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"Detective and mystery television programs United States History and criticism."
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TV noir : dark drama on the small screen
The author surveys TV programming that evolved from the film noir heyday, including the anthology programs of the '40s and '50s; the classic period of Dragnet, M Squad, and 77 Sunset Strip; and the neonoirs of the '60s and '70s, including The fugitive, Kolchak, and Harry O.
Book
TV Cops
The police drama has been one of the longest running and most popular genres in American television. In TV Cops, Jonathan Nichols-Pethick argues that, perhaps more than any other genre, the police series in all its manifestations-from Hill Street Blues to Miami Vice to The Wire-embodies the full range of the cultural dynamics of television.
Exploring the textual, industrial, and social contexts of police shows on American television, this book demonstrates how polices drama play a vital role in the way we understand and engage issues of social order that most of us otherwise experience only in such abstractions as laws and crime statistics. And given the current diffusion and popularity of the form, we might ask a number of questions that deserve serious critical attention: Under what circumstances have stories about the police proliferated in popular culture? What function do these stories serve for both the television industry and its audiences? Why have these stories become so commercially viable for the television industry in particular? How do stories about the police help us understand current social and political debates about crime, about the communities we live in, and about our identities as citizens?
eBook
Channeling Wonder
Television has long been a familiar vehicle for fairy tales and is, in some ways, an ideal medium for the genre. Both more mundane and more wondrous than cinema, TV magically captures sounds and images that float through the air to bring them into homes, schools, and workplaces. Even apparently realistic forms, like the nightly news, routinely employ discourses of \"once upon a time, \" \"happily ever after, \" and \"a Cinderella story.\" In Channeling Wonder: Fairy Tales on Television, Pauline Greenhill and Jill Terry Rudy offer contributions that invite readers to consider what happens when fairy tale, a narrative genre that revels in variation, joins the flow of television experience. Looking in detail at programs from Canada, France, Italy, Japan, the UK, and the U.S., this volume's twenty-three international contributors demonstrate the wide range of fairy tales that make their way into televisual forms. The writers look at fairy-tale adaptations in musicals like Rodgers and Hammerstein's Cinderella, anthologies like Jim Henson's The Storyteller, made-for-TV movies like Snow White: A Tale of Terror, Bluebeard, and the Red Riding Trilogy, and drama serials like Grimm and Once Upon a Time. Contributors also explore more unexpected representations in the Carosello commercial series, the children's show Super Why!, the anime series Revolutionary Girl Utena, and the live-action dramas Train Man and Rich Man Poor Woman. In addition, they consider how elements from familiar tales, including \"Hansel and Gretel, \" \"Little Red Riding Hood, \" \"Beauty and the Beast, \" \"Snow White, \" and \"Cinderella\" appear in the long arc serials Merlin, Buffy the Vampire Slayer, and Dollhouse, and in a range of television formats including variety shows, situation comedies, and reality TV. Channeling Wonder demonstrates that fairy tales remain ubiquitous on TV, allowing for variations but still resonating with the wonder tale's familiarity. Scholars of cultural studies, fairy-tale studies, folklore, and television studies will enjoy this first-of-its-kind volume.
eBook
American TV detective dramas : serial investigations
The way detectives access and attain the 'truth' about a crime is an important indicator of how they relate to contemporary political developments. This book explores these methods of detection and positions the genre in a specific political, aesthetic, narrative and industrial context.
eBook
The philosophy of TV noir
The influence of classic film noir on the style and substance of television in the 1950s and 1960s has persisted to the present day. Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir. Noir television is also noteworthy for its capacity to raise philosophical questions about the nature of the human condition. Drawing from the fields of philosophy, media studies, and literature, the contributors to The Philosophy of TV Noir illuminate the best of noir television, including such shows as Dragnet, The Fugitive, Miami Vice, The X-Files, CSI, and 24.
eBook
Hardboiled and High Heeled
Can a gumshoe wear high heels? In a genre long dominated by men, women are now taking their place-as authors and as characters-alongside hard-boiled legends like Sam Spade and Mike Hammer. Hardboiled and High Heeled examines the meteoric rise of the female detective in contemporary film, television, and literature.
Richly illustrated and written with a fan's love of the genre, Hardboiled and High Heeled is an essential introduction to women in detective fiction, from past to present, from pulp fiction to blockbuster films.
Linda Mizejewski is Professor of English and Chair of the Women's Studies Department at Ohio State University. She is author of Ziegfeld Girl: Image and Icon in Culture and Cinema and Divine Decadence: Fascism, Female Spectacle, and the Makings of Sally Bowles . She lives in Columbus, Ohio.
eBook
Antihero
Crime Uncovered: Antihero is a fascinating and timely collection of essays that all examine the antihero in crime fiction, television and film. The antihero has enticed readers and audiences for generations: why is it that we root for characters such as Tom Ripley, Dexter Morgan and Walter White, despite our conscious revulsion at some of their actions? These iconic and popular figures of literature are examined in this collection, alongside those lesser-known characters from crime fiction that you will discover here. These essays will give you an insight into the characterisation, methodology, social context and morality that makes up these unlikely protagonists.
eBook
The Philosophy of TV Noir
Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. InThe Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such asThe Maltese Falcon, Kiss Me Deadly,andThe Big Sleepis also found in episodic television from the mid-1950s to the present.
In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series.
Realism, relativism, and integrity are discussed in essays onDragnet, Naked City, The Fugitive,andSecret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays onMiami Vice, The Sopranos, Carnivale,and24. The methods of crime scene investigation inThe X-FilesandCSIare examined, followed by an exploration of autonomy, selfhood, and interpretation inThe Prisoner, Twin Peaks, The X-Files,andMillennium.
With this focus on the philosophical dimensions of crime, espionage, and science fiction series,The Philosophy of TV Noirdraws out the full implications of film noir and establishes TV noir as an art form in its own right.
eBook
Citizen, Communist, Counterspy: \I Led 3 Lives\ and Television's Masculine Agent of History
This article discusses the 1950s television espionage program \"I Led 3 Lives\" in the context of historical realism, Cold War anti-Communism, and domestic gender relations. Based on the real-life exploits of a Communist informer, the show treats Communist subversion as a gendered threat to state and individual authority.
Journal Article