A guide to Marvel Studios' action-packed Disney+ series, featuring Sam Wilson and Bucky Barnes. Includes interviews with the cast and crew of Marvel Studios' The Falcon and the Winter Soldier, along with exclusive photos and art. This special collector's edition focuses on Captain America's fighting companions, Sam Wilson and Bucky Barnes, played by Anthony Mackie and Sebastian Stan.

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.

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.

'From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television' is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. 'Motherhood and Popular Television' examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the 'good' mother that dominates the contemporary cultural landscape.

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.

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.

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.

Television screens in the 1980s reflected some of the most memorable programs of all time. In that decade, such critically acclaimed shows as Cheers, The Golden Girls, Hill Street Blues, Newhart, and St. Elsewhere debuted. In that same decade, iconic shows like The A-Team, Baywatch, Cagney & Lacey, Knight Rider, MacGyver, Miami Vice, and Roseanne appealed to millions of viewers. Even after these shows departed the airwaves, they live on in syndication and on DVDs, entertaining many generations of viewers. In Television Series of the 1980s: Essential Facts and Quirky Details, Vincent Terrace presents readers with a cornucopia of information about more than seventy programs from the decade. For example, did you know that Sam Malone had an ex-wife named Deborah? Or that MacGyver's alias was Dexter Fillmore? Or Dan Fielding's license plate on Night Court read "Hot to Trot"? These are just a handful of hundreds of fun and intriguing specifics found inside this volume. Programs from all four major networks (ABC, CBS, FOX, and NBC)-as well as select syndicated programs-are represented here. This is not a book of opinions or essays about specific television programs but a treasure trove of facts associated with each show. From the name of Roseanne's diner to the title of Jessica Fletcher's first novel, readers will discover a wealth of fascinating information that, for the most part, cannot be found elsewhere. In some cases, the factual data detailed herein is the only such documentation that currently exists on bygone shows of the era. Television Series of the 1980s is the ideal reference for fans of this decade and anyone looking to stump even the most knowledgeable trivia expert.

This volume explores how television has been a significant conduit for the changing ideas about children and childhood in the United States. Each chapter connects relevant events, attitudes, or anxieties in American culture to an analysis of children or childhood in select American television programs. The essays in this collection explore historical intersections of the family with expectations of childhood, particularly innocence, economic and material conditions, and emerging political and social realities that, at times, present unique challenges to America's children and the collective expectation of what childhood should be.

Theoretically literate, based on superb ethnography, this book provides one of the best studies of television we have yet in African studies... that] promises to open up a new field of analysis and define the standards for how this research is to be conducted...a landmark that will make a significant contribution to some of the main fields in African studies and anthropology. . Brian Larkin, Columbia University

A] tour de force. This very elegantly and evocatively written ethnography of Congolese television drama is a path-breaking example of what it means to conduct and construct a thick description of a culture of media production. . Debra Spitulnik Vidali, Emory University

This book is beautifully written, theoretically sophisticated, nuanced in its analysis and empirically rich. Given that so much has already been written on African Pentecostalism, coming up with something original and new to say on the topic is quite a challenge, but Pype pulls it off and deserves a lot of credit for that. . Martin Lindhardt, University of Copenhagen

The author deserves great praise for the original way in which she moves her analysis beyond a mere observation of African Pentecostalism. This ethnographically grounded book not only captures the heterogeneity that marks Kinshasa in a beautiful way, but it also innovatively combines three currently burgeoning fields within anthropology: the anthropology of urban settings, the anthropology of youth, and the anthropology of media. . Filip De Boeck, University of Leuven

How religion, gender, and urban sociality are expressed in and mediated via television drama in Kinshasa is the focus of this ethnographic study. Influenced by Nigerian films and intimately related to the emergence of a charismatic Christian scene, these teleserials integrate melodrama, conversion narratives, Christian songs, sermons, testimonies, and deliverance rituals to produce commentaries on what it means to be an inhabitant of Kinshasa.

Katrien Pype currently holds a Marie Curie postdoctoral fellowship. She is working at MIT and Katholieke Universiteit Leuven on social media and old age in Kinshasa."

The greatest conversation in the history of Hollywood.

From the archives of the American Film Institute comes a unique picture of what it was like to work in Hollywood from its beginnings to its present day. Hollywood: The Oral History, lets a reader ‘listen in’ on candid remarks from the biggest names in front of the camera – Bette Davis, Meryl Streep, Tom Hanks, Jane Fonda, Harold Lloyd – the biggest behind it – Frank Capra, Steven Spielberg, Alfred Hitchcock, Jordan Peele, as well as the musicians, writers, sound men, editors, make-up artists, and even script timers, messengers, and publicists who shaped what was heard and seen on screen.

Legendary film scholar Jeanine Basinger and New York Times bestselling author Sam Wasson have undertaken the monumental task of weaving these thousands of hours of talk into a conversation that is lively, funny, insightful, historically accurate and authentically honest in its portrait of workaday Hollywood.

During the "Must See TV" 1990s, Americans enjoyed such immensely popular sitcoms as Friends, Seinfeld, Home Improvement and The Drew Carey Show. Shows that did not make the ratings cut numbered in the hundreds-the emergence of new networks and cable channels airing original programming resulted in a vast increase in short-lived sitcoms over the previous decade. Some of these "flops" were actually quite good and deserved a better fate. The author revisits them all-along with the "dramedies" of the day-with detailed entries providing production and broadcast information, along with critical analyses, and recollections by cast and crew members. A subsection highlights sitcoms that returned for an abbreviated second season. Dozens of cast and crew photographs are included.

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 is an all-inclusive playbook that offers readers a real world based "how-to" manual to create factual television programming. - Includes exclusive industry interviews with top television executives including Matt Taylor (Disney, National Geographic International), Winona Meringolo (Investigation Discovery), Babette Perry (innovative Artists), and more. - Breaks down different areas of factual television that are not explored elsewhere.

This pioneering study on fan translation focuses on Italian fansubbing as a concept, a vibrant cultural and social phenomenon which is described from its inception in 2005 to today. It explores far-reaching issues related to fansubbing and crowdsourcing, highlighting in particular the benefits and drawbacks of Web 2.0.

Since its introduction in the early 1960s, Spanish-language television in the United States has grown in step with the Hispanic population. Industry and demographic projections forecast rising influence through the 21st century. This book traces U.S. Spanish-language television's development from the 1960s to 2013, illustrating how business, regulation, politics, demographics and technological change have interwoven during a half century of remarkable change for electronic media. Spanish-language media play key social, political and economic roles in U.S. society, connecting many Hispanics to their cultures of origin, each other, and broader U.S. society. Yet despite the population's increasing impact on U.S. culture, in elections and through an estimated $1.3 trillion in spending power in 2014, this is the first comprehensive academic source dedicated to the medium and its history. The book combines information drawn from the business press and trade journals with industry reports and academic research to provide a balanced perspective on the origins, maturation and accelerated growth of a significant ethnic-oriented medium.

This book explores the written and unwritten requirements Black journalists face in their efforts to get and keep jobs in television news. Informed by interviews with journalists themselves, Lewis examines how raced Black journalists and their journalism organizations process their circumstances and choose to respond to the corporate and institutional constraints they face. She uncovers the social construction and attempted control of "Blackness" in news production and its subversion by Black journalists negotiating issues of objectivity, authority, voice, and appearance along sites of multiple differences of race, gender, and sexuality.

Reading Contemporary Serial Television Universes provides a new framework-the metaphor of the narrative ecosystem-for the analysis of serial television narratives. Contributors use this metaphor to address the ever-expanding and evolving structure of narratives far beyond their usual spatial and temporal borders, in general and in reference to specific series. Other scholarly approaches consider each narrative as composed of modular elements, which combine to create a bigger picture. The narrative ecosystem approach, on the other hand, argues that each portion of the narrative world contains all of the main elements that characterize the world as a whole, such as narrative tensions, production structures, creative dynamics and functions. The volume details the implications of the narrative ecosystem for narrative theory and the study of seriality, audiences and fandoms, production, and the analysis of the products themselves.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television's role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia's recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

This innovative collection investigates the ways in which television programs around the world have highlighted modernization and encouraged nation-building. It is an attempt to catalogue and better understand the contours of this phenomenon, which took place as television developed and expanded in different parts of the world between the 1950s and the 1990s. From popular science and adult education shows to news magazines and television plays, few themes so thoroughly penetrated the small screen for so many years as modernization, with television producers and state authorities using television programs to bolster modernization efforts. Contributors analyze the hallmarks of these media efforts: nation-building, consumerism and consumer culture, the education and integration of citizens, and the glorification of the nation's technological achievements.

The British television director Alan Clarke is primarily associated with the visceral social realism of such works as his banned borstal play Scum, and his study of football hooliganism, The Firm. This book uncovers the full range of his work from the mythic fantasy of Penda's Fen, to the radical short film on terrorism, Elephant. Dave Rolinson uses original research to examine the development of Clarke's career from the theatre and the 'studio system' of provocative television play strands of the 1960s and 1970s, to the increasingly personal work of the 1980s, which established him as one of Britain's greatest directors. Alan Clarke examines techniques of television direction, and proposes new methodologies as it questions the critical neglect of directors in what is traditionally seen as a writer's medium. It raises crucial issues in television studies, including aesthetics, authorship, censorship, the convergence of film and television, drama-documentary form, narrative and realism. -- .

Trevor Griffiths has been a critical force in British television writing for over three decades. His successes have included the series Bill Brand (1976), his adaptations of Sons and Lovers and The Cherry Orchard (1981) and his television plays, The Comedians (1979), Hope in the Year Two (1994) and Food for Ravens (1997). During his creative life he has negotiated the issues of genre, politics, identity, class, history, memory and televisual form with a sustained creativity and integrity second to none. And he has parallelled this career with one as equally as eminent in the theatre, as well as the slightly more problematic forays into film-writing for Warren Beatty's Reds and Ken Loach's Fatherland. John Tulloch's Trevor Griffiths is also, however, a work that looks at such a creative and successful career from a number of different angles. For example, Griffith's televisual work coincides with the emergence of media and cultural studies and so Tulloch reflects on how critical citation moves from Marx to Derrida from the 70s throught to the 90s, mirroring the increased theorisation of media studies. He also looks at the dialogic relationship of Griffiths as the radical critic and the radical critique of cultural studies. Both a canny work on Griffiths, as well as a pertinent work for students introducing them to to broader concepts, theories and methods within the field, Tulloch's work will be read widely by students and academics in a range of disciplines.

North/South, East/West focuses on the visual and discursive representation of identity promoted by public and private Italian national television at the turn of the twenty-first century. Michela Ardizzoni examines the role of politics, conglomeration, immigration, and satellite technology in framing discourses of gender, ethnic, and regional identities. In a time of social and political change for Italy, characterized by the increased visibility of ethnic minorities and the rise to political power of Silvio Berlusconi, Italy's largest media mogul, North/South, East/West provides an in-depth textual analysis of current programs and their vision of identity

First published in 1992, Images of Disability on Television examines the frequency and nature of disability on British and American television and how it is perceived and presented by programme makers. Attitudes held by those closest to the issues - disabled people, their carers, and television producers and writers - are presented as the result of interviews and discussions. There is an increasingly strong sentiment that television has got it wrong as far as disability is concerned and does not play its proper role in allowing the non-disabled to understand fully the world of disabled people. This book provides information to promote greater understanding of the needs of the disabled people in television portrayal and opens up possibilities for a change in attitudes. It will be valuable reading for students, researchers and lecturers in the social sciences, communication studies, and media studies.