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Televisionis developed for the television criticism course in media studies and communication studies curricula, explaining how television programs and commercials are made, and how they function as producers of meaning. Author Jeremy Butler demonstrates the ways in which cinematography and videography, acting, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience. This popular text teaches students to read between the lines, encouraging them to incorporate critical thinking into their own television viewing. Televisionprovides essential critical and historical context, explaining how various critical methods have been applied to the medium, such as genre study, ideological criticism, and cultural studies. Hundreds of illustrations from familiar television programs introduce the reader to the varied ways in which television goes about telling stories, presenting news, and selling products.. Highlights of this fourth edition include: new organization to reflect current approach to teaching television discussions of technology integrated throughout a wide variety of examples, including recent television shows expanded discussion of cultural issues a companion website with links to video web sites to support examples in the text, color frame grabs, and materials for instructors With its distinctive approach to examining television, this text is appropriate for courses in television studies, media criticism, and general critical studies.
Jeremy G. Butler is Professor of Telecommunication and Film at the University of Alabama. He has taught television, film, and new media courses since 1980 and is active in online educational resources for television and film studies.
Table of Contents
|Television Structures and Systems||p. 1|
|An Introduction to Television Structures and Systems: Ebb and Flow in the Postnetwork Era||p. 3|
|Television's Not-So-Distant Past: The Network Era||p. 4|
|Polysemy, Heterogeneity, Contradiction||p. 6|
|Interruption and Sequence||p. 12|
|Halting the Flow: Television in the Postnetwork Era||p. 13|
|Further Readings||p. 18|
|Narrative Structure: Television Stories||p. 21|
|The Theatrical Film||p. 22|
|The Television Series||p. 33|
|The Television Serial||p. 41|
|Transmedia Storytelling||p. 48|
|Further Readings||p. 51|
|Building Narrative: Character, Actor, Star||p. 55|
|Building Characters||p. 57|
|Building Performances||p. 65|
|The Star System?||p. 80|
|Further Readings||p. 92|
|Beyond and Beside Narrative Structure||p. 97|
|Television's Reality||p. 98|
|Television's Reality: Forms and Modes||p. 101|
|Television's Reality: Genres||p. 113|
|Further Readings||p. 142|
|. The Television Commercial||p. 149|
|U.S. TV's Economic Structure||p. 150|
|The Polysemy of Commodities||p. 159|
|The Persuasive Style of Commercials||p. 176|
|Summary: "Capitalism in Action"||p. 204|
|Further Readings||p. 205|
|Television Style: Image and Sound||p. 209|
|An Introduction to Television Style: Modes of Production||p. 211|
|Single-Camera Mode of Production||p. 213|
|Multiple-Camera Mode of Production||p. 218|
|Hybrid Modes of Production||p. 222|
|Further Readings||p. 224|
|Style and Setting: Mise-en-Scene||p. 227|
|Set Design||p. 227|
|Costume Design||p. 240|
|Lighting Design||p. 240|
|Actor Movement||p. 248|
|Further Readings||p. 250|
|Style and the Camera: Videography and Cinematography||p. 253|
|Basic Optics: The Camera Lens||p. 254|
|Image Definition and Resolution||p. 261|
|Color and Black-and-White||p. 269|
|In-Camera Visual Effects||p. 288|
|Further Readings||p. 291|
|Style and Editing||p. 293|
|The Single-Camera Mode of Production||p. 293|
|The Multiple-Camera Mode of Production||p. 314|
|Continuity Editing and Hybrid Modes of Production||p. 319|
|Further Readings||p. 322|
|Style and Sound||p. 325|
|Types of Television Sound||p. 326|
|Purposes of Sound on Television||p. 335|
|Acoustic Properties and Sound Technology||p. 341|
|Space, Time, and Narrative||p. 350|
|Further Readings||p. 354|
|Television Studies||p. 357|
|An Introduction to Television Studies||p. 359|
|Critical Research and Television||p. 360|
|Further Readings||p. 363|
|Textual Analysis||p. 367|
|Television Authorship||p. 367|
|Style and Stylistics||p. 370|
|Genre Study||p. 375|
|Further Readings||p. 391|
|Discourse and Identity||p. 395|
|Ideological Criticism and Cultural Studies||p. 395|
|The Discourse of the Industry I: Production Studies||p. 403|
|The Discourse of the Industry II: Political Economy||p. 406|
|Discourse and Identity I: Gender||p. 410|
|Discourse and Identity II: Queer Theory||p. 416|
|Discourse and Identity III: Race and Ethnicity||p. 418|
|Further Readings||p. 422|
|Sample Analyses and Exercises||p. 429|
|Mass Communication Research||p. 435|
|Table of Contents provided by Ingram. All Rights Reserved.|