MARC Record from marc_columbia

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008 120611s2012 nyu ob 001 0 eng d
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035 $a(NNC)15085049
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020 $a0203855027$q(electronic bk.)
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050 4 $aPN1992.8.D48$bN53 2012eb
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049 $aZCUA
100 1 $aNichols-Pethick, Jonathan.
245 10 $aTV cops :$bthe contemporary American television police drama /$cJonathan Nichols-Pethick.
260 $aNew York :$bRoutledge,$c2012.
300 $a1 online resource (xi, 220 pages)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
347 $adata file
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction -- Programming the crisis: the police drama in the post-network era -- The police drama in transition: reconstituting the cultural forum in the 1980s -- Stop making sense: reflection, realism, and community in homicide -- Do the right thing: NYPD blue and the making of the model citizen -- One thing leads to another: crime and the commerce of Law & order -- This cop's for you: the multiple logics of the 21st century police drama -- conclusion.
588 0 $aPrint version record.
520 0 $aThe police drama has been one of the longest running and most popular genres in American television. In TV Cops, Jonathan Nichols-Pethick argues that, perhaps more than any other genre, the police series in all its manifestations--from Hill Street Blues to Miami Vice to The Wire--embodies the full range of the cultural dynamics of television. Exploring the textual, industrial, and social contexts of police shows on American television, this book demonstrates how polices drama play a vital role in the way we understand and engage issues of social order that most of us otherwise experience only in such abstractions as laws and crime statistics. And given the current diffusion and popularity of the form, we might ask a number of questions that deserve serious critical attention: Under what circumstances have stories about the police proliferated in popular culture? What function do these stories serve for both the television industry and its audiences? Why have these stories become so commercially viable for the television industry in particular? How do stories about the police help us understand current social and political debates about crime, about the communities we live in, and about our identities as citizens?
546 $aEnglish.
650 0 $aDetective and mystery television programs$zUnited States$xHistory and criticism.
650 0 $aTelevision cop shows$zUnited States$xHistory and criticism.
650 6 $aÉmissions de détective télévisées$zÉtats-Unis$xHistoire et critique.
650 6 $aÉmissions policières télévisées$zÉtats-Unis$xHistoire et critique.
650 7 $aPERFORMING ARTS$xTelevision$xReference.$2bisacsh
650 7 $aDetective and mystery television programs.$2fast$0(OCoLC)fst00891577
650 7 $aTelevision cop shows.$2fast$0(OCoLC)fst01715702
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
650 7 $aPolizeifilm$2gnd
650 7 $aFernsehfilm$2gnd
650 7 $aFernsehserie$2gnd
650 7 $aVerbrechen$2gnd
651 7 $aUSA.$2gnd
651 7 $aUSA.$2idszbz
650 7 $aTélévision$xÉmissions policières$zÉtats-Unis$xHistoire et critique.$2ram
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iPrint version:$aNichols-Pethick, Jonathan.$tTV cops.$dNew York : Routledge, 2012$z9780415877879$w(DLC) 2011045116$w(OCoLC)526111335
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15085049$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS