ISBN: 9780822348245 - scripted affects, branded selves: television, subjectivity, and capitalism in 1990s japan (18 resultados)

Paperback. Condición: Good. An exploration of Japans television culture focused on primetime serials called trendy dramas, popular primetime serials featuring. well-heeled young sophisticates enjoying consumer-oriented lifestyles.

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Condición: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condición: Good. An exploration of Japans television culture focused on primetime serials called trendy dramas, popular primetime serials featuring. well-heeled young sophisticates enjoying consumer-oriented lifestyles.

paperback. Condición: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

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Paperback. Condición: Brand New. 272 pages. 8.90x6.10x0.70 inches. In Stock.

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Condición: New. pp. 280 Index.

Condición: New. pp. 280 7 Illus.

Condición: New. An exploration of Japans television culture focused on primetime serials called trendy dramas, popular primetime serials featuring. well-heeled young sophisticates enjoying consumer-oriented lifestyles.&Uumlber den AutorGabriella Lu.

Taschenbuch. Condición: Neu. Neuware - In Scripted Affects, Branded Selves, Gabriella LukÁcs analyzes the development of a new primetime serial called "trendy drama" as the Japanese television industry's ingenious response to market fragmentation. Much like the HBO hit Sex and the City, trendy dramas feature well-heeled young sophisticates enjoying consumer-oriented lifestyles while managing their unruly love lives. Integrating a political-economic analysis of television production with reception research, LukÁcs suggests that the trendy drama marked a shift in the Japanese television industry from offering story-driven entertainment to producing lifestyle-oriented programming. She interprets the new televisual preoccupation with consumer trends not as a sign of the medium's downfall, but as a savvy strategy to appeal to viewers who increasingly demand entertainment that feels more personal than mass-produced fare. After all, what the producers of trendy dramas realized in the late 1980s was that taste and lifestyle were sources of identification that could be manipulated to satisfy mass and niche demands more easily than could conventional marketing criteria such as generation or gender. LukÁcs argues that by capitalizing on the semantic fluidity of the notion of lifestyle, commercial television networks were capable of uniting viewers into new affective alliances that, in turn, helped them bury anxieties over changing class relations in the wake of the prolonged economic recession.…

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