TV Snapshots

Abstract

Discussion| September 01 2022 TV Snapshots: A Conversation with Lynn Spigel Bruno Guaraná Bruno Guaraná Bruno Guaraná is Master Lecturer of Film Studies in the Department of Film & Television at Boston University. Originally from Recife, Brazil, he received his PhD in Cinema Studies from New York University and his MA in Film from Columbia University. His current research explores negotiations of cultural citizenship in contemporary Brazilian media. He currently serves as the Page Views Editor for Film Quarterly. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA Lynn Spigel, TV Snapshots: An Archive of Everyday Life. Durham, NC: Duke University Press, 2022. $104.95 cloth, $27.95 paper. 328 pages. A Companion website and interactive archive of TV snapshots can be found at https://tvalbum.com. Film Quarterly (2022) 76 (1): 93–100. https://doi.org/10.1525/fq.2022.76.1.93 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bruno Guaraná; TV Snapshots: A Conversation with Lynn Spigel. Film Quarterly 1 September 2022; 76 (1): 93–100. doi: https://doi.org/10.1525/fq.2022.76.1.93 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA Lynn Spigel, TV Snapshots: An Archive of Everyday Life. Durham, NC: Duke University Press, 2022. $104.95 cloth, $27.95 paper. 328 pages. A Companion website and interactive archive of TV snapshots can be found at https://tvalbum.com. Early in Todd Haynes’s melodrama Far from Heaven (2002), Cathy Whitaker (Julianne Moore) welcomes a reporter and a photographer to her home for a profile in the local Weekly Gazette. Cathy guides the reporter to her living room, where she sits down on the sofa next to a television set, as though posing for a candid shot. Haynes’s balanced composition, framed at eye level, lends equal attention to the protagonist and to the material objects surrounding her: colorful curtains, a vase, the TV set doubling as a stand for a bird sculpture, and, hanging on a wall, a framed advertisement partially cut off from the shot. As is later revealed,... You do not currently have access to this content.