By Geraldine Harris
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Publisher: Jacobs Brown Press
Publication Date: 2013-11-15
Number of Pages: 668
Website: Amazon, Goodreads
In the Eighties Gene Roddenberry and Robert H. Justman gave Marc Cushman permission to put in writing the definitive heritage of the 1st megastar Trek. They subsidized their stamp of approval by way of offering documentation by no means sooner than shared with the general public. those are the Voyages, released in 3 volumes - one detailed for every season of TOS - will take you again in time and positioned you into the producers' places of work, the writers' room, onto the soundstages, and in entrance of your television units for the 1st old proclaims. integrated are thousands of memos among Roddenberry and his employees, construction schedules, budgets, fan letters, behind-the-scenes pictures, and the television rankings, documenting the making of every episode of the "Classic 79" in miraculous aspect. Buckle your seat belts, the trek of an entire life starts the following.
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? within the chronicles of television’s background, Rod Serling’s Twilight area is taken into account by way of a long way the medium’s necessary production. The CBS sequence that debuted in 1959 and aired for 156 episodes provided black-and-white morality performs either terrifying and poignant. each one week the ominous voice and fantastic brain of author Serling took audiences on a visit via his surrealist realm of myth and technological know-how fiction, past the limits of mind's eye.
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Additional info for Beyond Representation: Television Drama and the Politics and Aesthetics of Identity
In order to achieve this, I start by reflecting back on some of the various ways that the terms ‘feminine’, ‘feminism’, ‘postfeminism’ and ‘postmodern feminism’ have been defined and interpreted in the academic and public spheres, with reference to both politics and aesthetics. My emphasis is on how and why a confusion of these terms might have emerged and allowed for an appropriation, depoliticisation and trivialisation of the feminist debate. I also consider the ways that these issues can be seen to be played out in and around television works from the 1980s and 1990s and look briefly at Maureen Chadwick’s Two Golden Balls (1994) and Fay Weldon’s Big Women (1998) before focusing in detail on Ally McBeal (1997–2002).
As Ruth Frankenberg and Lata Mani indicate, ‘The integrity of the Subject may have been exposed as a ruse of bourgeois ideology by philosophers and cultural critics but law, to take one powerful institution, still operates as if this were not the case’ (Frankenberg and Mani, 2001: 483). Equally, as Natalie Fenton asserts, ‘in the present day political [. qxd 40 20/7/06 11:35 AM Page 40 Phil's G4 Phil's G4:Users:phil:Public Beyond representation suggests that, “essentialist identities continue to be evoked and often deeply felt” ’ (Fenton, 2000: 734).
She points out that all these characteristics are traditionally understood ‘to concern the very fabric of the feminine’ – hence, alongside changes in work patterns, the perception of a ‘feminisation’ of all aspects of public life (675). For Baudrillard, the media and especially television are key factors in producing and disseminating this ‘feminisation’. Significantly, in a 1988 article for Screen discussing ‘new traditionalism and postfeminism’, in relation to a rash of ‘women centred’ dramas on North American television, Elspeth Probyn quoted a Newsweek article stating that, ‘The feminisation of television has surprisingly little to do with feminism’ (Probyn, 1997: 130).