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Trouble Is On the Air

机译:麻烦不断

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There are few surer ways to win ratings than to level a city in a fictional earthquake or crash an asteroid into the planet. Mindless TV disaster epics are a sweeps staple. But toward the end of the cold war, there flourished a high-minded subgenre: the Very Special Disaster Movie-vsDM, In the '80s, such shows as The Day After, Special Bulletin, Threads and Testament told what-if stories about nuclear attacks and their aftermaths. With the fall of the Berlin Wall, the networks' interest in atomic catastrophes disappeared, even if the nukes didn't. Today, given the interest in catastrophe-man-made or natural, radiological or biological, by land or by air—it's surprising that the big networks have not revived the VSDM. Perhaps they fear bumming viewers out. Perhaps, in the age of fragmentation, they don't feel those movies can get the attention The Day After did when it drew about 100 million viewers in 1983. But now cable has begun making VSDMS, including two upcoming movies that are highly timely one intentionally, one accidentally.
机译:除了在虚构的地震中将城市夷为平地或使小行星坠入地球之外,没有其他比这更可靠的方法来赢得评级。无意识的电视灾难史诗是无处不在的主食。但是在冷战即将结束时,出现了一个高瞻远瞩的子类:非常特殊的灾难电影-vsDM,在80年代,诸如《后天》,《特别公报》,《线程与遗嘱》等节目讲述了关于核武器的假设故事袭击及其后果。随着柏林围墙的倒塌,即使原子核没有爆发,网络对原子灾难的兴趣也消失了。如今,由于人们对陆运或空运中的人为或自然的,放射的或生物的灾难感兴趣,因此,大型网络还没有使VSDM复活,这是令人惊讶的。也许他们担心让观众兴奋不已。也许,在支离破碎的时代,他们并不觉得这些电影能引起人们的关注。《后天》在1983年吸引了1亿观众,但如今,有线电视已经开始制作VSDMS,其中包括两部非常及时的即将上映的电影故意的,一个偶然的。

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