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.

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.

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.

The critically-acclaimed BBC television series Sherlock (2010 - ) re-envisions Sir Arthur Conan Doyle's detective for the digital age, joining participants in the active traditions of Sherlockians/Holmesians and fans from other communities, including science fiction, media, and anime fandom. This collection explores the cultural intersections and fan traditions that converge in Sherlock and its fandoms. Essays focus on the industrial and cultural contexts of Sherlock's release, on the text of Sherlock as adaptation and transformative work, and on Sherlock's critical and popular reception. The volume's multiple perspectives examine Sherlock Holmes as an international transmedia figure with continued cultural impact, offering insight into not only the BBC series itself, but also into its literary source, and with it, the international resonance of the Victorian detective and his sidekick.

The classic television series Space Patrol was a stellar success for ABC from 1950 to 1955. As a pioneer in the hair-raising world of live television, the show had a huge fan base of both children and adults. The magic hinged on the cast: Commander Buzz Corry, Cadet Happy, Carol, Major Robertson and Tonga--five 30th-century personalities whose lives entwined with soap opera strength as they undertook ""missions of daring in the name of interplanetary justice."" A personal appearance by the cast at a Los Angeles department store drew 30,000 fans. But TV viewers had no idea that the actors and crew faced dramatic as well as galactic peril. In the course of producing an action-packed show live before the nation, with special effects in their infancy, what could go wrong usually did. Ed Kemmer, a real-life World War II fighter pilot shot down and captured by Nazis, who later starred as Commander Corry, learned to improvise for nervous, tongue-tied guest actors and to lean casually against scenery about to fall. This book recounts stories of early television and the risk-taking ABC crew who invented equipment and ingenious special effects that laid the groundwork for TV today. It tells of the personal heroics of Kemmer and other cast members, both on- and off-screen. Included are interviews with Kemmer, as well as TV writer Norman Jolley (who penned many classic series, including Wagon Train); director Dick Darley; radio writer Lou Huston; and veteran announcers Jack Narz and Dick Tufeld. (Tufeld once announced the Grammy Awards from a men's restroom--the tile walls and floor provided a great reverberating acoustic venue). The book also profiles William ""Mike"" Moser, the show's creator, and provides details about how the early shows came together and the events in the first year that took Space Patrol from a local station to the network. Many details are given about the adventure that was putting on a live television show along with live commercials. Stories from fans demonstrate how Space Patrol gave them ideals and values they still hold today. The book explores changes in television that led to the demise of action-adventure shows that featured strong role models and tells how Kemmer, who portrayed the heroic Buzz Corry, came to terms with his impact on countless young lives. (Fifty years later, he was still receiving letters from grateful fans.) Included are episode guides covering the 210 half-hour network TV shows, as well as the radio shows, and memorabiia collectors can feast on the galaxy's most complete guide to Space Patrol premiums.

The police drama has been one of the longest running and most popular genres in American television. In TV Cops, Jonathan Nichols-Pethick argues that, perhaps more than any other genre, the police series in all its manifestations from Hill Street Blues to Miami Vice to The Wire embodies the full range of the cultural dynamics of television.

Exploring the textual, industrial, and social contexts of police shows on American television, this book demonstrates how polices drama play a vital role in the way we understand and engage issues of social order that most of us otherwise experience only in such abstractions as laws and crime statistics. And given the current diffusion and popularity of the form, we might ask a number of questions that deserve serious critical attention: Under what circumstances have stories about the police proliferated in popular culture? What function do these stories serve for both the television industry and its audiences? Why have these stories become so commercially viable for the television industry in particular? How do stories about the police help us understand current social and political debates about crime, about the communities we live in, and about our identities as citizens?

The police drama has been one of the longest running and most popular genres in American television. In TV Cops, Jonathan Nichols-Pethick argues that, perhaps more than any other genre, the police series in all its manifestations from Hill Street Blues to Miami Vice to The Wire embodies the full range of the cultural dynamics of television.

Exploring the textual, industrial, and social contexts of police shows on American television, this book demonstrates how polices drama play a vital role in the way we understand and engage issues of social order that most of us otherwise experience only in such abstractions as laws and crime statistics. And given the current diffusion and popularity of the form, we might ask a number of questions that deserve serious critical attention: Under what circumstances have stories about the police proliferated in popular culture? What function do these stories serve for both the television industry and its audiences? Why have these stories become so commercially viable for the television industry in particular? How do stories about the police help us understand current social and political debates about crime, about the communities we live in, and about our identities as citizens?

Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21st century continues to drive innovation in its development.

Hunt's classic text "The Reproduction of Colour" has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter.

"Key features: " Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging. Provides detailed coverage of the physics of light and the property of colorants. Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing. Presents expanded coverage of the evaluation of colour appearance.

"The Reproduction of Colour" is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception.

"Reviews of the Fifth Edition: "

"The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour."

From "The Journal of Photographic Science, Vol. 43 1995"

"Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quitereadable...he brings the insight that leads the reader to a greater depth of understanding."

From "Color Research and Application, Vol. 23 1998"

The Society for Imaging Science and Technology is an international society that aims to advance the science and practices of image assessment. A major objective of the Wiley-IS&T series will be to explain the latest scientific and technological developments in the field of imaging at a professional level. The broad scope of the series will focus on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, photofinishing, image preservation, image assessment, image archiving, pre-press technologies and hybrid imaging systems.

For more than a decade, girl power has been a cultural barometer, reflecting girlhood's ever-changing meanings. How did girl power evolve from a subcultural rallying cry to a mainstream catchphrase, and what meaning did young girls find in its pop culture forms? From the riot grrrls to the Spice Girls to The Powerpuff Girls, and influenced by books like Reviving Ophelia and movements like Take Our Daughters to Work Day, Growing Up With Girl Power charts this history. It considers how real girls who grew up with girl power interpreted its messages about empowerment, girlhood, strength, femininity, race, and more, and suggests that for young girls, commercialized girl power had real strengths and limitations - sometimes in fascinating, unexpected ways. Encompassing issues of pre-adolescent body image, gender identity, sexism, and racism, Growing Up With Girl Power underscores the importance of talking with young girls, and is a compelling addition to the literature on girls, media, and culture. Supplemental resources are available online at GrowingUpWithGirlPower.com.

'There was none like her before and there's been none like her since' Dawn French In the five years since Victoria Wood's death, one great sadness has been the realisation that we will never again be surprised by new material from her. But as part of the research for Let's Do It, the critically acclaimed Sunday Times bestseller, her official biographer Jasper Rees uncovered a treasure chest of unseen work. From her first piece of comic prose, for the school magazine, through to material written for the great TV shows of her maturity, this joyful hoard of unreleased material spans nearly half a century. Victoria Wood: Unseen on TV is a unique and intimate insight into the working of an irreplaceable genius of comedy. From the first to the last, here are sketches, songs and stand-up monologues that no one else could have written, which will make you laugh in the way that only she could. 'He was a lovely man he had a lovely gap between his two front teeth. I specially noticed it cos he had a mushy pea stuck in it. He said can I take you home I said hang on I haven't finished my Tizer. So, we get home he says can I come in for a coffee. I said I haven't got any coffee but you can come in for a Horlicks if you don't mind sucking your own lumps.' Praise for Let's Do It: 'Rees pulls off the trick of writing a brilliant tribute while also - somehow, almost - bringing Victoria Wood back to life in all her complicated glory.' Guardian 'An immersive, authoritative book' Spectator 'Impeccable' Daily Telegraph 'A must-read' Daily Mirror 'A joy' Daily Mail

The unremitting explosion of reality television across the schedules has become a sustainable global phenomenon generating considerable popular and political fervour. The zeal with which television executives seize on the easily replicated formats is matched equally by the eagerness of audiences to offer themselves up as television participants for others to watch and criticise. But how do we react to so many people breaking down, fronting up, tearing apart, dominating, empathising, humiliating, and seemingly laying bare their raw emotion for our entertainment? Do we feel sad when others are sad? Or are we relieved by the knowledge that our circumstances might be better? As reality television extends into the experiences of the everyday, it makes dramatic and often shocking the mundane aspects of our intimate relations, inviting us as viewers into a volatile arena of mediated morality. This book addresses the impact of this endless opening out of intimacy as an entertainment trend that erodes the traditional boundaries between spectator and performer demanding new tools for capturing television's relationships with audiences. Rather than asking how the reality television genre is interpreted as 'text' or representation the authors investigate the politics of viewer encounters as interventions, evocations, and more generally mediated social relations. The authors show how different reactions can involve viewers in tournaments of value, as women viewers empathise and struggle to validate their own lives. The authors use these detailed responses to challenge theories of the self, governmentality and ideology. A must read for both students and researchers in audience studies, television studies and media and communication studies.

In response to the growing scope and popularity of wedding-related offerings and the media attention given to celebrity and royal weddings, The Bride Factory critically examines various bridal media outlets, artifacts, and the messages they convey about women today. The book departs from conventional wisdom and other treatments of the bridal industry as a scholarly topic by revealing how media portray women in modern American society, and how these portrayals reflect feminism and femininity and illustrate the hegemony created by these media. The book discusses the portrayal of women as brides in media coverage throughout history; the various forms of wedding media, including print, television, and the Internet; how bridal media forward ideals of feminine beauty; how reality wedding programs depict brides - and the new "bridezilla" - as agents of control over their perfect day; the role of men in wedding planning; and the extent to which the white wedding ideal is embraced or resisted, with special attention given to alternative wedding media. Cohesive and multidisciplinary in its approach, The Bride Factory is the first major publication to shed critical light on bridal media and their feminist implications.

Remember the finales of M*A*S*H, Cheers and Seinfeld? Do you know who shot J.R. on Dallas? This entertaining survey recounts these and other memorable events that generated some of American television's biggest audiences when they were first telecast from 1960 to the present. Here you will find the inside stories about the most popular specials, movies, miniseries and series episodes in television history, from Number 100 to the top of the list. Weekly series and recurring specials like the Super Bowl are represented by their highest-rated individual entry to allow a diverse selection. Included are appendices with facts and figures about the Top 100, and a chronological listing of these unforgettable programs.

In this volume, psychologists and communication experts present theory on understanding and predicting how learning occurs through media consumption. As the impact of traditional advertising has declined over the last couple of decades, marketers have scrambled to find other ways to effectively communicate with consumers. Among other approaches, marketers have utilized various forms of product integration. Product integration is mixing a commercial message in with the non-commercial message via TV, movie, video, and other entertainment venues. This book will be of interest to students and researchers in psychology, marketing, communication, advertising, and consumer behavior.

One of the world's most influential and prolific media scholars, George Gerbner played a major role in the development of communication theory and research. His critical approach to mass communication changed the way we think about media industries, the messages and images they produce, and their social and cultural impacts. Gerbner is most widely known for his decades of work on television violence, but his research and writing focused on many other vital aspects of the symbolic cultural environment. This book provides a broad-based introduction to Gerbner's theories of mass communication, his long-term research on media content and effects, and the critical and policy contributions of his work. Although hundreds of studies have been conducted based on Gerbner's ideas, this is the first volume to provide a concise and comprehensive overview of his many contributions to the field.

In 1969, the BBC aired the first episode of a new comedy series titled Monty Python's Flying Circus, and the rest, as they say, is history. An instant success, the show ran until 1974, producing a total of 45 episodes. Despite the show's very English humor and allusions to many things British, the series developed a cult following outside the U.K., particularly in the United States. Known for its outrageous humor, occasionally controversial content, and often silly spirit, Monty Python's Flying Circus poked fun at nearly all institutions domestic or foreign, grand or intimate, sacred or not. Indeed, many of the allusions and references in the program were uniquely British and routinely obscure, and therefore, not always understood or even noticed outside the British Isles. This exhaustive reference identifies and explains the plethora of cultural, historical, and topical allusions of this landmark series. In this resource, virtually every allusion and reference that appeared in an episode whether stated by a character, depicted in the mise-en-scene, or mentioned in the printed scripts is identified and explained. Organized chronologically by episode, each entry is listed alphabetically, indicates what sketch it appeared in, and is cross-referenced between episodes. Entries cover literary and metaphoric allusions, symbolisms, names, peoples, and places; as well as the myriad social, cultural, and historical elements (photos, songs, slogans, caricatures) that populate and inform these episodes. Entries Include: ."Arabella Plunkett" .Group of famous characters from famous paintings .Hell's Grannies .HRH The Dummy Princess Margaret ."Kandinsky" ."On the Dad's Liver Bachelors at Large" .Raymond Baxter type .Scun ."Spanish Inquisition" ."Third Parachute Brigade Amateur Dramatic Society" ."total cashectomy" ."Two-Sheds" ."Umbonga's hostile opening" .Vicar sitting thin and unhappy in a pot ."What's all this then?"

On June 29, 1978, Bob Crane, known to Hogan's Heroes fans as Colonel Hogan, was discovered brutally murdered in his Scottsdale, Arizona, apartment. His eldest son, Robert Crane, was called to the crime scene. In this poignant memoir, Robert Crane discusses that terrible day and how he has lived with the unsolved murder of his father. But this storyline is just one thread in his tale of growing up in Los Angeles, his struggles to reconcile the good and sordid sides of his celebrity father, and his own fascinating life. Crane began his career writing for Oui magazine and spent many years interviewing celebrities for Playboy -- stars such as Chevy Chase, Bruce Dern, Joan Rivers, and even Koko the signing gorilla. As a result of a raucous encounter with the cast of Canada's SCTV, he found himself shelving his notepad and tape recorder to enter the employ of John Candy -- first as an on-again, off-again publicist; then as a full-time assistant, confidant, screenwriter, and producer; and finally as one of Candy's pallbearers. Through disappointment, loss, and heartbreak, Crane's humor and perseverance shine. Beyond the big stars and behind-the-scenes revelations, this riveting account of death, survival, and renewal in the shadow of the Hollywood sign makes a profound statement about the desire for love and permanence in a life where those things continually slip away. By turns shocking and uplifting, Crane is an unforgettable and deeply human story.

This lively introduction to television documentaries spotlights their history, production and reception, principal forms and functions and their adaptation to today’s programming needs. What impact has television's growing commercialisation had on the type of documentary broadcast? What has led to the introduction of an increasing number of hybridised forms? These questions are addressed within an examination of the role of institutions, documentary’s 'special relationship' with the real, and an insight into how audiences interpret the documentaries they view. Confronting reality has been written with the requirements of media studies students in mind, yet it is a must for everyone concerned with recording reality in the fast-changing world of television today.

Developed from the established traditions of print and radio journalism, television journalism has often failed to reach its potential to develop away from these other media. However, because of the synthesis of words, pictures, and sound, television journalism has the ability to shift from simply reporting the news to weaving stories. In Fascination, veteran television journalist Nancy Graham Holm incorporates years in the field and extensive teaching experience to produce an instructive and entertaining guide to all aspects of television journalism. With a dual focus on aesthetics and technique, this book instructs the reader on the best way to use visuals and sound, different reporting techniques, and appropriate behaviour for journalists. Each chapter benefits from real-world examples and helpful tips to guide the reader through each stage of television journalism. This book is an excellent guide for those wanting to start a career in television journalism as well as seasoned professionals wishing to gain a new perspective.