The close interaction between the two media of television and pop aesthetics has so far been neglected by research. Even early television already utilizes pop-aesthetic processes – and musicians, artists, and writers have been using television for their own staging strategies since the 1960s to meet an ailing high culture with a medially sovereign pop aesthetics. This volume closes that research gap and investigates the historical and aesthetic points of contact between TV and pop. Apart from single pop-agents (Warhol, Schlingensief, Neumeister, Kracht), the interdisciplinary contributions also deal with currently discussed pop-ish genres and developments (e.g., poetry slams, scripted reality soaps, video clips, and pop feminism).
