{"title":"《广告狂人》","authors":"Gary R. Edgerton","doi":"10.1093/obo/9780199791286-0338","DOIUrl":null,"url":null,"abstract":"Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"13 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Mad Men\",\"authors\":\"Gary R. Edgerton\",\"doi\":\"10.1093/obo/9780199791286-0338\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.\",\"PeriodicalId\":41388,\"journal\":{\"name\":\"Journal of Italian Cinema and Media Studies\",\"volume\":\"13 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2020-10-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Italian Cinema and Media Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/obo/9780199791286-0338\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Italian Cinema and Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/obo/9780199791286-0338","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.
期刊介绍:
Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.