18.7: Notes
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- Herman Gray
- University of California Press
1 Miranda Banks, “How to Study Media and Makers,” in The Sage Handbook of Television Studies , ed. Manuel Alvarado, Milly Buonanno, Herman Gray, and Toby Miller (London: Sage, 2014).
2 John Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008).
3 “The News Media and the Disorders,” in Channeling Blackness: Studies on Television and Race in America , ed. Darnell Hunt (London: Oxford, 2005); Kerner Commission, Report of the National Advisory Commission on Civil Disorders (Washington, DC: U.S. Government Printing Office, 1968); Arthur S. Fleming, Stephen Horn, Frankie M. Freeman, Manuel Ruiz Jr., Murray Saltzman, and John A. Biggs, Window Dressing on the Set: Women and Minorities in Television (Washington, DC: U.S. Commission on Civil Rights, 1977).
4 See, for instance, Aniko Bodroghkozy, Equal Time: Television and the Civil Rights Movement (Urbana: University of Illinois Press, 2012); Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham, NC: Duke University Press, 2001); Laurie Ouellette, Viewers Like You? How Public TV Failed the People (New York: Columbia University Press, 2002); Sasha Torres, Black, White, and in Color: Television and Black Civil Rights (Princeton, NJ: Princeton University Press, 2003); Chon Noriega, Shot in America: Television, the State, and the Rise of Chicano Cinema (Minneapolis: University of Minnesota Press, 2000); Devorah Heitner, Black Power TV (Durham, NC: Duke University Press, 2013); Steven Classen, Watching Jim Crow: The Struggle over Mississippi TV , 1955–1969 (Durham, NC: Duke University Press, 2004); Anna McCarthy, The Citizen Machine (New York: New Press, 2010); and Vicki Mayer, Below the Line: Producers and Production Studies in the New Television Economy (Durham, NC: Duke University Press, 2011).
5 Mayer, Below the Line , 13 (my emphasis); see also Kerner Commission, Report of the National Advisory Commission on Civil Disorders .
6 Mo Ryan, “Who Creates Drama at HBO? Very Few Women or People of Color,” Huffington Post , March 7, 2014.
7 Darnell Hunt, “Hollywood Story: Diversity, Writing and the End of Television as We Know It,” in The Sage Handbook of Television Studies , ed. Alvarado et al; Ralph Bunche Center, 2014 Hollywood Diversity Report: Making Sense of the Disconnect (Los Angeles: UCLA, 2014).
8 Hunt, “Hollywood Story,” 166.
9 Stacy Smith et al., “Gender Inequalities in 500 Popular Films: Examining On Screen Portrayals and Behind-the-Scenes Employment Patters in Motion Pictures Released between 2007–2012,” Annenberg Report (Los Angeles: University of Southern California, 2013); Stacy Smith et al., “Race/Ethnicity in 500 Popular Films: Is the Key to Diversifying Cinematic Content held in the Hand of the Black Director?” Media Diversity and Social Change Initiative (Los Angeles: University of Southern California, 2013).
10 Directors Guild of America, “‘A Fair Shot’: Women Directors on Television,” www.dga/Craft/DGAQ/All-Articles/1301-Winter (accessed September 19, 2014); Directors Guild of America, “DGA Report: Employers Make No Improvement in Diversity Hiring in Episodic Television,” www.dga.org/ News/PressReleases/2014/140917.
11 Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press, 1993).
12 Michael Curtin, “Media Capitals: Toward the Study of Spatial Flows,” International Journal of Cultural Studies 6.2 (2003): 202–228; Toby Miller, Nitin Govil, John McMurria, and Richard Maxwell, Global Hollywood (London: British Film Institute, 2001); David Hesmondhalgh, The Cultural Industries (Los Angeles: Sage, 2006).
13 George Yudice, The Expediency of Culture: The Uses of Culture in the Global Era (Durham, NC: Duke University Press, 2003); Arlene Davila, Culture Works: Space, Value, and Mobility across the Neoliberal Americas (New York: New York University Press, 2012).
14 Amanda Lotz, The Television Will be Revolutionized (New York: New York University Press, 2007).
15 Roderick Ferguson, The Reorder of Things: The University and Its Pedagogies of Minority Difference (Minneopolis: University of Minnesota Press, 2012).
16 Herman Gray, “Subject(ed) to Recognition,” American Quarterly 65.4 (2013): 771–799.
17 David Hesmondhalgh and Anamik Saha, “Race, Ethnicity and Cultural Production,” Popular Communication 11.3 (2013): 179–195.
18 Caldwell, Production Culture .
19 Laurie Ouellette and James Hay, Better Living through Reality TV (London: Wiley, 2008).
20 Felicia Henderson, “Options and Exclusivity: Economic Pressures on TV Writers’ Compensation and the Effects on TV Writer’s Room Culture,” in The Sage Handbook of Television Studies , ed. Alvarado et al.
21 Caldwell, Production Culture .
22 Mayer, Below the Line ; Sarah Banet-Weiser, Authentic (New York: New York University Press, 2012).
23 Timothy Havens, Black Television Travels: African American Media around the Globe (New York: New York University Press, 2013); Hunt, “Hollywood Story.”
24 Jennifer Peterson, Murder, the Media, and the Politics of Public Feelings (Bloomington: Indiana University Press, 2011).