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This proposal outlines the scope, purpose, and desired content of the Crisis for Americans film series sponsored by Pepperdine College. The audience for this proposal is not made clear, although it was prepared by Vice President William Teague and "Mr. Gough" on February 27, 1961.

Contemporary Television Series: Narrative Structures and Audience Perception proposes an interdisciplinary and multicultural approach of old concepts like fiction, reality and narrativity applied to actual worldwide television series. The authors that have contributed to this volume analyze the almost invisible barriers between fiction and reality in television series from different perspectives. The results of their studies are extremely interesting and revealing. The new perspectives offere

Preliminary Material -- Chapter One Introduction: Cultural Governance and Chinese TV Drama Series -- Chapter Two The State and Its Officials in TV Dramas -- Chapter Three Securing the State: Law Enforcement and Military Action -- Chapter Four Justifying the State: Political Legitimacy and Accountability -- Chapter Five Creating the Political Discourses of TV Dramas -- Chapter Six The Chinese Television Drama Audience -- Chapter Seven Government Regulations and Censorship Mechanisms -- Chapter Eight Chinese Perceptions of Television's Function and Influence -- Chapter Nine Conclusion: Chinese TV Discourses and the Factors of Their Production -- Glossary of Technical Terms -- Bibliography -- Appendix -- Index.

Relevance. Modern screen culture as a component of mass communication occupies a leading position in terms of influence on public consciousness. A television series as a part of mass culture secures important content, time and functional positions. In our opinion, with the increasing importance of the television series as an aspect of mass culture in particular and modern socio-cultural life in general, active attention should be paid to the formation of this phenomenon as a postmodern aspect and reflection of the "non-classical" model of reality. The purpose is to identify the specifics of a television series as a cultural text and determine its place in the field of modern screen culture. Objectives: to establish the role and significance of the TV series in the context of the current reality of screen culture and to assess its communicative effectiveness; to find the relationship between the seriality of a television series through its reflection as a phenomenon of mass consciousness and an important aspect of postmodern reality; to trace the specifics of the language of the TV series and the complex of semiotic codes presented in it; analyze the phenomenon of the TV series and evaluate its impact on the viewer through psychological and emotional mechanisms. Methodology. In the process of working on the study, mainly structural-diachronic, historical-biographical, hermeneutic methods, the method of system analysis were used. The results of the study can be used in the course of the educational process when considering issues in various courses on anthropology, philosophy of history, philosophy of culture, etc. Conclusions. As our analysis of the source base shows, as a rule, the television series became the object of research from the point of view of classical aesthetics or from the point of view of its perception from the point of view of the recipient, that is, the audience. For us, the television series is of interest primarily as a semiotic carrier of a cultural text, where multidimensional and multilevel inclusions of various discourses and codes are reflected.

One of the most effective insights of postmodern theory of narrative was the "nostalgia for the present" defined by Jameson in Postmodernism. The Cultural Logic of Late Capitalism. In the narrative arts there was a trend of works based on "list of stereotypes, of ideas of facts and historical realities"; in the field of cinematographic productions, Jameson called this kind of movie "nostalgia film", citing American Graffiti and Chinatown as exemplary cases of movies set in another era, as historical films, but that cannot be confused with them because the "nostalgia film" focuses on "imaginary style of real past". In this trend there were also movies which connect past and present (Body Heat, Blue Velvet, Something Wild), showing "a collective unconscious in the process of trying to identify its own present at the same time that they illuminate the failure of this attempt, which seems to reduce itself to the recombination of various stereotypes of the past". More than two decades away from these insights we start again to talk about nostalgia as the hallmark of many contemporary narrative works, especially in the field of television series in which some scholars actually find a strong trend towards the nostalgic. Katherina Niemeyer and Daniela Wentz assert this kind of nostalgia consists of: "reconstructing and reimagining the past visually, discursively and historically by portraying and referring to the key political, social, economic and aesthetic elements of former times". We can find examples of that sort both in American and European series such as Stranger Things, Mad Men, Narcos, Boardwalk Empire, Downton Abbey, Deutschland 83, Aquarius, 1992, The Get-Down and many others.