000			03623nam a2200481Ia 4500
001			201617
003			IT-RoAPU
005			20231211163318.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			231101t20002000nyu fo d z eng d
020			_a9780814797563 _qprint
020			_a9780814786994 _qPDF
024	7		_a10.18574/nyu/9780814786994.001.0001 _2doi
035			_a(DE-B1597)9780814786994
035			_a(DE-B1597)547471
035			_a(OCoLC)50706020
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN1992.8.C66 _bS718 2000
072		7	_aSOC052000 _2bisacsh
082	0	4	_a791.45/617 _221
084			_aonline - DeGruyter
100	1		_aStaiger, Janet _eautore
245	1	0	_aBlockbuster TV : _bMust-See Sitcoms in the Network Era / _cJanet Staiger.
264		1	_aNew York, NY : _bNew York University Press, _c[2000]
264		4	_c©2000
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aArchie Bunker. Jed. Laverne and Shirley. Cliff Huxtable. Throughout the entire history of American prime-time television only four sitcoms have been true blockbusters, with Nielsen ratings far above the second- and third-rated programs. Weekly, millions of Americans of every age were making a special effort to turn on the set to see what Archie, Jed, Laverne, and Cliff were doing that week. The wild popularity of these shows--All in the Family, The Beverly Hillbillies, Laverne & Shirley (and its partner Happy Days), and The Cosby Show--left commentators bewildered by the tastes and preferences of the American public. How do we account for the huge appeal of these sitcoms, and how does it figure into the history of network prime-time television? Janet Staiger answers these questions by detailing the myriad factors that go into the construction of mass audiences. Treating the four shows as case studies, she deftly balances factual explanations (for instance, the impact of VCRs and cable on network domination of TV) with more interpretative ones (for example, the transformation of The Beverly Hillbillies from a popular show detested by the critics, to a blockbuster after its elevation as the critics' darling), and juxtaposes industry-based reasons (for example, the ways in which TV shows derive success from placement in the weekly programming schedule) with stylistic explanations (how, for instance, certain shows create pleasure from a repetition and variation of a formula). Staiger concludes that because of changes in the industry, these shows were a phenomenon that may never be repeated. And while the western or the night-time soap has at times captured public attention, Blockbuster TV maintains that the sitcom has been THE genre to attract people to the tube, and that without understanding the sitcom, we can't properly understand the role of television in our culture.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023)
650		0	_aTelevision comedies _zUnited States.
650		7	_aSOCIAL SCIENCE / Media Studies. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://www.degruyter.com/isbn/9780814786994
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780814786994/original
942			_cEB
999			_c201617 _d201617