The cover art of Elana Levine’s Her Stories may seem like an obvious choice to the inattentive reader. It brings up assumed memories of the archetypical soap opera viewer: a perfectly presented housewife, hair-done and earrings-on even while staying at home, leaning over a couch to manually tune in to an old-school television, daylight coming through the open-curtained windows, a gallery of framed photos in the background pointing to a richly lived family life. The traditionally feminine image is emphasised by the light pink colour which emblazons the whole of the paperback, from front to back cover. But there is more than meets the eye as the woman on the front cover is Agnes Nixon, legendary American television producer and writer, creator of All My Children (1970–2011) and One Life to Live (1968–2012). The cover image, like Levine’s comprehensive research presented in this book, asks us to let go of presumptions in order to give soap operas the second look they deserve. Levine argues that daytime TV soap operas are a central part of the histories of ‘American broadcast network television and of twentieth-century American culture’ (p. 297), as well as essential forms to understand the dismissal and disavowal of industries and productions connected to women and femininity. Indeed, Her Stories will be of interest not only to researchers concerned with soap operas, television, and seriality, but also to any scholar breaking away from and shedding light on the unfair biases that women’s knowledges, desires, concerns, skills, and experiences have had to face across industries, systems, products, platforms, and ideologies over, and over, and over again. The book, which appears in Lynn Spigel’s ‘Console-ing Passions: Television and Cultural Power’ series with Duke University Press, is divided into three parts. Part I, ‘The New TV Soap – Late 1940s to Early 1960s’ focuses on the transition from radio to television, and on postwar soap operas; it lays the groundwork for understanding the development of American daytime TV soap operas, as well as their specific aesthetic practices, and it explores the changing gendered dynamics at play after World War II. Critical Studies in Television: The International Journal of Television Studies

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书评：她的故事：日间肥皂剧和美国电视史

Elana Levine 的她的故事的封面艺术对于不专心的读者来说似乎是一个显而易见的选择。它唤起了对典型肥皂剧观众的假设记忆：完美呈现的家庭主妇，即使待在家里，头发也戴着耳环，靠在沙发上手动收听老式电视，阳光透过露天- 带窗帘的窗户，背景中的带框照片画廊，指向丰富的家庭生活。淡粉色强调了传统的女性形象，从封面到封底，整个平装书都采用了淡粉色。但是，封面上的女性是艾格尼丝·尼克松（Agnes Nixon），她是传奇的美国电视制片人和作家，《我的孩子们》（1970-2011）和《一生一世》（1968-2012）的创作者，这不仅仅是让人眼前一亮。封面图，就像莱文在本书中提出的全面研究一样，它要求我们放弃假设，以便让肥皂剧获得应有的第二面貌。莱文认为，白天的电视肥皂剧是“美国广播网络电视和 20 世纪美国文化”（第 297 页）历史的核心部分，也是理解对相关行业和生产的解雇和否认的基本形式对女性和女性气质。事实上，《她的故事》不仅会引起关注肥皂剧、电视和连续剧的研究人员的兴趣，也会让任何摆脱和揭示女性知识、欲望、关注、技能和经历所带来的不公平偏见的学者感兴趣不得不一遍又一遍地面对跨行业、系统、产品、平台和意识形态。书，出现在 Lynn Spigel 与杜克大学出版社合作的“Console-ing Passions: Television and Cultural Power”系列中，分为三个部分。第一部分“新电视肥皂剧——1940 年代末至 1960 年代初”侧重于从广播到电视的过渡，以及战后肥皂剧；它为了解美国日间电视肥皂剧的发展及其特定的审美实践奠定了基础，并探讨了二战后不断变化的性别动态。电视批评研究：国际电视研究杂志 它为了解美国日间电视肥皂剧的发展及其特定的审美实践奠定了基础，并探讨了二战后不断变化的性别动态。电视批评研究：国际电视研究杂志 它为了解美国日间电视肥皂剧的发展及其特定的审美实践奠定了基础，并探讨了二战后不断变化的性别动态。电视批评研究：国际电视研究杂志