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A reporter for the Los Angeles Times once noted that I Love Lucy is said to be on the air somewhere in the world 24 hours a day. That Lucy's madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies.In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over?Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale.

Both economists and sociologists have documented the association between gender and career outcomes. The challenge for both disciplines lies not in showing that gender is linked to employment outcomes, but in explaining the associations.

Drawing upon institutionalist theory this artcle analyzes how the introduction of new cultural objects produced for a mass audience is managed through an organized discourse. Data come form annoucements of prime-time television series in development for the 1991-92 season by the four U.S. television networks. Maximumlikelihood logit analyses support the conclusion that network programmers working in a highly institutionalized context use reputation, imitation, and genre as rhetorical strategies to rationalize and legitimize their actions. This study contributes to institutionalist theory and the sociology of culture by explaining the content and consequences of business discourse in a culture industry.

Cet article examine les manières dont les pratiques d’emploi des scénaristes de film au cinéma et à la télévision produisent les inégalités de genre et le plafond de verre à Hollywood. S’appuyant sur l’histoire des industries cinématographiques et télévisuelles et sur une analyse quantitative des registres d’emploi et d’adhésion au Writers Guild of America, West, syndicat des scénaristes de film et de télévision d’Hollywood, cet article retrace l’évolution historique de ces industries, passées d’un modèle hiérarchique à celui du marché. Cette vue d’ensemble permet de mieux comprendre la nature des relations d’emploi à Hollywood. Est alors repérée l’influence que jouent les modes spécifiques d’emploi des femmes scénaristes de film et de télévision sur la construction des inégalités de genre. La conclusion montre pourquoi les solutions, pourtant efficaces ailleurs pour réduire les inégalités de genre, s’avèrent difficiles à mettre en place dans l’industrie culturelle d’Hollywood. This article discusses how employment practices concerning writers of film and television contribute to gender inequality and the glass ceiling in Hollywood. Relying on historical evidence about the industries of film and television and quantitative data from analyses of the employment and membership records of the Writers Guild of America, West, the union for film and television writers in Hollywood, this article presents an overview of the industry's historical transformation from hierarchy to market in order to understand the nature of Hollywood's employment relation. It then examines how the dynamics associated with the participation of women writers contribute to particular forms of gender inequality in film and television. The conclusion considers why proven remedies for minimizing gender inequality are so difficult to achieve in the culture industry of Hollywood.

The intersections of aging, media, and culture are under-explored given trends in population aging, rapid increases in the mediation of everyday life, and the growing cultural significance of media consumption at the global level. This book brings together an international collection of critical scholars, both well-established and up-and-coming, from the various academic disciplines that share a common interest in the future study of aging and media. This anthology of original articles integrates aging theory and media studies through a study of core issues including the media’s influence on the construction of “old age,” the reciprocal influence of aging on media industries, age-based identities in a mediated world, issues of gender and sexuality in an aging society, and the practical implications of a more integrated approach between the two fields. The chapters explore the intersections between aging and media in the realms of advertising/marketing, television, film, music, celebrity and social media, among others.

This book shines unprecedented light on the activity of talent representatives and production professionals in the American and French film and television industries. Empirically grounded contributions show the crucial impact of such entertainment professionals on the making of artistic careers and cultural products.

This article tests competing explanations for why wives in dualearner couples are less willing than husbands to relocate for a better job. Hypotheses are derived from a neoclassical market model that assumes spouses maximize family well-being and a sociological alternative that emphasizes the mediating function fo gender-role-ideology in decision making by couples. Results from a maximum-likelihood probit model that uses data from the 1977 Quality of Employment Survey indicate that couples' orientation to the \"provider role\" shapes how they respond to job opportunities. A husband's potential loss from a move appears to deter wives from capitalizing on opportunities at a new location, but a wife's potential loss does not deter husbands. However, differences by gender are substantially smaller among men and women who reject traditional notions about husbands'and wives' roles within families. Implications for future theoretical development and empirical research are discussed.

Building on more than two decades of feminist analysis of the family, this article takes a neoinstitutionalist approach to examine some of the ways that sex, gender, and sexual orientation intersect in lesbian-headed two-parent families, affecting how they construct their roles as mothers. Institutionalist theory tends to de-emphasize how actors deliberately construct social arrangements such as parenting roles within the family. The authors' analysis of interviews from 14 lesbian mothers remedies this deficiency by focusing both on how they draw upon and transform institutionalized scripts, practices, and understandings of family roles and relations. Their findings reveal how these mothers reinscribed gendered understandings while simultaneously challenging heteronormative ones in their efforts to construct and maintain socially viable two-parent families.

This article discusses how employment practices concerning writers of film and television contribute to gender inequality and the glass ceiling in Hollywood. Relying on historical evidence about the industries of film and television and quantitative data from analyses of the employment and membership records of the Writers Guild of America, West, the union for film and television writers in Hollywood, this article presents an overview of the industry’s historical transformation from hierarchy to market in order to understand the nature of Hollywood’s employment relation. It then examines how the dynamics associated with the participation of women writers contribute to particular forms of gender inequality in film and television. The conclusion considers why proven remedies for minimizing gender inequality are so difficult to achieve in the culture industry of Hollywood.