Big World, Small Screen assesses the influence of television on the lives of the most vulnerable and powerless in American society: children, ethnic and sexual minorities, and women. Many in these groups are addicted to television, although they are not the principal audiences sought by commercial TV distributors because they are not the most lucrative markets for advertisers. This important book illustrates the power of television in stereotyping the elderly, ethnic groups, gays and lesbians, and the institutionalized and, thus, in contributing to the self-image of many viewers. They go on to consider how television affects social interaction, intellectual functioning, emotional development, and attitudes (toward family life, sexuality, and mental and physical health, for example). They illustrate the medium's potential to teach and inform, to communicate across nations and cultures?and to induce violence, callousness, and amorality. Parents will be especially interested in what they say about television viewing and children. Finally, they offer suggestions for research and public policy with the aim of producing programming that will enrich the lives of citizens all across the spectrum. Nine psychologists, members of the Task Force on Television and Society appointed by the American Psychological Association, have collaborated on Big World, Small Screen.

Take On Hollywood and Make It as a Television Writer. From mediabistro.com, the media industry’s most well-respected source for jobs, professional development, and community, this inside-the-business guide gives you the knowledge and tools you need to infiltrate Hollywood and land a job as a TV writer. That’s right—Small Screen, Big Picture gives you a competitive edge over millions of other aspiring writers who share your talent, creativity, and determination . . . because after reading these pages, you’ll have the one thing they lack: an understanding of the business of television. This journey into Hollywood’s inner workings not only details how networks, studios, and production companies work together, it teaches you how the process affects the creation and writing of TV series, how shows make money, and—ultimately—how you can use this information to break into the industry. You’ll learn: • What really goes on in the inner sanctum of the writers’ room—and how to be a part of it • How today’s TV business model works—and how rapidly it’s changing • Who has the power to buy a show idea—and how to pitch your own • How new media formats are changing television—and how to use them to your advantage • Which jobs will kick-start your TV writing career—and how to get hired • And much more . . . Armed with this solid foundation of knowledge, you’ll be ready to plan your entry into the industry and begin your successful TV writing career.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010–2020), ABC's reality franchises, The Bachelor (2002–present) and The Bachelorette (2003–present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

Since the beginning of television, Westerns have been playing on the small screen. From the mid-1950s until the early 1960s, they were one of TV's most popular genres, with millions of viewers tuning in to such popular shows as Rawhide, Gunsmoke, and Disney's Davy Crockett. Though the cultural revolution of the later 1960s contributed to the demise of traditional Western programs, the Western never actually disappeared from TV. Instead, it took on new forms, such as the highly popular Lonesome Dove and Deadwood, while exploring the lives of characters who never before had a starring role, including anti-heroes, mountain men, farmers, Native and African Americans, Latinos, and women. Shooting Stars of the Small Screen is a comprehensive encyclopedia of more than 450 actors who received star billing or played a recurring character role in a TV Western series or a made-for-TV Western movie or miniseries from the late 1940s up to 2008. Douglas Brode covers the highlights of each actor's career, including Western movie work, if significant, to give a full sense of the actor's screen persona(s). Within the entries are discussions of scores of popular Western TV shows that explore how these programs both reflected and impacted the social world in which they aired. Brode opens the encyclopedia with a fascinating history of the TV Western that traces its roots in B Western movies, while also showing how TV Westerns developed their own unique storytelling conventions.

When television was young . . . Legendary movie producer Darryl Zanuck declared, "People will soon get tired of staring at a plywood box every night. Before 5:30, there were only test patterns. Howdy Doody was the first show of the day. CBS agreed to put I Love Lucy on film only if Desi and Lucy paid part of the production fee. In return, CBS gave them ownership of the shows, including the right to rerun it forever. Kukla, Fran, and Ollie was the first network show broadcast in color. 50,000 fans showed up in a New Orleans department store to meet Hopalong Cassidy. Movie studios would not let motion icture stars appear on television for fear that if people saw the stars on TV, they wouldn't go to the movies. Filled with fascinating stories, When Television Was Young is a hilarious, entertaining, behind-the-scenes look at the world of the small screen.

A book for everyone whos ever flipped past the religious channel

A follow up to "Stephen King on the Big Screen" (2009), this title looks at the much-neglected subject of the best-selling author's work in television, examining what it is about King's fiction that makes it particularly suitable for the small screen. It examines what makes a written or visual text successful at evoking fear