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Our understanding of history is often mediated by popular culture, and television series set in the past have provided some of our most indelible images of previous times. Yet such historical television programs always reveal just as much about the era in which they are produced as the era in which they are set; there are few more quintessentially late-90s shows than That '70s Show, for example.  From Memory to History takes readers on a journey through over fifty years of historical dramas and sitcoms that were set in earlier decades of the twentieth century. Along the way, it explores how comedies like M*A*S*H and Hogan's Heroes offered veiled commentary on the Vietnam War, how dramas ranging like Mad Men echoed current economic concerns, and how The Americans and Halt and Catch Fire used the Cold War and the rise of the internet to reflect upon the present day. Cultural critic Jim Cullen is lively, informative, and incisive, and this book will help readers look at past times, present times, and prime time in a new light.

Other books on Television tend to ignore ′ordinary′ television - lifestyle programmes and ′reality TV′, just the sort of programmes which increasing dominate the schedules. Bonner provides a distinctive angle on the content of television and the relations between television genres and audiences.

The International group of contributors of this volume provides, collectively, a multi-layered analysis of the emerging East Asian media culture, using the Korean TV drama as its analytic vehicle. By closely examining the political economy of TV industry,

Challenging assumptions that have underpinned critiques of globalisation and combining cultural theory with media industry analysis, Keane, Fung and Moran give a groundbreaking account of the evolution of television in the post-broadcasting era, and how p

Purpose The purpose of this paper is to study consumer engagement as a dynamic, iterative process in the context of TV shows. A theoretical framework involving the central constructs of brand actions, customer engagement behaviors (CEBs), and consumption is proposed. Brand actions of TV shows include advertising and firm-generated content (FGC) on social media. CEBs include volume, sentiment, and richness of user-generated content (UGC) on social media. Consumption comprises live and time-shifted TV viewing. Design/methodology/approach The authors study 31 new TV shows introduced in 2015. Consistent with the ecosystem framework, a simultaneous system of equations approach is adopted to analyze data from a US Cable TV provider, Kantar Media, and Twitter. Findings The findings show that advertising efforts initiated by the TV show have a positive effect on time-shifted viewing, but a negative effect on live viewing; tweets posted by the TV show (FGC) have a negative effect on time-shifted viewing, but no effect on live viewing; and negative sentiment from tweets posted by viewers (UGC) reduces time-shifted viewing, but increases live viewing. Originality/value Content creators and TV networks are faced with the daunting challenge of retaining their audiences in a media-fragmented world. Whereas most studies on engagement have focused on static firm-customer relationships, this study examines engagement from a dynamic, multi-agent perspective by studying interrelationships among brand actions, CEBs, and consumption over time. Accordingly, this study can help brands to quantify the effectiveness of their engagement efforts in terms of encouraging CEBs and eliciting specific TV consumption behaviors.

After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of the enemy during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as simplified complex representations. This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a positive representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell,news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.

Television is no longer the king of the living room: 86% of people watch TV with a second screen in the nearby and more than 30% of the attention time is given to the second device to perform social activities. Therefore, the television industry is facing a new challenge: find a way to re-catch viewers’ attention. A recent and popular approach considers the use of official hashtags to implement a cross-media strategy that will connect different contents across multiple media. Since the simple proposition of official hashtags is not sufficient to guarantee the success of a cross media strategy, in this paper, we analyze how official hashtags are used and we propose a model to write tweets effectively. The model is based on the analysis of more than 250,000 tweets that talk about TV-shows. In particular, (i) we analyze the availability and visibility of official hashtags, (ii) we study the tweets characteristics written by the most retweeted authors, and (iii) we build a network of hashtags in order to understand how users use official hashtags. The obtained results allowed us to define guidelines to help broadcasters in the promotion of TV-shows and in the engagement of viewers.

Purpose The purpose of this paper is to compare the effect of marketing communication techniques concerning product placement and TV commercials on brand recall and the purchase intention of consumers. Design/methodology/approach A sample of 420 participants randomly assigned to one of the four scenarios of an experiment watched a selected episode of a Sri Lankan TV show that consisted of commercial breaks. Then, their recall and purchase intention toward the advertised/placed brand were measured using a questionnaire and binary logistic regression was the analytical tool. Findings This research indicated that a combination of product placement and TV commercials forms the highest impact on both brand recall and purchase intention. The next highest impact is created solely by product placement, while sole TV commercials make the lowest impact comparatively. Practical implications This study is beneficial to brands and entrepreneurs looking for the most effective marketing communication methods to promote their brands and products to consumers. Originality/value As an initial study performed on a comparison between two commonly used marketing communication techniques, i.e. product placement and TV commercials, in the Sri Lankan context would also enrich the global marketing literature on the comparative effectiveness of both techniques, where studies are limited so far.

The present paper discusses the United-Statesian TV show Buffy the Vampire Slayer reassessing its protagonist, Buffy Summers, in 2022, twenty-five years after its first broadcasting. As a teenage girl turned into a vampire/demon hunter, Buffy undergoes significant changes in relation to her calling as a slayer. Reluctant at first, she comes to terms with her responsibilities later in the series, in a movement that echoes Joseph Campbell’s definition of the monomyth. The authors propose to discuss Buffy’s changes throughout the series, emphasizing key narrative moments, in order to illustrate how the character evolves from what could be perceived as an archetype similar to the “final girl” to a (feminist?) heroine. Additionally, the authors comment on the abuse allegations against Buffy’s creator Joss Whedon, and how they relate to the series’ legacy twenty-five years later.