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Books > Arts & Architecture > Performing arts > Television
"Television and Common Knowledge" considers how television is and
can be a vehicle for well-informed citizenship in a fragmented
modern society. Contributors first examine how common knowledge is
assumed and produced across the huge social, cultural and
geographic gulfs that characterize modern society, and investigate
the role of television as the primary medium for the production and
dissemination of knowledge. Later contributions concentrate on
specific TV genres such as news, documentary, political
discussions, and popular science programs, considering the changing
ways in which they attempt to inform audiences, and how they are
actually made meaningful by viewers.
Written in an accessible, conversational tone, this book demonstrates how to efficiently multitask in the contemporary broadcast digital newsroom while remaining true to journalistic ethics. Each chapter includes specialised insights from experienced news industry professionals to mentor the reader and provide guidance on key skills including storytelling, pitching, video production, interviewing, and managing social media. Additional online resources provide students with step-by-step instructions for commonly used editing software: Adobe Premiere Pro, Final Cut Pro, Avid and DaVinci Resolve.
Bishops and archbishops, top footballers, politicians and actresses...they all count him as their friend. Prime ministers and senior royals stop and listen to his opinions. He's got an honorary degree and his very own football club. He has even been on TV. But who is Neil Baldwin? As a boy in a working-class part of the Potteries in the fifties and sixties, the education system wrote him off. But Neil, who believes you can just 'get things by asking for them', knows his late Mum wanted him to have a happy life, and it's his duty to her to have one. So he does. At Keele University, they hold regular celebrations and services for the decades he's been a friend to the students, academics and vice-chancellors; but he's never been a student, a teacher, or had any formal connection with the place. At Stoke City Football Club, he's 'more famous than the players'. He's even got a dialogue going with the Queen - though that one's still a little one-sided. This is the inspiring, moving and at times hysterically funny story of Neil Baldwin's marvellous life.
- Constitutes the first textbook the field, written specifically in relation to sound design - Contributors are world-leading researchers in their fields and come from a variety of countries and institutions. - Marries the theoretical with the practical, by offering concrete examples and case studies throughout
Political Pathologies from The Sopranos to Succession argues that highly praised prestige TV shows reveal the underlying fantasies and contradictions of upper-middle class political centrists. Through a psychoanalytic interpretation of The Sopranos, Breaking Bad, The Wire, House of Cards, Dexter, Game of Thrones, and Succession, Robert Samuels reveals how moderate "liberals" have helped to produce and maintain the libertarian Right. Samuels' analysis explores the difference between contemporary centrists and the foundations of liberal democracy, exposing the myth of the "liberal media" and considers the consequences of these celebrated series, including the undermining of trust in modern liberal democratic institutions. Political Pathologies from The Sopranos to Succession contributes to a greater understanding of the ways media and political ideology can circulate on a global level through the psychopathology of class consciousness. This book will be of great interest to academics and scholars considering intersections of psychoanalytic studies, television studies and politics.
In this volume, Charlotte Brunsdon analyzes a wide range of contemporary film and television programmes, from British soap operas and crime series such as "Crossroads" and "Widows" to Hollywood movies such as "Working Girl" and "Pretty Woman".;As well as interpreting the pleasures and meanings that these programmes offer - particularly for women viewers - the book is concerned with the nature of media criticism, particularly feminist criticism, and the problematic aesthetics of popular culture. Why have feminist media critics been so interested in the soap opera viewer? What are the "race" politics of the TV crime series? What is meant by "quality" in television? And was the fuss about the erection of satellite dishes on British homes really about architectural values?;The book brings together Charlotte Brunsdon's key writings on film and television and its criticism, with new introductions which contextualise and update the arguments, and recent work on the "post-feminist girly" in recent Hollywood cinema. Brunsdon's focus is on the tastes and pleasures of the female consumer as she is produced by popular film an television - and by feminist criticism.
The story of the making of a classic and groundbreaking TV show, as
experienced by its producers, writers, and cast.
USE FIRST TWO PARAGRAPHS ONLY FOR GENERAL CATALOGS... This volume
offers a response to three ongoing needs:
This timely collection of accessible essays interrogate queer television at the start of the twenty-first century. The complex political, cultural and economic milieu requires new terms and conceptual frameworks to study television and media through a queer lens. Gathering a range of well-known scholars the book takes on the relationship between sexual identity, desire, and television, breaking new ground in a context where existing critical vocabularies and research paradigms no longer hold sway in the ways they used to. The anthology sets out to confound conventional categories used to organize queer television scholarship, like "programming," "industry," "audience," "genre," and "activism." Instead, the anthology mobilizes three new terms - resonance, narrative affordance, and representational repair - creating new queer tools for studying digital television in the contemporary age. This collection is suitable for scholars and students studying queer media studies, television studies, gender studies and sexuality studies.
For more than 30 years, Gavin MacLeod has served as the global ambassador for Princess Cruises. Speaking to thousands of travelers each year, and signing hundreds of autographs at every port, he stands poised to celebrate his amazing journey with a look back at the golden era of American television. The consummate storyteller, Gavin shares his fondest memories of meeting and working with countless stars, such as Cary Grant, Steve McQueen, Gregory Peck, Bette Davis, Frank Sinatra, Ethel Merman, Ella Fitzgerald, Ronald Reagan, Milton Berle, and Fred Astaire. From his humble theatrical beginnings in upstate New York, to Radio City Music Hall and on to Hollywood, Gavin MacLeod was on the fast track to success. However, a few hard life lessons-like dealing with a divorce-taught Gavin that the key to happiness was only through a deep faith in God, and he feels his work for Christ is more important than any award. Three years later his remarriage proved that a great struggle can culminate in a happy ending.
Winner of the 2015 Gordon Burn Prize and the 2015 CWA Non-Fiction Dagger Shortlisted for the Orwell Prize and the James Tait Black Prize Dan Davies has spent more than a decade on a quest to find the real Jimmy Savile, and interviewed him extensively over a period of seven years before his death. In the course of his quest, he spent days and nights at a time quizzing Savile at his homes in Leeds and Scarborough, lunched with him at venues ranging from humble transport cafes to the Athenaeum club in London and, most memorably, joined him for a short cruise aboard the QE2. Dan thought his quest had come to an end in October 2011 when Savile's golden coffin was lowered into a grave dug at a 45-degree angle in a Scarborough cemetery. He was wrong. In the last two and a half years, Dan has been interviewing scores of people, many of them unobtainable while Jimmy was alive. What he has discovered was that his instincts were right all along and behind the mask lay a hideous truth. Jimmy Savile was not only complex, damaged and controlling, but cynical, calculating and predatory. He revelled in his status as a Pied Piper of youth and used his power to abuse the vulnerable and underage, all the while covering his tracks by moving into the innermost circles of the establishment.
"The Dynasty Years" documents and analyses in detail the "Dynasty phenomenon", an event in 1980s television which heralded a profound transformation of European television. From the operatic camp of Krystle and Alexis' fight in the lily-pond or the Moldavian wedding massacre to the unprecedented gay sub-plot, "Dynasty" represented, in the words of co-producer Esther Shapiro, "the ultimate dollhouse fantasy for middle-aged women". Using evidence from audience survey results, newspaper and magazine clippings and letters to broadcasters and drawing on semiotics, psychoanalysis, feminism and critical social theories, Jostein Gripsrud examines every aspect of "Dynasty's" production, reception and context. The result is a groundbreaking critical approach to the study of media communication, integrating political economy, textual analysis and audience studies. Jostein Gripsrud offers a theoretical but empirically grounded critique of many central positions in media studies, including notions of "audience resistance" and the "sovereign" audience and its freedom in meaning-making, arguing against what he perceives as the uncritical celebrations of the soap-opera genre.
The loving yet brutally honest memoir of the daughter of comedy legend Richard PryorRain Pryor was born in the idealistic, free-love 1960s. Her mother was a Jewish go-go dancer who wanted a tribe of rainbow children, and her father was Richard Pryor, perhaps the most compelling and brilliant comedian of his era.In this intimate, harrowing, and often hilarious memoir, Rain talks about her divided heritage, and about the forces that shaped her wildly schizophrenic childhood. In her father's house, she bonded with Richard's grandmother, Mamma, a one-time whorehouse madam who never tired of reminding Rain that she was black. In her mother's house, and in the home of her Jewish grandparents, Rain was a "mocha-colored Jewish princess," learning how to cook everything from kugel to beef brisket.It seemed as if Rain was blessed with the best of both worlds, but it didn't quite work out that way. Life at Mom's was unstable in the extreme, while at Richard's place Rain was exposed to sex and drugs before she had even learned to read. "Daddy," she told her father one day, sitting down to Thanksgiving dinner at the advanced age of eight, "the whores need to be paid." Jokes My Father Never Taught Me is both lovingly told and painfully frank: the story of a girl who grew up adoring her father even as she feared him--and feared for him--as his drug problems grew worse. In 1980 Pryor tried to kill himself by setting himself on fire, then joked that it had been an accident: "No one ever told me you couldn't mix cookies with two types of milk!" In his later years, Pryor succumbed to multiple sclerosis, and Rain watched in tears as her father became a shell of his former self. Once, in an unusually introspective mood, Pryor asked his daughter, "Why do you love me, Rainy, when I can be so mean?" Jokes My Father Never Taught Me answers that poignant question and many more. It is an unprecedented look at the life of a legend of comedy, told by a daughter who both understood the genius and knew the tortured man within.
Transmedia Character Studies provides a range of methodological tools and foundational vocabulary for the analysis of characters across and between various forms of multimodal, interactive, and even non-narrative or non-fictional media. This highly innovative work offers new perspectives on how to interrelate production discourses, media texts, and reception discourses, and how to select a suitable research corpus for the discussion of characters whose serial appearances stretch across years, decades, or even centuries. Each chapter starts from a different notion of how fictional characters can be considered, tracing character theories and models to approach character representations from perspectives developed in various disciplines and fields. This book will enable graduate students and scholars of transmedia studies, film, television, comics studies, video game studies, popular culture studies, fandom studies, narratology, and creative industries to conduct comprehensive, media-conscious analyses of characters across a variety of media.
This culturally and politically timely collection examines new Black films and moving images that have, once again, excited and possibly shifted the global media landscape. At a moment some scholars have described as post-post-racial, Black Cinema & Visual Culture provides new, urgent definitions and theories for Black cinema and furthers the development of its critical discourses. Gathering some of the leading scholars and critics in the field, this book enriches and advances the study of Black film and media and its social and political implications at a breakthrough period of expansion in the twenty-first century. This anthology tackles a wide-range of topics from social justice, new media, and Afrofuturism, to race, gender, sexuality, mass incarceration, cultural memory, and Afrosurrealism, exploring the current climate of Black cinematic art that has proven wildly popular with domestic and global audiences, including hit films like Get Out and Marvel's Black Panther. Together, these essays deepen understandings of Black visual culture, its creative imagemakers, the political economy of Hollywood, and the cultural politics at the intersection of modern cinema, streaming platforms, and digital technologies. Black Cinema & Visual Culture will serve as an important learning tool for university courses spanning topics in film studies, American film and television, cultural studies, American studies, African Diaspora studies, media activism, social analysis, and African-American studies. This volume will also provide a benchmark in popular and intellectual circles for anyone interested in popular culture, Black-American cinema, media, issues of race in Hollywood, or Black culture and the conditions that shape both its art and politics.
Fionna and Cake are experts at the art of the quest. In this one-of-a-kind handbook, they cover everything from sword collections and dangerous flora and fauna to the many exotic locations they explore. Whether you re an experienced traveller looking to brush up on the latest adventuring techniques or a newcomer starting out with only a rucksack and a wooden sword, How to Warrior by Fionna and Cake has something for you!
Deborah Pearlman and Abby Finer of the Warner Bros. Television Writers Workshop reveal in this essential guide insider tips and tricks aimed at paving the way to better scripts by new writers. The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. The authors offer invaluable insider information on the keys to writing a good script and how to choose the right show for sample material. In particular, they provide instruction on troubleshooting scripts - with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, and write a beat sheet and outline through to a polished draft. Filled with practical advice and up-to-date industry information, each chapter provides strategies and insights that will jumpstart a fledgling writing career toward success.
In a revised edition of this work, now a standard text, John Ellis combines an examination of the cinema and television industries with a detailed analysis of their aesthetic and semiotic characteristics. He uses new developments in theory of narrative and the place of the spectator to re-explore his definition of cinema and broadcast TV as interdependent rather than interchangeable cultural forms, with their own distinct social roles. Ellis draws on his own experience to examine subtle negotiations taking place in the relationship between viewer, programme and programme-maker in the face of satellite television and multiple channels. In a new chapter, he discusses the "meaning routines" fundamental to television broadcasting in TV news and soaps, and explores the legacy of the home video boom of the 1980s and the replacement of the drive-in with the "stay-in". Considering whether, as its cultural importance diminishes, television is now about to experience a kind of liberation, he expresses his notion of an unfolding and unpredictable revolution in broadcasting. This book should be of interest to undergraduates and postgraduates in media, film and cultural studies.
This edited collection is the first book to offer a wide-ranging examination of the interface between American independent film and a converged television landscape that consists of terrestrial broadcasters, cable networks and streaming providers, in which independent film and television intersect in complex, multifaceted and creative ways. The book covers the long history of continuities and connections between the two sectors, as seen in the activities of PBS, HBO or Sundance. It considers the movement of filmmakers between indie film and TV such as Steven Soderberg, Rian Johnson, the Duplass brothers, Joe Swanberg, Lynn Shelton and Gregg Araki; details the confluence of aesthetic and thematic elements seen in shows such as Girls, Breaking Bad, Master of None, or Glow; points to a shared interest in regional sensibilities evident in shows like One Mississippi or Fargo; and makes the case for documentaries and web series as significant entities in this domain. Collectively, the book builds a compelling picture of indie TV as a significant feature of US screen entertainment in the twenty-first century. This interdisciplinary landmark volume will be a go-to reference for students and scholars of Television Studies, Film Studies and Media Studies.
As The Walking Dead returns for its highly anticipated 7th season, fans of the show can celebrate all things The Walking Dead with this special collection of features, interviews and more pulled from the magazine, which has been keeping fans up to date with the show for five years. Includes interviews with Robert Kirkman, Charlie Adlard and others features on characters and locations, various bad guys and much, much more.
This volume addresses the relationship between irony and popular culture and the role of the consumer in determining and disseminating meaning. Arguing that in a cultural climate largely characterised by fractious communications and perilous linguistic exchanges, the very role of irony in popular culture needs to come under greater scrutiny, it focuses on the many uses, abuses, and misunderstandings of irony in contemporary popular culture, and explores the troubling political populism at the heart of many supposedly satirical and (apparently) non-satirical texts. In an environment in which irony is frequently claimed as a defence for material and behaviour judged controversial, how do we, as a society entrenched in forms of popular culture and media, interpret work that is intended as satire but which reads as unironic? How do we accurately decode works of popular film, literature, television, music, and other cultural forms which sell themselves as bitingly ironic commentaries on current society, but which are also problematic celebrations of the very issues they purport to critique? And what happens when texts intended and received in one manner are themselves ironically recontextualised in another? Bringing together studies across a range of cultural texts including popular music, film and television, Isn't it Ironic? will appeal to scholars of the social sciences and humanities with interests in cultural studies, media studies, popular culture, literary studies and sociology.
The essays in this anthology study Israeli television, its different forms of representation, audiences and production processes, past and present, examining Israeli television in both its local, cultural dynamics, and global interfaces. The book looks at Israeli television as a creator, negotiator, guardian and warden of collective Israeli memory, examining instances of Israeli original television exported and circulated to the US and the global markets, as well as instances of American, British, and global TV formats, adapted and translated to the Israeli scene and screen. The trajectory of this volume is to shed light on major themes and issues Israeli television negotiates: history and memory, war and trauma, Zionism and national disillusionment, place and home, ethnicity in its unique local variations of Ashkenazim and Mizrahim, immigrants from the former Soviet Union and Ethiopia, Israeli-Arabs and Palestinians, gender in its unique Israeli formations, specifically masculinity as shaped by the military and constant violent conflict, femininity in this same context as well as within a complex Jewish oriented society, religion, and secularism. Providing multifaceted portraits of Israeli television and culture in its Middle Eastern political and local context, this book will be a key resource to readers interested in media and television studies, cultural studies, Israel, and the Middle East.
Enter the world of HBO's global television phenomenon Game of Thrones with The Photography of Game of Thrones - the definitive photographic collection from the set of the hit series. Witness how official unit stills photographer and Nikon ambassador Helen Sloan and the unit photography team selected 850 incredible images from the production of HBO's legendary series Game of Thrones, including candid, never-before-seen images of cast and crew. Enjoy exclusive access and images directly from the set as George R.R. Martin's world of Westeros was translated to the TV screen. One of 4 comprehensive and officially licensed Game of Thrones retrospective books from HarperVoyager. * UNPRECEDENTED ACCESS - 416 pages of images, details, and anecdotes covering Game of Thrones seasons 1-8. * EXCLUSIVE IMAGES - Curated from an archive of 1.5 million photos. Enjoy over 850 hand-selected images direct from the set. * UNSEEN MOMENTS - View legendary characters such as Tyrion, Daenerys, Cersei, Jaime, Brienne, and Jon Snow uniquely captured through Helen Sloan's lens. * HEAR FROM THE SHOW'S CREATORS - Features an exclusive foreword from Game of Thrones showrunners David Benioff and D. B. Weiss. * A PRESTIGE COFFEE TABLE BOOK - Deluxe 9.75 x 13 inch format. * A HIGHLY DESIRABLE GIFT FOR FANS - Released in time for the holiday season, this is the perfect gift for Game of Thrones fans.
A celebration of the silly and enduring genius of the Monty Python team, including their very best visual and verbal gags In October 1969, the BBC broadcast the first program in a new series: "Monty Python's Flying Circus," written and conceived by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Through the years the six of them followed this with another 44 extremely silly programs, a German TV special, five full-length feature films, seven books, nine long-playing records, and live stage shows that toured the UK, Canada, and America. This pocket series features the very best of Monty Python: a collection of favorite sketches, gags, words, and lyrics, chosen by the members of Monty Python who have picked some of their prized bits from across the whole range of Python books, scripts, and films. Included are such memorable moments as "The French Taunt King Arthur," "The Lumberjack Song," "What Have the Romans Ever Done for Us?," "The Court Martial of Sapper Walters," "Every Sperm is Sacred," "The Man Who Talks Entirely in Anagrams," and other priceless pieces of Python humor. Accompanying these words are some two hundred images that have become synonymous with Python through three decades.
In what ways is comedy subversive? This vital new book critically considers the importance of comedy in challenging and redefining our relations to race and racism through the lens of political correctness. By viewing comedy as both a constitutive feature of social interaction and as a necessary requirement in the appraisal of what is often deemed to be 'politically correct', this book provides an innovative and multidisciplinary approach to the study of comedy and popular culture. In doing so, it engages with the social and cultural tensions inherent to our understandings of political correctness, arguing that comedy can subversively redefine our approach to 'PC Debates', contestations surrounding free speech and the popular portrayal of political correctness in the media and society. Aided by the work of both Slavoj Zizek and Alenka Zupancic, this unique analysis adopts a psychoanalytic/philosophical framework to explore issues of race, racism and political correctness in the widely acclaimed BBC 'mockumentary', The Office (UK), as well as a variety of television comedies. Drawing from psychoanalysis, social psychology and philosophy, this book will be highly relevant for postgraduate students and academic researchers studying comedy, race/racism, multiculturalism, political correctness and television/film. |
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