Janet McCabe – författare

An introduction to feminist film theory as a discourse from the early seventies to the present. McCabe traces the broad ranging theories produced by feminist film scholarship, from formalist readings and psychoanalytical approaches to debates initiated by cultural studies, race and queer theory.

With its fast and furious dialogue, crackling wit, and political savvy, The West Wing became appointment TV for millions during its seven-season run between 1999 and 2006. The behind-the-scenes ensemble drama about Washington politics premiered on the wake of the Monica Lewinsky scandal, was the first series to respond to the 9/11 terrorist attacks, and concluded in the closing years of the Bush administration. Its subject matter was ambitious and germane, its cast star-studded, its production team acclaimed. In this volume, Janet McCabe explores The West Wing as both a space for political and social discourse and a force that reshaped contemporary television.McCabe begins by examining the series' broadcasting history, including its scheduling in the United States and around the world, and how the show defines channels and television markets. McCabe goes on to explore the role of the show's creator Aaron Sorkin as a TV auteur and investigates the program's aesthetic principles, including the distinctive look, feel, and sounds of the series. McCabe concludes by considering the political discourse of The West Wing, as the show spoke back to a U.S. culture divided by politics, race, and gender as well as the trauma of 9/11 and anxieties over terrorism and the wars in Iraq and Afghanistan.McCabe's analysis of The West Wing provides an intriguing look at the institutional, formal, and cultural politics of television. Fans of the series as well as students and teachers of television history will enjoy this detailed volume.

In his seminal book "Television's Second Golden Age", Robert Thompson described quality TV as 'best defined by what it is not': 'it is not "regular" TV'. Audacious maybe, but his statement renewed debate on the meaning of this highly contentious term. Dealing primarily with the post-1996 era shaped by digital technologies and defined by consumer choice and brand marketing, this book brings together leading scholars, established journalists and experienced broadcasters working in the field of contemporary television to debate what we currently mean by quality TV. They go deep into contemporary American television fictions, from "The Sopranos" and "The West Wing", to "CSI" and "Lost" - innovative, sometimes controversial, always compelling dramas, which one scholar has described as 'now better than the movies!' But how do we understand the emergence of these kinds of fiction? Are they genuinely new? What does quality TV have to tell us about the state of today's television market? And is this a new Golden Age of quality TV? Original, often polemic, each chapter proposes new ways of thinking about and defining quality TV.There is a foreword from Robert Thompson, and heated dialogue between British and US television critics. Also included - and a great coup - are interviews with W. Snuffy Walden (scored "The West Wing" among others) and with David Chase ("The Sopranos" creator). "Quality TV" provides throughout groundbreaking and innovative theoretical and critical approaches to studying television and for understanding the current - and future - TV landscape.

'Everyone has a little dirty laundry.' The darkly comic series about the secret lives of the ladies living on Wisteria Lane became an instant breakthrough hit for ABC. 21 million viewers tuned in for the first episode and this figure has steadily grown as audiences from around the globe have switched on to the shenanigans in suburbia. "Desperate Housewives" was subject to a backlash in America, where advertisers on the ABC network were lobbied by Christian groups and Parents' Associations. But the sponsorship withdrawal that resulted did little to dampen the enthusiasm of its legions of fans. Recipient of several awards including the People's Choice Award and Golden Globe for Best Television - Musical or Comedy, "Desperate Housewives" is a hit. "Reading Desperate Housewives" offers a critical response to one of the most talked about shows on contemporary television. Leading scholars and writers dissect the appeal of "Desperate Housewives", tapping into early reactions and controversy. They consider the American sex wars, contemporary feminism, Republican politics and the rise of the Right, gender and femininity, motherhood and marriage - and that Vanity Fair shoot.The book includes an episode guide tracing all those goings-on beyond that white picket fence.

"The L Word" captured international attention when it first appeared on American screens in January 2004. The groundbreaking primetime drama from Showtime is about a group of lesbian and bisexual friends living and loving in Los Angeles, and challenges traditional notions of relationships, queer life styles, gender identities, race and ethnicity and sex and sexuality. "Reading the L Word" is the first book about this television phenomenon. With an introduction by Sarah Warn, the founder of premier lesbian entertainment website, AfterEllen.com, and a foreword by Eve Kosofsky Sedgwick, the collection brings together leading academics, feminist critics, scholars and award-winning journalists to discuss "The L Word". There is also a complete episode guide, as well as a series of interviews with the actors Erin Daniels, Katherine Moennig, and the writer, Guinevere Turner. Analytical, often humorous and sometimes provocative, "Reading the L Word" uncovers what makes this show both so compelling and groundbreaking.

Premiering in 2006,Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera),is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela,Yo soy Betty,la fea, back in 1999. The tale of the ugly duckling has since taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty,la fea/Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to,and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience,as well as ideologies of feminine beauty and myths of female desire and aspiration.TV's Betty Goes Global features original interviews with buyers and schedulers,writers,story editors and directors,including the creator of Yo soy Betty, la fea, Fernando Gaitan

In his seminal book "Television's Second Golden Age", Robert Thompson described quality TV as 'best defined by what it is not': 'it is not "regular" TV'. Audacious maybe, but his statement renewed debate on the meaning of this highly contentious term. Dealing primarily with the post-1996 era shaped by digital technologies and defined by consumer choice and brand marketing, this book brings together leading scholars, established journalists and experienced broadcasters working in the field of contemporary television to debate what we currently mean by quality TV. They go deep into contemporary American television fictions, from "The Sopranos" and "The West Wing", to "CSI" and "Lost" - innovative, sometimes controversial, always compelling dramas, which one scholar has described as 'now better than the movies!' But how do we understand the emergence of these kinds of fiction? Are they genuinely new? What does quality TV have to tell us about the state of today's television market? And is this a new Golden Age of quality TV? Original, often polemic, each chapter proposes new ways of thinking about and defining quality TV.There is a foreword from Robert Thompson, and heated dialogue between British and US television critics. Also included - and a great coup - are interviews with W. Snuffy Walden (scored "The West Wing" among others) and with David Chase ("The Sopranos" creator). "Quality TV" provides throughout groundbreaking and innovative theoretical and critical approaches to studying television and for understanding the current - and future - TV landscape.

Premiering in 2006,Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera),is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela,Yo soy Betty,la fea, back in 1999. The tale of the ugly duckling has since taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty,la fea/Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to,and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience,as well as ideologies of feminine beauty and myths of female desire and aspiration.TV's Betty Goes Global features original interviews with buyers and schedulers,writers,story editors and directors,including the creator of Yo soy Betty, la fea, Fernando Gaitan

Premiering in 2006,Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera),is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela,Yo soy Betty,la fea, back in 1999. The tale of the ugly duckling has since taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty,la fea/Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to,and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience,as well as ideologies of feminine beauty and myths of female desire and aspiration.TV's Betty Goes Global features original interviews with buyers and schedulers,writers,story editors and directors,including the creator of Yo soy Betty, la fea, Fernando Gaitan

"The L Word" captured international attention when it first appeared on American screens in January 2004. The groundbreaking primetime drama from Showtime is about a group of lesbian and bisexual friends living and loving in Los Angeles, and challenges traditional notions of relationships, queer life styles, gender identities, race and ethnicity and sex and sexuality. "Reading the L Word" is the first book about this television phenomenon. With an introduction by Sarah Warn, the founder of premier lesbian entertainment website, AfterEllen.com, and a foreword by Eve Kosofsky Sedgwick, the collection brings together leading academics, feminist critics, scholars and award-winning journalists to discuss "The L Word". There is also a complete episode guide, as well as a series of interviews with the actors Erin Daniels, Katherine Moennig, and the writer, Guinevere Turner. Analytical, often humorous and sometimes provocative, "Reading the L Word" uncovers what makes this show both so compelling and groundbreaking.

'Everyone has a little dirty laundry.' The darkly comic series about the secret lives of the ladies living on Wisteria Lane became an instant breakthrough hit for ABC. 21 million viewers tuned in for the first episode and this figure has steadily grown as audiences from around the globe have switched on to the shenanigans in suburbia. "Desperate Housewives" was subject to a backlash in America, where advertisers on the ABC network were lobbied by Christian groups and Parents' Associations. But the sponsorship withdrawal that resulted did little to dampen the enthusiasm of its legions of fans. Recipient of several awards including the People's Choice Award and Golden Globe for Best Television - Musical or Comedy, "Desperate Housewives" is a hit. "Reading Desperate Housewives" offers a critical response to one of the most talked about shows on contemporary television. Leading scholars and writers dissect the appeal of "Desperate Housewives", tapping into early reactions and controversy. They consider the American sex wars, contemporary feminism, Republican politics and the rise of the Right, gender and femininity, motherhood and marriage - and that Vanity Fair shoot.The book includes an episode guide tracing all those goings-on beyond that white picket fence.

In his seminal book "Television's Second Golden Age", Robert Thompson described quality TV as 'best defined by what it is not': 'it is not "regular" TV'. Audacious maybe, but his statement renewed debate on the meaning of this highly contentious term. Dealing primarily with the post-1996 era shaped by digital technologies and defined by consumer choice and brand marketing, this book brings together leading scholars, established journalists and experienced broadcasters working in the field of contemporary television to debate what we currently mean by quality TV. They go deep into contemporary American television fictions, from "The Sopranos" and "The West Wing", to "CSI" and "Lost" - innovative, sometimes controversial, always compelling dramas, which one scholar has described as 'now better than the movies!' But how do we understand the emergence of these kinds of fiction? Are they genuinely new? What does quality TV have to tell us about the state of today's television market? And is this a new Golden Age of quality TV? Original, often polemic, each chapter proposes new ways of thinking about and defining quality TV.There is a foreword from Robert Thompson, and heated dialogue between British and US television critics. Also included - and a great coup - are interviews with W. Snuffy Walden (scored "The West Wing" among others) and with David Chase ("The Sopranos" creator). "Quality TV" provides throughout groundbreaking and innovative theoretical and critical approaches to studying television and for understanding the current - and future - TV landscape.

Praised for its unabashed portrait of the 'death care' industry, HBO's 'Six Feet Under' is less about the business of death than the art of living well. It was created by Alan Ball ('American Beauty') and centres on a Pasadena undertakers run by two brothers, with their mom and teenage sister making up the dysfunctional family quarter. This innovative, controversial show charts difficult territory, from death, dying and bereavement, to female and gay sexualities, laying bare in the process an American cultural consciousness. 'Six Feet Under' first aired among HBO's 'must-see' Sunday night line-up in 2001, going on to establish itself as a critical and ratings winner. This book on the groundbreaking show examines such themes as the modern sacred and profane, pornography and the dead body, magic realism and the grotesque, American cultural politics, self-help culture, family relationships, homosexuality and re-thinking the closet, the church and gay politics, motherhood and teenage rebellion. Entertaining and enlightening in equal measure it contains a complete episode guide to the first four series of 'Six Feet Under'.