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For eight seasons between 2001 and 2010, Fox's 24 garnered critical accolades and became one of the most watched and discussed shows in primetime. In an innovative premise, the show's hour-long episodes were meant to represent a real-time hour of the story, so that each twenty-four-episode season depicts a single day in the life of its characters. Influential as a popular hit, 24 was also closely linked with the "culture of fear" that dominated the post-9/11 period. In this insightful study, author John McCullough demonstrates that the series was not only unique and trendsetting, but also a complex creative response to its historical context.
In three chapters, McCullough looks at 24 's form, style, and overarching themes and meanings. He argues that although the series is driven by the political and cultural shifts brought on by the War on Terror, it is routinely out of step with real history. Using Linda Williams's distinction between the melodramatic mode and melodrama as a genre, McCullough explores 24 's use of the action-adventure and spy thriller forms with particular attention paid to the series' hero, Jack Bauer, who is depicted as a tragic hero perpetually in search of a return to innocence. Ultimately, McCullough finds that the series' distinction lies less in its faithful re-creation of the history of the WOT than in its evocation of the sense of crises and paranoia that defined the period. McCullough also analyzes 24 as a response to television culture in the "post-network" age, characterized by reality TV's populist appeal and visceral content, on the one hand, and sophisticated boutique cable programming ("quality TV"), on the other.
McCullough demonstrates that 24 engaged not only with the most pressing issues of world history and the geopolitics of its time, including terrrorism, neoliberalism, and the state of exception, but, on the strength of its form and style, also represents significant global trends in television culture. Fans of the show and media history scholars will appreciate this thorough study.
In three chapters, McCullough looks at 24 's form, style, and overarching themes and meanings. He argues that although the series is driven by the political and cultural shifts brought on by the War on Terror, it is routinely out of step with real history. Using Linda Williams's distinction between the melodramatic mode and melodrama as a genre, McCullough explores 24 's use of the action-adventure and spy thriller forms with particular attention paid to the series' hero, Jack Bauer, who is depicted as a tragic hero perpetually in search of a return to innocence. Ultimately, McCullough finds that the series' distinction lies less in its faithful re-creation of the history of the WOT than in its evocation of the sense of crises and paranoia that defined the period. McCullough also analyzes 24 as a response to television culture in the "post-network" age, characterized by reality TV's populist appeal and visceral content, on the one hand, and sophisticated boutique cable programming ("quality TV"), on the other.
McCullough demonstrates that 24 engaged not only with the most pressing issues of world history and the geopolitics of its time, including terrrorism, neoliberalism, and the state of exception, but, on the strength of its form and style, also represents significant global trends in television culture. Fans of the show and media history scholars will appreciate this thorough study.
144 pages, Paperback
First published May 1, 2014
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About the author
John McCullough
33 books21 followersJohn McCullough’s words are full of a freshness and invention which have seen him described as Brighton’s brightest young poet. Often beginning from anecdotal, transitory incidents, his pieces filter reality through a sophisticated array of voices, variously formal, abstract, surreal and humorous, merging and subtly blending as his artfully chosen subjects dictate.
Based in Brighton, McCullough teaches creative writing at the Open University and the University of Sussex, where he was awarded his doctorate for a thesis on friendship in English Renaissance writing. He has published in The Rialto, The Guardian, Ambit, London Magazine, Magma, The Wolf and Chroma, in whose international writing competition he won second prize in 2008. John was also co-editor of the Queer Writing South anthology Whoosh!, published by Pighog.
Based in Brighton, McCullough teaches creative writing at the Open University and the University of Sussex, where he was awarded his doctorate for a thesis on friendship in English Renaissance writing. He has published in The Rialto, The Guardian, Ambit, London Magazine, Magma, The Wolf and Chroma, in whose international writing competition he won second prize in 2008. John was also co-editor of the Queer Writing South anthology Whoosh!, published by Pighog.
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April 25, 2018
I was pretty excited when I discovered that this book series existed last month at an academic conference. I quickly bought it and read it quickly.
I have long been a fan of 24. McCullough is apparently a fan of the series as well, though he is mostly ambivalent about it as a critic, as was evident from of his analysis of the show.
I should be clear that this book is academic in tone and that may put off some enthusiasts of the show who might come across this book.
Some of McCullough's conclusions: The show is a postmodern pastiche (this idea was quite ingenious; being familiar with Jameson's concept, I was surprised to hear 24 described in such a way, but McCullough clearly makes his case). The show is also essentially a Western, reimagined in a contemporary context that centers around the war on terror.
McCullough celebrates the innovative format and style of the show. The themes and meanings, though, he struggles with. He sees it as rife with Conservative ideology, and yet at the same time unclear in its ideological debts, due to its nature as pastiche.
I enjoyed the book. I think McCullough's reading of the show is interesting. Plus, it inspired me to start streaming season 1 of 24 again on Amazon Prime, so that was an added benefit of reading the book for me.
I have long been a fan of 24. McCullough is apparently a fan of the series as well, though he is mostly ambivalent about it as a critic, as was evident from of his analysis of the show.
I should be clear that this book is academic in tone and that may put off some enthusiasts of the show who might come across this book.
Some of McCullough's conclusions: The show is a postmodern pastiche (this idea was quite ingenious; being familiar with Jameson's concept, I was surprised to hear 24 described in such a way, but McCullough clearly makes his case). The show is also essentially a Western, reimagined in a contemporary context that centers around the war on terror.
McCullough celebrates the innovative format and style of the show. The themes and meanings, though, he struggles with. He sees it as rife with Conservative ideology, and yet at the same time unclear in its ideological debts, due to its nature as pastiche.
I enjoyed the book. I think McCullough's reading of the show is interesting. Plus, it inspired me to start streaming season 1 of 24 again on Amazon Prime, so that was an added benefit of reading the book for me.
Displaying 1 of 1 review