Here are 100 books that Legitimating Television fans have personally recommended if you like
Legitimating 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.
Dunleavy explores what complexity means for contemporary ‘quality’ TV. She focusses on the narrative structures, creative strategies, and style of contemporary television.
For me, what stands out about this book is how it explores the interrelationship between recent technological changes and what we understand as television. This results in a redefinition of television.
When writing the second edition of my book, I found the different ways people have conceptualized contemporary television especially important.
This book examines the creative strategies, narrative characteristics, industrial practices and stylistic tendencies of complex serial drama. Exemplified by shows like HBO's The Sopranos, AMC's Mad Men and Breaking Bad, Showtime's Dexter, and Netflix's Stranger Things, complex serials are distinguished by their conceptual originality, narrative complexity, transgressive lead characters and serial allure. As a drama form that continues to expand and diversify in today's television, HBO's Boardwalk Empire and Game of Thrones, Netflix's Orange Is the New Black and Hulu's The Handmaid's Tale provide further examples. Dunleavy investigates the strategies that underpin the innovations, influence and success of complex serial…
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…
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
This fantastic book is full of useful tips on the craft, contains many interviews and is thoroughly documented.
It’s especially relevant for streaming. I love to discuss theory, but one of the best ways to learn is from practitioners. That’s why I’m a big fan of interviews. Not only do they give you a chance to learn from the masters, but they’re also inspiring. I always go back to my own writing with more energy when I’ve listened to someone talk passionately about their work.
Neil Landau’s book is a great resource, and it was very hard to decide between this one and The TV Showrunner’s Roadmap, another excellent work of his featuring interviews.
TV Writing On Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today's audiences, against the backdrop of a rapidly evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we've ever seen. No longer is there a distinction between broadcast, cable and streaming. It's all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter.
Hermann Simon is a world-renowned expert on price and profit management. He is the founder and honorary chairman of Simon-Kucher & Partners, the global leader in price and topline consulting with 1700 employees and 41 offices worldwide. He is the only German in the Thinkers50 Hall of Fame of the most influential management thinkers. In China a business school is named in his honor. Profit is at the core of Hermann’s writing and consulting activities.
This book addresses another highly charged topic, the exorbitant profits of tech and internet giants. The focus is on the consequences of the huge profits on competition, economic policy, and society at large. 1% of the world’s largest companies reap 36% of global so-called economic profit, that is the profit that exceeds the cost of capital. The book, which is punctuated with juicy examples, is very didactic as well as rigorous, and will appeal not only to those versed in economics but to the enlightened public in general. It is, however, not a book on how to manage profit, but rather how to address the problems resulting from super-profits.
A pioneering account of the surging global tide of market power-and how it stifles workers around the world
In an era of technological progress and easy communication, it might seem reasonable to assume that the world's working people have never had it so good. But wages are stagnant and prices are rising, so that everything from a bottle of beer to a prosthetic hip costs more. Economist Jan Eeckhout shows how this is due to a small number of companies exploiting an unbridled rise in market power-the ability to set prices higher than they could in a properly functioning competitive…
I’m a professor of economics at the University of Houston, with a focus on long-run growth and development rather than things like quarterly stock returns. I write a blog on growth economics where I try hard to boil down technical topics to their core intuition, and I’m the co-author of a popular textbook on economic growth.
Moretti’s book is, I think, woefully underappreciated. He gives a clear portrait of different regions of the United States, classifying them on the basis of their current economic structure and not on a predetermined political split or on industrial classifications from fifty years ago. It shows that we are in the midst of a substantial economic transformation that likely rivals the shifts seen during the early industrial revolution. This book gives you a real sense of what a “knowledge economy” will look like. More than that, though, he shows how that transformation could be beneficial to everyone (but might not).
In The New Geography of Jobs, award-winning Berkeley economist Enrico Moretti looks at the major shifts taking place in the US economy and reveals the surprising winners and losers — specifically, which kinds of jobs will drive economic growth and where they’ll be located — while exploring how communities can transform themselves into dynamic innovation hubs.
“A timely and smart discussion of how different cities and regions have made a changing economy work for them — and how policymakers can learn from that to lift the circumstances of working Americans everywhere.” — Barack Obama
For as long I can remember, I’ve been an ideas guy. I even like the idea of ideas…I guess that makes me a meta-idea guy. But not just any ideas. Ideas that achieve the maximum impact with the minimum means. Oliver Wendell Holmes once wrote, “I wouldn’t give a fig for simplicity on this side of complexity, but I’d give my life for simplicity on the other side of complexity.” Creative ideas are the main event of the imagination, and the simpler the better. I've written and published several books, hundreds of articles and blogs, and even had dozens of songs published. But by far my favorite creative accomplishment is winning the New Yorker cartoon caption contest in 2008.
I love contrarian thinking. It’s by definition creative…new, novel, useful. That’s what David Burkus does with this book. There are a lot of conventional thoughts about creativity and the generation of innovative ideas that are held out as universal truths, but just aren’t. True, that is. David takes them all to task, pokes holes in them with science and logic and good old thoughtful insight, and dispels an entire family of mythology...misconceptions all relating to creative thinking: brainstorming, collaborating, incentivizing, and about a dozen more. Prepare to have much of your current understanding of creativity shaken.
How to get past the most common myths about creativity to design truly innovative strategies We tend to think of creativity in terms reminiscent of the ancient muses: divinely-inspired, unpredictable, and bestowed upon a lucky few. But when our jobs challenge us to be creative on demand, we must develop novel, useful ideas that will keep our organizations competitive. The Myths of Creativity demystifies the processes that drive innovation. Based on the latest research into how creative individuals and firms succeed, David Burkus highlights the mistaken ideas that hold us back and shows us how anyone can embrace a practical…
Rupert Scofield is the President & CEO of a global financial services empire spanning 20 countries of Latin America, Africa, Eurasia and the Middle East, serving millions of the world’s poorest families, especially women. Scofield has spent the better part of his life dodging revolutions, earthquakes and assassins in the Third World, and once ran for his life from a mob in Mogadishu, Somalia.
This book is a guide to surviving an existential crisis – what Grove calls a Strategic Inflection Point – when your business is subjected to one or more of six external forces, which, if powerful enough, could destroy the business. Some of them are obvious – competitors, regulators, customers, vendors – but others more esoteric, like “the possibility your business could be done a different way”, what today we would call being disrupted. I read it in 2015, when the company I run, FINCA International, was facing five of these six forces, each of which clobbered us with a 10x force compared to the first three decades of our existence, when competition was weak and most external forces enabled our success. How does a CEO respond to this challenge? Grove’s answer is summarized in the title: remain in a permanent state of dread, which to outsiders might appear on the…
The President and CEO of Intel, the world's largest chipmaker, reveals how to identify and exploit the key moments of change in any industry that generates either drastic failure or incredible success. Under Andrew Grove's leadership, Intel has become the world's largest computer chipmaker, the 5th most admired company in America, and the 7th most profitable company among the Fortune 500. Few CEOs can claim this level of success. Grove attributes much of it to the philosophy and strategy he has learned the hard way as he steered Intel through a series of potential major disasters. There are moments in…
As a techno-optimist, I believe that technology can make us better! Technology should make us stronger and healthier, technology should enable us to do things we couldn’t do without it, and technology should create an equitable future. In 25 years, I want superhuman eyesight, joints, and memory. I want to travel with family and friends both physically and virtually through the metaverse. And I want to make sure that all of our data is used responsibly and ethically to optimize our home and community. All of the books I selected (including mine!) build on these themes painting a picture of a future that is optimistic, and show us how we can be active participants in creating the future we want to see.
Tan Le is a good friend and kickass tech entrepreneur who founded the neurotech company Emotiv.
She talks with the top neuroscientists and technologists in the area of brain-computer interfaces. But what makes it relatable is how Tan weaves in her own story. Tan is a Vietnamese-born Australian and talks about her own journey creating and developing an EEG headset and growing a tech company.
I recommend this book because I absolutely believe that technology can improve our brain and brain-computer interfaces are our future!
'A highly engaging guided tour through the frontiers of what science knows about how the brain works, how to extend its power and how to fix it when it's broken.' - David Gillespie, author of Sweet Poison and Teen Brain
'Tan Le writes with optimism and compassion about the extraordinary evolution of brain technology. Totally inspiring!' - Wendy McCarthy AO
Technology now allows us to unlock the amazing potential of the human brain in ways we never dreamt were possible. Join award-winning inventor and entrepreneur Tan Le as she criss-crosses the globe, introducing the brilliant neurotech innovators and neuroscientists at…
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