For more than five decades, we've been told by pundits, commentators, advertisers, scholars, and politicians that television is both a window on the world and a mirror reflecting our culture. We've been led to believe that it shows us the world's events through news programs and, through entertainment programs, reflects the preferences, values, beliefs, and understandings shared by most Americans. We're told that if you don't like what you see on TV, don't blame the industry, blame yourself. This book dispels the myth that the television industry is just giving viewers the programming they want to see and, thus, we as viewers are "responsible" for the existence of shows like Fear Factor and yet another Survivor. In fact, Eileen Meehan explains, viewers exert no demand in the market for ratings, advertising slots, program production, or telecasting. She also counters the idea that TV programs reflect our culture directly. Introducing us to the political economy of television, Meehan covers programming, corporate strategies, advertising, the misnomer of "competition" among networks, and organizations that seek more industry accountability. She tells us why TV isn't our fault--and who's really to blame.

Over the last half of the twentieth century, television has become the predominant medium through which the public accesses information about the world. Through the news, situation comedies, police dramas, and commercials, we learn about the world around us, and our role within it. These genres, narratives, and cultural forms are not simply entertainment, but powerful socializing agents that show the world as we might never see it in real life. How Television Shapes Our Worldview brings together a diverse set of scholars, methodologies, and theoretical frameworks to interrogate the ways through which television molds our vision of the outside world. The essays include advertising and public relations analyses, audience interviews, and case studies that touch on genres ranging from science fiction in the 1970s to current “reality” television. Television truly provides a powerful influence over how we learn about the world around us and understand its social processes.

Ten years after Hurricane Katrina, outsiders will have two versions of the Katrina experience. One version will be the images they recall from news coverage of the aftermath. The other will be the intimate portrayal of the determination of New Orleans residents to rebuild and recover their lives. HBO’s Treme offers outsiders an inside look into why New Orleanians refused to abandon a place that many questioned should not be rebuilt after the levees failed. This critically acclaimed series expanded the boundaries of television making in its format, plot, casting, use of music, and realism-in-fictionalized-TV. However, Treme is not just a story for the outside gaze on New Orleans. It was a very local, collaborative experience where the show’s creators sought to enlist the city in a commemorative project. Treme allowed many in the city who worked as principals, extras, and who tuned in as avid viewers to heal from the devastation of the disaster as they experimented with art, imitating life, imitating art. This book examines the impact of HBOs Treme not just as television making, but in the sense in which television provides a window to our worlds. The book pulls together scholarship in media, communications, gender, area studies, political economy, critical studies, African American studies and music to explain why Treme was not just about television.

Television conveys powerful messages about sexual identities, and popular shows such as Will & Grace, Ellen, Glee, Modern Family, and The Fosters are often credited with building support for gay rights, including marriage equality. At the same time, however, many dismiss TV’s portrayal of LGBT characters and issues as “gay for pay”—that is, apolitical and exploitative programming created simply for profit. In The New Gay for Pay, Julia Himberg moves beyond both of these positions to investigate the complex and multifaceted ways that television production participates in constructing sexuality, sexual identities and communities, and sexual politics. Himberg examines the production stories behind explicitly LGBT narratives and characters, studying how industry workers themselves negotiate processes of TV development, production, marketing, and distribution. She interviews workers whose views are rarely heard, including market researchers, public relations experts, media advocacy workers, political campaigners designing strategies for TV messaging, and corporate social responsibility department officers, as well as network executives and producers. Thoroughly analyzing their comments in the light of four key issues—visibility, advocacy, diversity, and equality—Himberg reveals how the practices and belief systems of industry workers generate the conceptions of LGBT sexuality and political change that are portrayed on television. This original approach complicates and broadens our notions about who makes media; how those practitioners operate within media conglomerates; and, perhaps most important, how they contribute to commonsense ideas about sexuality.

At the heart of one of the most successful transmedia franchises of all time, Star Trek, lies an initially unsuccessful 1960s television production, Star Trek: The Original Series. In Star Trek and American Television, Pearson and Messenger Davies, take their cue from the words of the programÕs first captain, William Shatner, in an interview with the authors: ÒItÕs a television show.Ó In focusing on Star Trek as a television show, the authors argue that the program has to be seen in the context of the changing economic conditions of American television throughout the more than four decades of Star TrekÕs existence as a transmedia phenomenon that includes several films as well as the various television series. The book is organized into three sections, dealing with firstly, the context of production, the history and economics of Star Trek from the original series (1966-1969) to its final television incarnation in Enterprise (2002-2005). Secondly, it focuses on the interrelationships between different levels of production and production workers, drawing on uniquely original material, including interviews with star captains William Shatner and Sir Patrick Stewart, and with production workers ranging from set-builders to executive producers, to examine the tensions between commercial constraints and creative autonomy. These interviews were primarily carried out in Hollywood during the making of the film Nemesis (2002) and the first series of Star Trek: Enterprise. Thirdly, the authors employ textual analysis to study the narrative ÒstoryworldÓ of the Star Trek television corpus and also to discuss the concept and importance of character in television drama. The book is a deft historical and critical study that is bound to appeal to television and media studies scholars, students, and Star Trek fans the world over. With a foreword by Sir Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next Generation.

Media is usually seen as a feature of the modern world enabled by the latest technologies. Scholars, educators, parents, and politicians often talk about media as something people should be wary of due to its potential negative impact on their lives. But do we really understand what media is? Elizaveta Friesem argues that instead of being worried about media or blaming it for what’s going wrong in society, we should become curious about uniquely human ways we communicate with each other. Media Is Us proposes five key principles of communication that are relevant both for the modern media and for people’s age-old ways of making sense of the world. In order to understand problems of the contemporary society revealed and amplified by the latest technologies, we will have to ask difficult questions about ourselves. Where do our truths and facts come from? How can we know who is to blame for flaws of the social system? What can we change about our own everyday actions to make the world a better place? To answer these questions we will need to rethink not only the term “media” but also the concept of power. The change of perspective proposed by the book is intended to help the reader become more self-aware and also empathic towards those who choose different truths. Concluding with practical steps to build media literacy through the ACE model—from Awareness to Collaboration through Empathy—this timely book is essential for students and scholars, as well as anyone who would use the new understanding of media to decrease the current levels of cultural polarization.

The personal anecdotes and candid reflections on the lives and work of these important critical scholars, and their predictions on the future of the field, make this book a valuable resource for scholars and students of communication, media studies, political economy, political science, and those interested in critical theoretical approaches.