Product Description
A tour de force on why our viewing habits can act as a means for good, this book also comes with a warning that in meeting our voracious appetites for television, we may well be destroying liberty itself. ... Read more

Customer Reviews (2)

disgusting
stop wasting your time and put it to better use. a book written because someone could string words together in a sentence. its incoherent and senseless....there is no central theme and totally scattered even from one sentence to another. i tried 3 times to read it and then switched from my tv class into another, something more useful than reading someone's thoughts about television...yuck....bad bad experience

An intelligent, prescient study of the medium of television
Raymond Williams's TELEVISION: TECHNOLOGY AND CULTURAL FORM is regarded as the first important book written about television.Certainly it is the oldest book that any student of television studies is expected to read.It is not a perfect book, mainly because of technological changes that have rendered many of Williams's points invalid or irrelevant.But what is amazing reading this book in 2008 is how much of television's potential Williams anticipated, as well as some of its weaknesses.

Television as a form of popular art was very slow to mature.Though one can cite a few -- a very, very few -- important television series before 1981, it wasn't until the eighties and nineties that television really grew up and became a fully formed means of artistic expression.Some of the books that many people love to cite as to the awfulness of TV -- such as Jerry Mander's abysmally awful FOUR ARGUMENTS FOR THE ELIMATION OF TELEVISION, which could easily compete for the title of the Worst Book Ever Written award -- depended not on the potential of TV, but on the way it appeared at the time.Williams correctly understood that TV had enormous potential for artistic excellence and was able to identify some of the better shows of his time, which is astonishing given that he wrote the book in 1973, when virtually all TV shows were awful.

Much of the book consists of a very accurate, very concise history of TV as a medium.Williams also sums up the various formats of TV series, even distinguishing between serials and episodic shows.I think he would have been surprised at the degree to which serials have dominated quality TV (indeed, I would argue that virtually all the very good TV series have been serials).He wrote in 1973, while the first non-soap serial in American TV was HILL STREET BLUES, which debuted in 1981.He was also extremely sensitive -- as a good Marxist, albeit a Western one -- of the role that corporate interests played in TV.Had he written the book at a later point, I'm sure he would have made a great deal out of the ludicrous assertion that the media, which is corporate owned and micro-managed, is liberal.(One of the great propaganda successes of the past forty years of the Right has been the creation of the myth of the Liberal Media, doubly ironic because media is so deeply entrenched in right winged interests and control.)It is a tragedy that Williams died at age 67, though he wrote this at age 51.The book is for the most part fundamentally solid, though seriously out of date.

More needs to be said about how the book is out of date.Williams attempted in the book to anticipate the changes that were about to occur in television.He correctly anticipated the role that cable would play, though I suspect he would have been amazed at how the VHS tape would alter things.But even more he would have been astonished at how DVDs would have changed the way we view TV.Indeed, when DVDs were first introduced, even the studios had no conception of how much demand there would be for television series in DVD form.Because of the bulkiness of VHS tapes, TV shows were never very popular in that form.But beginning with BUFFY THE VAMPIRE SLAYER (which was the first series to price seasons below $50 a season -- shows like THE X-FILES and the various STAR TREK series were priced at twice that cost) the studios were taken aback at just how much demand there was for TV series on DVD.Also, Williams had no way of anticipating just how many channels cable would be able to accommodate or how large TV screens were going to become.While Williams's theory is solid for the most part, the technology grew at a pace he could scarcely anticipate.

The one part of Williams's book that I have serious problems with is the one part of the book that had enormous and widespread influence.By far the most famous part of Williams's book is that part in which he articulates his theory of "flow."He insists -- I believe correctly -- that studio personnel design entire evenings around the goal of causing a flow from one constituent element of the broadcast to another.In other words, a show begins, but cuts to a commercial, which leads to a preview for another show, which leads to another commercial, which takes the viewer back to the show, which eventually give way to another commercial, preview and commercial, all the way through the evening.Williams believes that the evening needs to be viewed as a whole, with each element reinforcing another.

I just think the idea of "flow" is all wrong.I'll grant that the networks plan an evening that is supposed to flow from one element to another, but I insist that it rarely if ever works out that way.At least, my personal experience doesn't bear this out.Williams imagines a viewer sitting entranced, passively viewing one element to the next.But I'm rarely passive.If I am watching, for instance, FRIDAY NIGHT LIGHTS, the second the commercial comes on, I'm out of my seat like a lightening bolt.I either hit the restroom, or the fridge, or my computer, where I check my e-mail or go to IMDB.com to check out the name of a guest star on the show or go to the TV board of which I'm a member (and where we all tend to congregate very briefly to record our reactions to a show).In other words, I rarely see the commercials Williams believes is integral to the "flow" of the evening.And when FRIDAY NIGHT LIGHTS is over, I'm gone.If my memory serves me correctly, the show that comes after FRIDAY NIGHT LIGHTS is VEGAS.I've never watched the show.I'd say the most I've seen is 3-5 seconds, and only then if I can't find the remote to turn off the TV.I suspect my experience is similar to most people's.The networks may fantasize about people sitting around passively succumbing to the "flow" of an evening, but I suspect we viewers have our own agendas.Myself, all my TV viewing is "by appointment."In never, ever watch TV in the sense of plopping myself down in front of the tube and then passively absorbing whatever is placed before me.I watch an enormous number of TV series, but all by appointment.And I believe that this is true for an enormous number of viewers.There is no way that Williams could have anticipated the kind of control viewers now have over their TV viewing.DVRs, streaming Internet, downloading torrents, DVDS:these completely undercut the idea of "flow."Whether the idea ever had any validity, it certainly does not now.

Nonetheless, this remains an important book, and not merely for the historical reason of its being the first important book on TV.Williams has many superb things to say about TV.His criticisms of McLuhan are as devastating today as they were in 1973.But it is nonetheless dated.Much of it has been rendered untrue by changes in technology.Still, for anyone interested in television studies, it remains on the shortest of short lists of crucial texts on the subject. ... Read more

Product Description
The history of television in Chicago begins with the birth of the medium and is defined by the city's pioneering stations. WBKB (now WLS-TV) was the principal innovator of the Chicago School of Television, an improvisational production style that combined small budgets, personable talent, and the creative use of scenery and props. WNBQ (now WMAQ-TV) expanded the innovative concept to a wider audience via the NBC network. WGN-TV scored with sports and kids. Strong personalities drove the success of WBBM-TV. A noncommercial educational station, WTTW, and the city's first UHF station, WCIU, added diversity and ethnic programming. The airwaves in Chicago have been home to a wealth of talented performers and iconic programs that have made the city one of the country's greatest television towns. Chicago Television, featuring photographs from the archives of the Museum of Broadcast Communications (MBC) and the collections of local stations and historians, gives readers a front-row seat on a journey through the fi rst 50 years of Chicago television, 1940-1990. Founded in 1982 by broadcaster Bruce DuMont, the MBC Web site offers over 10,000 digital assets. ... Read more

Customer Reviews (2)

Not what you may think it is
I grew up in Chicagoland back in early days of TV.Prior to 1946 television was practically unknown.From 1946-1949 TV set sales went through the roof.It was at that time, when great numbers of people started watching that "Chicago Television" was created.

I have no idea of the ages of the authors, but this book shows either their ignorance of, or lack of interest in, the early and most interesting period of Chicago television.

For example, The biggest and most important TV show to originate in Chicago was "Garroway At Large".This book has one closeup photo of Dave Garroway facing a TV camera.No mention of Cliff Norton, the sets, the full orchestra in the studio, the Merchandise Mart studios, Nothing but one lousy photo of Dave!
Perhaps one the most seen seen local TV personalities was Jim Moran "The Courtesy Man".He had a full production one hour show on Friday nights called "Courtesy Hour".In addition, he had hours of movies and commercials the rest of the week.He used to call his commercials "Torture Time".The authors provide us with one vanity photo of Jim sitting at a desk with his producer looking over his shoulder.Nothing else!

Can you imagine a book on Chicago Television with only a short mention of "Super Circus".No photo's of Calude Kirchner, the stage, or the theater.Only a vanity glamor shot of Mary Hartline.Indeed, most of the book is nothing more that full or half page vanity photo's (some signed) of unknown producers, unknown directors, and third rate TV personalities.

It is really irritating when the authors fail to mention major personalities that built the medium.The authors spent pages promoting Harry Volkman as a legendary weathermen in Chicago TV, but not one word about Clint Youle.He was the first Chicago TV weatherman, with his black marker and glass covered rand McNally map that he bought at a local office supply.Some may remember his wife's doing the commercials for some flour company.In addition to being WNBQ's weatherman on TV news every night, Youle was the "first national news TV weatherman" appearing with John Cameron Swayze on national broadcasts.

Sadly, if you expect. like I did, that this book would reflect the history of the early years of Chicago Television, include some studio shots, etc, you will be disappointed.I found it has no historical literary value, and is mostly a collection of vanity photos of unknowns.

How good does it get?
Having grown up in Chicago during the 50s and 60s, paging thru this book is like stepping into Mr. Peabody's Wayback Machine. OMG!! Incredible! Hat's off to Daniel, Steve, Bruce and the MBC. Thanks for the memories. ... Read more

Product Description

Choice Outstanding Academic Title for 2008

After occupying a central space in American living rooms for the past fifty years, is television, as we've known it, dead? The capabilities and features of that simple box have been so radically redefined that it's now nearly unrecognizable. Today, viewers with digital video recorders such as TiVo may elect to circumvent scheduling constraints and commercials. Owners of iPods and other portable viewing devices are able to download the latest episodes of their favorite shows and watch them whenever and wherever they want. Still others rent television shows on DVD, or download them through legal and illegal sources online. But these changes have not been hastening the demise of the medium. They are revolutionizing it.

The Television Will Be Revolutionized examines television at the turn of the twenty-first century — what Amanda D. Lotz terms the "post-network" era. Television, both as a technology and a tool for cultural storytelling, remains as important today as ever, but it has changed in fundamental ways as the result of technological innovations, proliferating cable channels targeting ever more specific niche audiences, and evolving forms of advertising such as product placement and branded entertainment. Many of the conventional practices and even the industry's basic business model are proving unworkable in this new context, resulting in a crisis in norms and practices.

Through interviews with those working in the industry, attendance of various industry summits and meetings, surveys of trade publications, and consideration of an extensive array of popular television shows, Lotz takes us behind the screen to explore what is changing, why it's changing, and why these changes matter.

Customer Reviews (3)

Fantastic aid for the classroom, and intelligent read about the current state of television.
The amazing thing here is that it remains current although the media are changing rapidly. I have since become interested in Lotz's other works and they are equally intelligent, well written and researched and aid me in my teaching of contemporary media studies courses.
Wether you teach, research or are simply interested in the business facets of television, this book should not be missing on your book shelves.

Defining Book on TV Industry in the 2000s
If Todd Gitlin helped us understand the TV industry in the 1980s, and John Caldwell in the 1990s, Lotz's book is the defining book about the state of the industry in the 2000s.Superbly researched and written. Will be assigned in many a TV Studies classroom.The book is largely focused on prime-time, but Lotz has a follow-up edited collection coming out this summer that looks outside those programming hours. A must-read for anyone wanting to understand the industry amidst such revolutionary changes.

One of the Smartest books on Present day Television!
I recently sat down and read the book end to end because it was so intelligentand well written. She does a cogent job of envisioning what the experience of "television" is as it converges with the computer and film. Lots thoughtful ideas.I plan to have my students read it as a textbook. But I think they will enjoy it as opposed to most textbooks. ... Read more

Product Description
Here at last is the real story of how TTV was formed! Inside you will find rareproduction artwork and storyboards, as well as reminiscences from TTV's founders."Mark Arnold is the guy who the other authorities on comic books and animatedcartoons turn to when they're stumped for an obscure tidbit of pop culturalinformation; he always delivers the goods."- Scott Shaw, cartoonist ... Read more

Customer Reviews (6)

Total TeleVision Productions
CREATED AND PRODUCED BY TOTAL TELEVISION PRODUCTIONS offers a detailed history of the cartoon studio that gave us King Leonardo, Tennessee Tuxedo, Underdog and other TV stars of the 1960s.It's about time someone offered this information about a long-overlooked producer of cartoons.Often confused with Jay Ward Productions, the TTV characters have a charm and wit all their own and have shown remarkable staying power. (Remember the Underdog giant balloon that flew for years in the Macy's Thanksgiving Day Parade?)For lovers of classic animation, this book is
illustrated with model sheets, layout drawings, storyboards, pix of tie-in merchandise and actual scripts. It also includes a complete list of voice actors
and an episode guide to all the shows. Highly recommended.

Confound It!
I was really looking forward to getting this book, but at first read-through, it was--in parts--something of a letdown.The biggest dismay was in the "King & Odie" chapter at the beginning.Yes, the book does a good job in outlining the beginnings of the series and its various components, and it corrects a lot of misinformation cartoon fans have received elsewhere (for example: Sandy Becker was the voice of Mr. Wizard The Lizard, and not Frank Milano), but why is there no insight into the creation of later "King & Odie" characters like Mr. Mad and Duke and Earl?

Also, the episode guide lists too many individual cartoons as "synopsis unavailable", especially in the "King & Odie" lists.There were some eps I was hoping to see a description of, but no luck.At least the "Underdog" and "Tennessee Tuxedo" lists are complete and detailed.

The good news in reading this book is that the author goes into detail about Gamma Productions (which produced most of the Total cartoons) and also makes note of the fact that when "King Leonardo" first went into production, the first batch of 'toons were produced at a U.S. company called TV Spots (TVS as seen in the end credits of the "King Leonardo" series) and he explains the difference between the two studios' output as well as why the switch to Gamma was made.

Best of all, however, is that the author offers relief to those of us who were bemoaning the alleged loss of "The Beagles" cartoons by informing readers that prints and soundtracks of those eps (though perhaps not the negatives) were found, and that a DVD release of the complete series is thus a possibility providing there is enough consumer demand and that someone pays the cost of combining the video and audio tracks.There is also information about series pilots that never came to fruition and a pair of odd one-shot pilot cartoons that were completed long ago and were added to the "Underdog" rotation in the '70s.

It's an okay book that could have been better in spots, but it's presently the only TTV tome out there and should be added to any TV cartoon fan's library.

Total Treasure!
Mark has captured a cherished memory that I'd almost forogtten was there. When I opened his book and thumbed through the pages, rushes of wonderful laughter surged back. Underdog, Tennessee Tuxedo, Commander McBragg, the Go Go Gophers--these were characters and stories that were created by true TV geniuses. Sadly, their style and creativity have disappeared. But Mark has brought back their innovative magic, along with the inside stories of the creators, animators, and the voices which brought such ridiculous fun to life. I grew up with Sandy Becker (a New York TV genius in his own right), and his voice is part of the stories which Mark resurrects (remember Tooter Turtle??). I didn't realize that Tennessee Tuxedo's mentor, Mr. Woopee, was courtesy the voice of Larry Storch. I can't get his voice out of my mind now! This was a wonderful book for anyone who wants to know the true stories behind some of TV's most unforgettable cartoon characters. Gotta go now. Stanley Livingston is back at the zoo! Chumley!!!!

Fine "biography" of an overlooked 60s TV cartoon factory
Over the past two decades, Mark Arnold has done yeomanlike service in preserving memories of various pieces of fondly recalled pop culture that have, for one reason or another, fallen by the wayside (though fond memories of them may linger on). Most of his efforts have gone towards commemorating the legacy of Harvey Comics in his fine fanzine, THE HARVEYVILLE FUN TIMES!. For more than 15 years, I've written the RICHVILLE RUMINATIONS column for that magazine and therefore can testify directly to Mark's love for the subject matter. Now, Mark has favored us with a book on the unjustly overlooked output of Total TeleVision productions, a cartoon producer in the paradoxical position of having created several of the best-loved animated TV series of the 1960s, yet currently languishing in such obscurity that (gasp!) no one has even bothered to create a Wikipedia page wholly devoted to the company. Though Mark's book isn't as tightly organized as I might have liked, he presents by far the most detailed and enlightening history of TTV that has appeared to date.

Past reference works that have touched upon TTV's output have tended to be condescending at best and disdainful at worst, often making disparaging remarks that compare the company's work unfavorably to that of the Jay Ward Studios. This is an understandable parallel to draw, given that (1) both the Ward shows and the TTV efforts were sponsored by General Mills; (2) both groups of shows were animated by the same limited-animation factory in Mexico; (3) a number of network and syndicated "compilation series," such as "The Dudley Do-Right Show" and "Go-Go Gophers", indiscriminately mixed Ward and TTV product together, virtually forcing viewers to do comparisons; (4) to be perfectly frank, Ward's shows (especially those starring Rocky and Bullwinkle) were legitimately funnier that TTV's. Arnold, however, provides some helpful information as to WHY such TTV series as "Underdog", "Tennessee Tuxedo and His Tales", and "King Leonardo and His Short Subjects" took a different tack.

When Buck Biggers, Chet Stover, Treadwell Covington, and artist Joe Harris formed TTV in the late 50s, the goal was to follow Ward's lead and produce shows to be sponsored by General Mills (for whose advertising agency Biggers, Stover, and Harris all worked at the time). The focus of TTV's output, however, was intended to be different from the outset. Wary of Ward's prickly reputation and penchant for firing jokes that sailed over the heads of (most of) his audience, GM wanted shows that, while still watchable by sophisticated audiences, were a bit more "kid-friendly." TTV shows, as a result, emphasized characterization and narrative over "boffo yuks." This approach sometimes puts these shows in the awkward position of "falling between two stools" -- not being funny enough for the wiseacre crowd that loved Ward's material, yet being too funny to be taken entirely seriously. (This was especially true of "Underdog", which spent its active life in perpetual tension between authentic, cliffhanger-ridden superheroics and outright parody.) It did, however, have the advantage that when such a "halfway-house" methodology was appropriate to get a specific point across, TTV's work could be very effective indeed. This is why, after considerable reflection, I've come to regard "Tennessee Tuxedo", rather than "Underdog", as being the best TTV series. "Tuxedo" was one of several "educational" cartoons that popped up in the early 60s in response to complaints (most famously by FCC Chairman Newton Minow) that animated TV fare didn't teach kids anything useful. Similar beefs have been registered in the intervening decades, resulting in occasional classics ("Schoolhouse Rock") and a whole lot of schlock ("Histeria!", "Cro", most "green-themed" cartoons). "Tuxedo" was the best of that first generation of "edu-toons," which also included "The Funny Company" and "The Big World of Little Adam". Unlike those series, which leaned heavily on live-action documentary footage, "Tuxedo" wrapped its soft-pedaled nuggets of info in the appealing package of wise-guy penguin Tennessee Tuxedo (voiced by Don Adams, who was still a few years away from playing Maxwell Smart) and dimwitted walrus Chumley getting required data from Phineas J. Whoopee, the genial "man with all the answers." The fact that "Tuxedo" was 100% animated (with assistance from Whoopee's "three-dimensional blackboard") permitted the educational material to slide smoothly down the throats of the youngsters for which it was intended. As Arnold points out, while some of the technology described in "Tuxedo" has dated, the method of delivery displayed in the cartoon remains highly effective.

"Tuxedo" and "Underdog", like most of the other TTV features, relied upon repetition of catchphrases and the like as a means of ramming their points home. This has the advantage of rendering the shows difficult (if not impossible) to forget, yet, when taken to extremes, it can become irritating. Arnold notes the major repetitive features of these shows and additional TTV products such as "The World of Commander McBragg", "The Hunter", "Klondike Kat", "Go-Go Gophers", and "Tooter Turtle", yet does not "string the thread through the popcorn" and discuss TTV's output as a complete entity. Instead, we get series-by-series recaps, some of which are better than others. Another structural flaw in the book is the heavy emphasis upon lengthy quotations from Biggers, Stover, Covington, Harris, Bradley Bolke (the voice of Chumley), and others. Aside from not being adequately edited for clarity, these quotes should have been set off in paragraphs by themselves, allowing Arnold to fill in the gaps with more writing of his own. As it is, I had to read the book several times before the narrative really started to "flow" and make coherent sense.

Despite the aforementioned problems, Arnold's book, along with Biggers' and Stover's own book of reminiscences (also available from Bear Manor Media), will be the standard reference work on TTV into the foreseeable future. Arnold is especially good when describing TTV's demise in the late 1960s and the story behind the company's last, unproduced series, "The Colossal Show". This series, which was intended to star a Sergeant Bilko-style character in ancient Rome, "lives on" to this day in the peculiar form of a one-shot comic book commissioned from Gold Key after TTV had reached a "handshake deal" with NBC to produce the show (General Mills had dropped out of the picture several years before, and TTV's actual last series, "The Beagles", was sponsored by a toy company). NBC eventually backed out of its commitment, but the comic book remains, preserving what "The Colossal Show" might have looked like, in the manner of prehistoric tree sap preserving an ancient insect. The failure to produce this series -- which would undoubtedly have been far, far better than Hanna-Barbera's later "The Roman Holidays" -- is probably the one "pseudo-tragedy" in TTV's relatively short, but genuinely distinguished, history. Thanks, Mark, for finally doing TTV some justice.

Enjoyable and informative tribute to the cartoons Jay Ward didn't create (but you always thought he did)
A few years ago Keith Scott published his excellent and authoritative book on all things Jay Ward, The Moose That Roared: The Story of Jay Ward, Bill Scott, a Flying Squirrel, and a Talking Moose, all about the history of Jay Ward's animation studio and the cartoons he produced for sponsor General Mills for television in the 60s, particularly Rocky and Bullwinkle and Dudley Do-Right, etc.Over the years various syndication packages of Jay Ward's creations have been mixed and mingled with another batch of cartoons that he did not create, though many have believed that he did.These include the ever popular Underdog and Tennessee Tuxedo cartoons, as well as the The King and Odie, Go Go Gophers, Commander McBragg and others.These cartoons were actually produced for General Mills at about the same time by another studio, Total Television Productions (or TTV).Style and (limited)animation-wise the early cartoons of Jay Ward and TTV are visually similar, having utilized the same Mexican animation studio (Val-Mar/Gamma Productions, a cost-saving venture of General Mills, their advertising agency and others).In Scott's book the TTV cartoons are briefly mentioned and panned mildly as being "pleasant diversions", but not up to Jay Ward's caliber and "screamingly unfunny".Yet many remember them fondly.

This new book by Mark Arnold serves as a complement to the Scott book to tell the real history and facts about Total Television Productions and their cartoons.It offers the inside story on the origins of the studio, the people and talent involved involved, and the characters they created.Any person who finds the topic of animation (or at least, the history and business of animation) interesting, or loves Underdog or Tennessee Tuxedo (my personal favorite), should find this book enjoyable.It is well written in a casual readable style, featuring extensive excerpts from interviews with the four principle founders/owners of TTV, as well as bios and interviews with voice actors and animators who worked on the cartoons.

The content of the book itself (not counting the episode guide) clocks in at about 250 pages, compared to over 300 in the Scott book.However this book reads much faster, devoting more pages to photos of production art, historic TTV merchandise, storyboards and even entire episode scripts with notes scrawled in the margins.While I enjoyed the Scott book a lot, some have found it exhaustive and verbose, ie, wordy.This book has enough substance but will not suffer the same criticism.

The opening chapter gives the basic back story of TTV, featuring extensive interview excerpts from the two original idea men and eventually all four founders.Having read both books, one gets the impression that while General Mills enjoyed great success with Jay Ward's product, he was viewed suspiciously as a bit of a loose cannon by his sponsor, their advertising agency, and even the network.TTV appears to have been their safer, more trouble-free alternative.Neither company had anything to do with the production of the other's cartoons, one being a West coast operation (Ward), while TTV was an East coast studio.Still they were both more-or-less forced to utilize General Mills' and DFS's pet project budget animation studio, Gamma Productions in Mexico City.The purpose of both was basically to create animated cartoons as a vehicle for General Mills to advertise breakfast cereals to kids.The philosophies of the two studios differed however.While Ward reveled in his use of somewhat sophisticated humor that was often lost on children, TTV attempted to create cartoons that were fully approachable by young children but still wouldn't bore older kids and adults.

This book includes a chapter about the outsourced Mexican animation house Gamma Productions.It is not as extensive a history as in Scott's book, but is valuable in its own right as it features substantial interview excerpts from one or two animators who actually worked there on cartoons for both Ward and TTV in the 60s, as well as additional details about the studio's history and demise.

Other chapters throughout the book focus on the various TTV characters in chronological order (King Leonardo, Tooter Turtle, Tennessee Tuxedo, Underdog, etc), and go into the bios and histories and talents of many of the voice actors who brought the characters to life.

Similar to the Scott book, this book provides an Episode Guide that gives a synopsis and airdate of each cartoon for each series that TTV created (as nearly complete as the author could make it given the prolonged unavailability of many of these episodes).There are also a couple of brief appendices featuring info on comic books and actors and animators.This is likely to be the most complete and authoritative book on the TTV story that will ever be written, and it serves pretty well in that regard. ... Read more

Product Description
Learn how to direct television programs, understand complex directing tasks, and learn the fundamentals of studio production procedure in this back-to-basics guide to studio-based productions. Learn about lighting, set, camera operations, floor direction, technical direction, audio, tape, graphics, prompting, and assistant directing. As it's one of the most challenging types of programming, the live newscast is used to illuminate television producing and directing procedures for your newscast or other program genre. You'll soon be able to direct any type of studio-based program with ease.

* A short, quick, easy-reference guide to multicamera TV directing
* Heavily illustrated and written in the popular Media Manual format, designed for use on the job ... Read more

Product Description
Digital video students and enthusiasts must learn lighting fundamentals and techniques to enhance the visual quality of their work. Moreover, since lighting specifications for digital video differ significantly from those for analog video or film, professional videographers and cinematographers must learn how to adapt their lighting skills for this new digital medium to ensure that the final product meets broadcast standards.

This complete course in digital video and television lighting begins with how the human eye and the camera process light and color, progresses through the basics of equipment and setups, and culminates with practical lessons on how to solve common problems. It features clear illustrations and real-world examples that demonstrate proper equipment use, safety issues, and staging techniques. Detailed diagrams, figures, and photos illustrate techniques that enable novices to complete basic lighting setups. This new edition also features a 16-page color insert and new chapters on interview setups and lighting for low budgets.

Get a complete course in video and television lighting from a seasoned pro. Detailed illustrations and real-world examples demonstrate proper equipment use, safety issues, troubleshooting, and staging techniques. This new edition features an 8-page 4-color insert and new chapters on interview setups, as well as low-budget lighting set-ups. ... Read more

Customer Reviews (21)

Great lighting book for beginners
This is a really good book and explains all the basics of lighting, but what it misses is a good accompanying DVD having footages of examples of lighting setup as the illustrations in the book isn't clear on the look different techniques produce.

Just What I Needed
As a filmmaking beginning to learn the craft, I found this book very helpful. It lays out all the information anyone needs to know to get started or to improve lighting techniques. It covers everything from the basics to more complex theories and methods. The information is laid out very well,not to become too overwhelming to the reader. The Author draws from his own experience and insights to help guide the reader in the right direction. It is a must have for any filmmakers library.

Great text for beginners and experts alike
This book covers the subject clearly, quickly and without too much technical jargon; it's stuffed with wonderful visual illustrations, exercises and is formatted quite well.
It's (as is any book these days) a bit pricey, but worth every cent if you're serious about improving the quality of your work.

Great information!
I got this book out of the library to read as a preparation for doing lighting on a low-budget movie I'm planning. Long story short, I devoured the book, then had to renew it so I could read it again and again.

People with big expensive lights will love the clear use of big expensive lighting equipment.

People who know nothing about lighting (like I did before I got this book) and have no money (like me) will love the low-budget chapter, and specifically the "spit and gaffer's tape" (author's words) list of equipment for those of us without deep pockets.

Everything You Need To Know, and Interesting Too!
This is an amazing book. The guy is a true pro and explains everything you need to know to get takes that look professional on the first try.

The book is really well written and organized. I blows by while you learn all the hows and whys of lighting video.

I recomend this to anyone who feels that they are not at the professional level with lighting yet. It will change your life. ... Read more

Product Description
A MEMOIR OF BETTY WHITE’S FIRST FIVE DECADES ON TELEVISION—AS IRREVERENT AND IRRESISTIBLE AS THE BELOVED ACTRESS HERSELF

BETTY WHITE first appeared on television in 1949 and has gone on to have one of the most amazing careers in TV history, starring in shows such as Life with Elizabeth, The Mary Tyler Moore Show, and The Golden Girls, among many others. She is one of the hardest-working actresses of any era, and her sense of humor and perennial optimism have seen her through half a century of industry changes and delighted millions of fans.

Now, during Betty’s sixty-first year on screen, a year in which she has enjoyed a huge resurgence of popularity, her 1995 memoir makes a comeback too. Here We Go Again is a behind-the-scenes look at Betty’s career from her start on radio to her first show, Hollywood on Television, to several iterations of The Betty White Show and much, much more. Packed with wonderful anecdotes about famous personalities and friendships, stories of Betty’s off-screen life, and the comedienne’s trademark humor, this deliciously entertaining book will give readers an entrée into Betty’s fascinating life, confirming yet again why we can’t get enough of this funny lady. ... Read more

Customer Reviews (7)

Need Unabridged Audio
I find Betty White's life very intersting, and her sense of timing and humor is wonderful. I only wish I could find this book on Cd and unabridged.

"The One And Only Betty White"
Not many celebrities can say they are enjoying a renaissance and resurgence in their careers at the tender age of 88, but Betty White is not your every day celebrity. In 2010 Betty became the oldest performer to host "Saturday Night Live" (for which she won an Emmy), plus she continues to work in movies and primetime TV, most recently in TV Land's "Hot In Cleveland". She also had a memorable role on the soap opera "The Bold and the Beautiful" and she continues to appear in commercials. Suddenly Betty White is everywhere.

With a career that has spanned sixty years on television, Betty White continues to shine and is an example to other celebrities who have reached that certain age that it doesn't matter how old you are; just keep working and love what your doing.

In this insightful biography that was published way back in 1995, Betty describes her life in television and how she got started in the business. Eventually it wasn't long before she became famous for being the celebrity who appeared regularly on game and talk shows, working with Jack Parr, Johnny Carson, and Allen Lunden, with whom she married. Eventually Betty did a guest-part on "The Carol Burnett Show", became famous for her role as man hungry Sue Ann Nivens on "The Mary Tyler Moore Show", and to a whole new generation of fans played naive Rose Nyland on the 1980's/1990's sitcom "The Golden Girls".

In these pages Betty discusses how she got her two most famous roles on two of the most beloved comedies in TV history, how it was like to work with the giants in the industry, and how and why those beloved shows came to an end.

There is much more too on these pages on the the wonderful life of a lady who never slows down. The reader realizes Betty loves her life and loves the career that has made her a household name. Thoroughly readable, "Here We Go Again..." is an insightful memoir on one of the legends in TV comedy.

The book also contains multiple black and white photos of Bette displayed sporadically throughout the book that gives the reader a mental picture of where Betty was at certain times in her career.

A good time to catch up with Betty White
Now that she's a member of yet another successful sit-com cast, it might be fun to step back and learn more about this veteran performer.This autobiography was originally released in hardback in 1995.In it, Betty shares the full extent of her personal and professional history from her beginnings in the industry through the early 1990s.Included are the facets of her life that we are most familiar with:"Password," "The Mary Tyler Moore Show," "Golden Girls," her devotion to third husband Allen Ludden, and her love of animals of all kinds.

Her memoir might be most valuable for its insights into the early days of television. Imagine cramming a five-hour program with interviews, skits, and commercials -- all performed live and in front of just one camera!Or working on holidays, just like regular days, in order to faithfully entertain the audiences at home.Over the decades, there were numerous opportunities to star in sit-coms, to host parades, and of course, to participate in game shows, one after another.The woman has had quite the busy life.We get the impression that she has always liked it that way.

Though it would be easy to accuse Betty of name-dropping on every page, the fact remains that she has worked with and has been friends with some of the most famous actors and producers in the history of the medium.She takes the high road here and does not dish much about any of them.And her career has been so jam-packed that she cannot dwell on any particular topic or any show for very long.As a result, her approach must by necessity be a tad shallow when it comes to chatting about some of our favorite people or enterprises.But she does offer somewhat generous detail about her family life:from holding a home base in California with her parents, to moving to NYC to be with Allen Ludden and his three children.Tons of black and white photographs accompany the narrative.

In the 15 years since this book was released, Betty White has added even more credits to her resume.She has been part of several short-lived sit-coms, has made guest appearances on a wide variety of shows, and has won yet another Emmy.Now TVLAND's "Hot in Cleveland" seems to be reinvigorating her popularity."Here We Go Again," indeed!Read this book if you want to reminisce about the old days of the black and white broadcast.Revisit that magical world that created wonderful actresses like Betty White.

Full of fun and laughter
I had read another book "In Person" by Betty White a few years ago - and it was a side splitter. I have always been a big fan of hers anyway - and enjoy her immensely.

This book is no exception. She is talking about how her career and TV's career started about the same time. She gives insight into early television and her part in that whole genre. She talks about her "addiction" to work and her willingness to fill in whenever she is needed - and the break neck schedule she had in the beginning.

Have not gotten through the book yet - but have really enjoyed reading what I have. Betty in writing is as funny as Betty on TV.

Pick it up if you would like to see the infancy of TV from an insider's view - and if you want a good laugh!! This book supplies both very well.

Betty
Betty's book was great! It was easy to read & you felt like she was there talking to you. I would tell all my friends. ... Read more

Product Description

TV Writing the Right Way!

In this guide for every student of the small screen and every scriptwriter dreaming of breaking into the business, writer-producer Madeline DiMaggio hands you the tools of the trade. With dozens of examples from today's hit shows, as well as perennial classics, DiMaggio walks readers through the scriptwriting process, from learning how to watch TV like a writer to developing your script, pitching it, and eventually sealing the deal. DiMaggio answers the questions on every aspiring television writer's mind, with chapters on:

The tools of scriptwriting

Hooks that sell

Creating the pilot

Developing the episode, step by step

How to create riveting characters

Writing long form and cable movies

Adaptations and collaborations

Marketing your script

DiMaggio combines her own experience with advice to writers from others in the trade, including agents, producers, animators, and more. This readable, reliable book has been a trusted reference for nearly two decades and is now revised to include the most up-to-date information from today's television climate, from writing for cable, reality, and TV-movie formats to the ever-evolving face of the sitcom. A must-read for anyone aiming to write for TV, How to Write for Television will continue to help budding writers reach their small-screen goals and will prepare them for working in the rapidly changing world of TV. ... Read more

Customer Reviews (16)

EVERYTHING I WANTED TO KNOW AND MORE!
THIS BOOK IS EASY TO READ.I WROTE 6 EPISODES FOR AN ORIGINAL IDEA AND NEEDED A BOOK TO HELP ME UNDERSTAND THE INS AND OUTS AND BE LIKE A PRO.BECAUSE OF THIS BOOK, I'M READY NOW!

A Must Have Book
I don't often see a book that can be applied to new and veteran writers. Usually, a book is geared to one specific group, but not How To Write for Television by Madeline DiMaggio.If you are in the writing television field or are trying to break in the field, this book is a perfect source for you to have.In fact, it is a MUST HAVE book because you will find personal experiences, terms defined and explained, resources and competitions, as well as interviews and many more helpful information.DiMaggio offers personal advice and tips of her own.DiMaggio's book can be used for self-teaching and a reference for newbies and experienced television writers alike.

Look No Further...
Many people write about writing, but Madeline DiMaggio's experience really shines through in this excellent guide. With clear practical examples, the author shares the A - Z of this challenging business, citing both her vast successes and the inevitable frustrations inherent in the profession of T.V. Writing. Through it all, she manages to inspire prospective script writers. A must have reference for anyone interested in pursuing this career.

A Fun, Smooth Read for would be television/movie writers
Ironically I read this book before seeing DiMaggio's other book on Screenwriting (2007).Movie writing is my focus, not television.But her sections on character development (back and present life); how to develop the two hour movie (spine, time frame, turning points, et al.); what to do once you've written "your masterpiece", are succinct and to the point.She writes about common sense facts which are so easily missed- not seeing the forest through the trees.

DiMaggio sounds likes she's gotten her PhD from the University of Hard Knocks, with examples to back up her words.She shares the good, the bad, and the ugly.No pie in the sky, just what happens in real life. A good read, easy to follow.Can't wait to invest in her other book!

A must-have tool for TV writers
DiMaggio's instructions are clear and right to the point, and her advice about the business is both supportive and realistic. This new edition is packed with great examples from the latest hit shows across all genres and formats. A fantastic introduction for new writers, and a great brush-up tool for pros. The best guide out there--highly recommended. ... Read more

Product Description

Television studies must now address a complex environment where change has been vigorous but uneven, and where local and national conditions vary significantly. Globalizing media industries, deregulatory policy regimes, the multiplication, convergence and trade in media formats, the emergence of new content production industries outside the US/UK umbrella, and the fragmentation of media audiences are all changing the nature of television today: its content, its industrial structure and how it is consumed.

Television Studies after TV leads the way in developing new ways of understanding television in the post-broadcast era. With contributions from leading international scholars, it considers the full range of convergent media now implicated in understanding television, and also focuses on large non-Anglophone markets – such as Asia and Latin America — in order to accurately reflect the wide variety of structures, forms and content which now organise television around the world.

Product Description
When the first television was demonstrated in 1927, a headline in The New York Times read, "Like a Photo Come to Life." It was a momentous occasion. But the power of television wasn't fully harnessed until the 1950s, when the medium was, as Eric Burns says, "At its most preoccupying, its most life-altering." And Burns, a former NBC News correspondent who is an Emmy-winner for his broadcast writing, knows about the impact of television. Invasion of the Mind Snatchers chronicles the influence of television that was watched daily by the baby boomer generation. As kids became spellbound by Howdy Doody and The Ed Sullivan Show, Burns reveals, they often acted out their favorite programs. Likewise, they purchased the merchandise being promoted by performers, and became fascinated by the personalities they saw on screen, often emulating their behavior. It was the first generation raised by TV and Burns looks at both the promise of broadcasting as espoused by the inventors, and how that promise was both redefined and lost by the corporations who helped to spread the technology.Yet Burns also contextualizes the social, cultural, and political events that helped shape the Fiftiesofrom Sputnik and the Rosenberg trial to Senator Joseph McCarthy's Red Scare.In doing so, he charts the effect of television on politics, religion, race, and sex, and how the medium provided a persuasive message to the young, impressionable viewers. ... Read more

Customer Reviews (1)

The medium is the message
Television is perhaps one of the most widely addictive things in modern life. Eric Burns describes the beginnings ofTV from its invention to its acceptance today; but mainly delving into its early stages in the 50's and how it changed American culture and family life. It is written in an interesting style and whether you grew up with television or are of the younger generation it makes for fascinating reading.

The problems and complaints of lessening physical activity is well covered. There are many thoughts given by `authorities' regarding this new product; they vary from; it knit families closer together, improved moral standards, to the descriptions of how viewers would believe anything they saw or heard on their TV set - where the same type of humor would just have been amusing on a radio.
All the changes in life are described, TV dinners and alterations in meal times and school work given by teachers is analyzed.
The comparisons between movie and TV stars is well done, how the fans and even Hollywood treated each in a different fashion. Interesting observations are made about how the men who served in WWII and their families needed to get their minds off of the past and television gave them a much needed respite, " a kind of spoil of war, a down payment on a wondrous world promised". It served as a step in getting back to normal life.

There is good examination of commercial power and many amusing instances of how advertisers changed dialogue or situations in their sponsored programs. You couldn't say `ford a river' in a western if it was sponsored by Chevy. It does become puzzling when it is claimed that Judgment at Nuremberg looked into the minds of Nazi judges, when it was the Americans who were judging, but the details of the program being sponsored by the American Gas Association are strange to behold.

This is an engrossing book that also includes much information on the different types of programs and people in them and then in a second section deals with 3 senators, Estes Kefauver, Richard Nixon and Joseph McCarthy and how television changed the style of politics - you could present your `case' to the people themselves.The growth of presidential advertising and being able to reach out to the American citizens as well as the cynicism of the quiz show scandals is well covered.
In all it's an appealing book to read, as well as one that will give a good history of the 50's and America itself. ... Read more

Product Description

Television Studies: The Basics is a lively introduction to the study of a powerful medium. It examines the major theories and debates surrounding production and reception over the years and considers both the role and future of television.

Topics covered include:

• broadcasting history and technology
• institutions and ownership
• genre and content
• audiences

Complete with global case studies, questions for discussion, and suggestions for further reading, this is an invaluable and engaging resource for those interested in how to study television.

Product Description
Very few television shows withstand the test of time, and Rod Serling's THE TWILIGHT ZONE is one of the notable exceptions. Proven to be an important part of American culture since its debut on CBS in October 1959, many Hollywood producers, screenwriters and directors have been inspired and influenced by this series. Comic books, magazine articles, numerous television revivals, a major motion picture and even modern audio productions have been produced, showcasing the continuing popularity of this television classic. This definitive history presents a portrait of the beloved Rod Serling and his television program, recounting the major changes the show underwent in format and story selection, including censorship battles, production details, and exclusive memories from cast and crew. The complete episode guide recalls all 156 episodes of the series in detail that has never before been accomplished in any publication. This book will make you want to look back at the episodes once again, whether you are a casual fan or serious enthusiast of the series. Unlock the door to a television classic by reading about the in-jokes, bloopers, and other trivia associated with the behind-the-scenes production of . . . THE TWILIGHT ZONE! ... Read more

Customer Reviews (28)

"The bible to "The Twilight Zone" Series"
Martin Grams has written a fascinating and well-researched account on one of the most beloved and critically accalaimed TV series of all-time. "Unlocking The Door..." is filled with 800 pages of facts, info, and juicy tidbits on what made "The Twilight Zone" the cultural hit it became in the sixties when it was first broadcast on CBS from 1959-1964. Grams details creator and writer Rod Serlings' attempts at getting "The Twilight Zone" on the air and his battles with network executives and advertising agents who would sometimes veto his story ideas before the shows even got to air.
The greatest part of the book is the chapter on all 156 "Twilight Zone" episodes. In this each show is discussed in full with air dates, who played who, bloopers that took place, salaries of directors, shooting locales, and what made each of these shows the gems that they ultimately became.
There have been other "Twilight Zone" books that have been released through the years, but all pale in comparison to this jewel. A lot of time and care went into the writing of this work, and it's obvious Grams has a special place in his heart for both Serling and the series itself.
This softcover book was originally published in September, 2008 and it has already gone into out-of-print status which shows the demand that "Twilight Zone" enthusiasts had for this book. If you see a copy anywhere grab it despite the cost. What is great is that while watching the individual episodes you can use this book as a companion piece which will give you a good idea as to how each show was put together.

Too much money!
I'm with the other reviewer who complained about this books price. I'd like to read this book also but as long as it is obscenely over-priced I refuse to buy it. I will when it is under $15.00

simply unbelieveable
this book is completely staggering. the depth of detail is truly stunning. easily the single best book about the nuts and bolts of the twilight zone's history.
WOW!

Surprisingly good
This book looks pretty good.My first impression was that the author, Grams, was aiming for self-promotion more than anything else.But after reading the book, that definitely changed.Having done "Twilight Zone"
stuff (paying projects, nonpaying projects, agenting for TZ actors, and whatnot) for about 8 years now, and having watched it for 15, I kinda thought I 'knew it all' when it came to TZ.Kudos to Grams for unearthing
an enormous amount of information that I never thought existed, except perhaps deep inside the CBS vault.It's unlikely that Grams had access to this "vault", however. Although it is unstated in the book, the author undoubtedly was in touch with a person or organization (not CBS, because I know for a fact that they would never let this information out unless they were doing the book themselves) who had a great deal of Rod Serling's records, or the records of TZ's production company, Cayuga Productions.Instead, the author says only that the information in the book came mostly from items purchased from eBay and private parties, as well as consultation with actors and others who were involved in the production of the original series.

Now, this book is, in fact, for diehard - and only diehard - TZ fans.Casual TZ fans probably wouldn't find it very accessible.

There is perhaps an unspoken debate about whether this book will ultimately dethrone M. Zicree's immortal Companion.To give my own educated and humble opinion - I doubt that will happen.This book (Grams) focuses more on factoids and interesting trivia and the finer details that fans who have been watching the show forever, will immediately relish.Zicree's book is broader, but the splendid writing and the mere fact that it's been around for going on 30 years will probably always place it at the very front of the line.While Zicree's book is sometimes incomplete with its quick dismissals of fine episodes, it remains the unsupplantable standard for TZ books.And it also set the standard (and, I believe, the genre) for television 'companion' books.

What I'm not really quite sure of is why a bigger publishing house did not pick up Grams' book.It should've been, but it looks like it was independently published by Grams.Apparently no medium to large-scale publishing houses are releasing new TZ books nowadays because they feel that TZ is "far overpublished."Which of course is untrue.The (quite bad) "Rod Serling & Twilight Zone - The Official 50th Anniversary Tribute" by Doug Brode somehow slipped through the cracks and made it into bookstores.It shouldn't have happened, and exactly why it happened is anybody's good guess.

Anyhow - if Grams' book isn't going to replace Zicree's, the two books should probably sit together on the coffee tables of diehard TZ fans.

$45 for a paperback book?
I would love to read this book and I will when it's $9.99.It's shameful to charge this much.Amazon is selling the upcoming 1000+ page, hardcover Stephen King book for $9.There is no way to justify this ridiculously high price tag. ... Read more

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Customer Reviews (2)

Buy this book
Buy this book, whoever you are, if you are at all interested in television, visual culture, and electronic media.It's guaranteed to get you thinking, and it's quite likely going to change your opinions about the simplistic ways TV gets talked about by academics and non-academics alike.Take pleasure in the fact that this is one of the most lucidly written academic titles out there, but doesn't dumb down its analysis; McCarthy addresses her reader carefully, respectfully, and without a tad of the vapid academic insiderism exhibited in the Newport Beach reviewer's unexplained and to my mind inexplicable response to the book.Plus it's loaded with wonderfully illustrative photos and line drawings.A real treat.

Good try, but doesn't quite work.
McCarthy has hit on an interesting idea--television is as much a public as a domestic fixture.Unfortunately, she doesn't quite follow through.The book has the air of a dissertation, careful but uninspired in its research as well as in the conclusions the author draws.In the end, it's a disappointment. ... Read more

Product Description
Television audio engineering is like any other business-you learn on the job--but more and more the industry is relying on a freelance economy. The mentor is becoming a thing of the past. A PRACTICAL GUIDE TO TELEVISION SOUND ENGINEERING is a cross training reference guide to industry technicians and engineers of all levels.Packed with photographs, case studies, and experience from an Emmy-winning author, this book is a must-have industry tool.

* Author has won multiple Emmys and been the sound designer for the past three Olympics!
* Readers learn audio engineering for television from end-to end-sports, comedy, drama, music, and news
* Packed with demonstrative photos and real world examples from an international production community ... Read more

Customer Reviews (1)

Television Sound Engineering
Although I haven't completely read the book, I have found it to be well written in understandable terms.It will make a good reference for any audio engineer to have in his professional library. ... Read more

Product Description
Directing film or television is a high-stakes oppucatiopn - the white water rafting of entertainment jobs. It captures your full attention at every moment, calling on you to commit every resource and stretch yourself to the limit. But for many directors, the excitement they feel about a new project tightens into anxiety when it comes to working with actors.

Directing Actors is a method for establishing creative, collaborative relationships with actors, getting the most out of rehearsals, troubleshooting poor performances, and giving directions that are briefer and easier to follow.

The following issues are discussed:
* what constitutes a good performance
* what actors want from a director
* what directors do wrong
* script analysis and preparation
* how actors work
* the director/actor relationship

Directing Actors is the first book of its kind. Judith investigates in detail the sometimes painful, often frustrating, but potentially exhilarating relationship between actor and director. It provides simple, practical tools that directors and actors can use immediately - and takes the reader on a journey through the complexities of the creative process itself.

Although one chapter is entitled 'Result Direction and Quick Fixes', the tools and suggestions of the book are now superficial band-aids or facile jargon; they are radical excursions into the perhaps most misunderstood artistic collaboration - that of director with actor.

Judith Weston brings to this book twenty years of professional acting and nine years of teaching Acting for Directors. Her students include academy Awards and Emmy winning directors, writers and producers of studio and independent feature films, television episodics and MOWs.

KEY FEATURES:
* The first book to directly address directors about working with actors
* Offers practical techniques in managing the director/actor relationshipAmazon.com Review
This is essential reading for anyone interested in directingor acting. Judith Weston's brilliance is to recognize that directors,actors, writers, and technicians are involved in a process that is atessence a collaboration. In order for them to have the best shot atcreating something true and meaningful, they must share a language anda method of exchange that fosters creative cooperation. Weston rightlysees the director as the central figure in inspiring the energy of aproduction's harmony. She advises the prospective director on everyaspect of a stage or film production, showing how the director candraw the best performances possible from actors. ... Read more

Customer Reviews (54)

Amazing book
Although I haven't read it all, I've already implemented it in not only my directing, but also in my acting classes that I teach. Amazing stuff in this book, no director should be without.

fantastic textbook!
bought this for my graduate directing fiction course and it was very beneficial to my development as a director and learning better language between a director and actors.

Amazing for Casting!!
As a director I've studied extensively with Judith and used this book as the bible! Put into real life practice it's genius material.

I want to point people to the fact that these techniques are amazing for casting. You can use Judith's methods to dig deep into the capabilities of an actor very quickly. There's even a great chapter on casting in the book.

So go forth and make your masterpiece, but before you buy that digital camera, this book is the owners manual for what's in front of the camera.

Dannyk

MUST HAVE! for actors and directors, even writers
BUY THIS BOOK.YOU WILL BE HAPPY YOU DID.
If you are involved with film or television production, you MUST read this book.

I have been studying acting and directing for over two years now and this book is such a solid, thorough explanation of how actors work and how best to communicate with them as a director.Chapter by chapter I can recall how we touched on this or that in class or in my other studies and it has amounted to quite an impressive collection of technique, advice, anecdotes and examples, indeed.

There is virtually no filler.Any examples given serve the case-in-point directly.Some pitfalls are addressed in most areas and explanations are given as to why they occur and why and how they are best avoided. Writers can even benefit from this book by understanding how theirs scripts are broken down, analyzed, and delivered and how a stumble in acting may truly fall back on the words on the page.

This book will equip you with a knowledge of most ubiquitous technique and terminology such that you can fashion your own approach to each new role as either an actor or as a director who will help your actors deliver the best they can.
Five Stars, hands-down.

I am seriously considering purchasing a backup copy, this book is THAT GOOD.

A FEW THINGS
The book offered a few good concepts regarding the interaction between directors and actors.
It seemed to be a little heavy on the philosophy.
It gave many great examples and explanations on how to talk to actors with certain type words.
I would have to say that was the heart of the book, developing a certain way to talk with actors. ... Read more

Product Description
It's an industry that may appear to be tucked behind the curtains in lieu of the frontline actors, directors, and special effects of a project, but it remains consistent in its positioning. No matter how often the entertainment industry evolves over the years, there is always a need for a musical score to guide the end product to success. SOUNDTRACK NATION: INTERVIEWS WITH TODAY'S TOP PROFESSIONALS IN FILM, VIDEOGAME, AND TELEVISION SCORING includes interviews with representatives from every facet of the art and business sides of soundtracks, including composers, musicians, vocalists, music producers/ distributors, public relations representatives, journalists, and even the fans themselves. These interviews offer rare insight about the business for individuals who are seeking to get into the industry and those already in it. Whether you're a budding composer looking to make strides in the field, a musician who wants to participate in recording film music, or a future publicist or manager, you'll find great resources here. But you can also approach the book as pure entertainment--the interviews are a fun and informative way to connect with your favorite scores and movies. Either way, you can't go wrong. ... Read more

Product Description
Television Writing from the Inside Out is a how-to book with a difference: Larry Brody is a television writer-producer who has helped shape the medium. The book is rooted in experience, and told in the breezy style that is the trademark of Brody and his award-winning website TVWriter.Com, which has helped launch the careers of many new writers. The information given by Brody and the manner in which he gives it has made him a writing guru to thousands of hopefuls.Television Writing from the Inside Out covers: what writing jobs are available; the format, structure and stages of teleplay development; tips on the writing of different genres - drama, comedy, action, the television film, soap opera, animation; and sample teleplays by Brody and others, with analyses of why they were written the way they were in terms of creativity, business, production and "insider politics."Television Writing from the Inside Out presents all that Larry Brody has learned about writing, selling and surviving in the television industry. The best-kept secret in show business has been that it is a business, but Brody's readers will know the truth - and armed with their new knowledge, they will have a significant edge as they set out to conquer this fascinating field. ... Read more

Customer Reviews (6)

Good book
Television Writing from the Inside is a very good guide.Larry Brody writes from experience and it shows.

If you found this book helpful, you will also likely enjoy Starting Your Television Writing Career by Abby Finer. Another very good book.

not really a book on writing
The brief armchair advice on writing in this book is too vague and general to be of use.

But the account of how a network television organization works is useful if you plan to try to market your material to such organizations.

The book is also useful for laying out the three stages that an idea must go through to end up on TV.These he calls "the logline", the "outline" and the teleplay.His examples of each of these (for sitcoms, series and TV movies) are also useful.

The book also (unintentionally) helps you to understand why television shows and network-produced TV movies are so bad.

Great Insider Advice
Larry Brody has an amazing breadth of knowledge about what makes the Television industry work. This book is a fantastic look into the workings of the industry. He is cleary an authority on the subject, having penned over 500 hours of television.

My only reservation in recommending this book to everyone is that it's been a long time since Larry stood outside the industry looking in. The landscape has changed and Larry is already a barnacle on the television whale, far out to sea. For those stuck on the rocky shore, this book might be more useful if you already have screen credits and want to leverage your position with knowledge about how the industry works.

Get it
If you're an experienced television writer read it.

If you're an aspiring television read it twice.

It's jammed with all the knowledge and you need and, possibly more importantly, how to impliment it.

Packed from cover to cover with Brody's insider experience
TV writer-producer Larry Brody uses Television Writing From The Inside Out : Your Channel To Success to explore a medium he helped shape, discussing writing jobs available in TV work, considering teleplay development and writing for different genres, and including sample teleplays by Brody and others complete with analysis. This "nuts and bolts" reference is a recommended pick because it's packed from cover to cover with Brody's insider experience and knowledge of how the industry works. ... Read more

Product Description
A life in the movies has been an American dream for a century. Many people dream of becoming Hollywood professionals, but either aim too high (by trying to produce their own feature film) or too low (by hanging around restaurants frequented by movie stars) and end up frustrated. Wouldn't it be great if someone who knew what to do, someone who had achieved acclaim in the field, would walk us through the steps to success? At last, here is a book by a seasoned movie and television professional, Emmy winner Sandra Gordon, that is filled with practical, yet highly effective ways to build a career in entertainment. Gordon calls upon her own experience working on the television series PARTY OF FIVE, the movie RUDY and many more. There are many books that teach job-seekers how to write resumes or ace interviews, but not many books like ACTION! Uniquely designed for individuals who are interested in a career in the entertainment industry, whether they are recent college graduates or middle-aged career changers, ACTION! takes the formula out of the job-hunting book to the next step, telling its readers not only how to write their resumes, but where to send them, how to keep their jobs once they are hired, and how to advance in their career. ... Read more

Customer Reviews (2)

WHERE was this book when i graduated college 4 years ago!
This book is an excellent over-view of the television & film world. If you've got your production goals set higher than local broadcast news, than I HIGHLY recommend this book. There's a great section on putting together your production resume, great real-world advice from Sandra & her production colleagues, detailed descriptions of what every position on a Film & TV set does, valuable info on how to work in various markets (Chicago, New York, LA, etc). I bought the book a few months ago and had the fortunate chance of meeting the author, and she is genuinely a wonderful woman who truly wants to help those interested in getting into & succeeding in "the business".

This book is also an easy & quick read, I read most of the book on a flight out to LA from Chicago. "Action! Establishing your Career..." is an ESSENTIAL read if you plan on moving out to LA and you don't have many production contacts there...I'm looking at you recent college grads! I've even recommended this book to friends who are actors on their way out to the coasts so they are educated about sets, crews, etiquette, etc.

"Action!" is a much easier & faster read than "The Independent Film Producer's Survival Guide" (which is itself a great book, but more of a legal resource, basically saves you from asking your entertainment lawyer dumb questions).

I'm not a newbie to production and this isn't a fake review, I'm a freelance Commercial Producer who is also very active in Chicago independent film; having served as producer on 4 features in the past two years, negotiated distribution deals for features, and I remain active in the scene via a Chicago based non-profit indie-sponsorship company. I find that I continue to pull "Action! Establishing your Career" off my bookshelf to use as a reference on projects.

A handy and practical guide
Action!: Establishing Your Career In Film & Television Production by Emmy award winning Sandra R. Gordon is a handy and practical guide specifically written for people who are interested in a career in one or more segments of the entertainment industry. From internship tips, to the ins and outs of the production department, to crafting a production resume, to the value of adopting a solid work ethic, Action! is a first-rate and highly readable resource intended and enthusiastically recommended for job seekers of all backgrounds seeking a position with film and/or television production careers. ... Read more

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Customer Reviews (2)

Great Social Commentary
I'm a fan of LMJ's other edited volumes, and this book didn't dissapoint. I found that some of the sections were more interesting and stronger than others, but isn't that usually the case with an anthology?

Some Third Wave feminists continue to spend ample time critically examining the world around us, especially pop culture. This book adds to this genre and provides an academic look at television, the box.

I found the Sopranos chapter the most engaging---perhaps because the series just ended or my own interest in occasionally watching the show. This book is geared for more of an academic audience, but it's a wide one: women's studies, communications, tv/film studies, cultural studies, sociology, anthropology, psychology, etc.

television from a feminist standpoint
Merri Lisa Johnson's collection, Third Wave Feminism and Television, uses contemporary television as a lens through which to view a variety of issues - ranging from S&M practices to prisoner rape - within a third wave framework. The essay most emblematic of this approach is the final one, Leslie Heywood's incredibly insightful "The Room as 'Heterosexual Closet': The Life and Death of Alternative Relationships on Six Feet Under." In it, Heywood uses Six Feet Under's Nate as an example of "queer heterosexuality" and, through him, discusses twentieth century constructions of masculinity and the way heteronormativity has failed some straight people.

This conceit of examining focus points of feminist discussion through television isn't quite as effective in every essay, however. Carol Siegel's "Female Heterosexual Sadism: The Feminist Taboo in Buffy the Vampire Slayer and the Anita Blake Vampire Hunter Series" is based on the premise that Joss Whedon's Buffy the Vampire Slayer judges the main character unfairly for her forays into an S&M relationship with Spike, a vampire, while the Anita Blake series looks more kindly on these types of encounters. Unfortunately, Siegel's take on Buffy the Vampire Slayer ignores the incredibly complicated texture of the relationship between Buffy and her vampire lover by completely decontextualizing just three episodes from the series' seven season run.

The rest of the essays find interesting ways to connect the cultural work of television to feminist reflections on the world. Katherine Frank uses The Bachelor to question ideas of romance and monogamy, Bobby Noble finds moments of female masculinity through a trans reading of Queer as Folk, Lara Stemple breaks open the depiction of prison rape on Oz, Candace Moore continues Laura Mulvey's work in an examination of perspective on The L Word and Johnson herself looks at the intersection of class and gender on The Sopranos.

While Third Wave Feminism and Television is too academic make it a must-have for every casual TV viewer, for anyone interested in a close reading of contemporary television from a feminist standpoint, this collection of essays is a perfect addition to your bookshelf. ... Read more

Product Description
Previously titled Audio Post-production in Video and Film, this third edition has been completely revised and restructured to provide a step-by-step guide to the professional techniques used to shape a soundtrack through the production process. Covering sound for both film and television, this edition includes many of the practical techniques and shortcuts used by experienced editors and mixers.

Part one explains the basics of audio post production - how audio is recorded, how sound and picture stay in sync, how audio can be exported from system to system, and how film and video technology works. Part two follows the path of production sound from its original recording right through to the final mix, and includes sections on editing sound with picture, dialogue, sound effects and music editing, how to run ADR and Foley record sessions, and mixing, using many practical examples.

Audio Post Production for Television and Film is aimed at professionals already working in the industry, newcomers, students and those considering sound for film and television as a career - in fact anyone who wants an insight into current professional practices and a comprehensive overview of the sound post production process.

* Reflects current working practice and covers the latest topical issues
* Extensively reorganized for maximum ease of use
* Illustrated throughout and features helpful workflow diagrams ... Read more

Customer Reviews (4)

Very Professional
The data found inside this book is absolutely useful, many questions found answer inside, la diseccion del time code por ejemplo esta hecha de una manera clara y me ha permitido emplearme de manera mas eficaz en mi trabajo, ademas me ha permitido contrastar en varias oportunidades opniones que tengo sobre temas tecnicos y ver que piesan personas que se dedican a lo mismo que yo en otras partes del mundo, esta muy bien escrito y es facil de leer, incluso se puede decir que es un libro ameno para ser un libro de contenidos tecnicos una A+.

Great for Reference and Fundamental Overview.
I've been mixing and Recording music for 15 years and have done a number of major motion pictures now, but always felt slightly in the dark regarding some of the technical jargon and workflow for Film and TV post production. This book is clear, to the point, easy to read, and a constant source of reference for me as more and more work i do is for Film and TV. As someone who has had a lot of experience in audio, I really appreciate that the delivery of detail is not dummied down, but that it's nor over explained either. This is a great launchpad for people needing to grasp a fundamental overview of the whole process. It should be required reading for anyone who considers themselves a TV or Film or Commecial producer.

Definate key text for students of sound and film
This is the book I wanted to write! There are many books out there around this subject, but this text is comprhensive AND comprehensible! It covers every area of the post production process ( and a good deal of giudance for the recording of production sound too) in exactly the amount of detail that is needed, with each technical topic supported by useful and informative technique and advice.
The chapters on editing sound give many valuable pointers that will help anyone who is learniung this craft to develop a strong skills base, with really useful practical tips. There isno important technical information missing; all the standards and formats are addressed and explained in easy to read language, so that you're not left with an incomplete picture, and it's up to date with contemporary systems such as Windows XP and Mac OSX, hard disk recording and digital TV, DVD, diffusion systems for broadcast (surround) and more.
So to sum up, this is a really good read, and worth having as a reference book for anyone studying or working in this field who wants to get a a good understanding of the entire process of audio post, and I would also recommend it to film makers as well, as it is a good read and will inform and enlighten.
I have included it my essential reading list for students on our film and sound design courses.

A Must Have Book
A modern, up to date and informative guide to audio post production techniques used in todays complex industry.

Hilary describes each step of the audio post production process, from a locked picture edit, through to final mixing and deliverables.

Chapters on editing give the reader a unique insight into how a sountrack is created and prepared for the mix, using techniques that Hilary has acquired from working on many feature films and television programmes.

A must have book for anyone wanting to gain knowledge and understand sound in the modern film and television industry. ... Read more