Tropical Gothic examines Gothic within a specific geographical area of 'the South' of the Americas. In so doing, we structure the book around geographical coordinates (from North to South) and move between various national traditions of the gothic (Mexico, Argentina, Brazil, etc) alongside regional manifestations of the Gothic (the US south and the Caribbean) as well as transnational movements of the Gothic within the Americas. The reflections on national traditions of the Gothic in this volume add to the critical body of literature on specific languages or particular nations, such as Scottish Gothic, American Gothic, Canadian Gothic, German Gothic, Kiwi Gothic, etc. This is significant because, while the Southern Gothic in the US has been thoroughly explored, there is a gap in the critical literature about the Gothic in the larger context of region of 'the South' in the Americas. This volume does not pretend to be a comprehensive examination of tropical Gothic in the Americas; rather, it pinpoints a variety of locations where this form of the Gothic emerges. In so doing, the transnational interventions of the Gothic in this book read the flows of Gothic forms across borders and geographical regions to tease out the complexities of Gothic cultural production within cultural and linguistic translations. Tropical Gothic includes, but is by no means limited to, a reflection on a region where European colonial powers fought intensively against indigenous populations and against each other for control of land and resources. In other cases, the vast populations of African slaves were transported, endowing these regions with a cultural inheritance that all the nations involved are still trying to comprehend. The volume reflects on how these histories influence the Gothic in this region.

Students will find this book interesting and relevant as it offers the most up-to-date accounts of the Korean Wave examples and interdisciplinary analyses, including the 2019 film Parasite, the Korean boy band BTS and recent TV dramas, such as Kingdom (2019, 2020), Crash Landing on You (2020) and Mr. Sunshine (2018). With it's coverage of film, TV and popular music, this collection will have interdisciplinary appeal and can be used on courses in Korean and Asian studies as well as film, media, and cultural industries. Includes scholars from a range of disciplines and a series of case studies from Asia, the USA, Europe and the Middle East.

Over the past twenty years, presidential candidates have developed an entertainment talk show strategy in which they routinely chat with the likes of Oprah Winfrey, David Letterman, and Jon Stewart. In fact, between 1992 and 2012, there have been more than 200 candidate interviews on daytime and late night talk shows with nearly every presidential candidate-from long shot primary contender to major party nominee-hitting the talk show circuit at some point during the campaign. This book explores the development of the entertainment talk show strategy and assesses its impact on presidential campaigns. The chapters mix detailed narrative with extensive empirical data on audiences, content, viewer reaction, and press coverage to explain why candidates have embraced this strategy and the conditions under which these interviews are most likely to meet their expectations. The book also explores how these interviews can enhance campaigns by connecting a critical segment of the voting population with candidates who provide useful political information in a casual setting. Talk Show Campaigns shows that this is more than a gimmick-it's a key part of how candidates communicate with voters, which reveals a lot about how campaigns have changed over the past two decades.

This guidebook is intended to help both the novice and the experienced producer to create and fine-tune their budgets. Based on the top budgeting software packages, Movie Magic and EP Budgeting, this book takes the reader through each line item in the budgeting software and describes the background for that item, how it fits into the overall production, and any issues or pitfalls that may arise from it. This book is a useful reference for independent filmmakers who depend on accurate, easy-to-understand budgeting methods to seek funding for their projects.

Translating Culture Specific References on Television provides a model for investigating the problems posed by culture specific references in translation, drawing on case studies that explore the translational norms of contemporary Italian dubbing practices. This monograph makes a distinctive contribution to the study of audiovisual translation and culture specific references in its focus on dubbing as opposed to subtitling, and on contemporary television series, rather than cinema. Irene Ranzato's research involves detailed analysis of three TV series dubbed into Italian, drawing on a corpus of 95 hours that includes nearly 3,000 CSR translations. Ranzato proposes a new taxonomy of strategies for the translation of CSRs and explores the sociocultural, pragmatic and ideological implications of audiovisual translation for the small screen.

This revised edition of a standard textbook combines an examination of the cinema and television industries with a detailed analysis of their aesthetic and semiotic characteristics. John Ellis draws on his experience as an independent television producer to provide a comprehensive and challenging overview of the place of film, television and video in our daily lives and their future prospects in a changing media landscape.

This book presents an analysis of television histories across China, Hong Kong, Taiwan, Japan, Korea, Singapore, Malaysia, Indonesia, Philippines, Thailand, Vietnam, India and Sri Lanka. It offers a set of standard data on the history of television's cultural, industrial and political structures in each specific national context, allowing for cross-regional comparative analysis. Each chapter presents a case study on a salient aspect of contemporary television culture of the nation in question, such as analyses of ideology in television content in Japan and Singapore, and transformations of industry structure vis-a-vis state versus market control in China and Taiwan. The book provides a comprehensive overview of TV histories in Asia as well as a survey of current issues and concerns in Asian television cultures and their social and political impact.

This book explores the written and unwritten requirements Black journalists face in their efforts to get and keep jobs in television news. Informed by interviews with journalists themselves, Lewis examines how raced Black journalists and their journalism organizations process their circumstances and choose to respond to the corporate and institutional constraints they face. She uncovers the social construction and attempted control of "Blackness" in news production and its subversion by Black journalists negotiating issues of objectivity, authority, voice, and appearance along sites of multiple differences of race, gender, and sexuality.

In this concise but rich book, Syverson refutes the common notion that reality television is superficial or inauthentic, explaining how such criticisms fail to appreciate the way that we form social reality in the first place. By examining shows like The Hills, The Real Housewives, Vanderpump Rules, and The Bachelor alongside postmodern philosophy, feminist theory, and political economy, Syverson argues that we can confront today's postmodern condition only by accepting it on its own terms. To what extent does reality television mimic and shape our public and personal lives? Is reality television a dangerous, shallow decadence, or can it provide the key to understanding our postmodern moment? And above all, what does the election of Donald Trump mean for progressive fans of the genre? Reality Squared tackles these questions head-on, arguing that reality television represents the great modern art form, and the only entertainment vehicle capable of showing what it feels like to be alive today.

First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

While some have argued that we live in a 'postfeminist' era that renders feminism irrelevant to people's contemporary lives this book takes 'feminism', the source of eternal debate, contestation and ambivalence, and situates the term within the popular, cultural practices of everyday life. It explores the intimate connections between the politics of feminism and the representational practices of contemporary popular culture, examining how feminism is 'made sensible' through visual imagery and popular culture representations. It investigates how popular culture is produced, represented and consumed to reproduce the conditions in which feminism is valued or dismissed, and asks whether antifeminism exists in commodity form and is commercially viable. Written in an accessible style and analysing a broad range of popular culture artefacts (including commercial advertising, printed and digital news-related journalism and commentary, music, film, television programming, websites and social media), this book will be of use to students, researchers and practitioners of International Relations, International Political Economy and gender, cultural and media studies.

Impasse and Innovation in Psychoanalysis offers a rare perspective on the technical difficulties and creative responses to them that typify clinical psychoanalysis. The four seminars at the heart of this volume are not case reports in the usual sense. Rather, each seminar revolves around the challenges of translating an understanding of difficult process issues into an effective therapeutic response. What emerges in each case is a vivid picture of an analyst's subjective experience in conceptualizing and managing a particularly demanding treatment, supplemented by data about the patient's history and free associations and enlivened by seminar leader John Gedo's challenging questions and clinical commentary. Each seminar is framed by Mark Gehrie's introduction and commentary, the latter addressing the interplay of theory and technique in the preceding case. Gehrie's commentary is then followed by Gedo's notes, which are keyed to specific points in the seminar transcript. Gedo not only clarifies issues left in doubt by the original discussion but offers his own second thoughts about the clinical material and its technical handling. The uniquely dialogic format of this volume brings different voices to bear on issues at the forefront of the evolution of clinical psychoanalysis. Edifying reading for practicing analysts and analytic therapists, Impasse and Innovation in Psychoanalysis is a wonderful teaching tool, introducing candidates, residents, and students to the demands of coping with stressful transferences and enactments and sparkling, throughout, with Gedo's wit and wisdom.

A stimulating and highly readable account of the world of genetic research and molecular biology and its findings over the last half-century. Challenges common assumptions and theories of what determines our personality and behaviour.

Cracker (1993-6; 2007) was one of the standout television series of the 1990s, reinvigorating the television crime drama and winning both critical plaudits and ratings success. In Fitz, its flawed, self-destructive, arrogant but brilliant criminal psychologist hero, the series created one of the decade's most iconic characters, in the process turning Robbie Coltrane from a respected comic performer into an award-winning actor and a genuine star. Cracker played freely with the conventions of the detective thriller, focusing less on the 'who' of crime than the 'why'. As such it followed a Catholic preoccupation with deep motive and moral responsibility shared by Fitz and his creator Jimmy McGovern, the first and most dominant of the series' three writers. Through three series and two specials, Cracker explored the causes and consequences of crime, while never losing sight of the moral choices made by its perpetrators. At the same time the series exposed the inherent dangers of a police force in pursuit not of justice but of 'results'. Mark Duguid's illuminating study of Cracker traces the series' origins and development in the context of early 1990s television and places it in the contemporary social and political landscape. Duguid explores the series' distinctive moral focus, paying particular attention to Cracker's concerns with justice and the impact of bereavement and grief, most notably in McGovern's impassioned engagement with the devastation caused by the Hillsborough disaster and its aftermath. Combining detailed textual analysis with insights drawn from interviews with McGovern and producer Gub Neal, Duguid reveals how one of the angriest, toughest series of its time is also, paradoxically, one of the most compassionate. Mark Duguid is a Senoir Curator of the BFI National Archive, and is the editor of, and a major contributor to BFI Screenonline, an online research and educational resource devoted to the history of film and television in Britain. He has contributed to Sight& Sound magazine and to the Encyclopedia of Television (2004).

Combining thematic analysis and stimulating close readings, 'The Collar' is a wide-ranging study of the many ways - heroic or comic, shrewd or dastardly - in which Christian clergy have been represented in literature, from George Herbert and Laurence Sterne, via Anthony Trollope, G.K. Chesterton, T.S. Eliot, and Graham Greene, to Susan Howatch and Robertson Davies, and in film and television, such as 'Pale Rider', 'The Thorn Birds', 'The Vicar of Dibley', and 'Father Ted'. Since all Christians are expected to be involved in ministry of some type, the assumptions of secular culture about ministers affect more than just clergy. Ranging across several nations (particularly Britain, the U.S., and Canada), denominations, and centuries, 'The Collar' encourages creative and faithful responses to the challenges of Christian leadership and develops awareness of the times when leadership expectations become too extreme.Using the framework of different media to make inquiries about pastoral passion, frustration, and fallibility, Sue Sorensen's well-informed, sprightly, and perceptive book will be helpful to anyone who enjoys evocative literature and film as well as to clergy and those interested in practical theology.

This book employs actor-network theory in order to examine how representations of crime are produced for contemporary prime-time television dramas. As a unique examination of the production of contemporary crime television dramas, particularly their writing process, Making Crime Television: Producing Entertaining Representations of Crime for Television Broadcast examines not only the semiotic relations between ideas about crime, but the material conditions under which those meanings are formulated. Using ethnographic and interview data, Anita Lam considers how textual representations of crime are assembled by various people (including writers, directors, technical consultants, and network executives), technologies (screenwriting software and whiteboards), and texts (newspaper articles and rival crime dramas). The emerging analysis does not project but instead concretely examines what and how television writers and producers know about crime, law and policing. An adequate understanding of the representation of crime, it is maintained, cannot be limited to a content analysis that treats the representation as a final product. Rather, a television representation of crime must be seen as the result of a particular assemblage of logics, people, creative ideas, commercial interests, legal requirements, and broadcasting networks. A fascinating investigation into the relationship between television production, crime, and the law, this book is an accessible and well-researched resource for students and scholars of Law, Media, and Criminology.

This title was first published in 2001. This work provides detailed information taken from the 'Programmes-as-Broadcast' daily log of output held at the BBC Written Archives Centre in Caversham. Arranged in chronological order, entries are given for broadcasts of first performances of musical works in the United Kingdom, and include details of: the date of the broadcast, the composer, the title of the work, performers and conductor. In addition to its usefulness as a reference tool, the Chronicle enables us to gauge the trends in twentieth-century British musical life, and the role of the BBC in their promotion.

The League of Gentlemen Part sitcom, part sketch show, part 'Kitchen Sink', part 'Northern Gothic', The League of Gentlemen is one of British television's most innovative and enduring comedy series. Set in the northern town of Royston Vasey, the series introduced viewers to homicidal Local Shop keepers Tubbs and Edward, vindictive training officer Pauline, demonic butcher Hilary Briss, and the nightmarish circus owner Papa Lazarou. Such was the series' effect that the word 'local' would never seem the same again. The majority of these grotesque characters were played by Mark Gatiss, Steve Pemberton and Reece Shearsmith, who created and wrote the series with Jeremy Dyson. In addition to creating a unique world, where the mundane collided with the macabre, the League showcased a versatility in its performers rarely seen in TV comedy. Leon Hunt's entertaining and illuminating study offers the most sustained analysis of the series. Drawing on original interviews with Dyson and Gatiss, he traces the League's evolution, from fringe theatre to radio to television, from sketch-based material to the longer narratives of the Christmas Special and the contentious third series. Hunt contextualises the series as a 'cult classic', discussing its place within traditions of British comedy, its references to horror and fantasy and its creation of a grotesque and self-contained world. Leon Hunt is Senior Lecturer in Film and TV Studies at Brunel University. He is the author of Kung Fu Cult Masters: From Bruce Lee to Crouching Tiger (2003) and British Low Culture: From Safari Suits to Sexploitation (1998).

Curly Watts is a TV icon - for twenty years appearing on millions of TV screens around the country in Coronation Street. Kevin Kennedy is one of the UK's most successful soap actors, although behind the scenes and high-profile appearances, he faced a painful personal battle. Kevin shares his experiences of alcoholism, rehab and IVF as well stories from the set and stars he worked with during some of the brightest, and darkest moments of his life, through to his music career and current roles. This brutally honest autobiography provides a rare glimpse into life behind the scenes, the power of addiction, and his battle with recovery.

Russia, one of the most ethno-culturally diverse countries in the world, provides a rich case study on how globalisation and associated international trends are disrupting, and causing the radical rethinking of approaches to, inter-ethnic cohesion. The book highlights the importance of television broadcasting in shaping national discourse and the place of ethno-cultural diversity within it. It argues that television's role here has been reinforced, rather than diminished, by the rise of new media technologies. Through an analysis of a wide range of news and other television programmes, the book shows how the covert meanings of discourse on a particular issue can diverge from the overt significance attributed to it, just as the impact of that discourse may not conform with the original aims of the broadcasters. The book discusses the tension between the imperative to maintain security through centralised government and overall national cohesion that Russia shares with other European states, and the need to remain sensitive to, and to accommodate, the needs and perspectives of ethnic minorities and labour migrants. It compares the increasingly isolationist popular ethnonationalism in Russia, which harks back to "old-fashioned" values, with the similar rise of the Tea Party in the United States and the UK Independence Party in Britain. Throughout, this extremely rich, well-argued book complicates and challenges received wisdom on Russia's recent descent into authoritarianism. It points to a regime struggling to negotiate the dilemmas it faces, given its Soviet legacy of ethnic particularism, weak civil society, large native Muslim population and overbearing, yet far from entirely effective, state control of the media.

What can depictions of psychotherapy on screen teach us about ourselves? In Eavesdropping, a selection of contributions from internationally-based film consultants, practicing psychotherapists and interdisciplinary scholars investigate the curious dynamics that occur when films and television programmes attempt to portray the psychotherapist, and the complexities of psychotherapy, for popular audiences. The book evaluates the potential mismatch between the onscreen psychotherapist, whose raison d'etre is to entertain and engage global audiences, and the professional, real-life counterpart, who becomes intimately involved with the dramas of their patients. While several contributors conclude that actual psychotherapy, and the way psychotherapists and their clients grapple with notions of fantasy and reality, would make a rather poor show, Eavesdropping demonstrates the importance of psychotherapy and psychotherapists on-screen in assisting us to wrestle with the discomfort - and humour - of our lives. Offering a unique insight into perceptions of psychotherapy, Eavesdropping will be essential and insightful reading for analytical psychologists, psychoanalysts, academics and students of depth psychology, film and television studies, media studies and literature, as well as filmmakers.

Television Brandcasting examines U. S. television's utility as a medium for branded storytelling. It investigates the current and historical role that television content, promotion, and hybrids of the two have played in disseminating brand messaging and influencing consumer decision-making. Juxtaposing the current period of transition with that of the 1950s-1960s, Jennifer Gillan outlines how in each era new technologies unsettled entrenched business models, an emergent viewing platform threatened to undermine an established one, and content providers worried over the behavior of once-dependable audiences. The anxieties led to storytelling, promotion, and advertising experiments, including the Disneyland series, embedded rock music videos in Ozzie & Harriet, credit sequence brand integration, Modern Family's parent company promotion episodes, second screen initiatives, and social TV experiments. Offering contemporary and classic examples from the American Broadcasting Company, Disney Channel, ABC Family, and Showtime, alongside series such as Bewitched, Leave it to Beaver, Laverne & Shirley, and Pretty Little Liars, individual chapters focus on brandcasting at the level of the television series, network schedule, "Blu-ray/DVD/Digital" combo pack, the promotional short, the cause marketing campaign, and across social media. In this follow-up to her successful previous book, Television and New Media: Must-Click TV, Gillan provides vital insights into television's role in the expansion of a brand-centric U.S. culture.

Disability and Digital Television Cultures offers an important addition to scholarly studies at the intersection of disability and media, examining disability in the context of digital television access, representation and reception. Television, as a central medium of communication, has marginalized people with disability through both representation on screen and the lack of accessibility to this medium. With accessibility options becoming available as television is switched to digital transmissions, audience research into television representations must include a corresponding consideration of access. This book provides a comprehensive and critical study of the way people with disability access and watch digital TV. International case studies and media reports are complimented by findings of a user-focused study into accessibility and representation captured during the Australian digital television switchover in 2013-2014. This book will provide a reliable, independent guide to fundamental shifts in media access while also offering insight from the disability community. It will be essential reading for researchers working on disability and media, as well as television, communications and culture; upper-level undergraduate and postgraduate students in cultural studies; along with general readers with an interest in disability and digital culture.

This innovative collection investigates the ways in which television programs around the world have highlighted modernization and encouraged nation-building. It is an attempt to catalogue and better understand the contours of this phenomenon, which took place as television developed and expanded in different parts of the world between the 1950s and the 1990s. From popular science and adult education shows to news magazines and television plays, few themes so thoroughly penetrated the small screen for so many years as modernization, with television producers and state authorities using television programs to bolster modernization efforts. Contributors analyze the hallmarks of these media efforts: nation-building, consumerism and consumer culture, the education and integration of citizens, and the glorification of the nation's technological achievements.