Paranoid visions explores the history of the spy and conspiracy genres on British television, from 1960s Cold War series through 1980s conspiracy dramas to contemporary 'war on terror' thrillers. It analyses classic dramas including Tinker Tailor Soldier Spy, Edge of Darkness, A Very British Coup and Spooks. This book will be an invaluable resource for television scholars interested in a new perspective on the history of television drama and intelligence scholars seeking an analysis of the popular representation of espionage with a strong political focus, as well as fans of cult British television and general readers interested in British cultural history. -- .

This book presents a review of research on reaction processes and attention as it has evolved over the last 40 years in the context of the information processing tradition in cognitive psychology. It is argued and demonstrated that issues of reaction processes and attention are closely interconnected. Their common conceptualization can be seen in terms of limited processing capacity on the one hand, and stage analysis on the other. This volume concludes that, at present, a stage analysis metaphor offers better prospects as a conceptual starting point; the limited capacity metaphor was strongly tied to the digital computers of the 60s. The emphasis of the book is on behavioral research, but summaries of related findings on evoked potentials and other psychophysiological variables are included as well. From this perspective, it may be of interest to neuropsychologists who want to learn about the present state of cognitive experimental paradigms. Elements of Human Performance also addresses the question of the relationship between basic research and applications in the said areas. This is particularly urgent in view of the now common notion that the results of many simplified laboratory tasks may be artifactual and of little applied value. A back-to-back research strategy is outlined to assess the validity of basic research results for real-life tasks.

You can present to camera, speak to time, read autocue, conduct an interview, write and memorise scripts; you have a showreel, headshots and a CV―but what next? How do you decide which genre to go for, market yourself and establish your career? The TV Presenter’s Career Handbook is full of information and advice on how to capitalise on your presenter training and contains up-to-date lists of resources to help you seek work, market yourself effectively, and increase your employability.

Contents include raising your profile, what kinds of companies to aim for and how to contact them, what to do with your programme idea, video and radio skills, creating your own TV channel, tips from agents, specialist genres such as News, Sports, Technology, Children’s and Shopping channels, breaking into the US, and more!

Features interviews and case studies with over 80 experts so you can learn from those who have been there first, including:
Maxine Mawhinney and Julian Worricker BBC News anchors, Jon Bentley and Jason Bradbury presenters The Gadget Show, Melvin Odoom KISS FM, Gemma Hunt presenter Swashbuckle, Matt Lorenzo presenter Premier League, Tony Tobin chef/presenter Ready Steady Cook and Saturday Kitchen, Alison Keenan and Marie-Francoise Wolff presenters QVC, Maggie Philbin and Jem Stansfield presenters Bang Goes the Theory, Kate Russell presenter BBC Click, Sarah Jane Cass Senior Talent Agent Somethin’ Else Talent, Emma Barnett award-winning radio presenter, David McClelland Technology presenter Rip Off Britain, Louise Houghton and Tina Edwards presenters London Live, Fran Scott presenter Absolute Genius with Dick and Dom, and Claire Richmond founder findatvexpert.com

Advances in audiovisual technology, most notably the advent of the popular usage of digital technology in the last few years, have altered the face of popular television. Thanks to cable, satellite and now digital technology, television broadcasts can reach an international audience. The reaction from cultural critics has been mixed. As the debate concerning the effects of new telecommunications and audiovisual technology continues unabated, this book examines the underlying hypothesis that collective allegiances are moving away from the national paradigm towards the global/local model and provides a balanced appraisal of the depiction of a select number of group identities on television in Britain and France.

Curly Watts is a TV icon - for twenty years appearing on millions of TV screens around the country in Coronation Street. Kevin Kennedy is one of the UK's most successful soap actors, although behind the scenes and high-profile appearances, he faced a painful personal battle. Kevin shares his experiences of alcoholism, rehab and IVF as well stories from the set and stars he worked with during some of the brightest, and darkest moments of his life, through to his music career and current roles. This brutally honest autobiography provides a rare glimpse into life behind the scenes, the power of addiction, and his battle with recovery.

Angela Carter is best known for her novels, short fiction and journalism, but she also produced a substantial body of writing for media other than the printed page, including five radio plays, two film adaptions, an original television documentary and a number of unrealised scripts for stage and screen. Despite increasing academic interest in Carter's work, these dramatic writings have largely been ignored. In this book, Charlotte Crofts redresses this lack of critical attention by examining Carter's dramatic writings together for the first time (including two unpublished works), giving them a more central position in the Carter canon. Divided into three sections on radio, film and television, the book's interdisciplinary approach is underpinned by reference to exclusive interviews with the directors and producers with whom Carter collaborated, giving a unique insight into processes of adaptation and the technologies of media production. The author demonstrates how, far from being an aberration from her real vocation as a writer of fiction, Carter's writing for radio, film and television is an extension of her self-professed demythologising practice. Essential reading for those engaged in the research and teaching of Angela Carter, this book will also appeal to a wider academic and sixth-form audience and those with a general interest in literary, cultural, and media studies.

Neil Postman's most popular work, Amusing Ourselves to Death (1985), provided an insightful critique of the effects of television on public discourse in America, arguing that television's bias towards entertaining content trivializes serious issues and undermines the basis of democratic culture. Lance Strate, who earned his doctorate under Neil Postman and is one of the leading media ecology scholars of our time, re-examines Postman's arguments, updating his analysis and critique for the twenty-first-century media environment that includes the expansion of television programming via cable and satellite as well as the Internet, the web, social media, and mobile technologies. Integrating Postman's arguments about television with his critique of technology in general, Strate considers the current state of journalism, politics, religion, and education in American culture. Strate also contextualizes Amusing Ourselves to Death through an examination of Postman's life and career and the field of media ecology that Postman introduced. This is a book about our prospects for the future, which can only be based on the ways in which we think and talk about the present.

The perfect gift for any fan of Supernatural. Whether you're a seasoned chef, beginner cook, or just a diner food enthusiast like the Winchesters, this cookbook brings a variety of both savory and sweet recipes from the show to life. This official gift set comes with Supernatural: The Official Cookbook and an exclusive apron featuring the anti-possession symbol, equipped with a large front pocket and adjustable straps. When they aren't keeping humanity safe from all kinds of otherworldly threats, Dean and Sam often take time to eat and devise their next steps for hunting monsters at a small-town diner. This complete culinary guide features some of the brothers' favorite dishes, such as: - Dean's Breakfast Bacon Cheeseburgers with Honey Sriracha Aioli - Pig 'N a Poke, - Bourbon Pecan Pie This cookbook gift set will inspire you to not wait for your next road trip and prepare your own delicious feast.

This book was featured as one of thirty-four Epic Feminist Books in Teen Vogue magazine. This book offers interpretive and contextual tools to read the AMC television series Mad Men, providing a much-needed historical explanation and exposition regarding the status of women in an era that has been painted as pre- or non-feminist. In chapters aimed at helping readers understand women's lives in the 1960s, Mad Men is used as a springboard to explore and discover alternative ways of seeing women. Offering more than a discussion of the show itself, the book offers historical insight for thinking about serious issues that "modern" working women continue to face today: balancing their work and personal lives, competing with other women, and controlling their own bodies and reproductive choices. Rather than critiquing the show for portraying women as victims, the book shows subtle (and sometimes not-so-subtle) ways that feminism functioned in an era when women were supposedly caught between the "waves" of the women's movement but when, the authors argue, they functioned nonetheless as empowered individuals. By doing so, it provides historical context and analysis that complicates traditional interpretations by (1) exploring historical constructions of women's work; (2) unpacking feminist and non-feminist discourses surrounding that work; (3) identifying modes of resistance; and (4) revisiting forgotten work coded as feminine.

This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? Essays explore violence committed in self-defence, racist violence, mass lawlessness, the violence of law enforcement, the violence of mourning, and the violence of history. The second half of the collection explores an equally urgent question: What does it mean to be human? Several of the essays argue that notions of the human must acknowledge the centrality of the body-the fact that we share a ""blind corporeality"" with the zombie. Other essays address how the human is closely aligned with language and time, the disappearance of which are represented by the aphasic, mindless zombie. Underlying each essay are the game-changing words of Walking Dead's protagonist Rick Grimes to the other survivors: ""We're all infected."" The violence of the zombie is also our violence; their blind drives are also ours. The human characters of The Walking Dead may try to define themselves against the zombies but in the end their bodies harbor the zombie virus: they are the walking dead.

Offers a critical reappraisal of a prolific and popular genre, as well as bringing new material into the broader field of Television Studies. Surveys the traditional discourses about adaptation, unearthing the unspoken assumptions and common misconceptions that underlie them and explores the problems inherent in previous approaches, developing an original perspective that considers the particularly televisual nature of this genre. Examines four major British serials: 'Brideshead Revisited', 'Pride and Prejudice', 'Moll Flanders', and 'The Tenant of Wildfell Hall' revealing the genre's importance in constituting and moderating our understanding of the past and of television itself. The first sustained and coherent book on the subject in almost a decade. -- .

The playful personality, casual confidence, and smooth style of Dean Martin are celebrated by friend and colleague Lee Hale in this warm-hearted, delightful tribute. Hale worked alongside the beloved entertainer as musical director and eventually producer for NBC's The Dean Martin Show. For seventeen years, Hale brought Dean and hundreds of other stars into America's living rooms.

Every chapter of this engaging book covers a year of Dean's show, from the first season in 1965 when Hale was hired to find ways to boost the ratings, through the ascent in the Nielsens and years at the top in the late sixties and early seventies, and into the final years and the show's end in 1974. The Golddiggers, the Roasts, and the Specials round out this spectacular chronological parade of hilarious skits, heart-stopping duets, and enduring friendships. Backstage at the Dean Martin Show also features anecdotes about the hundreds of stars who worked with Dean, including: the Rat Pack, Johnny Carson, Ella Fitzgerald, Ann-Margret, John Wayne, Lucille Ball, Debbie Reynolds, Jerry Lewis, Jimmy Stewart, Angie Dickinson, Bette Davis, and many more.

Best of all, Backstage at the Dean Martin Show captures Dean's spirit -- his mischievous smile and sly innuendo; the casual, smooth way he glossed over his mistakes; his inimitable rapport with both audience and stars -- and reveals the lost world of TV variety shows.

In the year that Europe commemorates the centenary of the outbreak of World War I and the European Union faces a crisis of legitimacy, the national question is once again being posed across the Continent. This volume assesses how contemporary German-language writers and filmmakers have approached this troubled question over the last decade. It addresses whether the collective entity known as Germany should more properly be conflated with the Federal Republic, with its successful sixty-five-year history ('the best Germany we have ever had'), rather than the 'nation' with all its tainted connotations and corrupted concepts such as 'Vaterland'. Contemporary Germany is a product not only of its history up to 1945 but also of the process of understanding that history and acting upon that understanding since the defeat of National Socialism. Each of the sixteen essays collected here illuminates a different segment of a bigger picture, whose shape and shades are themselves evolving. Presented as a whole their purpose is to provoke further discussion among observers of the contemporary German-speaking scene. In dem Jahr, in dem Europa den 100. Jahrestag des Ausbruchs des Ersten Weltkriegs begeht, und die Europaische Union eine Legitimitatskrise durchmacht, stellt sich in ganz Europa wieder einmal die 'nationale Frage'. Dieser Band zeigt Antworten von deutschsprachigen Autoren und Filmemachern aus den letzten zehn Jahren. Es wird gefragt, ob es nicht passender ware, das unter dem Namen 'Deutschland' firmierende Kollektiv als 'Bundesrepublik' zu erfassen, und somit die Idee der 'Nation' mit all seinen Bruchen - bis hin zum verpoenten 'Vaterland' - zu verabschieden. 'Das beste Deutschland, das es je gegeben hat' zeichnet immerhin eine Erfolgsgeschichte seit 65 Jahren. Das heutige Deutschland ist ohne Zweifel ein Produkt seiner Geschichte bis 1945, aber auch von Prozessen des Verstehens und der Verstandigung uber diese Geschichte seit dem Ende des Nationalsozialismus. Jeder der sechzehn Beitrage in diesem Band beleuchtet ein Fragment eines groesseren Bilds, das selbst standig im Umbruch ist. Als Ganzes sollen diese Beitrage die Debatte unter Beobachtern der heutigen deutschsprachigen Welt anregen.

Television and the Embodied Viewer appraises the medium's capacity to evoke sensations and bodily feelings in the viewer. Presenting a fresh approach to television studies, the book examines the sensate force of onscreen bodies and illustrates how TV's multisensory appeal builds viewer empathy and animates meaning. The book draws extensively upon interpretive viewpoints in the humanities to shed light on a range of provocative television works, notably The Americans, Mad Men, Little Women: LA, and Six Feet Under, with emphasis on the dramatization of gender, disability, sex, childbearing, and death. Advocating a biocultural approach that takes into account the mind sciences, Cassidy argues that interpretive meanings, shaped within today's dynamic cultural matrix, are amplified by somatic experience. At a time when questions of embodiment and affect are crossing disciplines, this book will appeal to scholars and students working in the fields of television, film, and media studies, both in the humanities and cognitive traditions.

A chronological listing of the creative output and other antics of the members of the British comedy group Monty Python, both as a group and individually. Coverage spans between 1969 (the year Monty Python's Flying Circus debuted) and 2012. Entries include television programs, films, stage shows, books, records and interviews. Back matter features an appendix of John Cleese's hilarious business-training films; an index of Monty Python's sketches and songs; an index of Eric Idle's sketches and songs; as well as a general index and selected bibliography.

This original book asks how, in an age of convergence, when 'television' no longer means a box in the corner of the living room that we sit and watch together, do we remember television of the past? How do we gather and archive our memories? Kristyn Gordon and Joanne Garde-Hansen explore these questions through first person interviews with tv producers, curators and archivists, and case studies of popular television series and fan communities such as 'Cold Feet' and 'Doctor Who'. Their discussion takes in museum exhibitions, popular televison nostalgia programming and 'vintage' tv websites.

When Student Alan moves into an attic flat, he does not expect to find it already inhabited by someone else. They mysterious Philip claims to be the son of an African chief with ten wives waiting for him back home, but his presence is the least of Alan's worries.1 woman, 3 men

This is a collection of 19 new essays by 21 different authors from the United States, the UK, Canada, Australia and India. It focuses on contemporary film and television (1989 to the present) from those countries as well as from China, Korea, Thailand and France. The essays are divided into three sections. The first and second, entitled ""Disability on Screen: Critical Reflections,"" include critical readings of narrative film and television respectively. The third, entitled ""Disability in Production and Reception: Critical Reflections,"" includes essays on documentaries, biopics and autobiographically-informed films, and an essay on audience reactions to a television series. The book as a whole is designed to be accessible to readers new to disability studies, while also contributing significantly to the field. An introduction provides a background in disability studies and an appendix of suggested reading in disability studies is provided.

This collection of papers examines the evolving relationship between the motion picture industry and television from the 1940s onwards. The institutional and technological histories of the film and TV industries are looked at, concluding that Hollywood and television had a symbiotic relationship from the start. Aspects covered include the movement of audiences, the rise of the independent producer, the introduction of colour and the emergence of network structure, cable TV and video recorders. Originally published in 1990.

While film and television seem to be closely allied screen media, our feature films and television series have seldom been successfully adapted across those screens. In fact, rather than functioning as portals, those allied media often seem, quite literally, screens that filter out something that made the source work so popular in its original form. Differences in budget, running times, cast, viewing habits, screen size and shape all come into play, and this volume's aim is to track a number of popular texts in the course of their adaptive journeys across the screens in order to sketch the workings of that cross-media adaptation. For its specific examples, the volume draws on a single genre-science fiction-not only because it is one of the most popular today in either film or television, but also because it is arguably the most self-conscious of contemporary genres, and thus one that most obviously frames the terms of these technological adaptations. The essays included here mine that reflexive character, in both highly successful and in failed efforts at cross-media adaption, to help us understand what film and television achieve in screening science fiction, and to reveal some of the key issues involved in all of our efforts to navigate the various screens that have become part of contemporary culture.

Documentaries have recently become a favourite format for Chinese state-directed media to present an officially sanctioned view of history. Indeed, this is not confined to Chinese national history. In stark contrast to the earlier self-centred preoccupation with Chinese history, there has been an upsurge in interest in foreign history, with a view to illuminating China's role not only in world history, but also on the global stage today, and in the future. This book examines three recent Chinese documentary television series which present the officially sanctioned view of the rise of the modern West, the reasons for the end of the Soviet Union, and the legitimisation of the present-day Chinese government via a specific reading of modern Chinese history to argue for a 'Chinese rise' in the future. With a focus on these documentaries, Gotelind Muller discusses how history is presented on screen, and explores the function of visual history for memory culture and wider society. Further, this book reveals how the presentation of Chinese and foreign history in a global framework impacts on the officially transmitted views on Self and Other, and thus provides a keen insight into how the Chinese themselves regard their 'global rise'. Documentary, World History, and National Power in the PRC will be welcomed by students and scholars working across a number of fields, including Chinese studies, East Asian studies, media studies, television studies, history and memory studies.

Reversing a common science fiction cliche, Farscape follows the adventures of the human astronaut John Crichton after he is shot through a wormhole into another part of the universe. Here Crichton is the only human being, going from being a member of the most intelligent species on our planet to being frequently considered mentally deficient by the beings he encounters in his new environment. Crichton befriends a group of beings from various species attempting to escape from imprisonment aboard a living spaceship. The series, which broke many of the so-called ""rules"" of science fiction, follows Crichton's attempts to survive in worlds that are often hostile to him and his friends. Their adventures centre on each being's attempt to find a way home. The essays in this volume explore themes running throughout the series, such as good and evil, love and sex, and what it means to be a hero, as well as the various characters populating the series, including the villains and even the ship itself.

This book employs actor-network theory in order to examine how representations of crime are produced for contemporary prime-time television dramas. As a unique examination of the production of contemporary crime television dramas, particularly their writing process, Making Crime Television: Producing Entertaining Representations of Crime for Television Broadcast examines not only the semiotic relations between ideas about crime, but the material conditions under which those meanings are formulated. Using ethnographic and interview data, Anita Lam considers how textual representations of crime are assembled by various people (including writers, directors, technical consultants, and network executives), technologies (screenwriting software and whiteboards), and texts (newspaper articles and rival crime dramas). The emerging analysis does not project but instead concretely examines what and how television writers and producers know about crime, law and policing. An adequate understanding of the representation of crime, it is maintained, cannot be limited to a content analysis that treats the representation as a final product. Rather, a television representation of crime must be seen as the result of a particular assemblage of logics, people, creative ideas, commercial interests, legal requirements, and broadcasting networks. A fascinating investigation into the relationship between television production, crime, and the law, this book is an accessible and well-researched resource for students and scholars of Law, Media, and Criminology.

Spanning several years of research, this book compares and contrasts how public and commercial TV stations present foreign, domestic, and hybrid news from a number of different countries. It examines what viewers of television news think about foreign news, their interest in it, and what sense they make of it. The book also assesses what the gatekeepers of foreign news - journalists, producers, and editors - think about what they produce, and about their viewers. This book shows that while globalization is a dominant force in society, and though news can be instantaneously broadcast internationally, there is relatively little commonality throughout the world in the depiction of events occurring in other countries. Thus, contrary to McLuhan's famous but untested notion of the "global village", television news in the countries discussed in this book actually presents more variability than similarity. The research gathered here is based on a quantitative content analysis of over 17,000 news items and analysis of over 10,000 survey respondents. Seventeen countries are included in this research, offering a rich comparative perspective on the topic.

This book examines how television has been transformed over the past twenty years by the introduction of new viewing technologies including DVDs, DVRs and streaming services such as Netflix, Hulu and Amazon Prime. It shows that these platforms have profoundly altered the ways we access and watch television, enabling viewers to pause, rewind, record and archive the once irreversible flow of broadcast TV. JP Kelly argues that changes in the technological landscape of television has encouraged the production of narrative forms that both explore and embody new industrial temporalities. Focusing on US television but also considering the role of TV within a global marketplace, the author identifies three distinct narrative temporalities: "acceleration" (24; Prison Break), "complexity" (Lost; FlashForward), and "retrospection" (Mad Men). Through industrial-textual analysis of television shows, this cross-disciplinary study locates these narrative temporalities in their socio-cultural contexts and examines connections between production, distribution, and narrative form in the contemporary television industry.