A compelling and leading edge tv author, David Chase has created particular courses because the Nineteen Seventies, each one reflecting his edgy humor and mental realism. those severe essays research Chase's tv writings, putting specific emphasis on how his earlier works have formed and prompted the present cultural phenomenon of HBO's The Sopranos, and learning Chase's use of id, group, and position in defining his on-screen characters. subject matters explored contain Chase's constructs of the city L.A. setting in The Rockford Files, the portrayal of hybridized American archetypes in Northern Exposure, and the translation of sexual identity/masculinity in The Sopranos. An appendix containing entire episode publications for The Rockford documents, Northern Exposure, and The Sopranos can be integrated.
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Extra info for Considering David Chase: Essays on The Rockford Files, Northern Exposure and The Sopranos
3)— he finds himself again and again working for clients who are incapable of paying him, and displays a generosity that remains untainted by circumstances. Driving in Circles (Gross) 35 Although Rockford seems unblighted by the e›ects of the economic situation, the series is not. It is greed — not lust, jealousy, envy, or rage — that motivates the majority of the crimes committed on The Rockford Files. The desire for wealth divides friends, spouses, lovers and business partners. ¡). 22). The most pervasive conflict of values throughout The Rockford Files is between loyalty and greed.
Beyond its walls, a string of colorful and sometimes dangerous ex-cons come to enlist Rockford’s services, while others have skills or information that he can draw upon during his cases. Professionally, the state prison works for Rockford much as the Jaycees or Elks might work for a more conventional businessman. “The Daily Grind” The Rockford Files repeatedly makes a point of underlining Rockford’s situation as a self-employed businessman in a service economy. Although Cannell’s description of his character as “the Jack Benny of private eyes” (qtd.
Such discursive appeals simultaneously mystify “quality” programming’s real market imperatives and presume that “typical” series lack critically significant aesthetics and address. 37 In the essay, Robin Rauzi indicates the potential power of television’s portrayals of place to literally and figuratively move viewers to engage community and interrogate assumptions regarding public mobility, and civic identity, in both heroic and heroically quotidian terms. According to writer Frankie Montiforte, Rockford is, likewise, “a particular treat because it captures the look of a Los Angeles that no longer exists.