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Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience -- a pure surface that will never get caught in the ditch of time -- they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay ("If you're going to San Francisco...," "two girls for every guy"), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really "takes us back." And so we also will take ourselves back: to Buffy the Vampire Slayer, already almost charmingly quaint, and Walter Benjamin's magnum opus The Origin of the German Mourning-Play. What can come of this improbable conjunction? It will not seem too strange that Benjamin, posthumous wanderer across the textures of Americana, should again take up lodging at the Hotel California. But more is at stake than just another hapless visitation from the on high of high theory: reading Buffy as the remediated afterlife of the dead-on-arrival genre of the baroque German mourning play, Adler's book records the first broken, awkward steps toward a project that, with the recent rise of "quality television," seems more urgent than ever before: a political-theological characteristic of the television series.

Popular culture --- Television series --- Influence. --- Benjamin, Walter, --- Buffy, the vampire slayer (Television program) --- California --- television --- media studies

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Est-il possible pour les héroïnes de Sex and the City de réconcilier féminité et féminisme ? Les déceptions amoureuses d'Ally Mc Beal traduisent-elle un modèle romantique à bout de souffle ? Reflet des évolutions de la société, la fiction américaine met en scène idéologies, fantasme de l'amour et conflits entre hommes et femmes. Passant au crible soixante années de fiction télé américaine, Céline Morin analyse les relations amoureuses et les inégalités de genre en ouvrant un dialogue avec les théories féministes et une sociologie de la conjugalité et de l'individualisme.

Héroïnes --- Personnages de télévision --- Femmes dans la culture populaire --- Séries télévisées --- À la télévision --- Thèmes, motifs --- Television series --- Women heroes on television --- Characters and characteristics on television --- Thèmes, motifs. --- Television --- Sociology --- sociology --- féminisme --- genre --- héroïnes --- séries --- télévision

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"The film industry in Hollywood now employs a global mode of production run by massive media conglomerates that mobilize hundreds, sometimes thousands, of workers for each feature film or television series. Yet these workers and their labor remain largely invisible to the general audience. In fact, this has been a signal characteristic of Hollywood style for more than a hundred years: everything that matters happens onscreen, not off. Consequently, when it comes to movies and television, the voices heard most often are those belonging to talent and corporate executives. Those we hear least are the voices of labor, and it's that silence we aim to redress in the collection of interviews in this book. Drawing from the detailed and personal accounts in this collection, we offer three interrelated propositions about the current state and future prospects of craftwork and screen media labor: 1. Craftwork exists within an intricate and intimate matrix of social relations. 2. Hollywood craftwork today constitutes a regime of excessive labor. 3. Screen media production is a protean entity. We organized the collection into three sections: company town, global machine, and fringe city. The first section refers to Hollywood's historic roots as a core component of the motion picture business. The second section engages more directly with the spatial dynamics of film and television production to underscore the economic and political structures that are integrating distant locations into the studios' mode of production. We close with a section on the visual effects sector, in which stories shared by vfx artists, advocates, and organizers specifically illustrate how the industry today relies on marginal institutions to sustain its power and profitability"--Provided by publisher.

Motion picture industry --- Mass media and globalization. --- Employees --- Globalization and mass media --- Globalization --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- SOCIAL SCIENCE / Media Studies. --- artists. --- behind the scenes. --- blue collar. --- business. --- conglomerates. --- craftwork. --- feature film. --- film industry. --- historic roots. --- history. --- hollywood. --- interviews. --- media. --- motion picture. --- movies. --- personal accounts. --- power. --- production. --- profitability. --- screen media. --- social relations. --- studios. --- style. --- television series. --- tv. --- vfx. --- visual effects. --- workers.