{"title":"Televisão E Mídia","description":null,"products":[{"product_id":"the-l-word","title":"The L Word","description":"\u003cp\u003eIn January 2004, Showtime debuted \u003cem\u003eThe L Word,\u003c\/em\u003e the first prime-time commercial drama to center around lesbian characters. Over the course of six seasons, the show depicted the lives and loves of an evolving circle of friends in West Hollywood, California, and was widely read as evidence of changing social attitudes toward gay people. Building on immediate critical attention, the show reigned as Showtime's most popular for its first three seasons and earned a large and enthusiastic audience. In \u003cem\u003eThe L Word,\u003c\/em\u003e author Margaret T. McFadden argues that the show is important for its subject matter, its extended and deeply literate commentary on the history of representation of lesbians in popular media, and the formal innovations it deployed to rewrite that history.\u003cbr\u003e\n\u003cbr\u003e\nMcFadden shows that the program’s creators, led by executive producer Ilene Chaiken, were well aware of the assumptions and expectations that viewers would bring to it after a history of stereotypical depictions of lesbians on television. They sought to satisfy a diverse group of viewers who wanted honest and appealing portrayals of their lives while still attracting a large enough mainstream audience to make \u003cem\u003eThe L Word \u003c\/em\u003ecommercially viable. In five chapters, McFadden explores how the show tackled these problems of representation by using reflexivity as a strategy to make meaning, undertaking a complicitous critique of Hollywood, skillfully using a soap-drama format to draw in its audience, and ultimately creating its own complex representation of a lesbian community.\u003cbr\u003e\n\u003cbr\u003e\nWhile deconstructing the history of misrepresentation of lesbians, \u003cem\u003eThe L Word\u003c\/em\u003e’s new modes of storytelling and new perspectives made many aspects of lesbian experience, history, and culture visible to a large audience. Fans of the show as well as readers interested in cultural studies and gay and lesbian pop cultural history will enjoy this astute volume.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52668296429935,"sku":"9780814338247","price":181.29,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814338240.jpg?v=1770934467"},{"product_id":"hogans-heroes","title":"Hogan's Heroes","description":"\u003cp\u003eHogan’s Heroes originally aired between 1965 and 1971 on CBS, corresponding to the most uncertain years of America’s involvement in the Vietnam War. In an era when attitudes about the military, patriotism, and authority were undergoing a sea change, Hogan’s Heroes did not offer direct commentary on the conflict, but instead explored incompetent military leaders, draft dodging, and perpetual war in an absurd storyline about Allied saboteurs inside a World War II German prisoner of war camp. In Hogan’s Heroes, author Robert Shandley argues that the series reveals much about the parameters of comedy on militarism and war before the popularity of comedic social realism that would define later programs, like the more critically acclaimed M*A*S*H.\u003cbr\u003e\n\u003cbr\u003e\nIn three chapters, Shandley investigates the significance of Hogan’s Heroes to social, cultural, and television history. First, Shandley places Hogan’s Heroes within its generic and television history contexts, providing background on the genre of \"uniform sitcoms\" that were popular in the mid-60s. In the second chapter, he places the series within the historical, filmic, and televisual discourses surrounding World War II, including the fact that several of its actors were refugees from the racial politics of Nazi Germany. Finally, Shandley demonstrates how the series uses its generic framework to engage in debates about the conflict in Vietnam and American militarism and shows that Hogan’s Heroes laid the groundwork upon which M*A*S*H would build. Since the storyline and characters in Hogan’s Heroes do not significantly progress throughout the run of the show, Shandley primarily analyzes the show at the episode level to make the most of specific performances and content.\u003cbr\u003e\n\u003cbr\u003e\nWhile it was moderately successful in its network run between 1965 and 1971, Hogan’s Heroes has enjoyed constant play in syndicated re-release since its cancellation. F\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52668301738351,"sku":"9780814334164","price":181.23,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814334164.jpg?v=1770934635"}],"url":"https:\/\/internacional.umlivro.com.br\/collections\/televisao-e-midia.oembed","provider":"UmLivro Internacional","version":"1.0","type":"link"}