Performing Arts : Television

In today's media and communications environment, pressing questions arise regarding the media's potential for harm, especially in relation to children. This fully revised edition offers a unique and comprehensive analysis of the latest research on content-related media harm and offence. For the first time, a balanced, critical account brings together findings on both established and newer, interactive media. Arguing against asking simple questions about media effects, the case is made for contextualising media content and use within a multi-factor, risk-based framework in order to guide future research and policy formation. more...

Price: $20.00

This study explores the Hollywood blacklist and its aftermath. Buhle and Wagner take up the question of where the blacklistees went after they were hounded out of Hollywood. Some left Hollywood for careers in television with many of them working in children's and family programming. more...

Price: $17.95

Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers—Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others—quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted “newsreel photography” for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories—and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema. more...

Price: $36.00

TV sitcom is the goldmine genre, watched by millions. An absurd predicament, witty banter, a group of hilariously dysfunctional people: it all seems so easy. But is it? If you’ve ever said ‘I can do better than that’, then this book will encourage, test and pull you through the sitcom-writing boot camp. more...

Price: $9.99

In this guide for every student of the small screen and every scriptwriter dreaming of breaking into the business, writer-producer Madeline DiMaggio hands you the tools of the trade. With dozens of examples from today's hit shows, as well as perennial classics, DiMaggio walks readers through the scriptwriting process, from learning how to watch TV like a writer to developing your script, pitching it, and eventually sealing the deal. more...

Price: $16.00