Mad Men

Author(s):  
Gary Edgerton

Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.

2018 ◽  
Vol 25 (1) ◽  
pp. 27007
Author(s):  
Mayka Castellano ◽  
Melina Meimaridis
Keyword(s):  
Mad Men ◽  

Tendo em vista a expressiva quantidade de séries televisivas centradas em anti-heróis com destaque nas últimas décadas, tais como The Sopranos, Mad Men e Dexter, este artigo busca pensar a figura da anti-heroína. Para isso, apresentamos uma perspectiva histórica sobre a representação das mulheres nesse tipo de produção, destacando papéis recorrentes e suas implicações sociais. Para problematizar o contexto contemporâneo, quando personagens femininas mais complexas começam a aparecer, tomamos como objeto central da análise o drama UnREAL e partimos do pressuposto de que, embora apontem uma diversificação nas formas de representação da vivência feminina na ficção, as anti-heroínas são construídas através da aproximação ora com elementos tradicionalmente associados ao universo masculino, ora com habituais estereótipos de gênero.


2019 ◽  
pp. 136787791987251
Author(s):  
Mia-Marie Hammarlin

The abiding interest of researchers in the nature of mediated scandals continues to provoke discussions of what this phenomenon actually is, and how it is best researched empirically. This article argues that despite the claims that a modern scandal is manifested mainly through traditional and digital media, a careful analysis of the lived experience of this phenomenon – using in-depth qualitative interviews with the subjects of scandal – demonstrates that to fully understand it, we must take into account other forms of direct human communication, such as gossip and rumours, which flourish among the audiences as a response to the transgressional acts that started the scandal. The results of this study challenge the idea of ‘mediated scandals’ as a typically modern conjuncture that can be separated from ‘localized scandals’ or ‘classic scandals’. Instead, I consider the mediated scandal to be above all a cultural phenomenon, which audiences use to debate and negotiate transgressional acts and norms. They also reflect the historical staying power of this phenomenon, and the urgent need to analytically transgress the alleged border between the ‘mediated’ dimension of communication with the word-of-mouth dimension, which may very well be one of the most influential news media in every society.


2009 ◽  
Vol 2 (8) ◽  
pp. 37-50 ◽  
Author(s):  
Tom Kernodle

Media can be used to effectively teach Organizational Behavior (OB) concepts at the college level. University instructors have the option to employ several different methods of teaching in order to convey course concepts in the classroom. This article describes the effectiveness that five particular pieces of media can have on active learning in an undergraduate OB class. The films For Love of the Game, 300, and 12 Angry Men, as well as the episode All Due Respect of the television series The Sopranos and the episode Did I Stutter? of the television series The Office, will be analyzed. This article provides a background on each piece of media, as well practical suggestions on how to use them to instruct OB.


2012 ◽  
Vol 27 (68) ◽  
Author(s):  
Jakob Isak Nielsen

Jakob Isak Nielsen: "Tv-serien som vor tids roman?"AbstractJakob Isak Nielsen: “The TV Series as the Novel of our Time?”In recent years contemporary TV series – particularly American one-hour drama series such as The Sopranos (HBO, 1999-2007), The Wire (HBO, 2002-2008) and Mad Men (AMC, 2007-) – have often been likened to many of the canonic works within the history of the novel. This article discusses the validity of this hypothesis byhighlighting a number of similarities between the two art forms before ultimately demonstrating how they differ from each other and how they are best understood as products of particular media-systemic circumstances.


2015 ◽  
Vol 24 (4) ◽  
pp. 322-337 ◽  
Author(s):  
Simon Statham

This article reflects the trend within the stylistics of drama towards the analysis of film and television discourse by examining dialogue from HBO’s popular organised crime drama The Sopranos. A major theme of the series focuses on the consistent attempts of the authorities to bring Soprano gang members to justice for their crimes. To gather evidence, investigators rely on electronic surveillance and surreptitious listening devices worn by collaborating witnesses who agree to testify for the government against their former associates. FBI agents are additional participants in recorded conversations and they perform a range of discourse roles in these encounters. Cooperating witnesses employ a range of conversational strategies to accommodate FBI ‘eavesdroppers’, whilst the major criminal characters adopt tactics of conversational vigilance in their ‘crime talk’. Gangsters exercise a level of caution in their interactions which has important implications for conversational cooperation. This article will use Goffman’s (1981) participation framework to analyse how recorded crime talk is affected by the presence of investigating authorities and cooperating witnesses. The divergent conversational intentions of targets and cooperators also affect adherence to Grice’s (1975) conversational maxims. These seminal models will be applied to selective dialogue extracts from The Sopranos in order to demonstrate that criminal topics of conversation can have a significant effect on the structure and strategies of interactions in a television drama. Characters employ conversational caution when addressing incriminating acts which they consider it unwise to discuss explicitly. In many cases the external television audience is accommodated by being shown these crimes whilst internal overhearers are frustrated by the tactical vigilance adopted in characters’ talk.


Author(s):  
N. Rozanova ◽  
A. Yushin

The article analyzes new phenomena in the field of television associated with the digital era, in particular, the transformation of media market under the influence of technological, economic, financial and institutional factors of digitalization. Contemporary international and Russian television industry is in the process of digital revolution. The era of traditional television as a typical broadcasting technology, a traditional social, economic and cultural phenomenon, has come to an end. We are on the verge of a global and irrevocable shift to mass utilization of various digital devices that certainly affect the positions of television as a separate industry. Modern television is outlined as a part of a wide digital media market, just a segment of a highly competitive entertainment structure with complex network interactions. In terms of Russia, the new phenomena accompanying the evolution of media and television markets in the process of digitalization urgently need an economic analysis. In what direction is it necessary to develop the local broadcasting? Is there a sound commercial future of national and regional television companies? What lessons can extract Russia from world experience? What else does Russian television need to improve efficiency and global competitiveness? These issues are detail considered in the article. Trends and obstacles for the implementation of a prospective business model for Russian TV are shown. It is concluded that successful development of the Russian television industry is possible only under the conditions of efficient formation of a fundamentally new configuration of a multi-market structure type.


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