by: Janet Staiger / University of Texas at Austin
I knew something had changed when I called my then-mid-70-year-old mom in Omaha several years ago on a Saturday afternoon before Christmas to ask her about clothing sizes for gifts and she responded: “I can’t talk now. Texas is beating Nebraska for the Big XII Championship.”
by: Mimi White / Northwestern University
I have been thinking about the pace of television, and wondering if I even know what the pace of television is.
by: Mary Beth Haralovich / University of Arizona
In the early 1970s, Dirty Harry famously took on the issue of constitutional rights for US citizens suspected of crimes. Clint Eastwood’s cop movie launched the popular narrative enigma that would influence decades of television legal drama . . .
by: Heather Hendershot / Queens College CUNY
“It’s like Jell-O on springs!” Jack Lemmon declares as he ogles Marilyn Monroe’s fleshy derriere in Some Like It Hot (1959). Lemmon himself is in drag, and watching this film recently for the umpteenth time, I am struck again by its strange combination of heterosexual prurience and queer exuberance. I am also struck by Monroe’s plumpness.
by: Thomas Streeter / University of Vermont
Never has the need for media reform been more obvious, more urgent, or — judging by everything from Moveon.org surveys to downloads of the Jon Stewart Crossfire clip — more popular.
by: Rhonda Hammer and Douglas Kellner
Talk television has become increasingly political in the past years.
by: Michela Ardizzoni / Indiana University
The famous Dutch television producer, Endemol, will probably go down in the annals of history as a catalyst of standardized television programming across the globe.