100 books like Video Revolutions

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.

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.

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 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.

When I arrange for my clients to do a radio or podcast interview, some sell books, while others do not. Why is that?

In many cases it’s the little things said during an interview that make people want to buy that book. That’s why Media training is important, because what good is landing an interview if you can’t get the listener/viewer to take action and buy the book? If you take your interviews seriously then read this book. Besides learning tips and techniques you’ll gain confidence which is an important element of any interview. This book is for anyone who is planning on getting media coverage including: Authors, C-Suite Execs, Politicians, and Sports Figures. 

The author Jess Todtfeld worked as a national TV-News Producer at NBC, ABC and FOX News. He coached guests on how to look and sound good for years. Now he brings that experience to his… show more.

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.

This is the companion book for Des Doyle's acclaimed documentary with the same title (also highly recommended).

Described as “the first ever feature-length documentary to explore the world of U.S. television showrunners and the creative forces they employ”, the documentary is an insightful overview of the TV creative process, featuring interviews with some of the best showrunners in the business.

There is simply nothing that beats this if you want to get a sense of how the industry works and measure the stakes, the energy, the pressure, the creativity, the professionalism, and the humor experienced or displayed by these awe-inspiring storytellers.

The book features a foreword by Hart Hanson (Showrunner of Bones, The Finder, Backstrom), an introduction by Doyle, and expands on the interviews featured in the documentary.

I remember the moment I walked into a bookstore and saw this book sitting face out on the shelf and thought; “Wait, they make books about every episode of a TV show?” Not just that but for the show that to this day I maintain was the greatest TV show ever made: The Twilight Zone. Marc Scott Zicree’s book was my beginner’s guide into the making of a TV production with an emphasis on my greatest love: the writers. From the day I bought this, I never sat down to watch the show again without it beside me for reference. My copy is worn and tattered but eternally loved. This was the book that made me want to work for and write about television.

Yu’s Interior Chinatown won the National Book Award because it married form and function in the most spectacular way.

Written in part like a screenplay, the novel tells the story of Willis Wu, an actor trying to break out from the role of “Generic Asian Man.” Unless you’ve been living under a rock for the past few years, you’ve probably heard about the push for better Asian representation in Hollywood. That certainly plays a role in the book, but there is also interrogation and critique here.

A novel written in the form of a screenplay could have easily turned into a gimmick. Yu made it art.

While The Making of Star Trek was a miraculous and uncalled-for contemporaneous title focused on the creation and production of the series overall, David Gerrold’s subsequent release, The Trouble With Tribbles, took one script and broke it down from beginning to end on exactly how the sausage—or rather a television show—was made. Filled with his witty observations combined with a writer’s frustrations of dealing with production limitations, it’s a fascinating insight for aspiring writers and Star Trek fans alike. This book, based on one of the most popular television episodes ever made, was originally published just a few years after production ended so all the stories were still fresh in his head. This one made me want to write for television but warned me why I shouldn’t.