Strategies of Innovation in ‘High-End’ TV Drama: The Contribution of Cable
by: Craig Jacobsen / Mesa Community College
What’s new, or at least notable by degree, is the attention being given to the portrayal of storytelling within broadcast network programming.
by: David Lavery / Middle Tennessee State University
Can Lost sustain its suspense while retaining the good faith of and credibility with a deeply inquisitive viewership, determined to puzzle out its mysteries?
by: Heather Hendershot / Queens College
How are our televisual memories and self-perceptions challenged when we revisit the shows of our youth?
by: Judd Ethan Ruggill and Ken S. McAllister / University of Arizona
Everyone Frags Raymond — When Computer Games & TV Forms Collide
by: Aniko Bodroghkozy / University of Virginia
What Over There and the coverage of Cindy Sheehan can tell us about who has a stake in the current war in Iraq.
by: John Hartley / Queensland University of Technology
The afterlife of Dead Like Me on Australian cable television and the pleasures and perturbances of watching an already-in-the-grave series.
by: David Golumbia / University of Virginia
David Golumbia takes the Lost discussion one step further.
by: Allison McCracken / DePaul University
Steven Johnson (Everything Bad is Good for You) writes that television can be a “cognitive workout.” Whose television is he talking about?
by: Eileen Meehan / Louisiana State University
“Peter Jennings Reporting: UFOs — Seeing Is Believing,” serves as an example of the state of network news reporting.
by: Mimi White / Northwestern University
An inquiry into the form and function of divinity in Joan of Arcadia.
by: Heather Hendershot / Queens College CUNY
In season one of The Simple Life, the apparently soulless Nicole Ritchie and Paris Hilton spend a month in rural Arkansas disappointing the Ledings, the humble, hard-working farm family that has agreed to take them in.