Offering a critical introduction into LGBT (lesbian, gay, bisexual and transgender) transnational identity in the media, this book examines performances and representations within documentary and fiction oriented texts. An interdisciplinary approach is put forward, revealing new potentials for non western queer identity.

Star Trek emerged against a cultural backdrop of Dylan, mini-skirts, bellbottoms and VW vans; flourishing a culture of Michael Jackson, big-hair and environmentalism; expanding during a culture of emerging-computers, greed and religious revitalization. Star Trek survived the culture shock after 9/11, and experienced a revival in the new culture of yoga pants, hybrid cars, and solar panels. Fifty plus years later, through rapid culture change, Star Trek is alive and well, voyaging through space and time. Which allows us to wonder, why is that? Star Trek kept its core features while adapting to contemporary culture. The Voyages of Star Trek: A Space-Time Continuum explores how understanding human behavior and culture change through space and time is an important discipline that can affect impactful media, such as Star Trek. The authors, K. M. Heath and A.S. Carlisle, investigate the enduring appeal of the phenomenon of Star Trek and how it mirrored, foreshadowed, and adapted to contemporary American culture from 1966 to the present. First looking at the evolution of Star Trek by tying the dramatic storylines of episodes and movies to events and developments in America, then assessing the extent to which the image of Star Trek is actually reflected on the screen from "snapshots" of randomly selected episodes and of all the movies. The Voyages of Star Trek: A Space-Time Continuum successfully looks at the cultural impact of Star Trek beyond what it did for its own franchise. Star Trek has a bright future among the stars, and has truly gone where few franchises have gone before.

Adapting Detective Fiction is a study of specific instances of adaptation, with close readings of both the originating sources and adapted texts. But it is also more than this. It is a study of the politics of representation in the last decades of the twentieth century, and the role television detective fiction plays in this. It is about the mutually-informing interrelation of cultural texts and political rhetoric, about the connection between the popular-cultural depiction of crime and criminality and how we come to understand human behaviour and culpability; most of all, it is a detailed consideration of what the process of adaptation reveals about the shifting nature of the world in which we live. With specific reference to television series such as The Adventures of Sherlock Holmes Miss Marple. A Touch of Frost Cadfael, and Midsomer Murders Adapting Detective Fiction uses adaptation as the basis for an exercise in later twentieth-century cultural history, illustrating the fundamental role detective fictions play in popular beliefs about the nature of crime and Englishness.

The horror genre will always remain current because it reflects our anxieties, shining a light onto our worst fears whilst creating worlds defined by darkness. Horror as a genre has always engaged with era-specific societal mores and moral panics, often about isolation or abandonment, changing family values and the role of women. It is often specifically about how gender is constructed in everyday life. Women are commonly defined in horror by their passivity, or monstrosity/sexuality or victimhood - or a mix of the three. At the same time women in horror are forced into psychological and physical torture ending in violent showdowns in which they emerge damaged but triumphant. Bringing together research from a wide range of established and emerging scholars this edited collection provides an insight into how modern horror films portray femininities, sexualities, masculinities, ageing, and other current issues, exploring the use of vampires, zombies, werewolves and ghosts in films made internationally. This volume, one of three by the same editorial team examining the horror genre, focuses on gender and contemporary horror in film, asking questions about how and if representations of gender in horror have changed. In these readings and re-readings, the authors examine developments in films about vampires, zombies, werewolves and ghosts, in films made internationally.

This edited volume examines the historical, political, cultural, and aesthetic implications of re-visiting Restoration Spain (1874-1931) in television costume dramas produced since 2000. Contributors analyze, from different theoretical approaches and disciplinary perspectives, the appeal that the late nineteenth and early twentieth centuries hold for twenty-first-century Spanish audiences, as well as for international viewers who consume these programs through new media platforms. Themes and issues explored include: the production of televisual heritage, representations of period technologies, evolving constructions of gender, hybridization of television genres, and television as historian. Expanding the scope of inquiry in Spanish media studies, this collection seeks to bring Spain into wider discussions of media and historical representation and visual and material culture in Europe, the Americas, and beyond.

Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century, with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. It creates an understanding of this under-researched cultural phenomenon by showing how the narratives make visible cultural anxieties haunting the Nordic countries, their welfare systems, identities and ideologies. Nordic Gothic examines how figures from Nordic folklore function as metaphorical expressions of Gothic themes and Nordic settings are explored from perspectives such as ecocriticism and postcolonialism. The book will be of interest to researchers and post- and- undergraduate students in various fields within the Humanities. -- .

From Eastenders to Dr Who, Desert Island Discs to Monty Pyton, The Office to Peaky Blinders, test your knowledge of the history of the BBC and all your favourite programmes with this OFFICIAL puzzle book. From casual quizzers to trivia obsessives, everyone will love this light-hearted and fun book of puzzles and quzzes, released to mark the 100th birthday of the oldest and most famous broadcasting company in the world. Learn about the organisation's history, from its beginnings right up until the present day, discovering all about its fantastic programmes, from comedy, drama and news to soaps, quiz shows and documentaries, along the way. Catch up with your favourite shows, stars and characters and learn about the history of the BBC on the way. You'll find long-standing, iconic series like Dr Who, Eastenders, The Archers or Desert Island Discs as well as cutting-edge dramas such as I May Destroy You and Peaky Blinders. There are also classic comedies like Monty Python, Fawlty Towers and Dad's Army as well as genre-changing hits like The Office or Fleabag. Each spread includes a lively, brief history together with puzzles that will suit all levels of knowledge and skill, making this title the perfect book for everyone to to enjoy. Over its hundred years the BBC has been at the heart of family entertainment and information, known throughout the world for the quality of its output. Packed with history, facts, puzzles, and images of favourite stars and programmes, this is the perfect gift for Christmas and beyond!

Exemplary Representations of African American Women on Television: Queen Sugar On Screen and Behind the Scenes argues that the Oprah Winfrey Network's program Queen Sugar is a significant contribution to mainstream media that creates a space for deeper conversations concerning Black/African American women's social roles, social class, and social change. Ollie Jefferson provides a unique analysis of the television drama by using the exemplary representations conceptual framework, which is designed to define exemplars represented as characters that illustrate the complex humanity of Black lives-in this case, multidimensional female characters. Jefferson highlights the best practices used by female African American producers Oprah Winfrey and Ava DuVernay, using Queen Sugar as a case study that broadens understanding of the media industry's need for culturally sensitive and conscious inclusion of people of color behind the scenes-as media owners, creators, writers, directors, and producers-to put an end to the persistent and pervasive misrepresentations of African American women on camera. Scholars of television studies, media studies, women's studies, and race studies will find this book particularly useful.

This book examines the most popular American television shows of the nineties-a decade at the last gasp of network television's cultural dominance. At a time when American culture seemed increasingly fragmented, television still offered something close to a site of national consensus. The Lonely Nineties focuses on a different set of popular nineties television shows in each chapter and provides an in-depth reading of scenes, characters or episodes that articulate the overarching "ideology" of each series. It ultimately argues that television shows such as Seinfeld, Friends, Law & Order and The Simpsons helped to shape the ways Americans thought about themselves in relation to their friends, families, localities, and nation. It demonstrates how these shows engaged with a variety of problems in American civic life, responded to the social isolation of the age, and occasionally imagined improvements for community in America.

This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films' preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women's filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture and creativity.

This book is the first to focus on the role of European television crime drama on the international market. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish The Bridge, the Welsh Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the German Tatort and the Turkish Cinayet. By examining both European texts and the 'European-ness' of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond.

At the end of the nineteenth century, print media dominated British popular culture, produced in greater variety and on a larger scale than ever before. Within decades, new visual and auditory media had ushered in a mechanized milieu, displacing print from its position at the heart of cultural life. During this period of intense change, illustrated magazines maintained a central position in the media landscape by transforming their letterpress orientation into a visual and multimodal one. Ultimately, this transformation was important for the new media cultures of the twentieth and twenty-first centuries. Making Pictorial Print recovers this chapter in the history of new media, applying concepts from media theory and the digital humanities to analyse four popular late-Victorian magazines - the Illustrated London News, the Graphic, Pearson's Magazine, and the Strand - and the scrapbook media that appropriated them. Using the concept of media literacy, these case studies demonstrate the ways in which periodical design aesthetics affected the terms of engagement presented to readers, creating opportunities for them to participate in and even contribute to popular culture. Shaped by publishers, advertisers, and readers themselves, the pages of these periodicals document the emergence of modern mass culture as we know it and offer insight into the new media of our digital present.

Reality TV has changed television and changed reality, even if we are not among the millions who watch. Written for a broad audience, this accessible overview addresses questions such as: How real is reality TV? How do its programs represent gender, sex, class, and race? How does reality TV relate to politics, to consumer society, to surveillance? What kind of ethics are on display? Drawing on current media research and the author s own analysis, this study encompasses the history and evolution of reality television, its production of reflexive selves and ordinary celebrity, its advertising and commercialization, and its spearheading of new relations between television and social media. To dismiss this programming as trivial is easy. Deery demonstrates that reality television merits serious attention and her incisive analysis will interest students in media studies, cultural studies, politics, sociology, and anyone who is simply curious about this global phenomenon.

Recipes by Michele Scicolone
Compiled by Artie Bucco
Series created by David Chase

Nuovo Vesuvio. The "family" restaurant, redefined. Home to the finest in Napolitan' cuisine and Essex County's best kept secret. Now Artie Bucco, la cucina's master chef and your personal host, invites you to a special feast…with a little help from his friends.

THE SOPRANOsm FAMILY COOKBOOK

From arancini to zabaglione, from baccalá to Quail Sinatra-style, Artie Bucco and his guests, the Sopranos and their associates, offer food lovers one hundred Avellinese-style recipes and valuable preparation tips. But that's not all! Artie also brings you a cornucopia of precious Sopranos artifacts that includes photos from the old country; the first Bucco's Vesuvio's menu from 1926; AJ's school essay on "Why I Like Food"; Bobby Bacala's style tips for big eaters, and much, much more. So share the big table with:

Tony Soprano, waste management executive. "Most people soak a bagful of discount briquettes with lighter fluid and cook a pork chop until it's shoe leather and think they're Wolfgang Puck." Enjoy his tender Grilled Sausages sizzling with fennel or cheese. Warning: Piercing the skin is a fire hazard.

Corrado "Junior" Soprano, Tony's uncle. "Mama always cooked. No one died of too much cholesterol or some such crap." Savor his Pasta Fazool, a toothsome marriage of cannellini beans and ditalini pasta, or Giambott', a grand-operatic vegetable medley.

Carmela Soprano, Tony's wife. "If someone were sick, my inclination would be to send over a pastina and ricotta. It's healing food." Try her Baked Ziti, sinfully enriched with three cheeses, and her earthy 'Shcarole with Garlic.

Peter Paul "Paulie Walnuts" Gualtieri, associate of Tony Soprano. "I have heard that Eskimos have fifty words for snow. We have five hundred words for food." Sink your teeth into his Eggs in Purgatory-eight eggs, bubbling tomato sauce, and an experience that's pure heaven.

As Artie says, "Enjoy, with a thousand meals and a thousand laughs. Buon' appetito!"

A Main Selection of The Good Cook® Book Club and an Alternate Selection of QPB®, of Book-of-the-Month Club®, of The Literary Guild®, and of InsightOut Book Club™

For readers of Nora Ephron, Tina Fey, and David Sedaris, this hilarious, poignant, and extremely frank collection of personal essays confirms Lena Dunham--the acclaimed creator, producer, and star of HBO's "Girls"--as one of the brightest and most original writers working today.
"If I can take what I've learned in this life and make one treacherous relationship or degrading job easier for you, perhaps even prevent you from becoming temporarily vegan, then every misstep of mine will have been worthwhile. This book contains stories about wonderful nights with terrible boys and terrible days with wonderful friends, about ambition and the two existential crises I had before the age of twenty. About fashion and its many discontents. About publicly sharing your body, having to prove yourself in a meeting full of fifty-year-old men, and the health fears (tinnitus, lamp dust, infertility) that keep me up at night. I'm already predicting my future shame at thinking I had anything to offer you with this book, but also my future glory in having stopped you from trying an expensive juice cleanse or having the kind of sexual encounter where you keep your sneakers on. No, I am not a sexpert, a psychologist, or a registered dietician. I am not a married mother of three or the owner of a successful hosiery franchise. But I am a girl with a keen interest in self-actualization, sending hopeful dispatches from the front lines of that struggle."

An entertaining yet candid examination of the popular sketch show In Living Color. When the pilot for In Living Color aired for the first time on April 15, 1990, America had never seen anything like it. And they loved it. Over five seasons, the show broke racial, cultural, and comedy boundaries, creating unforgettable sketches that dealt almost exclusively with Black subject matter. In Living Color: A Cultural History celebrates the iconic show and its creators, while also providing a conscientious examination of the sketches themselves. Bernadette Giacomazzo reveals how the show successfully tackled topics that are still salient today, from diversity in Hollywood and workplace racism to mass incarceration and "blackfishing," while other sketches have not aged quite so well. Giacomazzo also looks at how the show helped break the careers of Jamie Foxx, Jim Carrey, and David Alan Grier, amongst others, and how its most infamous sketches-such as Fire Marshall Bill, Homey the Clown, East Hollywood Squares, and Men on Film-helped shape comedy in the twenty-first century. In Living Color was one of the few sketch shows of the 1990s that effectively tackled racial and social issues with humor. It did so more successfully than Saturday Night Live ever did, because, unlike the long-standing late-night show, In Living Color had a largely Black writer's room. This cultural history finally gives the influential show and its creators the recognition they deserve for their role in changing the face of television.

This book examines the position of black and mixed-race characters in Irish film culture. By exploring key film and television productions from the 1990s to the present day, the author uncovers and interrogates concepts of Irish identity, history and nation. In 2009, Ireland had the highest birth rate in Europe, with almost 24 per cent of births attributed to the 'new Irish'. By 2013, 17 per cent of the nation was foreign-born. Ireland has always been a culturally diverse space and has produced a series of high-profile mixed-race stars, including Phil Lynott, Ruth Negga and Simon Zebo, among others. Through an analysis of screen visualizations of the black Irish, this study uncovers forgotten histories, challenges the perceived homogeneity of the nation, evaluates integration, and considers the future of the new Ireland. It makes a creative and significant theoretical contribution to scholarly work on the relationship between representation and identity in Irish cinema. This book was the winner of the 2011 Peter Lang Young Scholars Competition in Irish Studies.

This book presents a compelling case for a paradigmatic shift in the analysis of television drama production that recentres questions of power, control and sustainability. Television drama production has become an increasingly lucrative global export business as drama as a form enjoys increased prestige. However, this book argues that the growing emphasis on international markets and global players such as Netflix and Amazon Prime neglects the realities of commissioning and making television drama in specific national and regional contexts. Drawing on extensive empirical research, Producing British Television Drama demonstrates the centrality of public service broadcasters in serving audiences and sustaining the commercial independent sector in a digital age. It attends closely to three elements-the role of place in the production of content; the experiences of those working in the sector; and the interventions from cultural intermediaries in articulating and ascribing value to television drama. With chapters examining the evolution of British TV drama, as well as what might be in store in its future, this book offers invaluable insights into the UK as a major supplier of and market for television drama.

"I am not in danger, Skyler. I am the danger!"

When a mild-mannered chemistry teacher teamed up with a small-time meth dealer - and, over five chaotic and addictive seasons, transforms into a ruthless kingpin - nobody expected the show to become a global sensation. But the gripping tale of Walt's descent into the criminal underworld has smashed records, making Breaking Bad the most critically acclaimed show of all time.

Now the legacy of this trailblazing series has been refined into the gift that keeps on giving. Say My Name: The Little Guide to Breaking Bad is contaminated with the loco misadventures of Walt, Jesse, Skyler, Saul, Gus, Mike and Hank through a wealth of wicked wit and wisdom, and classic, killer catchphrases. Just remember, tread lightly - we wouldn't want you to get hooked on the show all over again. Or would we?

This book examines queer characters in popular American television, demonstrating how entertainment can educate audiences about LGBT identities and social issues like homophobia and transphobia. Through case studies of musical soap operas (Glee and Empire), reality shows (RuPaul's Drag Race, The Prancing Elites Project and I Am Cait) and "quality" dramas (Looking, Transparent and Sense8), it argues that entertainment elements such as music, humour, storytelling and melodrama function as pedagogical tools, inviting viewers to empathise with and understand queer characters. Each chapter focuses on a particular programme, looking at what it teaches-its representation of queerness-and how it teaches this-its pedagogy. Situating the programmes in their broader historical context, this study also shows how these televisual texts exemplify a specific moment in American television.

A history of the love affair between BDSM (Bondage/Discipline, Dominance/Submission, Sadism/Masochism) and science fiction and fantasy. Lewis Call explores representations of BDSM in the 1940s Wonder Woman comics, the pioneering prose of Samuel Delany and James Tiptree, and the television shows Battlestar Galactica, Buffy, Angel and Dollhouse.