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A history of the first six decades of the television era traces TV's evolution from an immobile piece of furniture with limited sponsored programming to a diverse, on-demand content provider.

The essay focused on the TV documentary series The Silk Road and discussed the significance of this co-production between China and Japan. Two television stations, NHK and CCTV, provided each other with technical support to create a new image of the Silk Road in 1980. They attempted to rediscover the cultural relationship in Asia. Japanese Oriental studies were either the base for this co-production or the source of trouble. CCTV needed to utilize and overcome Japanese technology and the resources from Oriental studies, to represent national culture and identity through images. On the other hand, Japan once again sought ways to represent the Asian “others.” However, the challenge was making it relative to Orientalism and imperialism. This essay also compares the two versions and suggests that both ancient Asian cultural histories that they represented through images reflected the contemporaneous political situation of the Cold War. In CCTV’s version, the images of the Silk Road became a symbol of the re-establishment of China’s national identity, including the imagination of a “multi-ethnic state” and a “community of cultural memory that unites East and West”. Furthermore, this version also represented the trade with neighboring states. Each of these elements had a realistic role in the political environment of 1980. On the other hand, NHK’s version contains a narrative to prove Japan is the last stop on the Silk Road. Moreover, before this documentary, Japanese literature had long sought the “unknown” of the Silk Road and became a strong intellectual foundation for The Silk Road. The narrative of Japan “being a part of the Silk Road, but unlike in colonialism, as a traveler” is what Yasushi Inoue repeatedly expressed in his literary works and appeared to have been passed on through the images of the documentary. Carrying the negative legacy of Japanese imperialism, then being caught between the United States and the Socialist bloc, and having a difficult choice of political identity, Japanese intellectuals refrained from expressing their political positions and chose to describe cultural history from the “traveler’s” perspective. This essay suggests this is an attempt to redefine Japan on the cultural map of Asia and indirectly to break through the polarization of capitalism and socialism in the Cold War.

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.

Toward the end of the twentieth century, science fiction television took a dark turn. Series like The X-Files, Millennium, and Dark Skies wove menacing technologies, paranormal forces, and shadowy government agencies into complex tales of corruption and cover-ups. Mind control, alien abductions, secret government laboratories, and implacable \"men in black\" moved from the fringes to the mainstream of American culture, making weekly appearances in living rooms everywhere. Other series that played on fears of new technologies—such as virtual reality—set the stage for unfamiliar kinds of exploitation, while Dark Angel offered glimpses of a near-future wasteland devastated by a technological catastrophe. In The Paranormal and the Paranoid: Conspiratorial Science Fiction Television, Aaron John Gulyas explores the themes that permeated and defined science fiction television at the turn of the millennium. The author traces the roots of this phenomenon in an earlier generation of series including The Invaders, Kolchak: The Night Stalker,and Project U.F.O. and examines how changes in the cultural landscape led to the proliferation of these types of shows. This book delves into the internal mythology of shows like The X-Files, resurrects now-forgotten series like Wild Palms and VR.5, and provides an important glimpse into American culture at the close of the twentieth century. While exploring the pervasive grimness of these shows, Gulyas also examines how they offer hope in the form of heroes—like agents Scully and Mulder—who relentlessly dug through the tissue of lies and distortions to find and expose the truth. The Paranormal and the Paranoid will appeal to scholars of media studies, sociology, and science fiction—not to mention fans of these programs and even conspiracy theorists.

An in-depth look at the philosophical issues behind HBO's Game of Thrones television series and the books that inspired it George R.R. Martin's New York Times bestselling epic fantasy book series, A Song of Ice and Fire, and the HBO television show adapted from it, have earned critical acclaim and inspired fanatic devotion. This book delves into the many philosophical questions that arise in this complex, character-driven series, including: Is it right for a \"good\" king to usurp the throne of a \"bad\" one and murder his family? How far should you go to protect your family and its secrets? In a fantasy universe with medieval mores and ethics, can female characters reflect modern feminist ideals? - Timed for the premiere of the second season of the HBO Game of Thrones series - Gives new perspectives on the characters, storylines, and themes of Game of Thrones - Draws on great philosophers from ancient Greece to modern America to explore intriguing topics such as the strange creatures of Westeros, the incestuous relationship of Jaime and Cersei Lannister, and what the kings of Westeros can show us about virtue and honor (or the lack thereof) as they play their game of thrones Essential reading for fans, Game of Thrones and Philosophy will enrich your experience of your favorite medieval fantasy series.

When The Phil Donahue Show topped the ratings in 1979, it ushered in a new era in daytime television. Mixing controversial social issues, light topics, and audience participation, it created a new genre, one that is still flourishing, despite being harshly criticized, over two decades later. Now, the daytime TV landscape is littered with talk shows. But why do people watch these shows? How do they make sense of them? And how do these shows affect their viewers' sense of what constitutes appropriate public debate? In Talking Trash , Julie Engel Manga offers a fascinating exploration of these questions and reveals the wide range of reasons viewers are drawn to “trash talk.” Focusing on such shows as Oprah!, Jerry Springer, Ricki Lake, Jenny Jones , and Maury Povitch , and drawing upon interviews with women who watch these shows, Talking Trash is the first examination of the talk show phenomenon from the viewers’ perspective. In taking this approach, Manga is able to understand what talk shows mean to the women who watch them. And by refusing to judge either the shows or their viewers as good or bad, she is able to grasp how viewers relate to these shows-as escape, entertainment, uninhibited public discourse, or an accurate reflection of their own hardships and heartaches. Manga concludes that while the form of “trash-talk” shows may be relatively new, the socio-cultural experience they embody has been with us for a long time. Absorbing, entertaining, and keenly perceptive, Talking Trash illuminates the complex viewer response to “trash talk” and examines the cultural politics surrounding this wildly controversial popular phenomenon.

As sponsor, I.B.M. will not broadcast commercials and is urging viewers, especially teachers, to videotape ''I, Leonardo'' for future use. As host, Mr. [Walter Cronkite] will use the sponsor's message time to discuss quality education and the Olympics of the Mind as well, a program in 2,000 North American schools designed to stimulate young people's interests in science. But hoping, perhaps, not to frighten viewers away, he called ''I, [Leonardo],'' ''beautiful entertainment.'' ''I'm in my mid-30's now and I know that I have gone through a tremendous number of changes. And I know that most of my friends have gone through a tremendous number of changes,'' said Harriet Meth in a recent interview. And ''I felt,'' she added, ''that enough time had elapsed to sort of go back and explore our earlier roots, if you will.'' Miss Meth is executive producer of special projects at WCBS-TV and she was talking about ''The 60's: Music, Madness and Magic,'' an hour-long portrait of that decade, which will be presented on CBS Sunday evening at 10. Michele Marsh is the correspondent.