Bollywood in Britain provides the most extensive survey to date of the various manifestations and facets of the Bollywood phenomenon in Britain. The book analyzes the role of Hindi films in the British film market, it shows how audiences engage with Bollywood cinema and it discusses the ways the image of Bollywood in Britain has been shaped. In contrast to most of the existing books on the subject, which tend to approach Bollywood as something that is made by Asians for Asians, the book also focuses on how Bollywood has been adapted for non-Asian Britons. An analysis of Bollywood as an unofficial brand is combined with in-depth readings of texts like film reviews, the TV show Bollywood Star (2004) and novels and plays with references to the Bombay film industry. On this basis Bollywood in Britain demonstrates that the presentation of Bollywood for British mainstream culture oscillates between moments of approximation and distancing, with a clear dominance of the latter. Despite its alleged transculturality, Bollywood in Britain thus emerges as a phenomenon of difference, distance and Othering.

"Tim Tialdo really knows his stuff. Host Your Own TV Show is a wonderful resource to help you both get started and stay ahead of the game. I wish there would have been a resource like this when I got started in the business." -Nikki Boyer, host of Yahoo's Daytime in No Time

"Host Your Own TV Show is about getting hired as a host. Tim's book will get you on the air " -Paul Cook, radio DJ and author of Cooked in LA: I Shot for the Stars and Hit Bottom

"The Tim Tialdo I know and admire is the definition of a go-getter. In these pages you'll learn much from his passion for TV hosting." -Todd Newton, Emmy Award-winning host of Family Game Night

"I'm so glad Tim wrote Host Your Own TV Show to guide aspiring hosts. Hosting is a totally different path to acting, and Tim is helping to enlighten you on your journey." -Maureen Browne, Hollywood host coach and casting director

"No sugar coating here; Tim tells it like it is. Host Your Own TV Show will take you on an incredible journey. You'll learn the skills it takes, the confidence you need, and the preparation required when the opportunity shows up." -Kristi Capel, host of New Day Cleveland

"Tim Tialdo really created an incredible resource Host Your Own TV Show is for anyone trying to get a foot in the door and perfect themselves as a TV host. Awesome information inside " -Brian Rose, creator of B. Rose Productions

"Being in the industry for the past twelve years, I haven't worked with anyone who has taught me more about on camera personality, voice/articulation, audience-host connection, and ...the needed tools to solidify jobs than Tim Tialdo." -Shanna Hilt, host of the Kansas City Chiefs' (NFL) Red & Gold Show

Providing a detailed historical overview of animated film and television in the United States over more than a century, this book examines animation within the U.S. film and television industry as well as in the broader sociocultural context. From the early 1900s onwards, animated cartoons have always had a wide, enthusiastic audience. Not only did viewers delight in seeing drawn images come to life, tell fantastic stories, and depict impossible gags, but animation artists also relished working in a visual art form largely free from the constraints of the real world. This book takes a fresh look at the big picture of U.S. animation, both on and behind the screen. It reveals a range of fascinating animated cartoons and the colorful personalities, technological innovations, cultural influences and political agendas, and shifting audience expectations that shaped not only what appeared on screen but also how audiences reacted to thousands of productions. Animation and the American Imagination: A Brief History presents a concise, unified picture that brings together divergent strands of the story so readers can make sense of the flow of animation history in the United States. The book emphasizes the overall shape of animation history by identifying how key developments emerged from what came before and from the culture at large. It covers the major persons and studios of the various eras; identifies important social factors, including the Great Depression, World War II, the counterculture of the 1960s and 1970s, and the struggles for civil rights and women's rights; addresses the critical role of technological and aesthetic changes; and discusses major works of animation and the responses to them. Documents the evolution of U.S. animation, from its origins in newspaper cartooning at the beginning of the 20th century to the digital creations of the late 20th century and beyond Reveals social influence on animation across history, including issues of race and gender Identifies a new preoccupation of the American public with animation and reconsiders popular animated films and TV shows in this light Discusses major figures, themes, and studios involved in the production of American animated film and television Identifies major achievements and controversies in the history of animation in the United States

This is the HARDBACK version.
Fistfights. Cars careening off cliffs and exploding. Running on a bridge. Dodging a helicopter. The dune buggy roll. Iconic convertibles. Signature sports jackets. 17 Paseo Verde. L.A. at its coolest-and then there was Peggy.
For generations, throughout the world these have brought a smile to the face and a single word to mind-Mannix. With such style up-front, the substance behind the character of Joe Mannix has been overlooked-until now.
Mannix ran on CBS-TV from 1967-1975 during the Golden Age of Television, the last production of Desilu (the legendary studio owned by Lucille Ball and Desi Arnaz) following Star Trek and Mission: Impossible. It was syndicated in over 70 countries during its first run, won Golden Globe and Emmy awards, and innovated the concept of the personalized crime-fighter. Star Mike Connors, who embodied his alter ego, wanted Joe Mannix to have emotion, a departure from type.
And now, back to mannix is not a TV log book, or even a behind the scenes book, but a behind the myth book, making the case that some TV characters have singular power to make societies and individuals better, interspersed with discussion of the richness of character, symbolism, and scenes in the series. The book includes a Foreword by Mike Connors and a Prologue by David Breckman, writer and co-executive producer of the highly successful USA series, Monk.
JoAnn M. Paul, Ph.D., is an Associate Professor of Computer Engineering at Virginia Tech. Her childhood hero was shot, drugged, poisoned, beaten, tortured, and dumped down hillsides to be left for dead. Nothing could have prepared her better for life.

Fandom is generally viewed as an integral part of everyday life which impacts upon how we form emotional bonds with ourselves and others in a modern, mediated world. Whilst it is inevitable for television series to draw to a close, the reactions of fans have rarely been considered. Williams explores this everyday occurence through close analysis of television fans to examine how they respond to, discuss, and work through their feelings when shows finish airing. Through a range of case studies, including The West Wing (NBC, 2000-2006), Lost (ABC 2004 -2010), Buffy the Vampire Slayer (1997-2003), Doctor Who (BBC 1963-1989; 2005-), The X-Files (FOX, 1993-2002), Firefly (FOX, 2002) and Sex and the City (HBO, 1998-2004), Williams considers how fans prepare for the final episodes of shows, how they talk about this experience with fellow fans, and how, through re-viewing, discussion and other fan practices, they seek to maintain their fandom after the show's cessation.

Explore the terrifying world of Gilead with this behind-the-scenes look at the Emmy award-winning show The Handmaid's Tale. The hotly anticipated debut of The Handmaid's Tale-Hulu's groundbreaking show based on Margaret Atwood's best-selling novel-drew a wide audience and rave reviews. Now, this comprehensive book details the process of bringing the story to the small screen with exclusive cast and crew interviews, backstage and set photography, concept art, costume design, and more. Dive deep into the world of the show's dystopian future as interviews with the show's cast and creators provide insight into the inspiration behind the characters, settings, and themes, as well as it's parallels to the real-world political climate. Showcasing striking visuals and insightful commentary, The Making of Hulu's The Handmaid's Tale is the definitive exploration of one of television's most critically acclaimed shows.

Americans love talk shows. In a typical week, more than 13 million Americans listen to Rush Limbaugh, whose syndicated radio show is carried by about 600 stations. On television, Oprah Winfrey's syndicated talk show is seen by an estimated 30 million viewers each week. Talk show hosts like Winfrey and Limbaugh have become iconic figures, frequently quoted and capable of inspiring intense opinions. What they say on the air is discussed around the water cooler at work, or commented about on blogs and fan web sites. Talk show hosts have helped to make or break political candidates, and their larger-than-life personalities have earned them millions of fans (as well as more than a few enemies). Icons of Talk highlights the most groundbreaking exemplars of the talk show genre, a genre that has had a profound influence on American life for over 70 years. Among the featured: * Joe Pyne * Jerry Williams * Herb Jepko * Randi Rhodes * Rush Limbaugh * Larry King * Dr. Laura Schlesinger * Steve Allen * Jerry Springer * Howard Stern. * Oprah Winfrey * Don Francisco * Cristina Saralegui * Tavis Smiley * James Dobson * Don Imus Going behind the scenes, this volume showcases the techniques hosts used to motivate (and sometimes aggravate) audiences, and examines the talk show in all of its various formats, including sports-talk, religious-talk, political-talk, and celebrity-talk. Each entry places the talk format and its hosts into historical context, addressing such questions as: What was going on in society when these talkers were on the air? How did each of them affect or change society? What were the issues they liked to talk about and what reaction did they get from listeners and from critics? How were talk hosts able to persuade people to vote for particular candidates or support certain policies? Which hosts were considered controversial and why? Complete with photographs, a timeline, and a resource guide of sources and organizations, this volume is ideal for students of journalism and media studies.

In the years immediately following World War II, NBC's legendary David Sarnoff and his cross-town equal, CBS's William S. Paley, decided that American television would be identified with quality live drama surrounded by news, light entertainment (in the form of variety and quiz shows), and family-oriented series generally spun off from radio. That initial vision eroded over the years and decades, but the dramatic part of this equation endured well into the 1960s, when, with NBC's Project 120 (which commissioned movies expressly for television in 120-minute doses), the genres known as Movies Made for Television and the miniseries emerged. Today, as Angels in America, Band of Brothers, Into the West, and Lackawanna Blues continue to draw huge cable audiences, the television movie and anthology drama is now in a unique position to represent, in a simple and direct way, the various states of the television industry itself over the past 60 years. This volume covers all of the important landmarks in the genre, from Kraft Television Theater to Roots to Rome, and provides a parallel history of the relevant events in television and American culture that helped to ensure the popularity and viability of this genre over time. Until the early 1980s-when Cable began fragmenting the television audience-the three major networks had the airwaves mainly to themselves; but with Cable now on the scene, dramatic productions began falling victim to the bottom line. But just when it seemed that Cable was finally going to succeed in killing off such programming forever, it has itself come to play the savior to the genre; and now pay cable channels like HBO and Showtime (not subject to the same FCC restrictions as the original networks) thrive on such dramas as Angels in America, Band of Brothers, Into the West, and Lackawanna Blues. After making its several transitions across channels and decades and formats, the television movie is now in a unique position to represent, in a simple and direct way, the various states of the television industry itself over the past 60 years.

(Amadeus). Violinist and educator Efrem Zimbalist (1890-1985) led a legendary life in music in an age of violin legends. Of the dazzling stars to emerge from the Russian School at the beginning of the 20th century, Zimbalist earned a special place. David Oistrakh compared him to Heifetz: "While Heifetz conquered by sheer brilliance, Zimbalist captivated people by appealing to profound mysteries of heart and soul." Zimbalist was also one of the century's great teachers, for 40 years devoting himself to the renowned Curtis Institute of Music in Philadelphia, serving as its director from 1941 to 1968. His was a remarkable journey, fortunately recounted in hundreds of hours of taped interviews with author and Curtis Institute student Roy Malan, longtime concertmaster of the San Francisco Ballet Orchestra. Malan then waited nearly a decade after Zimbalist's death before seeking publication, so that the story could be told in its entirety. This definitive biography of the world's first globe-trotting virtuoso also includes a discography and a list of Zimbalist's students.

South Africa came late to television; when it finally arrived in the late 1970s the rest of the world had already begun to shun the country because of apartheid. While the ruling National Party feared the integrative effects of television, they did not foresee how exclusion from globally unifying broadcasts would gradually erode their power.

Throughout the apartheid-era, South Africa was barred from participating in some of television’s greatest global attractions, including sporting events such as the Olympics and contests such as Miss World. After apartheid, and with the release of Nelson Mandela from prison – itself one of the world’s most memorable media events, came a proliferation of large-scale live broadcasts that attracted the admiration of the rest of the world. At the same time, the country was permitted to return to international competition. These events were pivotal in shaping and consolidating the country’s emerging post-apartheid national identity.

Broadcasting the End of Apartheid assesses the socio-political effect of live broadcasting on South Africa’s transition to democracy. Martha Evans argues that just as print media had a powerful influence on the development of Afrikaner nationalism, so the “liveness” of television helped to consolidate the “newness” of the post-apartheid South African national identity.

Shirley Jones is an American film legend of the first order, having starred in Oklahoma!, Carousel, The Music Man, and her Oscar-winning role as a prostitute in Elmer Gantrylong before the iconicThe Partridge Family.On the show, she portrayed the epitome of American motherhood, a symbol to generations of families in the 1970s, and she remains a cult icon today. But for those who only think of Shirley as the prim and proper Marion the librarian or the chaste and demure Mrs. Partridge, a massive surprise is in store. Here, in this candid memoir, the realflesh and blood Shirley Jones is revealed at last. In this hilarious and heart-warming, shocking and intimate memoir, Shirley dishes the raw truth about her own highly charged sexuality, her two husbands-the charismatic and deeply troubled Broadway star Jack Cassidy and the wacky TV comic Marty Ingels-her legendary Hollywood co-stars, and her interactions with the cast of The Partridge Family, including her rock star stepson David Cassidy. From smuggling marijuana across the Mexican border to infidelity and her wild sexual escapades, movie and television icon Shirley Jones gives us an unparalleled look beyond the America's sweetheart exterior.

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aEverybody knows that TV is crucial to globalization. Now, thanks to Lisa Parks and Shanti Kumar, we know why and how television matters globally. With TV studies moving out of the classroom and onto the world stage, this volume is an indispensable passport.a
--Toby Miller, editor of "Television & New Media"

From the 1967 live satellite program "Our World" to MTV music videos in Indonesia, from French television in Senegal to the global syndication of African American sitcoms, and from representations of terrorism on German television to the international Teletubbies phenomenon, TV lies at the nexus of globalization and transnational culture.

Planet TV provides an overview of the rapidly changing landscape of global television, combining previously published essays by pioneers of the study of television with new work by cutting-edge television scholars who refine and extend intellectual debates in the field. Organized thematically, the volume explores such issues as cultural imperialism, nationalism, postcolonialism, transnationalism, ethnicity and cultural hybridity. These themes are illuminated by concrete examples and case studies derived from empirical work on global television industries, programs, and audiences in diverse social, historical, and cultural contexts.

Developing a new critical framework for exploring the political, economic, sociological and technological dimensions of television cultures, and countering the assumption that global television is merely a result of the current dominance of the West in world affairs, Planet TV demonstrates that the global dimensions of television were imagined intoexistence very early on in its contentious history. Parks and Kumar have assembled the critical moments in television's past in order to understand its present and future.

Contributors include Ien Ang, Arjun Appadurai, Jose B. Capino, Michael Curtin, Jo Ellen Fair, John Fiske, Faye Ginsburg, R. Harindranath, Timothy Havens, Edward S. Herman, Michele Hilmes, Olaf Hoerschelmann, Shanti Kumar, Moya Luckett, Robert McChesney, Divya C. McMillin, Nicholas Mirzoeff, David Morley, Hamid Naficy, Lisa Parks, James Schwoch, John Sinclair, R. Anderson Sutton, Serra Tinic, John Tomlinson, and Mimi White.

Using the 2003 war in Iraq as an illustrative tool for highlighting the impact which advances in communication systems have had on message relays, this book comes as a useful tool kit for enabling a critical evaluation of the way language is used in the news.In a world in which advanced communication technologies have made the reporting of disasters and conflicts (also in the form of breaking news) a familiar and 'normalised' activity, the information presented here about television news reporting of the 2003 war in Iraq has implications that go beyond this particular conflict."Evaluation and Stance in War News" functions as a tool kit for the critical evaluation of language in the news, both as raw data in need of interpretation and as carefully packaged products of 'information management' in need of 'unpacking'. The chapters offer an array of theoretical and empirical instruments for revealing, identifying, sifting, weighing and connecting patterns of language use that construct messages. These messages carry with them world views and value systems that can either create an ever wider divide or serve to build bridges between peoples and countries.The Editorial Board includes: Paul Baker (Lancaster), Frantisek Cermak (Prague), Susan Conrad (Portland), Geoffrey Leech (Lancaster), Dominique Maingueneau (Paris XII), Christian Mair (Freiburg), Alan Partington (Bologna), Elena Tognini-Bonelli (Lecce and TWC), Ruth Wodak (Lancaster and Vienna), and Feng Zhiwei (Beijing). "The Corpus and Discourse" series consists of two strands. The first, Research in Corpus and Discourse, features innovative contributions to various aspects of corpus linguistics and a wide range of applications, from language technology via the teaching of a second language to a history of mentalities. The second strand, Studies in Corpus and Discourse, is comprised of key texts bridging the gap between social studies and linguistics. Although equally academically rigorous, this strand will be aimed at a wider audience of academics and postgraduate students working in both disciplines.