{"title":"Crítica E Análise De Mídia","description":null,"products":[{"product_id":"speaking-of-soap-operas","title":"Speaking of Soap Operas","description":"From \"Ma Perkins\" and \"One Man's Family\" in  the 1930s to \"All My Children\" in the 1980s,  the soap opera has capture the imagination of millions of American men and women of all ages.  In \u003ci\u003eSpeaking of Soap Operas\u003c\/i\u003e, Robert Allen undertakes a reexamination of the production and consumption of soap operas through the use of a unique investigatory model based on contemporary poetics and reader-response theory.\u003cbr\u003e\u003cbr\u003eAlthough a considerable amount of research has been conducted on these programs, Allen argues that soap operas remain a phenomenon about which much is said but little is known.  Soap operas are different from most other media programming -- they appear formless, refuse to end, require little work on the part of the viewer, and bear no recognizable marks of authorship.  For these and other reasons, soap operas resist explanation from both traditional aesthetic and empiricist social science perspectives.\u003cbr\u003e\u003cbr\u003eThe daytime dramatic serials generate nearly a billion dollars in revenue each year for the three commercial networks.  Allen discusses in detail the economic and institutional functions of these programs in addition to the context of their production.  He also considers the historical development of the soap opera as advertising vehicle, narrative structure and \"women's fiction.\"\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSpeaking of Soap Operas\u003c\/i\u003e is based on the author's own experiences as a soap opera viewer; extensive interviews with soap opera writers, producers, and actors; and the papers of Irna Phillips, creator of dozens of successful ratio and television soap operas.  Drawing also upon trade publications, popular periodicals, and broadcast archives, this work is an important contribution to the field of mass communication.\u003cbr\u003e\u003cbr\u003e","brand":"Longleaf Services on behalf of Univ of N. Carolina","offers":[{"title":"Default Title","offer_id":52665653559663,"sku":"9780807841297","price":320.49,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0807841293.jpg?v=1770906654"},{"product_id":"the-wire","title":"The Wire","description":"\u003cp\u003eFrequently described by creator David Simon as a novel for television, \u003cem\u003eThe Wire \u003c\/em\u003eredefined the police serial format by unfolding its narrative across many episodes, constructing themes for each of its seasons, and refusing to portray individual crimes outside of their social context. While it never achieved spectacular ratings or won an Emmy during its 2002-2008 run on HBO, the show was honored with several awards and has been described by critics as the best show on television. In this volume, author Sherryl Vint takes a close look at several episodes of \u003cem\u003eThe Wire\u003c\/em\u003e to argue that the series challenges our understanding of the relationship between entertainment and social critique.\u003cbr\u003e\n\u003cbr\u003e\n  Informed by recent work on race, poverty, and the transformation of the American inner city through neoliberalism, Vint provides a compelling analysis of \u003cem\u003eThe Wire \u003c\/em\u003ein four chapters. First, she examines the season 1 episode \"The Buys\" as an example of the ways in which \u003cem\u003eThe Wire\u003c\/em\u003e diverges from the police procedural format. She continues by considering season 2's \"All's Prologue\" and season 3's \"Middle Ground\" to explore in more detail \u003cem\u003eThe Wire's\u003c\/em\u003e critique of the exclusions of the capitalist economy. In the final two chapters, she looks at \"Final Grades,\" the fourth season finale, to highlight the problems with institutional inertia and show both the need for and barriers to reform, and uses the season 5 episode \"Clarifications\" to consider the failure of the media to adequately reflect the social issues depicted in \u003cem\u003eThe Wire. \u003c\/em\u003e\u003cbr\u003e\n\u003cbr\u003e\n  One of the landmark series of recent television history, \u003cem\u003eThe Wire \u003c\/em\u003eis ripe for research and discussion. Fans of the series and those interested in social commentary and the media will appreciate Vint's new analysis in this volume.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667704541551,"sku":"9780814335901","price":182.19,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/081433590X.jpg?v=1770926385"},{"product_id":"the-flip-wilson-show","title":"The Flip Wilson Show","description":"\u003cp\u003eWhen The Flip Wilson Show debuted on NBC in 1970, the major legislative victories of the civil rights movement had been won, but the broadcast airwaves were far from integrated. A handful of shows featured black leading characters, but none had quite reached the top spot of the Nielsen ratings. By 1971, however, Wilson’s \"old-fashioned\" comedy-variety hour was a bonafide hit, and in January 1972 Time magazine declared Wilson \"TV’s First Black Superstar.\" In this volume, Meghan Sutherland examines how The Flip Wilson Show succeeded in the volatile racial and economic milieu of the early 1970s and how its success shaped the prevailing codes of black performance and political discourse on television.\u003cbr\u003e\n\u003cbr\u003e\nIn particular, Sutherland examines the ambivalence that pervades discussions of Wilson’s outlandish performance style—discussions that generally treat the question of whether his characters lampooned or simply reprised the stereotypes of minstrelsy as a problem for reception studies. Sutherland argues that this ambivalence was actually the basis of the show’s wide appeal, and must thus be understood as an aesthetic strategy rather than as a mere effect of different viewers’ interpretations. Along these same lines, she asserts that Wilson used the non-naturalistic aesthetics of variety performance in order to mount a critique of \"realist\" race sitcoms of the period, on the one hand, and the discourse of authentic masculinity that accompanied the rise of Black Power, on the other. Finally, she considers how the show used its integrated studio audience to stage the reconstitution of one, big, happy broadcast audience after the social, racial, and political upheavals of the late 1960s.\u003cbr\u003e\n\u003cbr\u003e\nThe Flip Wilson Show is the most detailed study of Wilson’s variety show in its cultural and institutional context. This volume elucidates the characteristics of the variety genre that continue t\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52668227518831,"sku":"9780814332528","price":181.07,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814332528.jpg?v=1770930082"},{"product_id":"south-park-faq","title":"South Park FAQ","description":"\u003cp\u003eSOUTH PARK FAQ:ALL THAT'S LEFT TO KNOW ABOUT THE WHO  WHAT  WHERE  WHEN AND #%$* OF AM\u003c\/p\u003e","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":52691203981679,"sku":"9781480350649","price":147.67,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/1480350648.jpg?v=1771532465"}],"url":"https:\/\/internacional.umlivro.com.br\/collections\/critica-e-analise-de-midia.oembed","provider":"UmLivro Internacional","version":"1.0","type":"link"}