Bücher der Reihe Critical Studies in Television

Deconstructing South Park: Critical Examinations of Animated Transgression is an edited collection by Brian Cogan that looks at the long and controversial run of one of the most subversive programs on television. South Park, while denounced by many as simply scatological, is actually one of the most nuanced and thoughtful programs on television. The contributors to South Park reveal that, through the lens of four foul-mouthed nine year olds, Trey Parker and Matt Stone have created one of the most astute forms of social and political commentary in television history.Deconstructing South Park, itself the most ambitious deconstruction of popular culture to date, analyzes how South Park is not only entertainment, but a commentary on American culture that tackles controversial issues far beyond the depth of most television. Specifically, the medium of animated sitcom allows the shows creators to contribute to cultural conversations regarding disability studies, religion, sexuality, celebrity, and more. If South Park deconstructs American culture, then Cogan and his contributors deconstruct the deconstructionists and reveal South Park in all its hilarious and often contradictory complexity.

Includes fourteen critical essays that examine the brief-lived but landmark television series, "My So-Called Life". This work tackles a range of topics - from identity politics, to music, to infidelity, and death.

The CSI Effect: Television, Crime, and Governance demonstrates that CSI's appeal cannot be disentangled from its production as a televisual text or the broader discourses and practices that circulate within our social landscape. This groundbreaking interdisciplinary collection bridges the gap between the study of popular culture media and the study of crime, and fosters the development of a new set of theoretical languages in which the mediated spectacle of crime and criminalization can be carefully considered.

The CSI Effect: Television, Crime, and Governance demonstrates that CSI's appeal cannot be disentangled from its production as a televisual text or the broader discourses and practices that circulate within our social landscape. This groundbreaking interdisciplinary collection bridges the gap between the study of popular culture media and the study of crime, and fosters the development of a new set of theoretical languages in which the mediated spectacle of crime and criminalization can be carefully considered.

Rachel E. Dubrofsky examines the reality TV series The Bachelor and The Bachelorette in one of the first book-length feminist analysis of the reality TV genre. The research found in The Surveillance of Women on Reality TV: Watching The Bachelor and The Bachelorette meets the growing need for scholarship on the reality genre. This book asks us to be attentive to how the surveillance context of the program impacts gendered and racialized bodies. Dubrofsky takes up issues that cut across the U.S. cultural landscape: the use of surveillance in the creation of entertainment products, the proliferation of public confession and its configuration as a therapeutic tool, the ways in which women's displays of emotion are shown on television, the changing face of popular feminist discourse (notions of choice and empowerment), and the recentering of whiteness in popular media.

Author Lori Bindig examines the television seriesDawson's Creek from five ideological aspects: gender, race, class, sexuality, and consumerism.

Popular Culture and the Future of Politics: Cultural Studies and the Tao of South Park argues that progressives should conceive the connections between media, policy, and culture beyond the limits of 'politics' and 'news.' With sustained analyses of groundbreaking contemporary examples of what has become known as 'convergence culture,' Ted Gournelos brings together a wide range of media without sacrificing depth. His examples, such as South Park, The Simpsons, The Onion, The Daily Show, Chappelle's Show, and The Boondocks, are chosen for their political scope and social impact and demonstrate the ways in which what we know as 'politics' is rapidly changing. The book's forays into established fields like feminist, race, and queer theory are combined with perspectives drawn from political economy and rhetoric to demonstrate the power of irony, humor, and cultural dissonance in modern approaches to dissonant cultural politics.

thirtysomething examines one of television's most emotionally and culturally resonant programs and its treatment of subjects such as the role of women, the nature of masculinity, and the problem of maintaining one's integrity in a business built on amorality.

Tribal Warfare thoroughly investigates a central element of the hit reality television show Survivor that the existing literature on reality television has overlooked: class politics. Christopher J. Wright combines textual analysis and survey research to demonstrate that Survivor operates and resonates as a political allegory. Using the work of Fredric Jameson, this book reveals how Survivor frames its 'characters' as 'haves' and 'have-nots.' For those new to Jameson, Wright breaks down the theorist's complex notion of the political unconscious into easily understandable language. Furthermore, using the results of a survey of Survivor viewers, Tribal Warfare demonstrates that viewers divide along gender, racial, age, and-most significantly-class-related lines in their consumption of, and reaction to, the program. The first book to explore the premise of 'Survivor as society,' this unique work serves as both an engaging analysis of a popular television program and a highly readable primer for those new to critical theory.

Includes fourteen critical essays that examine the brief-lived but landmark television series, "My So-Called Life". This work tackles a range of topics - from identity politics, to music, to infidelity, and death.

The O.C., A Critical Understanding, by Lori Bindig and Andrea M. Bergstrom, is a feminist cultural studies analysis of FOX's hit teen television drama The O.C. (2003-2007). Episodes of The O.C. are analyzed as a set of media texts that blur the boundaries between hegemonic and counter-hegemonic content. This analysis utilizes ancillary media such as director commentary in conjunction with content in order to understand how ideological content, in regards to gender, race, class, sexuality, and consumerism, is presented throughout the show. The O.C. is also examined in terms of audience analysis, auteur theory, aesthetics, and reality television spin-offs. Bindig and Bergstrom place The O.C. in a larger social context and explore the potential ramifications of popular media texts, as well as the series cultural legacy which continues to resonate in media and culture.

Branded Women in U.S. Television examines how The Real Housewives of New York City, Martha Stewart, and other female entrepreneurs create branded televised versions of the iconic U.S. housewife. Using their television presence to establish and promote their own product lines, including jewelry, cookware, clothing, and skincare, they become the primary physical representations of these brands. While their businesses are serious and seriously lucrative, especially reality television enables a certain representational flexibility that allows participants to create campy and sometimes tongue-in-cheek personas. Peter Bjelskou explores their innovative branding strategies, specifically the complex relationships between their entrepreneurial endeavors and their physical bodies, attires, tastes, and personal histories. Generally these branded women speak volumes about their contemporaneous political environments, and this book illustrates how they, and many other women in U.S. television history, are indicative of larger societal trends and structures.

Humor and Latina/o Camp in Ugly Betty: Funny Looking expands the vista of critical approaches to comedy and representational politics on mainstream television from an interdisciplinary Latina/o studies approach. Gonzlez and Rodriguez y Gibson examine how Ugly Betty uses humor and Latina/o camp to reframe socially charged issues on the show: representations of masculinity and familia, immigration, drag and queer subjectivities, Latina sexuality, and finally, a Latina feminist critique of the American Dream. Ugly Betty moves beyond the binaries of traditional representational politics and opens a vista of critical possibility applicable to all mainstream texts that portray people of color through comedy. This work will be of interest to scholars in media studies, Latina/o studies, and communication studies.

Gossip Girl: A Critical Understanding provides a critical analysis of The CW's hit teen television drama Gossip Girl. Lori Bindig analyzes episodes as a set of media texts that blur the boundaries between hegemonic and counter-hegemonic content. Using political economy, textual and audience analyses, Bindig dissects how the show presents ideological content in regard to gender, race, class, sexuality, and consumerism, ultimately unearthing potential ramifications of Gossip Girl and other popular media texts. In addition, Bindig examines the expansive fan community and its engagement with the show through online forums and YouTube. Gossip Girl: A Critical Understanding will appeal to scholars of media, audience studies, and popular culture.