Here are 65 books that Complex Serial Drama and Multiplatform Television fans have personally recommended if you like
Complex Serial Drama and Multiplatform Television.
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I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
This is one of my favorite books about contemporary television.
It deals with the processes that changed how television was viewed following the changes in HBO-style ‘quality’ television. It also critically explores the ways legitimization and associated words like ‘quality’ work as an ultimately classist system where television works as cultural capital.
Netflix established itself on the back of this legitimization, using HBO-style ‘quality’ TV series like House of Cards and Orange is the New Black. But HBO also used DVDs to ‘filter’ the individual program out from the ‘flow’ of television, which helped Netflix to establish itself as television.
Legitimating Television: Media Convergence and Cultural Status explores how and why television is gaining a new level of cultural respectability in the 21st century. Once looked down upon as a "plug-in drug" offering little redeeming social or artistic value, television is now said to be in a creative renaissance, with critics hailing the rise of Quality series such as Mad Men and 30 Rock. Likewise, DVDs and DVRs, web video, HDTV, and mobile devices have shifted the longstanding conception of television as a household appliance toward a new understanding of TV as a sophisticated, high-tech gadget.
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
Warner’s book is especially important to understand how colorblind casting works in contemporary television, allowing for television to use the visual signifier of race without necessarily narrativizing marginalization.
I love this book for the way it critically analyses the practice of colorblind TV casting, which until recently was understood as a way television can achieve diversity, but that is only visual diversity and doesn’t allow us to learn about the various barriers Black people in the USA face.
This book fills a significant gap in the critical conversation on race in media by extending interrogations of racial colorblindness in American television to the industrial practices that shape what we see on screen. Specifically, it frames the practice of colorblind casting as a potent lens for examining the interdependence of 21st century post-racial politics and popular culture. Applying a 'production as culture' approach to a series of casting case studies from American primetime dramatic television, including ABC's Grey's Anatomy and The CW's The Vampire Diaries, Kristen Warner complicates our understanding of the cultural processes that inform casting and expounds…
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
This is a short book in which Newman explores the changes in what the term ‘video’ means.
The term is closely intertwined with the history of television, describing first television broadcasts and then how taping was used to bridge the time differences between the American east and west coasts. The term then described the ways home video revolutionized how video was used in the private sphere. Today, we receive videos as the digital snippets we see on YouTube or the short clips we post on social media.
I like Newman’s work in general. But this book tells us so much about TV history in the US; I find it an incredibly fascinating work.
Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In…
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
This book came out a few months after the first edition of my book, and I remember being really frustrated because it added so many important ideas.
I still find its interrogation of interfaces and how they interact, open as different tabs, intriguing. Johnson focusses on how online TV functions within an internet ecosystem. This leads to interesting ideas about what TV distributed via the internet means.
With growth in access to high-speed broadband and 4G, and increased ownership of smartphones, tablets and internet-connected television sets, the internet has simultaneously begun to compete with and transform television. Online TV argues that these changes create the conditions for an emergent internet era that challenges the language and concepts that we have to talk about television as a medium.
In a wide-ranging analysis, Catherine Johnson sets out a series of conceptual frameworks designed to provide a clearer language with which to analyse the changes to television in the internet era and to bring into focus the power dynamics of…
Kimberly Potts is a TV and pop culture journalist and author who believes television is not only the ultimate entertainment medium, but is also the ultimate cultural common denominator. She has written for The New York Times, Entertainment Weekly, Vulture, The Hollywood Reporter, TV Guide, The Los Angeles Times, Yahoo, Variety, People.com, US Weekly, E! Online, Thrillist, Esquire.com, AOL, Movies.com, and The Wrap. Kimberly also co-hosts the Pop Literacyand #Authoring podcasts, and is a member of the Television Critics Association, Critics Choice Association, Authors Guild, and American Society of Journalist and Authors.
The most important aspect of television history is, of course, the shows. And though there have been hundreds, at least, more series that will need to be added to the book since it was published in 2015, it is a gorgeously designed collection of viewing suggestions. And like any great guidebook, it’s also just a fun way for any TV fan to revisit the best series of the past, arranged by decades, and including American and international programming.
The most groundbreaking and important must-see shows from the 1950s to today’s golden age of television. This latest addition to the best-selling and highly acclaimed 1001 series showcases the best programs produced for television from its inception to the bumper crop of great shows being produced in today’s era of original cable programming and digital streaming. Offering a critical evaluation of the most important and groundbreaking TV programs ever created, this book tracks television’s evolution through decades of social, cultural, and stylistic change. Included are shows that broke new ground, influenced the future, and left a lasting mark, ranging from…
Becoming a mother reshaped me in ways I’m still wondering at now, two decades on. I’ve had to find ways to resist the repressive cultural mythology surrounding motherhood—the pressure I felt to suddenly become a perfect, self-sacrificing vessel for my children’s optimized development. When I read stories about flawed mothers—women, queer and straight, struggling beneath the magnitude of the job, yet fiercely loving their children all the way through—I felt I could breathe a little bit, could handle the task with a little more good humor and forgiveness, for myself, my partner, and my kids. Read a book, bust a myth, go hug your mom.
I devoured Ferrante’s Neapolitan Quartet (four novels that trace a lifetime friendship between two women living in a deeply patriarchal mid-twentieth-century Italy) in a single summer a few years back, and when I got to the end of those few thousand pages, I felt as though I wanted to start right over at the beginning again. Those Who Leave and Those Who Stay is the third novel in the series, and I name it here because it’s the novel in which Elena—the book’s protagonist, and a writer herself—becomes a mother. Elena has a modern marriage compared to her friend Lina’s, but still, she finds the expectations and demands of motherhood difficult to reconcile with her own creative ambitions. Ferrante represents that central struggle with arresting honesty—a captivating read.
My novel choices were part of the Afterschool Literacy & Building Modules for an organization called LitShop. It encourages growth in literacy, making, building, and leadership in girls ages 10-15 in St. Louis, Missouri. I’m honored to lead the writing classes. All of the LitShop books feature strong girls who believe they can make and build their way to a better world, and I aim to include similar characters in my stories. Stories can provide us with motivation, inspiration, and companionship, and all of these books have done just that… for the girls of LitShop as well as myself.
To be honest, I first picked up this book because I loved this author’s character in Orange Is the New Black. But I quickly realized that Ms. Guerrero has her own story to tell, and it is equally, if not more, powerful than fiction. This memoir manages to find that sweet spot of sincerity and honesty coupled with quirky sarcasm and humor. The author’s account of struggling with mental health was particularly relevant and memorable to me.
Before landing a spot on the megahit Netflix show Orange is the New Black; before wow-ing audiences as Lina on Jane the Virgin; and before her incredible activism and work on immigration reform, Diane Guerrero was a young girl living in Boston. One day, while Guerrero was at school, her undocumented immigrant parents were taken from their home, detained, and deported. Guerrero's life, which had been full of the support of a loving family, was turned upside down.
Reflective of the experiences of millions of undocumented immigrant families in the United States, Guerrero's story in My Family Divided, written with…
When I was a child, I grew up in a very crowded house in suburbia with three sisters. Reading was the best way to escape all the mayhem. By the age of eight I was reading my parents’ novels, whatever books I could find. I wanted to move to a big city like the ones in their novels. At night I would tell myself Cinderella-type stories where I lived in a fabulous apartment and got to be the heroine. I took a class at Harvard Extension, and the professor read my story aloud to the group. From that day on I was hooked.
This book about five girls that live in New York City is so special because it was written in the fifties by a 25-year-old woman who worked in the publishing industry.
In 1958 when opportunities for women were limited the story resonated with a generation of women making their way in a male-dominated world. It explored dating, sex, infidelity, and sexual harassment in an honest way that changed the face of women’s fiction forever. Last year when it was rereleased by Penguin Classics I grabbed a copy, and it was even better than I remembered.
Rona Jaffe's beloved novel about 1950s NYC women in the workplace that paved the way for the #MeToo movement and iconic cultural touchstones like Sex and the City and Mad Men, now for the first time in Penguin Classics, in a 65th anniversary edition with an introduction by New Yorker staff writer Rachel Syme
A Penguin Classic
When Rona Jaffe’s superb page-turner was first published in 1958, it changed contemporary fiction forever. Some readers were shocked, but millions more were electrified when they saw themselves reflected in its story of five young employees of a New York publishing company. Sixty-five…
The short version: I just really love television! The slightly longer version is that, in my career, I’ve had a very unusual perspective on both entertainment and activism. My first jobs out of college were at companies like Lucasfilm and The Jim Henson company, where I saw first-hand just how important pop culture and fandom can be for audiences. And I also worked extensively on queer causes, eventually making activism my full-time job when I joined the team that brought marriage equality to the US Supreme Court. Through that work, I became more and more interested in the ways that pop culture – particularly television – has been a tool for advancing civil rights.
Along with Kathryn Montgomery’s book Target: Primetime, this book is a fascinating peek into the furious fights over sex and violence on television.
It shines a light on a mostly-invisible struggle between creators, executives, censors, and the public. I love how vividly this book is written; it really feels like you’re right there on the front lines.
And the fact that it was published in 1978 means that it’s possible now to see the repercussions of this fight, nearly fifty years later.
From Simon & Schuster, See No Evil is Geoffrey Cowan's fascinating exploration of the backstage battle over sex and violence in the television medium.
In See No Evil, Cowan offers a probing investigation into the history, impact, and politics of television censorship, examining network programming, and such controversial practices as the Family Hour.
I am a film buff and history nerd who has brought her two passions together in the study of history on screen. So much of what we know is shaped by what we watch. It is crucial that we don’t dismiss historical TV shows and films as mere entertainment and instead work to understand how history is constructed and represented on screen. I have spent my postgraduate career exploring the screen’s unique capabilities for telling historical stories. I received my PhD from the University of Auckland and currently teach film studies at Media Design School, Aotearoa’s leading digital creativity tertiary provider.
As indicated by the title, Landsberg’s book considers not just historical feature films, but alternative forms of screened history including TV serials, reality TV shows, and websites. Each chapter includes concise yet compelling case studies of texts such as Hotel Rwanda, Mad Men, and Frontier House. Unsurprisingly—given the focus of my own book—I was drawn to the section on dramatic TV shows and her discussion and definition of “historically conscious dramas.” Landsberg meticulously explains how audiences engage with the past through mass culture and, unlike many history on film scholars, pays considerable attention to the formal elements of filmmaking such as sound and editing.
Reading films, television dramas, reality shows, and virtual exhibits, among other popular texts, Engaging the Past examines the making and meaning of history for everyday viewers. Contemporary media can encourage complex interactions with the past that have far-reaching consequences for history and politics. Viewers experience these representations personally, cognitively, and bodily, but, as this book reveals, not just by identifying with the characters portrayed. Some of the works considered in this volume include the films Hotel Rwanda (2004), Good Night and Good Luck (2005), and Milk (2008); the television dramas Deadwood, Mad Men, and Rome; the reality shows Frontier House,…
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