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I Like to Watch: Arguing My Way Through the…
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I Like to Watch: Arguing My Way Through the TV Revolution (2020 original; edició 2019)

de Emily Nussbaum (Autor)

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233795,950 (3.78)5
"From her creation of the first 'Approval Matrix' in New York magazine in 2004 to her Pulitzer Prize-winning columns for The New Yorker, Emily Nussbaum has known all along that what we watch is who we are. In this collection, including several substantive, never-before-published essays, Nussbaum writes about her passion for television beginning with Buffy--as she writes, a show that was so much more than its critical assessment--the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And, she also explores the links between the television antihero and the rise of Trump. The book is an argument, not a collection of reviews. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that places one kind of culture over another. It traces her own development as she has struggled to punch through stifling notions of 'prestige television,' searching for a wilder and freer and more varied idea of artistic ambition--one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It's a book that celebrates television as television, even as each year warps the definition of just what that might mean"--… (més)
Membre:Venarain
Títol:I Like to Watch: Arguing My Way Through the TV Revolution
Autors:Emily Nussbaum (Autor)
Informació:Random House (2019), 384 pages
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:to-read

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I Like to Watch: Arguing My Way Through the TV Revolution de Emily Nussbaum (2020)

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Es mostren 1-5 de 7 (següent | mostra-les totes)
I really enjoyed most of these essays. A few gave me new ways to think about series I've seen, and others encouraged me to watch some shows that I haven't gotten around to yet. Of course, the opposite is also true! ( )
  suzannekmoses | May 20, 2022 |
I spotted this in one of those free libraries you see on the street that's usually filled with dusty paperbacks. I recognized the cover from twitter and grabbed it immediately. Like TV, I Like to Watch is self referential jumping forwards and backwards from a Sopranos piece from 2007 to a sprawling profile of Ryan Murphy from 2018. Connections bubble to the surface. A conflicted love letter to Joan Rivers sets up a pan of The Marvelous Mrs. Maisel . Nussbaum drops in before each essay to muse on them like a director on a DVD commentary track. Sometimes to reflect on the writing process or sometimes just to say, "One of the SUR ensemble tweeted a winky-face emoji to me after this piece came out." A healthy mix of pans, raves, think pieces and profiles, I Like to Watch is the perfect guide to the last 40 years of television. ( )
  Mirror_Matt | Feb 3, 2022 |
I always enjoy Nussbaum's reviews and profiles in the New Yorker; I remembered most of the pieces as I was reading them. It's easy to expect a "critic" to be a "reviewer" but this book, perhaps because of the framing introduction, serves well to remind me what criticism is; it's not advising me whether or not I will enjoy a certain show (although Nussbaum's evident joy in watching - and as she says - arguing with/about - television comes through strongly), it's examining the aspects of the creator and the creation in a variety of contexts (such as the mores of our times and of times past).

The book includes an epic essay "Confessions of a Human Shield" which examines the age-old (but always relevant) question of whether it's okay to enjoy or support the art of a terrible person. The essay is particular to her experience as a woman of her generation (Gen X, same as mine), over time, across revelations, and she grapples thoughtfully about how those things change, without judging her past self, or even her present self. I found it refreshing and challenging and exciting to read. ( )
  steveportigal | Dec 31, 2020 |
Just excellent. The opening essay gives such a valuable frame. The essay on Me Too is the best I have read on the issue of what you do with the art when the artist is a problem. She covers so a range of shows, so may of which I love and in which I can find more value because of her criticism. ( )
  eas7788 | Dec 14, 2020 |
Very well written TV criticism about shows I do not watch and probably never will. Worth reading if only for helping me to understand some of the conversations I have overheard over the years.

The author has a higher tolerance for violence and a bleak world view than I do. ( )
  dmturner | Jun 29, 2020 |
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Dedicated to my husband, Clive Thompson, and my sons, Gabriel and Zev, the world's biggest fans of Jane the Virgin and Parks and Recreation.
Primeres paraules
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What happens when your side wins the fight, the drunken cultural brawl that you've been caught up in for nearly two decades?
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Fights about art had always doubled as fights about what the world takes seriously—which is another way to say, they were fights about politics. They were fights about power.
The wall between comedy and drama fell so far into disrepair that Orange Is the New Black got nominated in both categories at the Emmys, on alternate years.
I had no trouble advocating for watching Cosby while reviling Bill Cosby. Certain artists, certain art forms, I could see from a distance. It was easier to detach myself when it came to music or painting or sculpture; it was much easier with mediums (jazz and abstract expressionism, say) that felt less narrative, more mathematical. It was harder with someone who made you laugh, because laughter is intimate, a loss of control. It was easier when I hated both the art and the artist. It was harder when the work felt like it was about me, my world. It was easier, too, to have a soothing sense of dispassion when it felt like it was not my place to judge.
I remembered my deep irritation at a fan note in which a woman had praised me for writing like a man. And the double irritation when people compared my work only to other female writers, like Pauline Kael; I disliked it when people referred to me as a female or a feminist critic rather than a critic. Soon after I got my job at The New Yorker, a few female writers with whom I was friendly wrote to me to say they were impressed that I had strutted into this big job and not folded under the pressure, which made me nervous, because it made me feel like I should have folded under the pressure. The career advice that I gave to young women was the same tactic that had helped me: You should walk into a big mid-career job pretending, inside your head, that you are Norman Mailer. A messy genius, but worth it! If you act like a polite associate editor in a beige cardigan, your voice will be small. If you pretend you’re Norman Mailer, you can take up some space. Making a mess is what men get to do.
Trump’s call to Make America Great Again was a plea to go back in time, to when people knew how to take a joke. It was an election about who owned the mike.
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Wikipedia en anglès

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"From her creation of the first 'Approval Matrix' in New York magazine in 2004 to her Pulitzer Prize-winning columns for The New Yorker, Emily Nussbaum has known all along that what we watch is who we are. In this collection, including several substantive, never-before-published essays, Nussbaum writes about her passion for television beginning with Buffy--as she writes, a show that was so much more than its critical assessment--the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And, she also explores the links between the television antihero and the rise of Trump. The book is an argument, not a collection of reviews. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that places one kind of culture over another. It traces her own development as she has struggled to punch through stifling notions of 'prestige television,' searching for a wilder and freer and more varied idea of artistic ambition--one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It's a book that celebrates television as television, even as each year warps the definition of just what that might mean"--

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