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).
