate qualities and potentials. Moreover, the various micro-narratives and personal memories at play facilitate fresh understandings of China’s socialist past and postsocialist present: the legacies of socialism continue to influence China, constituting the postsocialist reality that accommodates different ideologies and temporalities.
28
Scodari, Christine. Alternate Roots. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817785.001.0001.
Full textAbstract:
For over two decades, the media have chronicled escalating participation in family history prompted by, among other things, the aging of Baby Boomers and Generation Xers, the growing availability of digital genealogy sites and archives, and a burgeoning interest in racial and ethnic history and culture of the sort inspired by the airing of the historical drama miniseries Roots forty years ago. Alternate Roots is the first book to critically address a wide array of media-related institutions, texts, technologies, and practices of family history readily encountered in the new millennium, including genealogy-themed television series, books, documentaries, websites, family photos and civil records, social media interactions, genealogical institutions, “roots” tourism, and genetic ancestry testing services capitalizing on the 2003 mapping of the human genome. These objects of inquiry present unique and pressing issues for critical investigation in terms of economic and privacy concerns as well as ethnicity, race, and hybrid identities. Judiciously interweaving her own genealogical journey involving ethnic, racial, classed, and gendered identities pertinent to her southern Italian and Italian American family history throughout the multifaceted examination of critical objects, Christine Scodari unearths pivot points of thought and action in the performance and representation of family history that can be adapted by others and facilitated by digital media. This alternate roots strategy, an expansive approach to family history, enables practitioners to venture beyond genetic definitions of kinship, their own ancestral history, and the struggles of those sharing their affiliations, and to interrogate genealogical media and related commodities and activities accordingly.
29
Rafter, Nicole, and Michelle Brown, eds. The Oxford Encyclopedia of Crime, Media, and Popular Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/acref/9780190494674.001.0001.
Full textAbstract:
Over 120 scholarly articlesCrime and punishment fascinate. Overwhelming in their media dominance, they present us with our most popular television programs, films, novels, art works, video games, podcasts, social media streams and hashtags. This encyclopedia, a massive and unprecedented undertaking, offers a foundational space for understanding the cultural life and imaginative force and power of crime and punishment. Across five areas foundational to the study of crime and media, leading scholars from five continents engage cutting edge scholarship in order to provide definitive overviews of over 120 topics. In the context of an unprecedented global proliferation in the production of images, they take up the perennial and emergent problems of crime's celebrity and fascination; stereotypes and innovations in portrayals of crime and criminals; and the logics of representation that follow police, courts, capital punishment, prisons, and legal systems across the world. They also engage new, timely, and historically overlooked categories of offense and their representations, including child sexual abuse, violence against women, and human trafficking. A series of entries on mediums and methods provide a much needed set of critical approaches at a historical moment when doing media and visual research is a daunting, formidable undertaking. This is also a project that stretches our understanding of conventional categories of crime representation. One example of this is homicide, where entries include work on the ever-popular serial killer but also extend to filicide, infanticide, school shootings, aboriginal deaths in custody, lynchings, terrorism and genocide. Readers will be will be hard-pressed to find a convention, trope, or genre of crime representation that is not, in some way, both present and enlarged. From film noir to police procedurals, courtroom dramas and comedies to comic books, crime news to true crime and reality tv, gaming to sexting, it is covered in this encyclopedia.