/GILDER TV is dead, asserts bestselling author George Gilder, in this work hailed by Publishers Weekly as "an exciting, visionary glimpse into the future". Gilder explains why the TV set will soon be replaced by a telecomputer, connected to a nationwide fiberoptic network, that will completely revolutionize the way we do business

Employing a unique research methodology that enables people to report on their normal activities as they occur, the authors examine how people actually use and experience television -- and how television viewing both contributes to and detracts from the quality of everyday life. Studied within the natural context of everyday living, and drawing comparisons between television viewing and a variety of other daily activities and leisure pursuits, this unusual book explores whether television is a boon or a detriment to family life; how people feel and think before, during, and after television viewing; what causes television habits to develop; and what causes heavy viewing -- and what heavy viewing causes -- in the short and long term. Television and the Quality of Life also compares the viewing experience cross-nationally using samples from the United States, Italy, Canada, and Germany -- and then interprets the findings within a broad theoretical and historical framework that considers how information use and daily activity contribute to individual, familial, societal, and cultural development.

Television can be imagined in a number of ways: as a profuse flow of images, as a machine that produces new social relationships, as the last lingering gasp of Western metaphysical thinking, as a stuttering relay system of almost anonymous messages, as a fantastic construction of time. Richard Dienst engages each of these possibilities as he explores the challenge television has posed for contemporary theories of culture, technology, and media. Five theoretical projects provide Still Life in Real Time with its framework: the cultural studies tradition of Raymond Williams; Marxist political economy; Heideggerian existentialism; Derridean deconstruction; and a Deleuzian anatomy of images. Drawing lessons from television programs like Twin Peaks and Crime Story, television events like the Gulf War, and television personalities like Madonna, Dienst produces a remarkable range of insights on the character of the medium and on the theories that have been affected by it. From the earliest theorists who viewed television as a new metaphor for a global whole, a liberal technology empty of ideological or any other content, through those who saw it as a tool for consumption, making time a commodity, to those who sense television's threat to being and its intimate relation to power, Dienst exposes the rich pattern of television's influence on philosophy, and hence on the deepest levels of contemporary experience. A book of theory, Still Life in Real Time will compel the attention of all those with an interest in the nature of the ever present, ever shifting medium and its role in the thinking that marks our time.

A startling expos of Britain's growing addiction to television and why and what should be done to stop it, the author looks at the statistics that show television has become an obsession even more influential than parents inside the household. In this insightful and shockingly perceptive assessment of the relationship with the small screen, the author reveals the alarming reality of what television is actually doing physically, emotionally, intellectually, and socially. He provides evidence as to how television contributes to the rising global obesity rate by actually slowing our metabolic rate, stunts children's brain development, and is responsible for over half of all rapes and murders in the industrialized world.

In the last ten years, television has reinvented itself in numerous ways. The demise of the U.S. three-network system, the rise of multi-channel cable and global satellite delivery, changes in regulation policies and ownership rules, technological innovations in screen design, and the development of digital systems like TiVo have combined to transform the practice we call watching tv. If tv refers to the technologies, program forms, government policies, and practices of looking associated with the medium in its classic public service and three-network age, it appears that we are now entering a new phase of television. Exploring these changes, the essays in this collection consider the future of television in the United States and Europe and the scholarship and activism focused on it. With historical, critical, and speculative essays by some of the leading television and media scholars, Television after TV examines both commercial and public service traditions and evaluates their dual (and some say merging) fates in our global, digital culture of convergence. The essays explore a broad range of topics, including contemporary programming and advertising strategies, the use of television and the Internet among diasporic and minority populations, the innovations of new technologies like TiVo, the rise of program forms from reality tv to lifestyle programs, television’s changing role in public places and at home, the Internet’s use as a means of social activism, and television’s role in education and the arts. In dialogue with previous media theorists and historians, the contributors collectively rethink the goals of media scholarship, pointing toward new ways of accounting for television’s past, present, and future. Contributors. William Boddy, Charlotte Brunsdon, John T. Caldwell, Michael Curtin, Julie D’Acci, Anna Everett, Jostein Gripsrud, John Hartley, Anna McCarthy, David Morley, Jan Olsson, Priscilla Peña Ovalle, Lisa Parks, Jeffrey Sconce, Lynn Spigel, William Uricchio

Twelve distinguished scholars and critics discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how movies have changed to reflect the new world climate.

Rita Lakin was a pioneer – a female scriptwriter in the early 1960s when Hollywood television was exclusively male. For years, in creative meetings she was literally “the only woman in the room.” In this breezy but heartfelt remembrance, Lakin takes readers to a long-forgotten time when women were not considered worthy or welcome at the creative table. Widowed with three young children, she talked herself into a secretarial job at Universal Studios in 1962, despite being unable to type or take dictation. With guts, skill, and humor, she rose from secretary to freelancer, to staff writer, to producer, to executive producer and showrunner, meeting hundreds of famous and infamous show biz legends along the way during her long and unexpected career. She introduced many women into the business and was a feminist before she even knew she was one. The general public did not know her name, but Lakin touched the lives of millions of viewers week after week, year after year. The relevance of her personal journey – charming yet occasionally shocking – will be an eye-opener to present-day who take for granted the abundance of female creative talent in today's Hollywood.