Category Archives: bibliography

Annotated Bibliography

Bibliography for Paper about Lost’s Authorship

Bennett, James and Tom Brown, Film and Television After DVD. New York: Routledge, 2008.

This book will help me form an argument about how authorship was formed, in part, by the DVD sets of Lost, through special features and bonus extras that show behind the scenes work.  It is a series of essays about digital convergence and interactive media.  One article in particular, “Auteur Machines?  Auteurism and the DVD” by Catherine Grant, focuses on the aspects of the DVD that personalize the show to an auteur.

Kaye, Sharon M., ed. Lost and Philosophy. Malden: Blackwell Publishing, 2008.

In the Lost official podcasts, hosted by Carleton Cuse and Damon Lindelof, the two answer questions and clarify ideas about the show, many of them having to do with the show’s exploration of many thought systems.  This book contains several essays that explore the mythology of the show, which the podcasts have contributed to heavily.

Mittell, Jason. Television and American Culture. New York: Oxford University Press, 2010.

Mittell discusses digital convergence, along with several analyses of the show’s unique storytelling formulas.  He discusses how complex shows like Lost were made possible with the help of external technologies, such as the internet and DVD players.  Without them, the plots might be too confusing and demanding on viewers.

Pearson, Roberta, ed. Reading Lost. New York: I.B. Tauris, 2009.

I have read several other books in this series and have found them very helpful.  I just ordered this book, so I do not know how it will contribute to my research yet, but I am sure that it will.

Priggé, Steven. Created By…Inside the Minds of TV’s Top Show Creators. Los Angeles: Silman-James Press, 2005.

J.J. Abrams, one of the auteurs I will be discussing, contributed interviews to this book that asks several TV show creators questions about their creative processes and style.  This will further give me a sense of what Lost is as a “J.J. Abrams” show.

Vaz, Mark Cotta. The Lost Chronicles. New York: Hyperion, 2005.

This book details the creation of the show, from development of the idea to the pilot and beyond.  This book only deals with the first season, however, placing the author role firmly upon J.J. Abrams.  This perspective will show how J.J.’s authorship was established.

Johnston, Amy and Lachonis, John.  Lost Ate My Life: The Inside Story of a Fandom Like No Other.  Toronto: ECW Press, 2008.

This book talks about the fan’s owner/authorship of the show, as seen in blogs devoted to the show.  The book chronicles how the show changed from a high-stakes commercial gamble to the unique show that lends itself highly to fan interaction.

Mad Men Bibliography

Handy, Bruce. “Don and Betty’s Paradise Lost.” Vanity Fair September, 2009.

This Vanity Fair article goes behind the scenes in Mad Men. I think that it is really useful because it includes telling anecdotes about Matthew Weiner’s role in every detail of the show. Also, it talks about how Mad Men differs from other shows on television, and the impact of the show on greater society.

Fields, Jackie. “The Mad Men Effect.” People. September 28, 2009.

This brief article talks about the Mad Men effect on fashion. While obviously it is not teh most academic of sources, I think that it is interesting how the show’s look and design has influenced society. I found a couple of articles in this vein which will be useful in proving the unique design of the show and how it impacts society.

Lippert, Barbara. “It’s a Mad, Mad World.” Brandweek, August 17, 2009.

This article is not incredibly useful, but it does discuss the rich design of the show and how that has influenced viewers. It may be useful in describing the show and explaining how people perceive it.

Kukoff, David. Vault Guide to Television Writing Careers. Vault, Inc: New York, 2006.

This book is useful in defining the traditional role of the showrunner. Part of what I hope to argue is about Matthew Weiner’s very detailed role in the series. Defining how the industry views the showrunner will be useful in describing how Weiner deviates.

Creeber, Glen. Serial Television: Big Drama on the Small Screen. British Film Institute Publishing: London, 2004.

This book has a lot of interesting analysis about historical fiction miniseries and the television drama that I think will be useful. It discusses programs more broadly in ways that I will apply to Mad Men.

Stephens, Mitchell. The Rise of the Image, the Fall of the Word. Oxford University Press: New York, 1998.

This book seemed like it would be more helpful than it was. It mostly went on long tangents about the history of images. However, I think there are parts that could be useful. Part of what I want to argue is about Mad Men’s use of design and image, and so I may pull from the analysis of how the image has become more powerful than the word.

Mayer, Vicki, Miranda J. Banks, and John T. Caldwell. Production Studies: Cultural Studies of Media Industries. Routledge: New York, 2009.

This book has a collection of essays about TV production. Most were not that useful. However, there was one by Denise Mann about how the showrunner has also become in charge of creating a brand for the show. I think this could be useful in discussing Matthew Weiner and how the show has developed a very dedicated following.

Annotated Bibliography: Entourage

1. Strauss, Gary. “Will Success Spoil Doug Ellin and Entourage?” USA Today [McLean, VA] 10 July 2009, Life sec.

This article discusses the obstacles that the creator and writers of Entourage face as the sixth season approaches. In it, creator Doug Ellin claims that the success of the character Vince presents an obstacle, as the explosion of his career as a movie star leaves little space in which to continue building plot and character. The article will help me explore how the creative forces behind the series manipulate Vince’s career to accommodate for conflict and budding storylines.

2. Atkin, Hillary. “Taking Cues From Real World.” Television Week 11 Aug. 2008.

This article presents the five series vying for the 2008 Primetime Emmy Award for Outstanding Comedy Series, including Entourage. It mentions a specific storyline in one of the series’ episodes directly lifted from creator Doug Ellin’s life experience. It also examines how Entourage attempts to accurately represent a true Hollywood lifestyle, such as that led by Vince and his crew of companions. The article will allow me to cite specific evidence supporting the blend of reality and fiction as seen in Entourage.

3. Waldman, Allison. “Entourage.” Television Week 18 May 2009.

This article was written in response to HBO’s win at the 2008 Peabody Awards for Entourage. In it, creator Doug Ellin entertains the idea that committee members might have been impressed by the dramatic character development in the series’ fifth season. He explains how the series has matured over several years. The article will provide me with insight into the shifting focus and tone of the series from season to season.

4. Peyser, Mark. “Power to the Posse.” Newsweek 19 July 2004.

Newsweek’s initial review of Entourage praises the series’ originality and holds that it puts a new spin on the television genre of situational comedy. It describes similarities between producer Mark Wahlberg’s life and the series as well as aspects of the series that sever the resemblance. It continues to explain how the series’ characters are rendered at once irritating and sympathetic. The article will help me delve into the series’ inspiration and allow me to cite Wahlberg’s notion of the heart of the series.

5. Collins, Lauren. “Rollin’ With Dad.” New Yorker 16 Apr. 2007.

This interview with Doug Ellin primarily details the idiosyncrasies of the creator’s role of “family man” amidst his duties in the entertainment industry. However, it also explores his development of Entourage, and Ellin divulges the real-life inspirations for many of Entourage’s characters. The interview will allow me to discuss issues of authorship by eliciting connections between the creator’s personal and professional lives.

6. Wild, David. “Entourage.” Rolling Stone 8 Aug. 2004.

This article examines how the character of talent agent Ari Gold was crafted based on real-life figure Ari Emmanuel. In it, actor Jeremy Piven maintains that he presents a universal character representation, depicting a conglomeration of characteristics of talent agents. The article suggests why audience members, specifically entertainment industry insiders, connect to Ari. The article will help me relate fiction and reality again, specifically by exploring how an actor’s imagination of his character affects the end result and public reception of his portrayal.

7. “California Dreaming: An Update of an Old Format Obeys All the Rules of Sitcom With a Watchable Style.” New Statesman 18 Sept. 2006.

This review suggests that Entourage replicates aspects of the formulas of preceding television sitcoms, such as The Beverly Hillbillies. It assesses characterization in an effort to explain the series’ wide appeal. The review will help me situate Entourage within the context of the history of the sitcom and analyze how, if at all, Entourage redefines the genre.


There are a few sources that I have that I didn’t get to put on here because I had trouble finding all the information to cite. Also, I am still looking for more sources but I have listed seven I plan to use here:
Caldwell, John T. “Welcome to the Viral Future of Cinema (Television). Cinema Journal, Vol. 45, No. 1 (Autumn, 2005) pp. 90-97. Texas: University of Texas Press.

Caldwell discusses how television programs are become more film like, and mentions Arrested Development. I can use this article to show that Arrested Development is more like one long film than a traditional television sit com. The article also talks about HBO, and I can explore how Arrested Development was considered “too high brow” for network television.

Hart-Gun, Lesley. “Arrested Development and the Theater of the Absurd.” Velox: Critical Approaches to Contemporary Film, vol. 2., no. 1, pp. 14-20, 2008.

This article talks about how Arrested Development is absurdist in nature. I can use this article to talk about authorship, as Mitch Hurwitz tends to make absurd television programs. Being so absurd, Arrested Development is a lot different than most sit coms. I can talk about how injecting absurdist theater into the generic family sit com created something quite different from the traditional family sit com that most television viewers are used to.

Jones, Gerard. Honey I’m Home!: Sitcoms Selling the American Dream. New York: St. Martin’s Press, 1992.

This book shows how many sitcoms of the past were subtle advertisements for traditional American values. I will use this book to explore how Arrested Development disrupts this tradition of the sitcom. In fact, Arrested Development often directly mocks the traditional American family values. This book will be important to show how Arrested Development really changed the sitcom genre entirely.

Mittel, Jason. “Narrative Complexity in Contemporary American Television.” Austin: Universtiy of Texas Press, 2006.

This article talks specifically about how Arrested Development and other new television series are much more narratively complex than past series. This article will be extremely helpful as Mittell references Arrested Development quite a bit. It will help me in my argument about high-brow tv versus low-brow tv.

Savorelli, Antonio. “The New American Televisual Comedy: Semiotic Inquiry into an Evolution.” Milan: Universita IULM Press, 2007.

This article is poorly translated from Italian to English; however, it is similar to Thompson’s article and talks about how Arrested Development has a much more complex narrative than the typical sit com has.

Thompson, Ethan. “Comedy Verite: The Observational Documentary Meets the Televisual Sitcom.” The Velvet Light Trap 60 (2007) 63-72 University of Texas Press.

This article specifically talks about how the traditional sit com has changed from the single set format to a more documentary style. I will use this article to explore authorship in the series, and how Mitch Hurwitz influenced the style that Arrested Development was filmed. The article mainly discusses the Office and Arrested Development, so it is a pretty good source.

Weight, Alan L. “Families are Forever: The Historical Continuity of Domestic Comedies Through Ritual and Resonance. Iowa: University of Iowa Press, 2005.

This article mentions Arrested Development, but it actually doesn’t fit as well into my argument as I would hope. I can definitely use a few quotes from this source but it was a misleading source.

Boondocks–Annotated Bib

Annotated Bibliography

1) Hurd, Jud. Cartoon Success Secrets: A Tribute To 30 Years Of Cartoonist Profiles. Kansas City: Andrews McMeel Publishing, 2004.

In this book Jud Hurd presents both cartoon creator interviews as well as his own expertise of the genre for the purpose of demonstrating the nuances of making a “successful” cartoon (which can mean either commercially successful or successful in accomplishing the author’s goal). The book contains a 1996 interview with Aaron McGruder which I believe will be useful in revealing some of the challenges in the early creation of the printed cartoon, as well as serving as a basis for comparison with interviews concerning the later TV series.

2) Mcgruder, Aaron. All the Rage: The Boondocks Past and Present (Boondocks). new york: Three Rivers Press, 2007.

All the Rage was written by McGruder himself and contains his commentary and analysis on his own strips, especially highlighting those episodes which gleaned critical acclaim or scorn, as well as banned strips. This book marks the segway from print to TV broadcast.

3) Moore, D.. The Boondocks cartoon: A social critique of race in America. Diss. University of Southern California, 2009. Dissertations & Theses: Full Text, ProQuest. Web. 28 Oct. 2009.

This dissertation by Diane Moore of Universtiy of Southern California performs an itemized analyisis of American racial & cultural stereotypes as they are presented and critiqued within The Boondocks televison series. The text also provides background information on Aaron McGruder and the evolution from prited strip to television broadcast. This text will be useful primarily in any discussion of the content of the televisual text  and will also be useful in the historical background it provides.

4) Pappademas, Alex. “Can ‘The Boondocks’ Say That on TV?.” Gentlemen’s Quarterly 75.10 (2005): 138. OmniFile Full Text Mega. Web. 28 Oct. 2009.

This interview with creator Aaron McGruder reveals how the mature content of The Boondocks is able to be seen on Televison. McGruder also discusses the Fox network’s reasoning behind passing on the show. This text will be useful especially with regards to how censorship/network television effects authorial choices.

5) Siegel, Lee. Not Remotely Controlled: Notes on Television. New York: Perseus Books Group, 2007.

Author Lee Siegel discusses how the politically and racially charged satire of The Boondocks cartoon functions as a supremely effective critique of our modern cultural and political institutions—moreso, he argues, than most contemporary fiction. This work should be useful in discussing how McGruder’s authorial choices and preference for the cartoon genre accomplish his goal of societal critique.

6) Wapshott, Nicholas. “Black humour.” New Statesman (London, England: 1996) 134 (2005): 43-4. OmniFile Full Text Mega. Web. 28 Oct. 2009.

This magazine editorial, which also contains an interview with Aaron McGruder, disucsses the McGruder’s goals with regards to how The Boondocks will effect the perception and understanding of Black Americans—especially the Black family unit. This piece will be useful in discerning how McGruder’s own personal background as well as his political ideologies have factored into his decisions with regards to the TV series (and comic).

7) Zahed, Ramin. “See Ya in the Suburbs, Suckas!.” Animation Magazine 19.12 (2005): 30-1. OmniFile Full Text Mega. Web. 28 Oct. 2009.

This article discusses the implications of The Boondocks series being syndicated by Cartoon Network in that this will allow the creators to, “fully explore the social and political dimensions of the characters without compromising their original visions.” This article is useful in its discussion of the role of network involvement in series creation. It will also be interesting to see if McGruder himself finds Cartoon Network to be as liberal and light-handed as Ramin Zahed predicts.

MiniSeries- Annotated Bibliography

1:Baker, R. (1986). TV miniseries easy to write. The Houston Chronicle (1912), , 2.

Article urges people to write a line of dialogue that will eventually be transformed into an 8hr miniseries.  The article is important because it evidences authorship being lent to social constituents outside of series production.

2:Salter, Stephanie. 1996. The stuff of made-for-TV miniseries. The Tampa Tribune (-04-13): 15.

Salter explicates the emergence of the mini-series for the chronicling of current events. The article incites the sensationalization of current events, and how the miniseries is used as a vehicle for the exposition of an event of national relevance, as if the event itself was paranormally contrived for the purpose of television.

3:Star, Greg. 1992. Roots was the prototype of today’s TV miniseries. Toronto Star (-02-11): D.1.

Quill situates Roots as a prototype of the contemporary miniseries.  The article explains how Roots was a miniseries that exposited histories that were previously rendered invisible. This is important to my research because it configures the inauguration of miniseries as politically motivated, as well as the miniseries being a social utility for undermining social normatives.

4:Kaufman, Debra. 2004. Best movie or mini-series. TelevisionWeek (Chicago, Ill.) 23, (3) (-01-19): S9.

Kaufman marks 2003 as an epic year for the miniseries, and more specifically for HBO and Showtime, which produced made for TV films/miniseries that were aesthetically astounding but engrossed in political discourse.  The article is important to my research because it incites inquiry regarding the differentiation between TV films and the miniseries or the conflation of the two. If so, what would be the cause for the inception of the made for TV film, or how is it a progressive step in the miniseries genre.

5:Scherer, Paul. 1991. The use of television mini-series as the basis for history classes. The History Teacher

(Long Beach, Calif.) 25, (1) (-11): 105.

Scherer articulates the usage of the miniseries, “Winds of War”, for teaching history within his classroom. He details the difficulties that arise as well as the historical content provided before the screening of the film. The article is important because it evidences the usage of the miniseries as an instructional tool, prefaced within an institutional setting.

6:Register, Ray Richmond:The. 1990. Blind faith’ — a good start, monotonous finish. The Orange County

Register (-02-09): P.45.

The article explicates the airing of a mini-series during the trial of a former Green Beret, Dr. Jeffery McDonald, accused of murdering his wife and children. The article is important because it arouses questions as to what are the ramifications of miniseries on contemporaneous events during the show’s airing. How is the miniseries utilized to inform popular discourse?

7:Reuter. 1994. Judge clears the way for TV miniseries on liz taylor. Toronto Star (-09-30): C.12.

Reuter explains the adjudication of the court in the production of the Liz Taylor miniseries. Liz Taylor protested the production of the miniseries, but NBC was going to produce the miniseries without Taylor’s authorization. The article is important because it elucidates that authorial rights are licensed even in the absence of the authenticating subject. In lieu of the miniseries, how is the text constructed in the absence of subject lending biographical information. How do the authors at the production and institutional level enact a political and capitalistic agenda?

Sports Night Annotated Bibliography

Annotated Bibliography for Sports Night

1)    SANDOMIR, RICHARD “Like ‘The West Wing,’ Only With Sports.” New York Times 23 Nov. 2008: 22. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

This article provides a distanced perspective on Sports Night and examines it in the context of other works and in the trajectory of sitcom development.  The author is fairly critical of the setting of the show and claims that it is not funny.  This article will be beneficial because it provides angles for exploration, such as its comparison of Sports Night to Taxi and its description of the style of the show as influenced by Sorkin’s background as a playwright.

2)    IM, RUTENBERG “TV NOTES; Striking Out?.” New York Times 21 June 2000: 8. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

Brief article about Sports Night’s cancellation and ABC’s subsequent attempts to sell it to other networks.  This article has interesting implications for the value of the series and its similarity to cable series rather than network series.


Marc Berman.  “Changing channels. ” Mediaweek 24 Apr. 2000: ABI/INFORM Global, ProQuest. Web.  27 Oct. 2009.

This article explores NBC’s desire to acquire Sports Night and ponders what this change might do for the show.  The article posits that this would be a positive change.  This will be helpful because it presents a way in which Sports Night could be marketed to be a popular success.

4)    Martin, James “A Wasteland Less Vast.” America 182.5 (2000): 23. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

Posits that Sports Night is one of a few aesthetically valuable shows in the television lineup and discusses why this is.  This article is interesting because it puts the show in context with other shows that are believed to be valuable as well, and they are basically either by Aaron Sorkin or on HBO.

5)    Ryan, Leslie “Aaron Sorkin’s sweep.” Electronic Media 18.48 (1999): 1A. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

This article examines the point and time where The West Wing and Sports Night were voted best comedy and drama by the critics at the same time.  The article examines the critical success and ratings failure of Sports Night and the inability of the network to promote the show.  This article raises interesting points about the way ABC handled the series and its incredible critical success, as well as puts it in conversation with Sorkin’s other series, The West Wing.

6)    Man at His Best: The Tube.” Esquire 131.6 (1999): 24. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

An interview with Aaron Sorkin and Keith Olberman, one of the inspirations for Sports Night.  They discuss the show’s basis in reality and its ratings struggles. Sorkin also discusses the show’s position as a dramedy in the trajectory of television dramedy.

7)    Mason, M.S. “What makes a good sitcom? Strong writing.” Christian Science Monitor 91.2 (1998): 18. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

Describes Sports Night through the lens of the traditional sitcom.  This would be useful in order to understand the two different ways in which Sports Night is seen- dramedy and sitcom.

8)    Brown, Corie, and Rick Marin “Sitcom or Tragedy?.” Newsweek 132.19 (1998): 70. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

Describes Sorkin’s conflict with ABC over the tone and marketing of the series.  This could be interesting in order to see how the show may have been toned down for network television.

9)    Collins, James, and Jeanne McDowell “Distinct? Or Extinct?.” Time 152.19 (1998): 110. Academic Search Premier. EBSCO. Web. 27 Oct. 2009.

A Time magazine review of Sports Night.  Discusses it as an evolution of the sitcom into something new and daring.

Annotated Bibliography: The Sopranos

In my paper I want to focus on how The Sopranos depiction of Italian-American psychosocial dynamics (life/culture/masculinity/femininity) is affected by David Chase’s authorship as well as it airing on the HBO network. David Chase identifies as Italian-American himself, and also grew up in New Jersey. He claims to base the series off his own experiences. Did Chase have advantages/freedoms in his authorship because of his background? What about in relation to HBO airing dynamics?

(1) Vincent, Christopher J. Paying Respect to the Sopranos: A Psychosocial Analysis. Jefferson, N.C.: McFarland, 2008. Print. The author focuses on the psychological progress of Tony Soprano through all six seasons. He also talks about how there are unique representation of modern family dynamics, organized crime, contemporary American society, and mental health. For my research I think this would be a great source for defining specific psychosocial definitions Chase puts into the show, and how they can be interpreted.

(2) Greene, Richard, and Peter Vernezze. The Sopranos and Philosophy: I Kill Therefore I Am. Chicago: Open Court, 2004. Print. Both authors talk about how morals, philosophy, identity, and ethics are constructed in the show. I feel like it would also help in my exploration of what ideas/ideologies of Italian-Americans the show tells the audience, and what further implications those ideas mean in the fact they originated from David Chase’s own perceptions.

(3) Bondanella, Peter. Hollywood Italians : Dagos, Palookas, Romeos, Wise Guys, and Sopranos. New York: Continuum, 2004. Print. The book goes into detail about the history of Italian/Italian-American depiction in cinema and television. I feel like the final chapters of the book (which focus on The Sopranos) could be helpful in putting my research into a historical frame of reference. For example, perhaps David Chase incorporates parts of Italian-American culture that are also dominant in contemporary media but not *past* media because of certain trends.

(4) Levin, Gary. “Stars, creator dish on ‘The Sopranos’.” USA Today 23 Jun. 2008: 03d. Print. The short article has quotes and interesting tidbits from the show’s actors and creator, David Chase. What’s most interesting is that David Chase is repeatedly quoted as being surprised that a lot of his audience disliked the ending, saw it as disrespectful as his characters. He is also surprised that people wanted to see Tony be killed on-screen. I want to investigate why he feels appalled that audiences would want to see Tony die, and why he *didn’t*. Is the last episode a case of authorship where priority was given to what the author wanted? If David Chase was on another network, would the ending of the show been as ambiguous?

(5) Chase, David. “The Sopranos.” Electronic Media 28 Oct. 2002: 23. Print. The short article is a statement by David Chase about his experience in producing the show at HBO. It’s a very positive perspective of the authorial process. For my paper it may be helpful in showing more of Chase’s perspective on producing the series.

(6) Pristone, Joseph. “David Chase.” Time 9 Jul. 2001 : 74. Print. The article talks about how Chase’s own Italian-American heritage makes the show realistic. I think this would give me great backing on Chase’s own *specific* cultural experiences that make the show more ‘realistic,’ and perhaps give me ways to analyze why these specific things are what he found to be most important to show audiences what a real Italian-American family is like.

(7) Lavery, David. ” David Chase, The Sopranos and Television Creativity.” Television Quarterly 2002: 10-16. Print. This review of the show goes into detail about David Chase’s life growing up, as well as his authorial power in producing the show, and how that led to his success. After reading the article, I feel it could offer me more important information about David Simon’s upbringing and authorial power with HBO to back up my paper.

Annotated Bibliography | Dr. Katz

In examining the first two seasons of an animated television series called Dr. Katz, Professional Therapist, I will discuss how the authorship of it changed and strengthened the animation genre. There is a lot to work with as the co-creator of the show, comedian Jonathan Katz, also serves as the main figure. The show was different from in that it did not fit the typical mold of an animated series of being a family sitcom like The Flinstones. Instead, it used new technology called “Squigglevision,” and introduced new stand-up comedians in every episode, some famous and others not so much. The show fit perfectly on Comedy Central, and really it seems as if there was no other network it would work as well on.

Annotated Bibliography

Booker, M. Keith. Drawn to Television: Prime-Time Animation from the Flintstones to Family Guy. Westport, CT: Praeger Publishers, 2006. In this book, Booker examines the history of animated television, examining particular shows that have thrived in primetime and those that have become successful because of cable and syndication. Booker discusses how animated television delivers unique and clever perspectives to normal programming. Dr. Katz is discussed primarily in how it broke the typical animation family sitcom mold, and fit right in on Comedy Central with its stand-up comedians.

Fease, Rebecca. Masculinity and Popular Television. Edinburgh: Edinburgh University Press, 2008. The book interestingly focuses on how masculinity is spread out upon different television genres. In animated television, the father figure is the overly masculine character whether it be Homer Simpson or Peter Griffin. I think this chapter will be helpful in laying out how Dr. Katz separates itself from other animated series, and how it helped branch out from the family mold in television series. In the show Dr. Katz is a father and how is he different from Homer Simpson is something I can explore.

Milvy, Erika. “For Him, Laughter Was the Best Therapy.” The New York Times, 14 December 2008. The article is all about the series and how it is different from many other animated comedy series. The show does not move in rapid motion, with Squigglevision didn’t look overly fancy, and that “it rejected the adult cartoon tradition of high-impact irreverence, snarkiness and raised voices.”

Murray, Noel. “Interview with Jonathan Katz.” The A.V. Club, 14 June 2006.,13993. The interview hits on a range of topics about Katz’s life, but the most pertinent stuff is about the idea behind Dr. Katz and his retelling of how it was created and his relationship with co-creator Tom Snyder. My paper will talk a good deal about Katz as he is a creator and central figure on the show, so hearing first hand from is helpful. He talks often about his relationships with the other comedians that were on the show and getting them to come on, which is interesting.

Stabile, Carol, et al. Prime Time Animation: Television Animation and American Culture. London; New York: Routledge, 2003. This book looks at the history of television animation and how it obviously ties into American culture. What I am most interested in are sections such as how the authors examine quality in animated television series, as well as the mold for animated television series set by The Flintstones and The Simpsons.

Tueth, Michael V. Laughter In The Living Room: Television Comedy And The American Home Audience. New York: Peter Lang, 2005. The book as a whole looks into how television figures have gone about entertaining the American home audience, through many genres and years. It’s section on animation discusses how the authors have freedom to invent as many characters as they want, as they don’t have to worry about actors, and the multiple jokes and plot lines can challenge the viewer in ways non-animated shows cannot. Dr. Katz certainly introduces multiple comedians, yet also has an underlying plot surrounding Katz himself. Tueth argues that animation allows for a lot of freedom and experimentation.

Wright, Jean Ann. Animation Writing and Development: From Screen Development to Pitch. Amsterdam: Boston Elsevier, 2005. The book is intended to teach writers and students really the basics of writing and developing animated material. There is a chapter, however that is particularly useful as it discusses comedy in animation, and really how a creator is to go about making animation funny. The chapter talks about how comedy in animation separates itself and how to go about properly executing it. Also, especially pertinent, is how Wright talks about developing a specific animated character and having their personality become funny. In my paper I will focus on Katz as a comedian/central character in the show and author of it, so this should be helpful.

Annotated Bibliography – Generation Kill/Band of Brothers

Toplin, Robert Brent. “Hollywood’s D-Day form the Perspective of the 1960s and 1990s.” Why We Fought: America’s Wars in Film and History. Eds. Peter C. Rollins and John E. O’Connor. Lexington, KY: The University Press of Kentucky, 2008. 303-313. Print.

This is an essay comparing the difference between the 1960s WWII film The Longest Day and the 1990s WWII film Saving Private Ryan. The author looks at how two films addressing a similar subject were handled different on account of their era’s perceptions about war. The 1960s (height of the Cold War and so forth) is has a dramatically different outlook on war and Germany and soldiers than the 1990s did. This is big for my paper since I’m looking at public perception of two different wars in a single era. Some relevant quotes:

“Cinematic history from Hollywood is intriguing not only for its perspectives on the pas but also for what it says about the times in which the films were being produced” (303).

“In recent years [2000s], such movies’ [modern cinematic histories] primary contribution to historical appreciation relates to the audience’s emotional connection to another time, place and situation” (311).

Schubart, Rikke. “Storytelling for a Nation: Spielberg, Memory, and the Narration of War.” Politicotainment: Television’s Take on the Real. Ed. Kristina Riegert. New York, NY: Peter Lang Publishing, 2007. 267-287. Print.

The basic thesis of this essay is that each genre has a single specific theme that pervades every film within itself; for the war movie it “is the relation between history and nation” (267). The essay makes a lot of interesting commentary on how war films insert themselves into history and what sort of techniques they use to give themselves legitimacy, especially focused on this idea of eyewitnesses (as in, all of Generation Kill, all of Band of Brothers). There is the question of what is acceptable fact and what is acceptable fiction and how these films/shows are structured. There is also direct interaction with the show Band of Brothers, making this essay doubly useful for me in my paper! Some relevant quotes:

[While talking about the quote “When legend becomes fact, print the legend] “If “legend” stands for myth, then “fact” stands for historical facts. Ford’s [the speakers] point is not, I think, that myth is better than fact but rather that is in the union of fact and myth that we find the spirit of America” (269).

“Texts become recognizable genres when they tell stories that the members of society consider worth repeating again and again. The repeated viewing of genre films is a modern ritual where films function as myths anchoring the individuals of a society to its collective culture” (270).

“The war movie raises the question of the relationship between nation and history as a contemporary debate of “us” versus “them”” (271).

Randell, Karen. “Introduction to Part Two: The Body of the Soldier.” The War Body on Screen. Eds. Karen Randell and Sean Redmond. New York, NY: The continuum International Publishing Group Inc, 2008. 81-85. Print.

This is the introduction to the section of this collection of essays that all deal with the representation of the soldier’s body on screen. There’s just the one quote that I thought was useful, especially with its application to WWII (and, interestingly, its non-application to the Iraq War):

“The film engages with this image of supreme fighter and attempts to connect its audiences back to the stable image of World War II where “A group of men, led by a hear, undertake a mission that will accomplish an important military objective” (Basinger, 2005, 46)” (81).

Hagelin, Sarah. “Bleeding Bodies and Post-Cold War Politics: Saving Private Ryan and the Gender of Vulnerability.” The War Body on Screen. Eds. Karen Randell and Sean Redmond. New York, NY: The continuum International Publishing Group Inc, 2008. 102-119. Print.

The whole essay is about how war films gender vulnerability (skewing it female) and how Saving Private Ryan both fights with and subscribes to this idea. The issue of and differences in vulnerability in Band of Brothers and Generation Kill isn’t something I had considered examining, but it certainly seems worth looking at. What makes modern day soldiers vulnerable? What makes WWII soldiers vulnerable? Where do they mesh and where do they clash? Relevant quotes:

“Carpazo’s emotional vulnerability to the plight of a family in a war zone where the domestic space has been destroyed leads to this body being made vulnerable” (109).

“Where to kill is actually less important in this film [Saving Private Ryan] than how to die, and how the spectacle of male vulnerability affects the ethics of war” (111).

Chouliaraki, Lillie. “Spectacular Ethics: On the Television Footage of the Iraq War.” The Soft Power of War. Ed. Lillie Chouliaraki. Philadelphia, PA: John Benjamins Publishing Co, 2007. 129-144. Print.

This essay is more about what it means for news televisions to show footage of the Iraq War, but I think there are some ideas that apply to Generation Kill considering that it was a show about the Iraq War produced while the Iraq War was being fought. There are some thoughts about what television does as a voyeuristic medium that are worth pursuing as well as deeper analysis into basic components of news footage (multi-modality, as in image and verbal narration, space-time, as in perspectives we experience the footage from, and agency, who the figures of pity are). Some relevant quotes:

“The place to look for the pro-war bias in western television footage is not a behind-the-scenes co-ordination between government and journalists, but the assumptions already implicit in the routine professional choices that stage and narrate the war in television” (130).

“The quality of television as a ‘space of appearance’. The term ‘space of appearance’ seeks to define the public sphere of television not only as a space of language and deliberation, but also as a space of image and visibility” (131).

Haggith, Toby. “Realism, Historical Truth and the War Film: The Case of Saving Private Ryan.” Repicturing the Second World War: Representations in Film and Television. Ed. Michael Paris. New York, NY: Palgrave MacMillan, 2007. 177-191. Print.

This essay again deals with the realism of Saving Private Ryan, but this time in comparison to the actual footage that was filmed by the Allied cameramen who landed on the beaches and the truth of war. The question of dramatic liberties comes up and the techniques Spielberg uses are analyzed. There’s something to be played with here in my essay, especially considering the Spielberg as an author had a big hand in Band of Brothers. I’m not sure how much of it applies to my comparison, but some ideas might be relevant.

Suid, Lawrence H. Guts and Glory: The Making of the American Military Image in Film 2nd Edition. Lexington, KY: The University Press of Kentucky, 2002. Print.

This is a monster of a book that deals with, more or less, every single war film up until the 2000s that creates the American military image. There’s a chapter on realism in Saving Private Ryan and the author more or less skewers Spielberg and the hype he created about the film and its realism, as well as his appropriation of scenes from other war films when contrasted against his denigration of those very same films. It’s an amusing read, but maybe not that relevant to my personal paper. Still, it does look at what happens when something is booked as “realism” or fact. In some ways, Band of Brothers was Spielberg’s response to those critiques, so reading the actual critiques might help.

I’m planning to look through interviews with the two shows’ creators and critic responses to the shows, but I haven’t done more than a small glance through what the search has turned up. Any help/commentary would be wonderful. Thanks!