A history of American and British television drama, this book charts how the two production systems have moved closer together since the 1970s: both observe each other to drive innovation, and both continuously turn to each other to find new markets and new production partners. Although earlier collaborations exist, this increased transnationalisation of US and UK television drama has intensified since the 1970s as the increased number of channels and new technologies such as the internet and cable and satellite have led to stronger competition. Examining genres as diverse as period drama, the mini-series, the super-soaps of Dallas and Dynasty, crime drama and the recent spout of celebrated British and American quality drama, this book investigates how marketing campaigns within the press continually return these dramas into the realm of the nations they represent.

Do the news media have any role in the transformation of war and warfare? A constellation of labels by academics and practitioners have been coined in the last twenty years to describe the new forms of a phenomenon as old as the human race. However, this book claims that it remains to be fully understood what the specific role of the news media is in this process. It argues that the news media, old and new alike, alter the cognitive and strategic environment of the actors of war and politics and change the way these interact with one another. Building on a four-dimensional definition of power and focusing on the role of television, this book recognises the importance of interactions upon the understanding of any social phenomenon. It suggests that the nature of war is changing partly because it is no longer just a matter of linear strategic interactions but also, and mainly, of 'mediated' ones.

What is the real nature of television, and what is its place in contemporary society and culture? In a provocative rethinking of the medium and its ensuing effects, this book argues that we have misunderstood television and have thus contributed to a distorted view of art and culture in the 20th century. During the final quarter of this century both in academic and popular circles, we have spread wildly exaggerated claims about television's undermining of human consciousness and behavior. Television has become a scapegoat for all sorts of societal and cultural ills. The arguments presented by many researchers on behalf of the ill-effects of TV are fundamentally weak and flawed. On the eve of the 21st century, the claimed distinctions between high art and popular culture have become a final, hopeless repository of pedantry. Television can be understood only by viewing it as an art form, and measuring its role in society and culture in concert with the first principles of human reason and liberty.

"Justice Performed: Courtroom TV Shows and the Theaters of Popular Law" is the first study of the reality TV genre to trace its theatrical legacy, connecting the phenomenon of the daytime TV shows to a long history of theatrical trials staged to educate audiences in pedagogies of citizenship. It examines how judge TV fulfills part of law's performative function: that of providing a participatory spectacle the public can recognize as justice. Since it debuted in 1981 with "The People's Court," which made famous its star jurist, Judge Joseph A. Wapner, dozens of judges have made the move to television. Unlike the demographics in actual courts, most TV judges are non-white men and women hailing from diverse cultural and racial backgrounds. These judges charge their decisions with personal preferences and cultural innuendos, painting a very different picture of what justice looks like. Drawing on interviews with judge TV judges, producers and production staff, as well as the author's experience as a studio audience member, the book scrutinizes the performativity of the genre, the needs it meets and the inherent ideological biases about race, gender and civic instruction.

This history of public television over the last twenty years shows how powerful political actors and the budget process in the United States have severely restricted the strategic behavior and programming of public TV. This hard-hitting story fills a real void in the literature on the subject and should be required reading for station managers, broadcasters, students and professionals in communications, and public policymakers. The ancillary text with its analysis of organizations theory and models is intended also for undergraduate and graduate students in mass media and communications, public policy, and organizational behavior. This practical analysis of public television funding, organization, and programming opens with an overview of organizations theory and a discussion of two models of organizational behavior. A brief history of public TV policy follows with a description of critical developments under the last four American presidents. The legislative history of the Corporation of Public Broadcasting demonstrates the effects of the budgetary process in TV programming, employment diversity, and services to different audiences. The case study closes with an evaluation of public television in terms of organizational strengths and weaknesses and offers practical suggestions for reform.

While masculinity has been an increasingly visible field of study within several disciplines (sociology, literary studies, cultural studies, film and tv) over the last two decades, it is surprising that analysis of contemporary representations of the first part of the century has yet to emerge. Professor Brian Baker, evolving from his previous work Masculinities in Fiction and Film: Representing Men in Popular Genres 1945-2000, intervenes to rectify the scholarship in the field to produce a wide-ranging, readable text that deals with films and other texts produced since the year 2000. Focusing on representations of masculinity in cinema, popular fiction and television from the period 2000-2010, he argues that dominant forms of masculinity in Britain and the United States have become increasingly informed by anxiety, trauma and loss, and this has resulted in both narratives that reflect that trauma and others which attempt to return to a more complete and heroic form of masculinity. While focusing on a range of popular genres, such as Bond films, war movies, science fiction and the Gothic, the work places close analyses of individual films and texts in their cultural and historical contexts, arguing for the importance of these popular fictions in diagnosing how contemporary Britain and the United States understand themselves and their changing role in the world through the representation of men, fully recognising the issues of race/ethnicity, class, sexuality, and age. Baker draws upon current work in mobility studies and in the study of masculinities to produce the first book-length comparative study of masculinity in popular culture of the first decade of the twenty-first century.

Jim Henson's cult classic The Labyrinth characters have tried their hand at tarot in this take on a traditional 78-card deck. Featuring all the beloved characters fans have grown up with, this tarot deck reimagines Jareth, Sara, Hoggle, and the whole The Labyrinth crew in original illustrations based on classic tarot iconography. Including both the Major and Minor Arcana, the set also comes with a helpful guidebook with explanations of each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this devious deck of tarot cards is the perfect gift for The Labyrinth fans and tarot enthusiasts everywhere.

This is the first comprehensive study of Nobel Laureate Samuel Beckett's innovative work for the screen. "Samuel Beckett's Plays on Film and Television "provides meticulous analysis of every play Beckett wrote, directed, or adapted for the screen. Herren studies Beckett's use of "memory machines"--technological media for channeling personal, cultural, philosophical, and artistic ghosts from the past. Having conjured these ghosts, Beckett "decomposes" them in order to recompose them for distinctly innovative use. Herren traces this countraditional approach to tradition as Beckett's signature style for film and television. The book concludes with a consideration of the "Beckett on Film" project, where Herren defends the vital need for creative freedom in future productions of Beckett's plays. With this publication, the film and television plays can now assume their rightful place alongside Beckett's remarkable fiction and stage plays, collectively constituting one of the most innovative artistic achievements of the twentieth century.

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.

From actor Dirk Benedict comes this brilliant autobiographical telling of two unique and engrossing events that had an enormous impact on his life. He intertwines the story of his wife s unexpectedly complicated home birthing with his own coming of age in Montana and the violent death of his father. Past events of love, friendship, hatred, and fatherhood culminate in a dramatic explosion before him, linking his father s death with the birth of his first child. Benedict s writing style is lively, creative, and always engaging. His use of humor, pathos, and imagery is masterful. He has taken two rites of passage in his life and woven them together to produce a story that is every bit as entertaining as it is moving. Given Dirk s unique storytelling ability and well-honed sense of timing, "And Then We Went Fishing "will keep you hooked from page one to its powerful, poignant conclusion."

Most histories of Soviet cinema portray the 1970s as a period of stagnation with the gradual decline of the film industry. This book, however, examines Soviet film and television of the era as mature industries articulating diverse cultural values via new genre models. During the 1970s, Soviet cinema and television developed a parallel system of genres where television texts celebrated conservative consensus while films manifested symptoms of ideological and social crises. The book examines the genres of state-sponsored epic films, police procedural, comedy and melodrama, and outlines how television gradually emerged as the major form of Russo-Soviet popular culture. Through close analysis of well-known film classics of the period as well as less familiar films and television series, this groundbreaking work helps to deconstruct the myth of this era as a time of cultural and economic stagnation and also helps us to understand the persistence of this myth in the collective memory of Putin-era Russia. This monograph is the first book-length English-language study of film and television genres of the late Soviet era.

Robert Clary (born Robert Max Widerman in Paris in 1926) is best known for his portrayal of the spirited Corporal Louis Lebeau on the popular television series Hogan's Heroes (on the air from 1965 to 1971 and widely syndicated around the globe). But it is Clary's experiences as a Jew during the Holocaust that infuse his compelling memoir with an honest recognition of life's often horrific reality, a recognition that counters his glittering five-decade career as an actor, singer, and artist and distinguishes this book from those by other entertainers. Clary describes his childhood in Paris, the German occupation in 1940, and his deportation in 1942 at the age of sixteen to the infamous transit camp Drancy. He recounts his nightmarish, two-and-a-half-year incarceration in Nazi concentration camps like Ottmuth, Blechhammer, Gross-Rosen, and Buchenwald. In April 1945, the Allies liberated Clary and other inmates. But the news that his parents, two sisters, two half-sisters, and two nephews had not survived the Nazis' genocidal campaign against the Jews reduced his joy to grief. After the war, Clary made his way to the United States and, against great odds, achieved fame on Broadway and in Hollywood. From the Holocaust to Hogan's Heroes is Robert Clary's extraordinary account of his remarkable life both as a survivor and as an entertainer. Once read, it will not be forgotten.

"A raw glimpse" (Entertainment Weekly) into her lifelong battle with personal demons and near-fatal addictions--and reveals the shattering truth behind her complex, secretive, and damaging history with her father, the legendary John Phillips of The Mamas & the Papas.
Not long before her fiftieth birthday, Mackenzie Phillips made headlines with her arrest for drug possession at Los Angeles International Airport; the actor-musician-mother had been on her way to a reunion of "One Day at a Time, "the hugely popular '70s sitcom on which she once starred as the lovable rebel Julie Cooper.
Born into rock-and-roll royalty, flying in Learjets to the Virgin Islands at five, making pot brownies with Donovan at eleven, Mackenzie grew up in an all-access kingdom of hippie freedom and heroin cool. As a rising Hollywood star herself, she joined the nonstop party in the hedonistic pleasure dome of her father's making, and a rapt TV audience watched as Julie Cooper wasted away before their eyes. By the time Mackenzie discovered how deep and dark her father's trip was going, it was too late.
As an adult, she has paid dearly for a lifetime of excess, working tirelessly to reconcile her wonderful, terrible past and the pull of her magnetic father. By sharing her journey toward redemption and peace, the star who turned up "High on Arrival "has finally come back down to earth--to stay.

It is no coincidence that many of the most celebrated female performers throughout both the 19th and 20th centuries - women widely considered to represent the spirit of their times - were Jewish. Mock traces a lineage that stretches from the first international stage stars, Rachel of the Comedie-Francaise and Sarah Bernhardt, to stars of film and television such as Barbra Streisand, Bette Midler and Roseanne. In a unique enquiry, this book embraces issues of gender, sexuality, race, class and nationality through the figure of the Jewish woman to show how a very specific marginal identity has transformed mainstream cultures.

At a time of significant change in the precarious world of female individualization, this collection explores such phenomena by critically incorporating the parameters of popular media culture into the overarching paradigm of gender relations, economics and politics of everyday life.

On New Year's Eve 1961, the first broadcast of the Irish television service was made. The initial broadcast featured addresses by the President of the Republic, Eamon de Valera, and the Primate of all Ireland, Cardinal D'Alton. Both expressed concern over the effect television might have on Irish society. The dire warnings issued by both men illustrated the high level of apprehension held by many. This anxiety had been articulated by numerous organizations and interest groups since the debate over television began to take shape in the 1950s. A number of corporations and organizations had expressed a keen interest in building and operating television stations in Ireland. Other groups stepped forward to make the case that their particular interests should be addressed in any service that might be established. From the onset, a coherent policy eluded successive governments, with the fiscally conservative Department of Finance insisting that public television was beyond the means of an under-developed economy, while the Department of Posts and Telegraphs, already responsible for the national radio service, championed a state-run system. The arguments of these and other organizations, including the Catholic Church, Irish language groups, and professional organizations, culminated in the establishment of a Television Commission to recommend public policy. After deliberating for more than a year, the Commission issued a confused and contradictory final report. As Professor Savage shows, the television service that emerged was a synthesis of these opposing positions; an Irish solution to an Irish problem. This volume will be of considerable interest to students and scholars of Ireland as well as public policy and communications.

Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained attention, and then largely within Germany. This ambitious volume, the first in English on the subject, provides a much-needed corrective in the form of penetrating essays on the distinctive theories, practices, and social-historical contexts that have defined television in Germany. Encompassing developments from the dawn of the medium through the Cold War and post-reunification, this is an essential introduction to a rich and varied media tradition.

A reporter for the "Los Angeles Times" once noted that a"I Love Lucy" is said to be on the air somewhere in the world 24 hours a day.a That Lucyas madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies.

In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is aThe Nanny, a whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over?

Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale.

The long-running television series Supernatural is now an illustrated tarot deck! Featuring original artwork inspired by classic tarot iconography, the 78-card deck includes all your favorite characters from Sam and Dean to Bobby Singer to Castiel to Crowley. The deck also comes with a helpful guidebook explaining the meaning of each card as well as a few simple spreads for easy readings. It's the perfect gift for Supernatural fans and tarot enthusiasts alike!

What does it mean to regard cinema as technology? How do special effects change our experience of contemporary film? How important is the Internet to the film industry and film fans? "CineTech" explores these debates and examines the important intersection between film and new media. Providing a comprehensive introduction to the digital practices used in film, this book moves from historical perspectives to up-to-date analysis. Applying these debates through specific case studies, examples are drawn from recent Hollywood blockbusters such as the "Star Wars" prequels and the "Matrix" trilogy. Case studies, exercises, and suggestions for further study make this an ideal resource for courses and student assignments in both film and media studies.

Don Sweeney was with the Tonight Show for nearly twenty years, and was one of the few staff members asked to remain when Jay Leno took over in 1992. This book is a collection of celebrity vignettes and anecdotes from the peak years of the Tonight Show, and includes behind-the-scenes looks at more than two dozen celebrities, including Bill Cosby, Frank Sinatra, David Letterman, Regis Philbin, Ray Charles, Tony Randall, Buddy Rich, Don Rickles, Stevie Wonder, Ed McMahon, and Johnny Carson himself. With an eye for the eccentric, amusing, or downright bizarre, Sweeney's brief portraits offer a glimpse at celebrity from the other side of the curtain.

Though unjustly neglected by English-language audiences, Spanish film and television not only represent a remarkably influential and vibrant cultural industry; they are also a fertile site of innovation in the production of "transmedia" works that bridge narrative forms. In Spanish Lessons, Paul Julian Smith provides an engaging exploration of visual culture in an era of collapsing genre boundaries, accelerating technological change, and political-economic tumult. Whether generating new insights into the work of key figures like Pedro Almodovar, comparing media depictions of Spain's economic woes, or giving long-overdue critical attention to quality television series, Smith's book is a consistently lively and accessible cultural investigation.