Enhanced descriptions from Syndetics:

Despite television's popularity and prevalence, or perhaps because of it, television is not taken seriously by most people. Although it is the central storyteller of our culture, television is rarely examined critically by those who regularly consume its tales. This book disassembles, describes, and thus, demystifies television. When we know what comprises the television industry, how and why the industry operates, how television programs are made, and what strategies are used to attract and maintain audiences, we become viewers more capable of making purposeful viewing selections. When we examine the television production process, explore the components and qualities that constitute entertainment genre, and trace the history and evolution of these genre, we become viewers more appreciative of the art, craft, and science of programming and program scheduling. When we examine why and how we watch television, we become more aware of television as a social and cultural force unmatched by any medium before it. This book helps us to become more acute consumers -- a critical mass audience.

Reaching a Critical Mass :
* develops a governing theoretical perspective that encompasses the various literary approaches to television text and serves as the central narrative and theme of the book;
* generates a working knowledge of the television industry and its dynamics, television producers and the production process, and the history and evolution of the most popular genres;
* systematically and creatively explores television programming using narrative, timeless examples, and case studies; and
* takes television seriously and strives to generate a more critical and knowledgeable consumer of popular TV fare.

Reviews provided by Syndetics

CHOICE Review

Occasionally useful and often infuriating, this book is full of pictures and anecdotes; each chapter ends with a list of key concepts. Chapters include "Taking Television Seriously," "Becoming Teleliterate" (complete with a simplified model of the communication act), and the quite useful "The Business behind the Box." One section includes chapters on talk shows, sports, and game shows (called "Non-narrative programming," although all of these forms depend heavily on narratives). The final section, "Narrative" (i.e., fictional programming), includes chapters on comedies, soaps, prime-time drama, and children's programming. Some basic information is clearly and often entertainingly presented. However, too many of the boxes provide no more than colorful gossip. Abelman is strongest on the mergers and the economics of contemporary television, inadequate and superficial on television drama and children's shows. Moreover, he invents his own confusing terminology: "pollution" means plot twist or possible solution, "redemption" means plot resolution, "actualism" refers to documentary elements. Complex critical approaches are described in a paragraph or two. Since this book is not the "critical analysis of television entertainment" it claims to be, it is not recommended for undergraduates. M. J. Miller Brock University