Global Indigenous Media addresses Indigenous self-representation across many media forms, including feature film, documentary, animation, video art, television and radio, the Internet, digital archiving, and journalism. The volume’s sixteen essays reflect the dynamism of Indigenous media-making around the world. One contributor examines animated films for children produced by Indigenous-owned companies in the United States and Canada. Another explains how Indigenous media producers in Burma (Myanmar) work with NGOs and outsiders against the country’s brutal regime. Still another considers how the Ticuna Indians of Brazil are positioning themselves in relation to the international community as they collaborate in creating a CD-ROM about Ticuna knowledge and rituals. In the volume’s closing essay, Faye Ginsburg points out some of the problematic assumptions about globalization, media, and culture underlying the term “digital age” and claims that the age has arrived. Together the essays reveal the crucial role of Indigenous media in contemporary media at every level: local, regional, national, and international.
Contributors: Lisa Brooten, Kathleen Buddle, Cache Collective, Michael Christie, Amalia Córdova,
Galina Diatchkova, Priscila Faulhaber, Louis Forline, Jennifer Gauthier, Faye Ginsburg, Alexandra Halkin, Joanna Hearne, Ruth McElroy, Mario A. Murillo, Sari Pietikäinen, Juan Francisco Salazar,
Laurel Smith, Michelle Stewart, Pamela Wilson
The face of U.S. television broadcasting is changing in ways that are both profound and subtle. Global Television uncovers the particular processes by which the international circulation of culture takes place, while addressing larger cultural issues such as identity formation.
Focusing on how the process of internationally made programming such as Highlander: The Series and The Odyssey—amusingly dubbed “Europudding” and “commercial white bread”—are changing television into a transnational commodity, Barbara Selznick considers how this mode of production—as a means by which transnational television is created—has both economic rewards and cultural benefits as well as drawbacks.
Global Television explores the ways these international co-productions create a “global” culture as well as help form a national identity. From British “brand” programming (e.g, Cracker) that airs on A&E in the U.S. to children’s television programs such as Plaza Sesamo, and documentaries, Selznick indicates that while the style, narrative, themes and ideologies may be interesting, corporate capitalism ultimately affects and impacts these programs in significant ways.
How mid-century television anthologies reflected and shaped US values and identities.
From the late 1940s to the early 1960s, anthology dramas presented “quality” television programming in weekly stand-alone television plays meant to entertain and provide cultural uplift to American society. Programs such as Playhouse 90, Studio One, and The Twilight Zone became important emblems of American creative potential on television. But their propensity for addressing matters of major social concern also meant that they often courted controversy. Although the anthology’s tenure would be brief, its importance in the television landscape would be great, and the ways the format negotiated ideas about “Americanness” at midcentury would be a crucial facet of its significance.
In Gold Dust on the Air, Molly Schneider traces a cultural history of the “Golden Age” anthology, addressing topics such as the format’s association with Method acting and debates about “authentic” American experience, its engagement with ideas about “conformity” in the context of Cold War pressures, and its depictions of war in a medium sponsored by defense contractors. Drawing on archival research, deep textual examination, and scholarship on both television history and broader American culture, Schneider posits the anthology series as a site of struggle over national meaning.
In 2021, Texas Country Reporter celebrates its fiftieth season on the air. Broadcast every week on stations across Texas, it focuses on “ordinary people doing extraordinary things.” And at the center of it is Bob Phillips, the show’s creator and host—an erstwhile poor kid from Dallas who ended up with a job that allowed him to rub elbows with sports figures, entertainers, and politicians but who preferred to spend his time on the back roads, listening to less-famous Texans tell their stories.
In this memoir, Phillips tells his own story, from his early days as a reporter and his initial pitch for the show while a student at SMU to his ongoing work at the longest-running independently produced TV show in American television history. As we travel with Phillips on his journey, we meet Willie Nelson and former Dallas Cowboys coach Tom Landry; reflect on memorable, unusual, and challenging show segments; experience the behind-the-scenes drama that goes on in local television; witness the launching of an annual festival; and discover the unbelievable allure of Texas, its culture, and, especially, its people. Spanning generations, A Good Long Drive is proof that life’s journey really is a destination unto itself.
Guillaume: A Life is the autobiography of esteemed Broadway, Hollywood, and television star Robert Guillaume. Ten months after suffering a stroke, Guillaume—perhaps best known as television’s Benson—began this autobiography with award-winning author and collaborator David Ritz.
The book goes beyond the recounting of a long and successful career to examine the forces that shaped the man: family, religion, race, and class. Startlingly candid and disarmingly self-aware, Guillaume seeks to know and understand himself, his treatment of the women in his life, and the choices he made along the way. He pursues the truth, however painful it may be, says Ritz, guided by two questions, “Who the hell am I?” and “What made me do what I did?”
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