Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad. Brett Martin. New York: Penguin Press, 2013. 303 pp. $27.95 paper.

2015 ◽  
Vol 48 (6) ◽  
pp. 1404-1406
Author(s):  
Jacob Justice
Keyword(s):  
New York ◽  
Mad Men ◽  
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.


Author(s):  
Liz Maynes-Aminzade
Keyword(s):  

“Dickensian” has become a buzzword in recent TV criticism not only because the term connotes a large character ensemble, but also because it connotes adiffuseensemble. In TV series such asThe Sopranos, The Wire,andBreaking Bad, many characters live and work so far apart from each other—whether in different neighborhoods of a city or different regions of the globe—that they fail to recognize how their actions affect each other. Through its wide spatial scope, this type of macroscopic “stranger narrative” explores a type of ethical confusion that is a byproduct of globalization. Namely, these narratives reveal to readers or viewers how they might be connected to and responsible for people they don’t even know.


Author(s):  
María de Lourdes López Gutiérrez

En la actualidad, son pocas las personas que no están enganchadas con una serie de televisión; aun los cinéfilos más agudos o los entusiastas detractores de la televisión han caído en la tentación, y algunos en las redes, de Breaking Bad (AMC 2008), Game of Thrones (HBO 2008), House of Cards (Netflix 2013), The Sopranos (HBO 1999), Lost (ABC 2004) , Mad Men (AMC 2007), The Walking Dead (AMC, 2010), Stranger Things (Netflix, 2015), Black Mirror (House of tomorrow, 2016), o de otras series que podemos considerar “canónicas” en esta etapa de resurgimiento de la ficción televisiva como vía de entretenimiento. Las múltiples formas que permiten su visionado han abonado a su éxito y se han colado en los intersticios de las actividades cotidianas facilitando el acceso a sus contenidos sin muchas restricciones de espacio o de condiciones tecnológicas.


2003 ◽  
Vol 77 (4) ◽  
pp. 577-610 ◽  
Author(s):  
Alex Nalbach

Nineteenth-century newspapers, exchanges, and governments relied heavily for their daily information upon an alliance of four international telegraph services: Havas (Paris), Reuters (London), Wolff's (Berlin), and the Associated Press (New York). The connections of the wire services to financial and official circles bred suspicions that they offered privileged information and suppressed or inserted reports on behalf of special interests. Corporate and official records reveal the wire services’ reliance upon the subsidies, information, and telegraph facilities of firms and governments. As a result, world news coverage was, if not “poisoned” at the source, at least dammed up, filtered, channeled, or watered down.


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 ◽  
Vol 22 (3) ◽  
pp. 1-29
Author(s):  
Shaila Garcia Catalan ◽  
Teresa Sorolla-Romero ◽  
Marta Martín Núñez
Keyword(s):  

Este artículo rastrea la importancia de las catálisis, tal y como las formula Roland Barthes (1968), para asignar valor a los detalles en la descripción en las narrativas. Partimos de su hipótesis según la cual lo aparentemente insignificante del relato es lo que produce el efecto de realidad y proponemos pensar las series televisivas contemporáneas desde lo aparentemente inútil en el relato. Para ello, analizamos desde una perspectiva semiótica cuatro casos de estudio paradigmáticos que se han distanciado de los mecanismos convencionales de enganche y espectáculo y han apostado formalmente por la sutileza y la atención al detalle: la dialogada En terapia (In Treatment, Hagai Levi, Rodrigo García, HBO: 2008-2010), la hiperestilizada Mad Men (Matthew Weiner, AMC: 2007-2015), la irreverente Breaking Bad (Vince Gilligan, AMC: 2008-2013) y la siniestra True Detective (HBO: 2014-). Los análisis revelarán cómo en las catálisis de estas ficciones televisivas se pone en juego lo que es difícil de explicar incluso dotando de verosimilitud a lo fortuito, intrascendente e incluso inexplicable.


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