This book critically examines the long established tradition of adapting classic novels to film or TV screen.. An emerging area of interest - the relationship between film and literature and the way cinema and television have translated classic novels into moving pictures from the 30s to the 90s.. A wide-ranging but focused collection that is bang up to date and free of media jargon that looks at both the film and the book.. Includes discussion of: The English Patient, Pride and Prejudice and Middlemarch, Pickwick Papers, Dracula, Dickens, Conrad, Hardy and Waugh. -- .

Children with attention-deficit hyperactivity disorder create unique challenges within the family setting. While mothers are still the primary caregivers, the father-son relationship is a special one. As fathers contribute more as caregivers, as well as role models and mentors, they need to understand what their sons are going through as they cope with ADHD, and they most bond with their sons in channelling their often unfocused energy in productive and fulfilling ways. This is the first book written specifically to help fathers navigate the complex world of ADHD. It encourages personal growth while providing fathers with strategies for guiding their sons. Building on first person accounts, this book strikes the unique balance of offering factual information about ADHD and at the same time focusing on the personal impact on the father-son relationship. An essential guidebook, Voices from Fatherhood helps fathers enhance and broaden their relationships with their sons and their entire family. Because it is highly supportive, factual, and practical, mothers will find it useful for understanding the complexities of the father-son relationship. Educators and mental health professionals will find it indispensable in helping families cope with the various aspects of ADHD.

Related link: Free Email Alerting

What kinds of foreign television programs are broadcast in China? What types of cultural differences exist in the minds of Chinese television viewers? To what extent can they perceive and accept these differences? The author developed a three-stage empirical approach to examine these questions in five sample cities in China. First, the television schedules of 37 television channels were analyzed in order to determine the type, cultural modification, and export country of foreign programs. Second, based on 36 audience interviews 42 cultural dimensions were explored and summarized in a catalogue. Third, a survey was conducted among 450 viewers, which examined their perception and acceptance of cultural difference. Five viewer types were developed through cluster analysis. The impact of influential factors was examined.

The music for science fiction television programs, like music for science fiction films, is often highly distinctive, introducing cutting-edge electronic music and soundscapes. There is a highly particular role for sound and music in science fiction, because it regularly has to expand the vistas and imagination of the shows and plays a crucial role in setting up the time and place. Notable for its adoption of electronic instruments and integration of music and effects, science fiction programs explore sonic capabilities offered through the evolution of sound technology and design, which has allowed for the precise control and creation of unique and otherworldly sounds. This collection of essays analyzes the style and context of music and sound design in Science Fiction television. It provides a wide range of in-depth analyses of seminal live-action series such as Doctor Who, The Twilight Zone, and Lost, as well as animated series, such as The Jetsons. With thirteen essays from prominent contributors in the field of music and screen media, this anthology will appeal to students of Music and Media, as well as fans of science fiction television.

In recent years non-fiction history programmes have flourished on television. This interdisciplinary study of history programming identifies and examines different genres employed by producers and tracks their commissioning, production, marketing and distribution histories. With comparative references to other European nations and North America, the authors focus on British history programming over the last two decades and analyse the relationship between the academy and media professionals. They outline and discuss often-competing discourses about how to 'do' history and the underlying assumptions about who watches history programmes. History on Television considers recent changes in the media landscape, which have affected to a great degree how history in general, and whose history in particular, appears onscreen. Through a number of case studies, using material from interviews by the authors with academic and media professionals, the role of the 'professional' historian and that of media professionals - commissioning editors and producer/directors - as mediators of historical material and interpretations is analysed, and the ways in which the 'logics of television' shape historical output are outlined and discussed. Building on their analysis, Ann Gray and Erin Bell ask if history on television fulfils its potential to be a form of public history through offering, as it does, a range of interpretations of the past to and originating from or including those not based in the academy. Through consideration of the representation, or absence, of the diversity of British identity - gender, ethnicity and race, social status and regional identities - the authors substantially extend the scope of existing scholarship into history on television History on Television will be essential reading for all those interested in the complex processes involved in the representation of history on television.

In recent years non-fiction history programmes have flourished on television. This interdisciplinary study of history programming identifies and examines different genres employed by producers and tracks their commissioning, production, marketing and distribution histories. With comparative references to other European nations and North America, the authors focus on British history programming over the last two decades and analyse the relationship between the academy and media professionals. They outline and discuss often-competing discourses about how to 'do' history and the underlying assumptions about who watches history programmes. History on Television considers recent changes in the media landscape, which have affected to a great degree how history in general, and whose history in particular, appears onscreen. Through a number of case studies, using material from interviews by the authors with academic and media professionals, the role of the 'professional' historian and that of media professionals - commissioning editors and producer/directors - as mediators of historical material and interpretations is analysed, and the ways in which the 'logics of television' shape historical output are outlined and discussed. Building on their analysis, Ann Gray and Erin Bell ask if history on television fulfils its potential to be a form of public history through offering, as it does, a range of interpretations of the past to and originating from or including those not based in the academy. Through consideration of the representation, or absence, of the diversity of British identity - gender, ethnicity and race, social status and regional identities - the authors substantially extend the scope of existing scholarship into history on television History on Television will be essential reading for all those interested in the complex processes involved in the representation of history on television.

David Mitchell, who you may know for his inappropriate anger on every TV panel show except Never Mind the Buzzcocks, his look of permanent discomfort on C4 sex comedy Peep Show, his online commenter-baiting in The Observer or just for wearing a stick-on moustache in That Mitchell and Webb Look, has written a book about his life. As well as giving a specific account of every single time he's scored some smack, this disgusting memoir also details: the singular, pitbull-infested charm of the FRP ('Flat Roofed Pub') the curious French habit of injecting everyone in the arse rather than the arm why, by the time he got to Cambridge, he really, really needed a drink the pain of being denied a childhood birthday party at McDonalds the satisfaction of writing jokes about suicide how doing quite a lot of walking around London helps with his sciatica trying to pretend he isn't a total **** at Robert Webb's wedding that he has fallen in love at LOT, but rarely done anything about it why it would be worse to bump into Michael Palin than Hitler on holiday that he's not David Mitchell the novelist. Despite what David Miliband might think

While the American soap opera is known primarily for its marketing value, producers, health professionals, politicians, and rebels elsewhere focus on the serials' potential for social change: African, Indian and South American serials offer information on family planning, child protection and AIDS; a Mexican telenovela parallels a government murder scandal--the program is so popular the state dare not censor it. In Russia, South American novelas are so popular that Boris Yeltsin manipulates programming to affect voters on polling day. Here is an examination of the economic and social impact of the soap opera, with projections for the future. A chapter for each of the nine regions of the world offers demographic statistics of major countries' audiences, radio and television usage, stations available, and synopses of the most popular serials.

A spin-off of The Andy Griffith Show, Mayberry R.F.D. became successful in its own right. The show aired from 1969 through 1971 and was consistently in the top 15 of the Nielsen ratings. Its demise was caused by the sudden elimination of rural-oriented series by CBS in 1971 in order to make room for more ""realistic"" fare. The show's popularity owed much to the casting; George Lindsey (playing Goober Pyle), Jack Dodson (Howard Sprague), Paul Hartman (Emmett Clark), Ken Berry (Sam Jones), and others who moved seamlessly from The Andy Griffith Show to the new series. Episode-by-episode, this is the definitive reference to Mayberry R.F.D. Each entry provides episode title, writer, director, regular and guest cast, and numerous other facts about it. Capsule biographies of guest stars are given within the entry for the initial episode in which they worked, while more detailed biographies of the writers, directors, and major stars follow the episode guide.

The twentieth anniversary edition of Henry Jenkins's Textual Poachers brings this now-canonical text to a new generation of students interested in the intersections of fandom, participatory culture, popular consumption and media theory. Supplementing the original, classic text is an interview between Henry Jenkins and Suzanne Scott in which Jenkins reflects upon changes in the field since the original release of Textual Poachers. A study guide by Louisa Stein helps provides instructors with suggestions for the way Textual Poachers can be used in the contemporary classroom, and study questions encourage students to consider fan cultures in relation to consumer capitalism, genre, gender, sexuality, and more.

Since the first series of Pop Idol aired in the UK just over a decade ago, Idols television shows have been broadcast in more than forty countries all over the world. In all those countries the global Idols format has been adapted to local cultures and production contexts, resulting in a plethora of different versions, ranging from the Dutch Idols to the Pan-Arab Super Star and from Nigerian Idol to the international blockbuster American Idol. Despite its worldwide success and widespread journalistic coverage, the Idols phenomenon has received only limited academic attention. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format brings together original studies from scholars in different parts of the world to identify and evaluate the productive dimensions of Idols. As one of the world's most successful television formats, Idols offers a unique case for the study of cultural globalization. Chapters discuss how Idols shows address particular national or regional identity politics and how Idols is consumed by audiences in different territories. This book illustrates that even though the same television format is used in countries all over the globe, practices of adaptation can still result in the creation of unique local cultural products.

Video journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking techniques than conventional television. Its detractors consider it simply a cheaper way to make news. Video Journalism: Beyond the One-Man Band weighs in on the controversy while addressing two overall concerns: What is video journalism, exactly? And how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in the United States and the United Kingdom, including local newspapers, The New York Times, local television stations, the BBC, the Voice of America radio network, and several professional photographic workshops. In a departure from other news ethnographies, this book takes a somewhat unusual approach in that the author observes video journalists at work in the field, not just in newsrooms, on stories ranging from an urban shooting to a presidential campaign visit. This approach offers a fascinating insider perspective for those in the field as well as those who aspire to it.

Video journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking techniques than conventional television. Its detractors consider it simply a cheaper way to make news. Video Journalism: Beyond the One-Man Band weighs in on the controversy while addressing two overall concerns: What is video journalism, exactly? And how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in the United States and the United Kingdom, including local newspapers, The New York Times, local television stations, the BBC, the Voice of America radio network, and several professional photographic workshops. In a departure from other news ethnographies, this book takes a somewhat unusual approach in that the author observes video journalists at work in the field, not just in newsrooms, on stories ranging from an urban shooting to a presidential campaign visit. This approach offers a fascinating insider perspective for those in the field as well as those who aspire to it.

This collection of essays responds to the recent surge of interest in popular television in Eastern Europe. This is a region where television's transformation has been especially spectacular, shifting from a state-controlled broadcast system delivering national, regional, and heavily filtered Western programming to a deregulated, multi-platform, transnational system delivering predominantly American and Western European entertainment programming. Consequently, the nations of Eastern Europe provide opportunities to examine the complex interactions among economic and funding systems, regulatory policies, globalization, imperialism, popular culture, and cultural identity.This collection will be the first volume to gather the best writing, by scholars across and outside the region, on socialist and postsocialist entertainment television as a medium, technology, and institution.

The 21st century is a good time to be Sherlock Holmes. He stars in the recent Guy Ritchie films, with Robert Downey, Jr., playing the great detective; an internationally popular BBC television series, featuring Benedict Cumberbatch as Sherlock; a novel sanctioned by the Arthur Conan Doyle Estate; and dozens of additional novels and short stories, including two by Neil Gaiman. Add to this video games, comic books, and fan-created works, plus a potent Internet and social media presence. Holmes' London has even become a prime destination for cinematic tourists. The evidence is clearly laid out in this collection of 14 new essays: Holmes and Watson are more popular than ever. Why we continue to be fascinated with them is the overall topic. The genius detective has been portrayed as hero as well as antihero. Adaptations describe him as tech savvy, scientifically detached, even psychologically aberrant; he has been romantically linked to The Woman and bromantically to Watson. Whether Victorian or modern, he continues to intrigue us. These essays analyze Sherlock Holmes as a cultural icon and explain why he is destined to be a beloved if controversial character for years to come.

This book examines the American television legal series from its development as a genre in the 1940s to the present day. Villez demonstrates how the genre has been a rich source of legal information and understanding for Americans. These series have both informed and put myths in place about the legal system in the US. Villez also contrasts the US to France, which has seen a similar interest in legal series during this period. However, French television representations of justice are strikingly different, as is the role of fiction in offering viewers the possibility of acquiring significant understandings of their legal system. The book will be an important addition to the study of popular culture and law and will interest legal scholars, sociologists, and media scholars.

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.

This book examines the intersection of gender and violence in popular culture. Drawing on the latest thinking in critical international relations, media and cultural studies and gender studies, it focuses in particular on a number of popular TV shows including Angel, Buffy the Vampire Slayer, Firefly, Generation Kill, The Corner and The West Wing. The book makes a unique theoretical contribution to the 'narrative turn' in International Relations by illustrating the ways in which popular culture and global politics are intertwined and how we make sense of our worlds through these two frames. Methodologically, the book enhances discourse-theoretical analysis in IR through its incorporation of methods from narratology and film studies. The book proposes an aesthetic ethicopolitical approach to global politics which challenges us to interrogate how it becomes possible that we think what we think, it challenges the truths that we hold to be self-evident and that which we take to be common sense. It demands that we think carefully, critically, uncomfortably, about our world(s) - even when we're 'only' watching television.

This book examines the intersection of gender and violence in popular culture. Drawing on the latest thinking in critical international relations, media and cultural studies and gender studies, it focuses in particular on a number of popular TV shows including Angel, Buffy the Vampire Slayer, Firefly, Generation Kill, The Corner and The West Wing. The book makes a unique theoretical contribution to the 'narrative turn' in International Relations by illustrating the ways in which popular culture and global politics are intertwined and how we make sense of our worlds through these two frames. Methodologically, the book enhances discourse-theoretical analysis in IR through its incorporation of methods from narratology and film studies. The book proposes an aesthetic ethicopolitical approach to global politics which challenges us to interrogate how it becomes possible that we think what we think, it challenges the truths that we hold to be self-evident and that which we take to be common sense. It demands that we think carefully, critically, uncomfortably, about our world(s) - even when we're 'only' watching television.

From 1963 to 1989, the BBC television program Doctor Who followed a time-traveling human-like alien called ""The Doctor"" as he sought to help people, save civilizations, and right wrongs. Since its 2005 revival, Doctor Who has become a pop culture phenomenon surpassing its ""classic"" period popularity and reaching a larger, more diverse audience. Though created as a family program, the series has dramatized serious themes in philosophy, science, religion, and politics. Doctor Who's thoughtful presentation of a secular humanist view of the universe stands in stark contrast to the flashy special effects central to most science fiction on television. This examination of Doctor Who from the perspective of philosophical humanism assesses the show's careful exploration of such topics as justice, ethics, good and evil, mythology, and knowledge.

Portable phones are now miniature multi-media centers that can fit neatly in one's pocket, and media industries of all types are adapting content for these new platforms, or innovating entirely new forms. In the light of this explosive growth, this diverse collection of essays establishes conceptual, critical frameworks for evaluating the latest transformations of the media landscape. Some essays provide historical context, exploring older phenomena such as the CB radio, automobile radio, and hand-held video games, while others unpack the behind-the-scenes negotiations that determine what kinds of services are available to consumers of the latest technology. The Mobile Media Reader is a comprehensive road map, enabling both scholars and students to examine the social, cultural, and commercial implications of media that are available anywhere at any time.

As opposed to many of their more reserved predecessors, modern television serials such as Queer as Folk and The L Word, which concentrate predominantly on queer characters, dare to include numerous highly controversial story lines, feature explicit sex scenes and reflect upon previously tabooed aspects in their depiction of homosexuality. Challenging Heterosexism from the Other Point of View discusses how these specifically queer shows fulfill a function of challenging institutionalized attitudes of society, such as dichotomous notions of gender, heterosexism or homophobia. Moreover, the question is raised whether they also serve to do the opposite unintentionally, by reinforcing stereotypes and potentially creating a rather rigid image of the concept of homosexual identity. The complexity of the cultural impact suggested by these series defines the focal point of the qualitative content analysis of these innovative media products.

Now in its second edition, Seeing the Bigger Picture examines the ways movies and popular culture can foster a deeper awareness of the political dilemmas and debates shaping our world. Reviewing commercial films and documentaries, the text illustrates the myriad ways that film and popular culture shape our understanding of capitalism and democracy, war and terrorism, civil rights and social justice, campaigns and elections and the presidency. This updated edition includes new chapters on media, human rights and the environment. In the aftermath of the American invasion of Iraq, the book discusses the broad new spectrum of films about war; it also looks at capitalism and financial markets in popular culture in light of the financial crisis of 2008. Examining a range of vital issues that dot the political landscape, this is an excellent comprehensive text for students of film and politics, and a creative resource for courses in American government, international relations, popular culture and media studies. This edition is accompanied by a website with links to additional material and film clips that will help facilitate the study of film and politics.

To help students think critically about international relations and politics, Stephen Benedict Dyson examines the fictional but deeply political realities of three television shows: Star Trek, Game of Thrones, and Battlestar Galactica. Deeply familiar with the events, themes, characters, and plot lines of these popular shows, students can easily draw parallels from fictive worlds to contemporary international relations and political scenarios. In Dyson's experience, this engagement is frequently powerful enough to push classroom conversations out into the hallways and onto online discussion boards. In Otherworldly Politics, Dyson explains how these shows are plotted to offer alternative histories and future possibilities for humanity. Fascinated by politics and history, science fiction and fantasy screenwriters and showrunners suffuse their scripts with real-world ideas of empire, war, civilization, and culture, lending episodes a compelling intricacy and contemporary resonance. Dyson argues that science fiction and fantasy television creators share a fundamental kinship with great minds in international relations. Creators like Gene Roddenberry, George R. R. Martin, and Ronald D. Moore are world-builders of no lesser creativity, Dyson argues, than theorists such as Woodrow Wilson, Kenneth Waltz, and Alexander Wendt. Each of these thinkers imagines a realm, specifies the rules of its operation, and by so doing seeks to teach us something about ourselves and how we interact with one another. A vital spur to creative thinking for scholars and an accessible introduction for students, this book will also appeal to fans of these three influential shows.