From explorations of video game series to Netflix shows to Facebook timelines, Subjective Experiences of Interactive Nostalgia helps readers understand what it is actually like to be nostalgic in a world that increasingly asks us to interact with our past. Interdisciplinary authors tackle the subject from historical, philosophical, rhetorical, sociological, and economic perspectives, all the while asking big questions about what it means to be asked to be active participants in our own mediated histories. Scholars and pop culture enthusiasts alike will find something to love as this collection moves from a look at traditional interactive media, such as video games, to nostalgia within all things digital and ends with a rethinking of the potentials of nostalgia itself.

Time on TV examines the massive aesthetic and structural changes happening across today's television programs. Time travel, flash forwards, fake memories: Paul Booth's analysis reveals the theory and practices that are changing television and online media as we know them. His engaging examination of the mashup of television and social media uncovers a temporal complexity at the heart of our own lives. The characteristically enigmatic television narrative becomes emblematic of a very human interaction with social and digital media. A perfect book for twenty-first century television studies, media studies, or anyone who wants to know why there's so much time travel on television, Time on TV answers questions you didn't even know you had about today's television, digital technology, and our daily lives.

Humor and Latina/o Camp in Ugly Betty: Funny Looking expands the vista of critical approaches to comedy and representational politics on mainstream television from an interdisciplinary Latina/o studies approach. Gonzalez and Rodriguez y Gibson examine how Ugly Betty uses humor and Latina/o camp to reframe socially charged issues on the show: representations of masculinity and familia, immigration, drag and queer subjectivities, Latina sexuality, and finally, a Latina feminist critique of the American Dream. Ugly Betty moves beyond the binaries of traditional representational politics and opens a vista of critical possibility applicable to all mainstream texts that portray people of color through comedy. This work will be of interest to scholars in media studies, Latina/o studies, and communication studies.

This elegant cookbook celebrates the characters and cuisine of the popular Netflix series Emily in Paris. Taste your way through Emily's Parisian neighborhood with 75 recipes inspired by the Netflix series and l'Hexagone itself. Cook show-inspired favorites like Gabriel's Omelette, the "French D" Cake made for Emily's coworkers, and Pierre's Cracked Creme Brulees; or classic French fare such as Ratatouille and Pain au Chocolat; and even American expat favorites including Quiche au Ciment (AKA Chicago Deep-Dish Pizza). Featuring lavish stills from the show, fan-favorite quotes, and a detailed character-driven narrative, fans of Emily in Paris, Francophiles, and home cooks alike can celebrate the timeless classics of French cuisine at home.

Derek's journey to Albert Square has proved to be an eventful one. A bone fide East Ender, born within the sound of Bow Bells, Derek grew up during the Blitz in a tight-knit, working-class family. In this candid memoir he describes those tough early days, his stint in the police, life on the wrong side of the law and how he turned his dream of being an actor into a reality. But not before trying his hand as a professional gambler and acting as a runner for the notorious East End gangster Charlie Kray, brother of twins Ronnie and Reggie. Determined to be an actor, Derek began his hugely successful stage and screen career firstly as a stuntman; before landing memorable TV roles in series such as Law and Order, Minder, King and Castle, The Governor and doomed soap Eldorado. In this frank and revealing tale, Derek pulls no punches as he admits past mistakes and describes his remarkable transformation into one of our best loved actors. Meet the man behind the character as he shares with readers his heartbreak over two marriage break ups and his devotion to his twin boys. An East End Life is a truly remarkable story spanning nearly seven decades, packed with tears and laughter that will endear you to this popular star.

Post World War II America saw a return to prosperity and the rise of a significant youth-culture. Television began to replace movies as the chief source of entertainment for the general public, and adolescents and single young adults began to constitute the largest portion of the audience for movies. With his youthful appearance, Montgomery Clift held special appeal to this new market, and he became one of the foremost American actors of his time. This book details his many performances. The introductory biography offers a succinct summary of Clift's life and the forces that shaped his work. The chapters that follow contain annotated entries for all of his work in plays, films, radio, and television. Entries present plot summaries, cast and credit information, critical analyses, and excerpts from reviews. The book gives equal attention to his lesser-known films and stage career, as to his most memorable performances. An extensive annotated bibliography cites and evaluates books, articles, and miscellaneous sources of information about Clift and includes fictional works in which he appears as a character.

Born on the 2nd of June 1960 to Jamaican parents, Shaun is a Londoner born and bred, and has been a devoted Chelsea fan since 1967. From the age of 12, Shaun knew he wanted to be a barrister and was determined to make it. Despite one or two setbacks along the way, he finally managed to fulfil his childhood ambition when he was called to the bar in November 1984. He has been a Criminal Defence Advocate now for nearly 34 years, and has worked tirelessly on cases ranging from murder to money laundering to firearms to drug trafficking. Shaun has also regularly appeared on British television quiz shows such as Fifteen-To-One, The Weakest Link, Greed, and Are You an Egghead?. Shaun catapulted to national prominence and recognition when, on the 5th December 2004, he became the first black person to win the BBC's renowned Mastermind. Since 2009, he has become a household name, regularly appearing as The Dark Destroyer on the smash ITV hit teatime quiz show, The Chase. Read how Shaun's passions have helped turn him into the man he is today: staunchly just and fair, ruthless when he needs to be, kind, fun, and a fiercely loyal friend.

On 2 January 2013, just a day before Jim Davidson was due to enter the Celebrity Big Brother house, he found himself behind far more serious locked doors when he was arrested by the Yewtree detectives over alleged sex offences. Twelve months later, the public voted to crown Jim Davidson as the winner of the latest series of Celebrity Big Brother. Finally, with all charges dropped and no further action being taken, and with the public offering him their staunch support, Jim can finally look back on his year from hell. Facing a series of damaging false allegations, Jim was forced to fight, not just for his reputation and his career, but for his freedom too. Mounting legal costs and a deepening sense of injustice saw Jim sink to the lowest point of his career as the Yewtree investigation threatened to ruin him both financially and emotionally. Finally, after months of pain came the words he and his supporters had been waiting to hear: No Further Action. Now, with the public's approval, Jim reflects on this painful period with the regular dose of wit and humour that have made him so successful. Searingly honest, No Further Action pays tribute to those who stood by him and takes a wry look at what life is like under investigation in the public eye.

A reporter for the "Los Angeles Times" once noted that a"I Love Lucy" is said to be on the air somewhere in the world 24 hours a day.a That Lucyas madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies.

In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is aThe Nanny, a whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over?

Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale.

When Simon Cadell announced to the world that he may have only days to live, it signalled the end of a twenty-year stage career that had just seen its finest hour-winning an Olivier Award for `Travels With My Aunt'. The British public had fallen in love with the charms of Cadell as Jeffrey Fairbrother, part of the hugely successful sitcom `Hi-de-hi!', constantly dodging the amorous advances of Ruth Madoc's Gladys Pugh. But behind the lop-sided smile lay a man full of nerves and insecurity about the looks that ultimately defined his television career. As the hapless civil servant Mr Dundridge, in `Blott on the Landscape' he displayed perfect incompetence played to perfection, brought to triumph by his naked escape from the clutches of Lady Maud as played by Geraldine James. Equally adept at Shakespeare and Chekhov as he was with Whitehall-style farces, Cadell's was a highly respected stage career achieved via a relentless workload. His many appearances as Noel Coward earned him a reputation as the definitive Coward interpreter, something he had first turned his hand to at the Bristol Old Vic Theatre School. With access to family photographs and documentation, and sourced by numerous interviews, `Simon Cadell: The Authorised Biography' tells for the first time the story of a fourth generation actor who oozed charm and had a zest for a life that was cut tragically short at the peak of his powers.

This unique biography details the life of magician Marshall Brodien, most remembered for his long-running career as television's Wizzo the Wizard on WGN-TV's Bozo's Circus and The Bozo Show. Coverage begins in the late 1940s, when Brodien was a young magician in his first job as a Chicago magic shop demonstrator, then recounts Brodien's steady rise to show-business success, including details of his work as a performer at the Magic Lounge in Cicero and, as a nightclub hypnotist in Chicago's posh Cairo Supper Club. The work concludes with an examination of Brodien's current career as one of the most successful marketers of magic sets in the U.S.

Celebrate the holidays with Goku in this official advent calendar, filled with 25 days of exclusive gifts inspired by the iconic anime Dragon Ball Z! Get ready to fight alongside the Z Fighters and ring in Christmas with Goku, Gohan, and other favorites! Open up a new gift pocket each day leading up to Christmas to discover exciting keepsakes inspired by Dragon Ball Z. Fun and interactive, Dragon Ball Z: The Official Advent Calendar is the perfect gift for fans of all ages!

Shudder's Creepshow: From Script to Scream is the official behind-the-scenes book featuring the spine-tingling stories and tantalizing talent behind The Creepshow series. Shudder's Creepshow: From Script to Scream, produced by AMC Networks Publishing and Creepshow showrunner and executive producer Greg Nicotero (The Walking Dead), is a coffee-table book which brings fans behind-the-scenes of the acclaimed Creepshow series with deep dives into its riveting origins, gripping development, provocative production, sinister special effects, and much more. Features a foreword by legendary storyteller Stephen King and an afterword by horror aficionado Kirk Hammett, Metallica's lead guitarist. Based on the hit anthology series from Nicotero, Cartel Entertainment, Striker Entertainment, and in partnership with Titan Books, the book is written by Dennis L. Prince, designed by John J. Hill, and co-produced by Julia Hobgood. The series has been heralded as "an irresistibly macabre package," (Slant Magazine) and "an undeniable love letter to all generations of horror fans," (CBR), and over three seasons, has been one of the most watched programs on Shudder.

Praise for the First Edition:

aOffers the most insightful and significant scholarly analysis to date of the changes taking place in the economic aglobalizationa of television production. A delight to read, laced with wit and humor.a
--"Choice"

Praise for the Second Edition:

aProvides both the record of a strange moment in history and a contribution to contemporary cultural politics. This second, revised edition brings the story right up to the present with a compelling blend of the ancient and the modern.a
--Toby Miller, editor of "Television & New Media"

"The Apprentice," "Project Runway," "The Bachelor," "My Life on the D-list," "Extreme Makeover," "American Idol," It is virtually impossible to turn on a television without coming across some sort of reality programming. Yet, while this genre has rapidly moved from the fringes of television culture to its lucrative core, critical attention has not kept pace.

Beginning by unearthing its historical roots in early reality shows like "Candid Camera" and wending its way through "An American Family" and "The Real World" to the most recent crop of reality programs, Reality TV, now updated with eight new essays, is one of the first books to address the economic, visual, cultural, audience, and new media dimensions of reality television and has become the standard in the field. The essays provide a complex and comprehensive picture of how and why this genre emerged, what it means, how it differs from earlier television programming, and how it engages societies, industries, and individuals. Topics range from the blending of fact and fiction, to the uses of viewer labor and ainteractivity, a to issues of surveillance, gender performativity, hyper-commercialism, and generic parody.

By spanning reality televisionas origins in the late 1940s to its current overwhelming popularity, Reality TV demonstrates both the tenacity of the format and its enduring ability to speak to our changing political and social desires and anxieties.

TV Technical Operations is an introduction for new entrants to the broadcast industry and is designed to prepare them for working in mainstream television by discussing essential techniques, technologies and work attitudes. The author explores: * the need to develop a professional approach * the occupational skills needed to meet deadlines, work under pressure and within budget * the importance of understanding the potential of broadcast equipment in program making * the need to keep up to date with the technique and technology * the responsibility to ensure continuity of experience and training in all craft skills that technical operators are required to work with * the need to maintain a critical appraisal of what and who influences working practices and how these influences affect production and viewers * an introduction to the basic skills needed to work as a multi-skilling technical operator in television * an introduction to broadcast equipment in general production use Peter Ward is a freelance cameraman and camerawork trainer working with international training and television consultancy. He was formerly head of cameras at Television South West.

Having spent most of his career working with the British Broadcasting Corporation (BBC), Martin Esslin appraises American TV with the eyes of both a detached outsider and a concerned insider. "American popular culture," writes Esslin, "has become the popular culture of the world at large. American television is thus more than a purely social phenomenon. It fascinates and in some instances frightens the whole world."
"The Age of Television" discusses television as an essentially dramatic form of communication, pointing to the strengths and weaknesses that spring from its character. It explores its impact on generations destined to grow up under its influence, with such questions as how TV turns reality into fiction, and fiction into reality. Esslin considers the long-term effects of television on our abilities to reason, to read, to create. He asks if current programming on American television constitutes what we want and deserve, and asks what we would change, if we could. These are but a handful of the questions Esslin probes in this penetrating analysis of contemporary television and its impact on our lives.
In his new introduction, Esslin discusses changes in the media over the last two decades. He explores the increasing number of television stations available, the rise of "boutique" channels concentrating on news, sports, or film, and the relationship between television and other forms of electronic media such as video games and the Internet. Finally, he considers the effect of these developments on our ability to concentrate, our sensitivity to violence, and even our artistic taste. Most compelling of all is his final question: Can the Age of Television, with all its dangers, yet become a golden age of cultural growth?
Martin Esslin is professor emeritus of drama at Stanford University. His numerous critical works include: "Brecht-The Man and his Work, The Theatre of the Absurd, An Anatomy of Drama," and "Artaud." He currently resides in London, England.

The essays included in this book offer an overview of literary works, films, TV series, and computer games, which reflect current social and political developments since the beginning of this century. The contributions intend to x-ray the most crucial aspects of contemporary North-American literature and culture. Addressing a variety of media, the authors of the essays probe the many ways in which repression and expression are the primary keywords for understanding contemporary American life and culture.

A fascinating look into what happens when comedy becomes political and politics becomes comedy Satirical TV has become mandatory viewing for citizens wishing to make sense of the bizarre contemporary state of political life. Shifts in industry economics and audience tastes have re-made television comedy, once considered a wasteland of escapist humor, into what is arguably the most popular source of political critique. From fake news and pundit shows to animated sitcoms and mash-up videos, satire has become an important avenue for processing politics in informative and entertaining ways, and satire TV is now its own thriving, viable television genre. Satire TV examines what happens when comedy becomes political, and politics become funny. A series of original essays focus on a range of programs, from The Daily Show to South Park, Da Ali G Show to The Colbert Report, The Boondocks to Saturday Night Live, Lil' Bush to Chappelle's Show, along with Internet D.I.Y. satire and essays on British and Canadian satire. They all offer insights into what today's class of satire tells us about the current state of politics, of television, of citizenship, all the while suggesting what satire adds to the political realm that news and documentaries cannot.

Cricket and broadcasting explores how the significance of radio and television to cricket in England has grown since the beginnings of broadcasting. Since the Second World War cricket has been increasingly shaped by its relationship with broadcasting which has been a force for conservatism and change. Representations of cricket on radio and television have done much to determine levels of interest and participation in the sport. Major changes such as the growth of the limited-overs game, the expansion of international cricket, reforms to County Championship and the rise of sponsorship were dependent on support from television, and income from television has enabled county cricket to survive as the highest form of domestic cricket in England. This accessibly written book will be essential reading for scholars and students of sports history, social and cultural history, and media studies. -- .

THE SUNDAY TIMES BESTSELLER 'A wonderful blend of nostalgia, hilarity and personal anecdotes that only Josh Widdicombe could deliver' James Acaster 'Brilliantly observed' Romesh Ranganathan 'Beautifully written, cleverly crafted and charmingly funny' Adam Hills 'Retro heaven' Alan Carr 'A '90s TV throwback dream' Katherine Ryan Watching Neighbours Twice a Day... is part-childhood memoir, part-comic history of '90s television and culture. Using a different TV show of the time as its starting point for each chapter, it discusses everything from Josh's strange, rural childhood, to the BBC convincing him that Michael Parkinson had been possessed by a ghost, to Josh's belief that Mr Blobby is one of the great comic characters, to what it's like being the only vegetarian child west of Bristol. It tells the story of the end of an era, the last time when watching television was a shared experience for the family and the nation, before the internet meant everyone watched different things at different times on different devices, headphones on to make absolutely sure no one else could watch it with them. 'Annoyingly very funny' Sean Walsh 'Warmth, wit and Widdicombe - with big laughs and pure nostalgia at its heart' Danny Wallace 'Brilliantly funny and nostalgic' Russel Kane 'If you read only one book by Josh Widdicombe this year, make it this one' Jack Dee

An analysis of African American televangelists as cultural icons Through their constant television broadcasts, mass video distributions, and printed publications, African American religious broadcasters have a seemingly ubiquitous presence in popular culture. They are on par with popular entertainers and athletes in the African American community as cultural icons even as they are criticized by others for taking advantage of the devout in order to subsidize their lavish lifestyles. For these reasons questions abound. Do televangelists proclaim the message of the gospel or a message of greed? Do they represent the "authentic" voice of the black church or the Christian Right in blackface? Does the phenomenon reflect orthodox "Christianity" or ethnocentric "Americaninity" wrapped in religious language? Watch This! seeks to move beyond such polarizing debates by critically delving into the dominant messages and aesthetic styles of African American televangelists and evaluating their ethical implications.

Mediating Sexual Citizenship considers how the neoliberal imperatives of adaptation, improvement and transformation that inform the shifting artistic and industrial landscape of television are increasingly indexed to performed disruptions in the norms of sexuality and gender. Drawing on examples from a range of television genres (quality drama, reality television, talk shows, sitcoms) and outlets (network, cable, subscription video on demand), the analysis in this book demonstrates how, as one of the most dominant cultural technologies, television plays a critical role in the production, maintenance and potential reconfiguring of the social organisation of embodiment, be it within gender identities, kinship structures or the categorisation of sexual desire. It suggests that, in order to understand television's role in producing gendered and sexual citizenship, we must pay critical attention to the significant shifts in how television is produced, broadcast and consumed.

The American Indian has figured prominently in many films and television shows, portrayed variously as a villain, subservient friend, or a hapless victim of progress. Many Indian stereotypes that were derived from European colonial discourse-some hundreds of years old-still exist in the media today. Even when set in the contemporary era, novels, films, and programs tend to purvey rehashed tropes such as Pocahontas or man Friday. In Native Americans on Network TV: Stereotypes, Myths, and the "Good Indian," Michael Ray FitzGerald argues that the colonial power of the U.S. is clearly evident in network television's portrayals of Native Americans. FitzGerald contends that these representations fit neatly into existing conceptions of colonial discourse and that their messages about the "Good Indian" have become part of viewers' understandings of Native Americans. In this study, FitzGerald offers close examinations of such series as The Lone Ranger, Daniel Boone, Broken Arrow, Hawk, Nakia, and Walker, Texas Ranger. By examining the traditional role of stereotypes and their functions in the rhetoric of colonialism, the volume ultimately offers a critical analysis of images of the "Good Indian"-minority figures that enforce the dominant group's norms. A long overdue discussion of this issue, Native Americans on Network TV will be of interest to scholars of television and media studies, but also those of Native American studies, subaltern studies, and media history.

David Peace is an emerging author who is widely read and taught, and whose novels are increasingly translated into commercial film (The Damned United, March 2009) and television (Channel 4 adaptation of the Red Riding Quartet, March 2009). Dr. Katy Shaws book provides a challenging but accessible critical introduction to his work through a detailed analysis of his writing, as well as the socio-cultural contexts of its production and dissemination. The author explores Peaces attempts to capture the sensibilities of late twentieth century society and contributes to an ongoing debate in the media about Peaces representations. Influenced by critical theory, the text will be the first secondary resource concerning this rising star of contemporary British literature. While UK readers will seek insight into the socio-cultural contexts of Englands regions (and in particular his writing on the Yorkshire Ripper and the 19845 miners strike), Peace also has a following in the US where both The Damned United and Red Riding are set to receive a national cinema release in 2009/10. This broad international appeal and readership will be explored and discussed, especially in the context of crime fiction and social engagement. This text is the first critical resource concerning this author and will cover the full body of Peaces writings to date, the debates this work has generated, and the often contentious representations offered by his novels.