In Scripted Affects, Branded Selves, Gabriella Lukacs analyzes the development of a new primetime serial called "trendy drama" as the Japanese television industry's ingenuous response to market fragmentation. Much like the HBO hit Sex and the City, trendy dramas feature well-heeled young sophisticates enjoying consumer-oriented lifestyles while managing their unruly love lives. Integrating a political economic analysis of television production with reception research, Lukacs suggests that the trendy drama marked a shift in the Japanese television industry from offering story-driven entertainment to producing lifestyle-oriented programming. She interprets the new televisual preoccupation with consumer trends not as a sign of the medium's downfall, but as a savvy strategy to appeal to viewers who increasingly demand entertainment that feels more personal than mass produced fare. After all, what the producers of trendy dramas realized in the late 1980s was that taste and lifestyle were sources of identification that could much more flexibly be manipulated to satisfy mass and niche demands than more conventional marketing criteria such as generation, ethnicity, or gender. Lukacs argues that by capitalizing on the semantic fluidity of the notion of lifestyle, commercial television networks were capable of uniting viewers into new affective alliances that, in turn, helped them bury anxieties over changing class relations in the wake of the prolonged economic recession.
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Post-Fordist Japan
评分作者通过对日本偶像剧的研究，表现了市场分化及电视剧生产与消费之间的互动联系，展现了日本电视image proliferation，以及image与叙事脱节，观众与现实脱节等过程，观众在intertextual的游戏中习得style，此书体现了西方学者对现代东亚社会罕见的穿透力
评分作者通过对日本偶像剧的研究，表现了市场分化及电视剧生产与消费之间的互动联系，展现了日本电视image proliferation，以及image与叙事脱节，观众与现实脱节等过程，观众在intertextual的游戏中习得style，此书体现了西方学者对现代东亚社会罕见的穿透力
评分作者通过对日本偶像剧的研究，表现了市场分化及电视剧生产与消费之间的互动联系，展现了日本电视image proliferation，以及image与叙事脱节，观众与现实脱节等过程，观众在intertextual的游戏中习得style，此书体现了西方学者对现代东亚社会罕见的穿透力
评分Post-Fordist Japan
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