New PDF release: Television at the Movies: Cinematic and Critical Responses

By Jon Nelson Wagner

ISBN-10: 0826429637

ISBN-13: 9780826429636

This identify bargains a distinct method of the research of tv. This evaluate of tv feedback comes competently at a second of swap. tv is turning into dramatically varied due to new and constructing applied sciences resembling cable, HDTV, satellite tv for pc transmission and broadband distributions. by way of targeting the still-dominant inspiration of tv, what the authors name "Classical community Television," they argue that it's as vital to appreciate this version because it is to appreciate 'Classical Hollywood Cinema'.The co-authors have a distinct method of the research of tv, viewing its heritage and reception not just via very important articles concerning the medium, but in addition via examining how Hollywood auteur cinema has commented on tv over the many years, in movies resembling "Tootsie", "Network", "The final photo Show", "A Face within the Crowd", "Rollerball", "The King of Comedy" and others. not just does this replicate the pervasive use of cinema conception to debate tv, it additionally is helping to stress the significance of clarifying the differences among the criticisms of the 2 media." The query of tv" argues that the learn of tv is a vital point of figuring out our contemporary and modern tradition, and it offers an illuminating element of access for college students and researchers within the box.

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Additional info for Television at the Movies: Cinematic and Critical Responses to American Broadcasting

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Ann-Margret, playing Tommy’s careless mother, Nora Walker Hobbs, urges Tommy (Roger Daltrey) to respond to her as she cavorts in a white, mirrored room. She wants him to look in a mirror, cure himself of his hysterical blindness, and recognize himself. At the scene’s climax, a television set suddenly erupts and inexplicably spews baked beans throughout the room—and all over Ann-Margret. Certainly the identity of the victim isn’t random. Ann-Margret has traced a passage from one film cliché as studio system sex kitten to another as frustrated and irresponsible mother damaging her male child; or, to put it another way, from ingénue to character actress.

Schickel mirrors McLemee’s revisionist reading of Jacoby in insisting that the great noir dramas of the late 1940s through the mid- to late 1950s project a far more ambivalent view toward the good times of suburban prosperity and the intact family. Characterized by melancholy for “the residual yet still-potent malevolence of the postwar city” (39), the threat of transgressive sins and buried behavior haunt the “clean, spare, safe if not very interesting” suburbs of loving wives and “healthy, normal children” (38).

17 Finally, new digital technologies have made it possible for dead celebrities to be salespeople. Mahatma Ghandi and Amelia Earhart “think different [sic]” for Apple Computers, Sammy Davis Jr. wears Gap khakis, John Wayne prefers Coors beer, and Fred Astaire dances with a Dirt Devil vacuum cleaner. As these examples demonstrate, even when television is false, it may be real and right for the televisual world: a recognized landscape of characters, settings, and situations in which the workers manning the phones for private security systems are always middle-aged white men.

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Television at the Movies: Cinematic and Critical Responses to American Broadcasting by Jon Nelson Wagner

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