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Mar 13 – Television Today- Premium Cable and Satellite Television .pdf

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FILM 2401
Joseph Kispal- Kovacs

March 13 – Television Today: Premium Cable and Satellite Television Readings: Textbook Chapter 20 - tv programs on american tv have been supported by commercial sponsorship (single or several companies) - public access, educational and government stations were paid for by cable industry as parto f the bargain they made with various government stations were paid for by the cable industry as part of the bargain they made with various governments to receive their franchises - some tv viewers are willing to pay to receive programming not interrupted by commercial - pay per view or premium television —monthly fee - home box office (HBO) first of premium subscriber tv stations - 1980 hbo expanded its production of original dramatic program mining by making numerous well received made for tv movies - larry sanders show - dramatic series—oz - hbo vs showtime (californication and dexter) - subscription television is exempt from consideration because it is not free and foes not come over the public airways - HBO can deliver programming that broadcast network are wary of—sex, violence, profanity without backlash from advertisers and FCC - sopranos—NJ mobsters - significant increase in the number of subscribers to HBO in its first season - positive word of mouth and critical acclaim spread about show made ppl reconsider subscribing to the show - gangster films - sound added realism—gunplay - sound allowed the representation of specific examples of class and ethnic origins - in their blatant disregard for prohibition and ironic mimicry of the laissez faire capitalist road to success, ethnic urban gangsters directly confronted the key moral and economic precepts associated with an ailing nativist order - gangster film as allegory - allegory of class conflict - gangster films replaced labour capital films offering a highly coded depiction of the purist of the american dream - pursuit of wealth and success - people identify with gangster - godfather presents a conservative view of society—strong male leadership to hold the enterprise together - put women in their place—anti feminist Prince in Film Reader - terrorists and apocalypse - expanding technologies of violence promised to give terrorists the means at least of fulfilling grad ambition - before 9/11 numerous films gave us stories in which terrorists launched grandiose plans for destruction - films blew up, burned down and knocked over public landmarks like empire state building, world trade centre and statue of liberty - heightened awareness about terrorism overseas was coupled with an odd complacency about the probability of an attack on american soil - terrorism seemed like something that happened elsewhere and not in US - 9/11 shoed america wasn't immune from terrorism - Galleani - bombing of wall street —assault on American power - directed against public, anyone who happened to be near or any property in the neighbourhood - weather underground organization bombed buildings insead of ppl - army of god launched a campaign of bombing directed at abortion clinics - contemporary terrorism has increasingly become indiscrimatie in the choice of its victims - since 1980 movies about terrorism had been offering audiences the promise of mass destruction as a means of providing entertainment but before 1980 it was rare until few films focused on terrorism - hollywoods initial flirtations with the topic - the informer - suddenly - panic n the streets - manchurian candidate - targets - two minute warning - satan bug - rollercoaster - juggernaut - fbi story - hyjacked - airport - disaster movie on the 70s - spy movies - unpatriotic to ask why we’re fighting - hollywood markets terrorism as action-adventure - 1980s invasion USA, terminal entre, wanted: dead or alive, terror squd, terror in beverly hills, delta force, death before dishonor, iron eagle 2, navy seals - american targets of political violence grom groups in the middle east seemed more common than a decade earlier - string of attacks on US from middle east seemed to crystallize the topic of terrorism for hollywood - terrorism as a label and prisms through which to view not just modern political violence but crime itself - die hard - 1980s terrorism had emerged as a potent political label and conceptual template for understanding and perceiving acts of violence in the world - as employed in the film, terrorism is not an empirical term because none of the violence is politically motivated or is intended to terrorize a public larger than the hostages - homegrown enemies proliferate - die hard 1 & 2 - the rock - most of the films propose the terrorism is a desirable act; within the realm of fiction, terrorist violence provides the transaction between filmmaker and audience with its reason for being - these films need their terrorists as a way of motivation the explosions that provide the appeals of visual spectacle - until 9/11, most films in hollywood cycle of terrorism as entertainment go out of their way to avoid evoking real world complexities or to overly complicate their story lines with irony or completing moral perspectives - mad bomber—because crazy—no further motivation needed - causalities of the post 9/11 landscape - the events of 9/11 made prevailing fantasy world of movie terrorism look unacceptably irresponsible and disconnected - 9/11 had obliterated hollywoods terrorist thrilled conventions - movies largely erased the human cost of the explosion, except as a means for motivating the films revenge plot - motivate heros righteous vengeance and carried little emotional valance beyond the function - in movies intelligence always sees the terrorists coming but not irl 9/11 - 9/11 also made CAIR(group dedicated to promoting an understanding of islam amongs
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