The remarkable career of American actress Eve Arden (1908-1990) is thoroughly chronicled from her earliest stage work in 1926 (under her given name Eunice Quedens) to her final television role in a 1987 episode of Falcon Crest. Included are detailed descriptions and critical commentaries of the actress's 62 feature film appearances between 1929 and 1982, notably her Oscar-nominated performance as Joan Crawford's sardonic confidante in 1945's Mildred Pierce. Complete coverage is provided of Eve Arden's work in the popular radio and television series Our Miss Brooks, and her later costarring stint with Kaye Ballard in the two-season TV sitcom The Mothers-in-Law. Also listed are her many other radio and television appearances, as well as her theatrical roles in such Broadway productions as Ziegfeld Follies of 1936 and Let's Face It.

Soap operas and telenovelas are watched by millions of people around the world every day. As cultural, social, and economic phenomena, examining them will further our understanding of the role of global media content in the digital age. Moreover, as these programs continue to be exported and transformed at regional levels, and through digitalization, it is more important than ever to analyze where the genre has been, where it is now, and where it is going. This collection brings together original scholarship from an international and trans-disciplinary perspective. Chapters address timely issues, theories, and debates that are inextricably linked to soap operas and telenovelas as global industries, as sites for new audiences, and as hybrid cultural products within the digital landscape. Bringing depth and originality to the subject area, each chapter demonstrates the richness of these genres and their long-term significance as the televisual landscape evolves and becomes increasingly reliant on technological and creative innovations.

This book is about the relationship between media and globalization, explored through the unique study of the global expansion of Discovery Communications, spearheaded by the Discovery Channel, one of the world's largest providers of factual television programming and media content. The book argues that the study of Discovery's relationship with globalization provides both a specific and a more general practical and theoretical understanding of how the processes of increased linking and interweaving of media and communications unfold and develop, as well as some of the consequences of this.

This work looks at the functions of documentary in film and television. Its attempts to depict reality and to comment on it have provoked disagreement from the 1920s to the present day. Recent debates about knowledge and representation, and about the changing character of public culture have increased its interest and relevance. The author presents a clear view of the theoretical issues and critical debates about documentary, and discusses the development of the main styles and approaches, including dramadocs and fly-on-the-wall. The book also looks at the dual identity of work in documentary as both artefact and as a reference. This work provides an analysis of specific examples of powerful documentary films and programmes such as: Cathy Come Home (whose presentation of homelessness and young women had enormous impact); Life and Times of Rosie the Rivetter (depicting the treatment of women in US factories during World War II); and When the Dog Bites (a view of life in the previously industrial town of Consett following the closure of the steel works).

In light of current and projected demographic changes in the U.S., this book examines the attention paid to Latina/o youth from mainstream media conglomerates and the subsequent impact of this attention. In-depth interviews conducted within a family setting provide a rare glimpse into respondents' media consumption patterns and process of reception, and explain the ways in which the media are woven into their daily lives. The book critiques the tendency of mainstream media to reify and contain a Latina/o identity that is then sold back to youth in ways that limit Latino/a agency. Throughout the interviews, young people articulate a hybrid identity highlighting their bicultural experiences. Listening to Latina/o Youth ultimately recommends opening up the possibilities of representation to encourage the acceptance of new voices that challenge the current modes of media production.

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.

Baroness Floella Benjamin is an inspiration, an actress and much-loved children's television presenter who is a member of the House of Lords. But how did the girl from Trinidad end up lunching with the Queen? In What Are You Doing Here? Floella describes arriving in London as a child, part of the Windrush generation, and the pain caused by the racism she encountered every day. It was offset by the love of her parents, who gave her the pride in her heritage, self-belief and confidence that have carried her through life. From winning a role in groundbreaking musical Hair (while clearly stating she would not take her clothes off) to breaking down barriers on Play School, from refusing to be typecast in roles to speaking out for diversity at the BBC and BAFTA, she has remained true to herself. She also reveals how she met husband Keith, became a mother of two, was befriended by Kenneth Williams, hugged President Obama, and found a purpose that would underpin everything she did - campaigning for the needs of children. Sharing the lessons she has learned, imbued with her joy and positivity, this autobiography is the moving testimony of a remarkable woman.

First broadcast in the not too distant past on a television station in Minnesota, Mystery Science Theater 3000 soon grew out of its humble beginnings and found a new home on cable television. This simple show about a man and two robots forced to watch bad movies became a cult classic, and episodes of the series continue to be packaged in DVD collections to this day. Before its final run, the show received Emmy nominations and a Peabody award for Television excellence, and in 2007, Time magazine declared MST3K one of "The 100 Best Shows of All-Time." In Reading Mystery Science Theater 3000: Critical Approaches, Shelley S. Rees presents a collection of essays that examines the complex relationship between narrative and audience constructed by this baffling but beloved television show. Invoking literary theory, cultural criticism, pedagogy, feminist criticism, humor theory, rhetorical analysis, and film and media studies, these essays affirm the show's narrative and rhetorical intricacy. The first section, "Rhetoric and the Empowered Audience," addresses MST3K's function as an exercise in rhetorical resistance. Part Two, "Mystery Science Theater 3000 and Genre," analyzes MST3K through distinct generic traditions, including humor studies, traditional science fiction tropes, and the B-movie. Finally, the third section addresses postmodern and intertextual readings of the show. By providing an academic treatment of an iconic television phenomenon, these essays argue that Mystery Science Theater 3000 is worthy of serious scholarly attention. Though aimed at a discerning readership of academics, this collection will also appeal to the intellectual nature of the show's well-educated audience.

Soap operas and telenovelas are watched by millions of people around the world every day. As cultural, social, and economic phenomena, examining them will further our understanding of the role of global media content in the digital age. Moreover, as these programs continue to be exported and transformed at regional levels, and through digitalization, it is more important than ever to analyze where the genre has been, where it is now, and where it is going. This collection brings together original scholarship from an international and trans-disciplinary perspective. Chapters address timely issues, theories, and debates that are inextricably linked to soap operas and telenovelas as global industries, as sites for new audiences, and as hybrid cultural products within the digital landscape. Bringing depth and originality to the subject area, each chapter demonstrates the richness of these genres and their long-term significance as the televisual landscape evolves and becomes increasingly reliant on technological and creative innovations.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set 's status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with television without ever turning a television set on.

Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of the television audience Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry 's development of emerging new media technologies, and what television now means for its audiences.

In 2017, twenty-five years after its initial release, a new season of Twin Peaks shook the world of television. This new book is a detailed analysis of the third season of the television series and aims to elucidate some of the meanings of Twin Peaks: The Return and explain these in terms of philosophical, mythological and spiritual approaches. It focuses on the third season of Twin Peaks but also refers to the first two seasons, and to the film, Fire Walk with Me. Divided into three sections, the book first examines the third season as expanded storytelling through the lens of Gene Youngblood's theory of synesthetic cinema, intertextuality, integrationist, and segregationist approaches in the realm of fiction, and focuses on the role of audio and visual superimpositions in The Return. It goes on to question the nature of the reality depicted in the seasons via scientific approaches, such as electromagnetism, time theory, and multiverses. The third and final section aims to transcend this vision by exploring the role of theosophy, the occult, and other spiritual sources. The author's focus on the role of spirituality and science in Twin Peaks is what distinguishes this book from other works on the famous television series. The work of a scholar who is also a fan, the book should appeal to any hard-core Twin Peaks viewer. Foreword by Matt Zoller Seitz, editor-at-large at RogerEbert.com, and the television critic for New York magazine. This will be essential reading for fans of Twin Peaks and academics writing about it. Also of interest for students with an interest in philosophy, religion, science or spiritualism in visual and popular culture.

In this original study, Thompson explores the complicated relationships between Americans and television during the 1950s, as seen and effected through popular humor. Parody and Taste in Postwar American Television Culture documents how Americans grew accustomed to understanding politics, current events, and popular culture through comedy that is simultaneously critical, commercial, and funny. Along with the rapid growth of television in the 1950s, an explosion of satire and parody took place across a wide field of American culture in magazines, comic books, film, comedy albums, and on television itself. Taken together, these case studies don t just analyze and theorize the production and consumption of parody and television, but force us to revisit and revise our notions of postwar "consensus" culture as well.

Listening to popular music and watching television have become the two most common activities for postwar generations in Britain. From the experiences of programmes like Oh Boy! and Juke Box Jury, to the introduction of 24 hour music video channels, the number and variety of television outputs that consistently make use of popular music, and the importance of the small screen as a principal point of contact between audiences and performers are familiar components of contemporary media operation. Yet there have been few attempts to examine the two activities in tandem, to chart their parallel evolution, to explore the associations that unite them, or to consider the increasingly frequent ways in which the production and consumption of TV and music are linked in theory and in practice. This volume provides an invaluable critical analysis of these, and other, topics in newly-written contributions from some of Britain's leading scholars in the disciplines of television and/or popular music studies. Through a concentration on four main areas in which TV organises and presents popular music - history and heritage; performers and performances; comedy and drama; audiences and territories - the book investigates a diverse range of musical genres and styles, factual and fictional programming, historical and geographical demographics, and the constraints of commerce and technology to provide the first systematic account of the place of popular music on British television.

The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.

The Politics of Reality Television encompasses an international selection of expert contributions who consider the specific ways media migrations test our understanding of, and means of investigating, reality television across the globe. The book addresses a wide range of topics, including: the global circulation and local adaptation of reality television formats and franchises the production of fame and celebrity around hitherto "ordinary" people the transformation of self under the public eye the tensions between fierce loyalties to local representatives and imagined communities bonding across regional and ethnic divides the struggle over the meanings and values of reality television across a range of national, regional, gender, class and religious contexts. This book will be of interest to undergraduate and postgraduate students on a range of Media and Television Studies courses, particularly those on the globalisation of television and media, and reality television.

Inside Bridgerton is the intimate behind-the-scenes story of the hit Shondaland series on Netflix, from Shondaland executive producers Shonda Rhimes and Betsy Beers. Full-colour and beautifully designed, Inside Bridgerton is the official book about the show, and includes never before seen photographs, first-hand accounts on casting, insight into the decisions behind the costumes and sets, directors' accounts on shooting your favourite scenes, and more from the creative minds that launched a cultural phenomenon. Shondaland executive producers Shonda Rhimes and Betsy Beers offer exclusive insights, and introduce you to the series writers, producers, directors, cast, crew and talented creatives who brought Julia Quinn's beloved novels to the screen.

The V-chip is a highly significant part of the discussion about whether television (or broadcasting in general) deserves some special attention in terms of its accessibility to children, its particular power to affect conduct, and its invasiveness. But as this notion of filtering and labeling has caught the imagination of the regulator, the legislator, and all those who wish to consider new ways to alter bargaining over imagery in society, the very "idea" of the V-chip or its equivalent is moving across other technologies, including the Internet. The V-chip issue has also fueled the ongoing debate about violence and sexual practices in society, and how representations on television relate to those practices.
Although the initial concept of the V-chip is simple, its flow into the public realm raises so many extraordinary questions that the introduction and production of the chip virtually serves as a case study in problems of law and public policy. The very conceptualization of speech in society is being affected by this issue. Accordingly, the place of the V-chip in this debate is increasingly important; indeed, it may be argued that the V-chip's contribution to legal argumentation may be greater than its ultimate contribution to the relationship between children and imagery. Among the questions the contributors address are:
*What research basis is necessary to require a framework for labeling and rating?
*What relationship between government and the image-producing industries can be characterized--for constitutional and other reasons--as voluntary as opposed to coercive?
*Who should evaluate these images?
*To what extent should the evaluation process be centralized and/or distributed?
*What assessment is appropriate to evaluate whether the experiment is "successful?"
In addition to the V-chip's origin's in Canada and its further evolution in the United States, this book discusses the development of the V-chip and television rating systems in Europe, Australia, and throughout the world. It also includes essays which contrast the very different approaches in Canada and the United States in terms of the role of regulatory agency, industry, and government.

From viral videos on YouTube to mobile television on smartphones and beyond, TV has overflowed its boundaries. If Raymond Williams' concept of flow challenges the idea of a discrete television text, then convergence destabilizes the notion of television as a discrete object.

Flow TV examines television in an age of technological, economic, and cultural convergence. Seeking to frame a new set of concerns for television studies in the 21st century, this collection of all new essays establishes television's continued importance in a shifting media culture. Considering television and new media not as solely technical devices, but also as social technologies, the essays in this anthology insist that we turn our attention to the social, political, and cultural practices that surround and inform those devices' use. The contributors examine television through a range of critical approaches from formal and industrial analysis to critical technology studies, reception studies, political economy, and critiques of television's transnational flows. This volume grows out of the critical community formed around the popular online journal Flow: A Critical Form on Television and Media Culture (flowtv.org). It is ideal for courses in television studies or media convergence.

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.

From viral videos on YouTube to mobile television on smartphones and beyond, TV has overflowed its boundaries. If Raymond Williams' concept of flow challenges the idea of a discrete television text, then convergence destabilizes the notion of television as a discrete object.

Flow TV examines television in an age of technological, economic, and cultural convergence. Seeking to frame a new set of concerns for television studies in the 21st century, this collection of all new essays establishes television s continued importance in a shifting media culture. Considering television and new media not as solely technical devices, but also as social technologies, the essays in this anthology insist that we turn our attention to the social, political, and cultural practices that surround and inform those devices' use. The contributors examine television through a range of critical approaches from formal and industrial analysis to critical technology studies, reception studies, political economy, and critiques of television's transnational flows. This volume grows out of the critical community formed around the popular online journal Flow: A Critical Form on Television and Media Culture (flowtv.org). It is ideal for courses in television studies or media convergence.

Television Personalities offers an exciting, engaging approach to studying and understanding the most prominent and popular performers in television and celebrity culture. It is an original, indispensable guide for undergraduate and postgraduate students of media, television and celebrity studies, as well as those interested in digital culture more widely.

The popularity of soap operas on radio made them a natural for the new medium of television, where soaps quickly became an audience favorite. As television soap operas developed, so did the level of sophistication in delivery, writing and production. Even with technical difficulties, clashing actor egos, and hurried production schedules, television managed to corral a massive audience for the continuing narrative, which combined the excitement of the new visual medium with the old-fashioned pleasures of a story well told. This history of television's 'golden age' soaps begins with an overview of earlier serialized entertainments that set the stage for the televised daytime soap. A detailed analysis of early TV soap stars, personnel and production follows, taking 40 programs into account. Ensuing chapters offer in-depth treatments of the serials ""Search for Tomorrow"", ""Love of Life"", ""The Guiding Light"", ""The Secret Storm"", ""As the World Turns"" and ""The Edge of Night"". Appendices include chronological and alphabetical directories of period daytime serials and rankings of the durability of programs, actors and actresses, announcers and sponsors.

Being a successful editor is about more than just knowing how to operate a certain piece of software, or when to make a certain transition. On the contrary, there are many unwritten laws and a sense of propriety that are never discussed or taught in film schools or in other books. Based on their own experiences, first as upcoming assistant editors, then as successful Hollywood editors, the authors guide you through the ins and outs of establishing yourself as a respected film and video editor. Insight is included on an array of technical issues such as script breakdown, prepping for sound effects, organizing camera and sound reports, comparison timings, assemply footages and more. In addition, they also provide first-hand insight into industry protocol, providing tips on interviewing, etiquette, career planning and more, information you simply won't find in any other book. The book concludes with a chapter featuring Q+A sessions with various established Hollywood editors about what they expect from their assistant editors.

Mockumentary is now an established part of the spectrum of television styles, with both deep roots in television history and a key part of innovations in the sitcom genre since the 1990s. Tracing the development of mockumentary series within the broader history of traditions of satire, drama, and nonfiction programming, the author uses detailed discussions of popular and innovative television series from Britain, the United States, Canada, Ireland, Australia, and New Zealand. This is the first detailed study of the rich vein of mockumentary television programs, covering series such as "The Larry Sanders Show," "The Daily Show," and the British and American versions of "The Office" to discuss how producers have experimented with mockumentary as a distinctive approach to storytelling.

For over half a century, television has been the most central medium in Western democracies the political, social and cultural centrepiece of the public sphere. Television has therefore rarely been studied in isolation from its socio-cultural and political context; there is always something important at stake when the forms and functions of television are on the agenda. The digitisation of television concerns the production, contents, distribution and reception of the medium, but also its position in the overall, largely digitised media system and public sphere where the internet plays a decisive role.

The articles in this comprehensive collection are written by some of the world s most prominent scholars in the field of media, communication and cultural studies, including critical film and television studies.

Relocating Television offers readers an insight into studying television alongside the internet, participatory media and other technocultural phenomena such as DVDs, user-generated content and everyday digital media production. It also focuses on more specific programmes and phenomena, including The Wire, MSN, amateur footage in TV news, Bollywoodization of TV news, YouTube, fan sites tied to e.g. Grey's Anatomy and X Factor. Relocating Television will be highly beneficial to both students and academics across a wide range of undergraduate and postgraduate courses including media, communication and cultural studies, and television and film studies.