Download As I Knew Him: My Dad, Rod Serling by Anne Serling PDF

By Anne Serling

"A haunting and fantastically written memoir concerning the writer of The Twilight Zone." --Robert Redford

"Beautifully written. . .I laughed and that i cried. I plan to learn it back as soon as I seize my breath." --Carol Burnett

In this intimate, lyrical memoir approximately her iconic father, Anne Serling finds the fun-loving dad and kin guy in the back of the enforcing determine the general public observed web hosting The Twilight area each week. After his unforeseen, early loss of life, Anne, simply 20, used to be left surprised. yet via chatting with his buddies, poring over outdated correspondence, and recording her adolescence thoughts, Anne not just chanced on solace, yet received a deeper figuring out of this amazing guy. Now she stocks her discoveries, besides own photographs, revealing letters, and scenes of his youth, warfare years, and their family's time jointly. A tribute to Rod Serling's legacy as a visionary, storyteller, and humanist, As I Knew Him is additionally a relocating testomony to the affection among fathers and daughters.

"A delicate, considerate and intensely own portrait of yank genius Rod Serling." --Alice Hoffman

"Richly instructed. . .a haunting memoir approximately grief, creativity, and a father-daughter bond as memorable and magical as any Twilight region episode." --Caroline Leavitt

"Filled with anecdotes and self-reflection. . .Serling nonetheless casts a large shadow." --Variety

"Lush thoughts of a impressive father and adept research of his work." --Kirkus Reviews

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Additional resources for As I Knew Him: My Dad, Rod Serling

Sample text

7) Recall Stella Bruzzi’s (2000) point that documentary in any case does not just work at the level of the constative (representative) but also at the level of the performative: through ‘acts’ which intervene in the social world. It is for this reason that in this book we attempt to account for reality television through an appropriate sociological and media analysis which foregrounds the increasing mediation of self-performance. In Nichols’ (1991b) discussions of documentary it is the performative elements of factual programming that cause a blockage to the functioning of the form in relation to public culture.

Butler’s notion relies on Austin’s separation of an utterance into its constative and performative elements. To understand meaning in language we should consider not just the content of language but what is performed in its expression such as ‘I now pronounce you man and wife’ which institutionalizes and brings into view the structural relationship of the organization of gendered property interests. For Bruzzi documentary, like language, works as an act: A parallel is to be found between these linguistic examples and the performative documentary which – whether built around the intrusive presence of the film-maker or self-conscious performances by its subjects – is the enactment of the notion that a documentary only comes into being as it is performed because it is given meaning by the interaction between performance and reality.

Wendy Brown (1995) has called this disclosure the ‘wounded attachment’, whereby the pain and suffering of the personal world can gain public recognition, a technique we see regularly performed on the talk show (Illouz 2003; Masciarotte 1991; Shattuc 1997). Similar debates have been rehearsed over the talk show, where on the one hand programmes which have privileged women’s personal voices have been heralded as a feminist public sphere, whilst others have been more critical of the evocation of the personal at the expense of the social and economic (McLaughlin 1993).

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