By Marc Leverette, Visit Amazon's Brian L. Ott Page, search results, Learn about Author Central, Brian L. Ott, , Cara Louise Buckley
In view that first happening the air in 1972, HBO has continuously tried to redefine tv as we all know it. this present day, pay tv (and HBO particularly) is situated in its place to community choices, constantly considered as the most efficient web site for what has emerge as referred to as "quality television." This selection of new essays by means of a global crew of media students argues that HBO, as a part of the vanguard of tv, is on the heart of tv experiences’ pursuits in marketplace positioning, sort, content material, know-how, and political economic system. The members concentrate on pioneering components of research and new severe ways in tv reviews at the present time, highlighting distinctive points of the "HBO impact" to discover new views on modern tv from radical alterations in know-how to dramatic shifts in viewing behavior. It’s now not television presents clean insights into the "post-television community" by way of reading HBO’s phenomenally renowned and pioneering exhibits, together with The Sopranos, The cord, Six ft lower than, intercourse and town in addition to its failed sequence, resembling ok highway and The Comeback. The individuals additionally discover the creation method itself and the production of a model commodity, besides HBO’s position as a marketplace chief and technological innovator. individuals: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa Williamson Foreword by means of Toby Miller Marc Leverette is Assistant Professor of Media stories at Colorado country college. he's writer Wrestling, the parable, the Mat, and American pop culture and co-editor of Zombie tradition: Autopsies of the dwelling useless and Oh My God, They Deconstructed South Park! these Bastards! Brian L. Ott is affiliate Professor of Media reports at Colorado nation collage. he's writer of The Small display: How tv Equips Us to reside within the details Age. Cara Louise Buckley is a lecturer at Emerson university.
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Additional info for It's Not TV: Watching HBO in the Post-Television Era
Both series feature ensemble casts (The Sopranos has a more clearly deﬁned “main character,” but also myriad supporting players) involved in multiple story arcs that can unfold over the course of a single episode or can take an entire season or longer to develop. In this sense, both series are no different than ER or NYPD Blue. Like those shows, both Oz and The Sopranos can also be understood as workplace dramas, where romance and intrigue (or, in the case of The Sopranos, soccer matches and trips to the high school principal) intersect with the daily grind of prison and maﬁa life.
Elsewhere and later, ER and NYPD Blue, since the early 1980s. The generic adaptation of the work drama is also an effective strategy for increasing HBO’s subscriber pool. This process involves a simultaneous need to attract new viewers while retaining old ones, with which the quasi-serialized and familiar (but not too familiar) nature of the work drama can assist at both ends. Mark C. Rogers, Michael Epstein, and Jimmie L. ” (Rogers, Epstein, and Reeves, 2001: 54) The use of the sequential series or episodic serial (Dolan, 1994: 36–60) assists HBO in retaining viewers through the incorporation of never-ending or continuing themes or plotlines within series that rely on selfcontained episodes, which allow new subscribers to jump on at any given 30 Avi Santo moment.
The advent of video-on-demand technology further increases the options available to new subscribers (and devoted fans) to catch up on old episodes. Para-television always maintains a murky relationship with existing forms of television and trafﬁcs in ambiguous deﬁnitions of qualitative distinction. Whereas television seeks to attract a mass audience, para-television is designed to build coalition audiences. This, in turn, makes the semi-serialized, melodramatic genre appealing to HBO executives, precisely because its ambiguities can be marketed to multiple audiences, allowing the network to seek out new subscribers while maintaining their current audience base.