- This is an all-inclusive playbook that offers readers a real world based "how-to" manual to create factual television programming. - Includes exclusive industry interviews with top television executives including Matt Taylor (Disney, National Geographic International), Winona Meringolo (Investigation Discovery), Babette Perry (innovative Artists), and more. - Breaks down different areas of factual television that are not explored elsewhere.

This book explores the ways in which the political and social power structures between filmmaker and protagonist are manifested in the aesthetics of documentary film. Using a synthesis of filmmaking practice and critical theories from the fields of cultural studies and political philosophy, the research devises methodological approaches to the analysis of documentaries in light of the political and material conditions of their emergence. By exploring filmmaking practice and placing it in the context of wider theories pertaining to issues of power structures and representation, it sheds light on the different aspects which must be considered when approaching the analysis of a documentary film for its ideological and political content.

There is an entire generation of culture junkies that grew up on Nickelodeon in the '90s. While the network, primarily aimed at children, first started to get its footing in the '80s, it was the '90s where Nick became the defining voice in entertainment for kids. For the first time ever, in this book, the entire expanse of '90s Nickelodeon has been collected in one place. A mix of personal reflection and media criticism, it delves into the history of each show with humor and insight. It revisits shows such as Rugrats, Clarissa Explains It All, and Legends of the Hidden Temple, one by one. More than an act of nostalgia, this book looks critically at the '90s Nick catalog, covering the good, the bad, and the weird.

This book considers the ways in which Black directors, screenwriters, and showrunners contend with the figure of the would-be White ally in contemporary film and television. White Lies and Allies in Contemporary Black Media examines the ways in which prominent figures such as Issa Rae, Spike Lee, Justin Simien, Jordan Peele, and Donald Glover centralize complex Black protagonists in their work while also training a Black gaze on would-be White allies. Emily R. Rutter highlights how these Black creators represent both performative White allyship and the potential for true White antiracist allyship, while also examining the reasons why Black creators utilize the white ally trope in the wider context of the film and television industries. During an era in which concerns with White liberal complicity in anti-Black racism are of paramount importance, Rutter explores how these films and televisions shows, and their creators, contribute to the wider project of dismantling internal, interpersonal, ideological, and institutional White hegemony. This book will be of interest to students and scholars of Film and Media Studies, Television Studies, American Studies, African American Studies, and Popular Culture.

* Provides an unusually pluralistic discussion of cinematic digital television that presents a less value-laden set of definitions than other books in the field have; * Breaks new ground in the much-contested field of cinematic television but will also be accessible enough to be used for teaching upper-level undergraduate and postgraduate students; * Each chapter includes contemporary case studies from a variety of global contexts, including Midnight Diner, Sacred Games, Twin Peaks and Russian Doll to clearly demonstrate the ideas discussed.

* Provides an unusually pluralistic discussion of cinematic digital television that presents a less value-laden set of definitions than other books in the field have; * Breaks new ground in the much-contested field of cinematic television but will also be accessible enough to be used for teaching upper-level undergraduate and postgraduate students; * Each chapter includes contemporary case studies from a variety of global contexts, including Midnight Diner, Sacred Games, Twin Peaks and Russian Doll to clearly demonstrate the ideas discussed.

The Wild Wild West premiered on CBS in 1965, just as network dominance of television Westerns was waning and the global James Bond phenomenon was in full force. Described as "James Bond on horseback," the series was like nothing else on TV before or since-a genre hybrid that followed the adventures of 1870s Secret Service agents James West and Artemus Gordon, on special assignment from President Ulysses S. Grant. The show featured clever gadgets and costumes, carefully choreographed action and fight sequences, and stories that melded elements of Western, science fiction, fantasy, espionage and detective genres. This book provides in-depth critical analysis of a unique, eclectic series considered one of the primary influences on steampunk subculture.

Examining the ways in which the BBC constructed and disseminated British national identity during the second quarter of the twentieth century, this book is the first study that focuses in a comprehensive way on how the BBC, through its radio programs, tried to represent what it meant to be British. The BBC and national identity in Britain offers a revision of histories of regional broadcasting in Britain that interpret it as a form of cultural imperialism. The regional organization of the BBC, and the news and creative programming designed specifically for regional listeners, reinforced the cultural and historical distinctiveness of Scotland, Wales, and Northern Ireland. The BBC anticipated, and perhaps encouraged, the development of the hybrid "dual identities" characteristic of contemporary Britain. -- .

- Seeks to bridge the divide between scholarly work on critical aesthetics vs. audience expectations in relation to film and television studies. - Draws on a comprehensive and original data-set from a national survey that examined audience perceptions of film genres and television formats, associated viewing patterns, and the current usage of streaming and other newer moving image adjuncts. - Reflects on how the pandemic has impacted viewing patterns and genre and format expectations moving forward.

The Russian international media outlet Russia Today (RT) has been widely accused in the Western world of producing government propaganda and conspiracy theories. This book explores for the first time the role that conspiracy theories actually play in the network's broadcasts. More than this, it provides the first ever study of how the Russian government engages with conspiracy theories in the international arena, with a particular focus on the use of conspiracy theories as an instrument of public diplomacy. RT was established in 2005 to represent Russia to the world, and to present a Russian perspective on global events. Whilst some of RT's more overtly conspiratorial output has been taken off the air, the network remains a source of significant concern for governments and intelligence agencies in Europe and North America. Now, more than ever, policymakers, journalists, academics, and intelligence services alike seek to understand the role RT plays in the Russian government's foreign policy agenda. The authors use RT as a case study to investigate how global communication technologies influence the development and dissemination of conspiracy theories, which are also an important component of the post-Soviet Russian intellectual landscape and Kremlin-sponsored political discourse. This book will appeal to students and scholars of Politics and International Relations, Russian Studies, and Conspiracy Theories.

Television is the most powerful system of images in the late 20th and early 21st centuries. Nonetheless, TV has attained only little philosophical attention so far, especially compared to other (visual) media such as film. This book looks at TV as what happens on the screen and beyond it; which is mainly the operation of switching images. It therefore proposes a new definition of TV as the first picture that can be switched on, off, and over, which stresses that TV is more tactile than visual. Through the operation of switching, TV figures the world from within and as the course of its figuration. This is grasped here by the term of "ontography". Through the ongoing interlacing and bridging of "TV 1.0" (the image is being switched) and "TV 2.0" (the image is a switch), TV exponentially increases the production and circulation of images. It transforms the world and itself from an analogue state to a digital one and from central perspectivism to pluri-perspective. In terms of time, through switching and the switch, it develops and reworks new temporal orderings, such as instantaneity, synchronicity, flow, and seriality. TV makes its own history. In space, it creates a mediasphere as its habitat and hence new forms of being-in-the-world, of proximity and distance, and scale. Anthropologically, it works on what a subject and an object is, on what makes the human being, and ontographically, how it is possible that there is something at all instead of nothing: through switch-images.

This book explores the relationship between multiplicity and representation of non-European and European-American cultures, with a focus on comics and superheroes. The author employs a combination of research methodologies, including close reading of transmedia texts and interviews with transmedia storytellers and audiences, to better understand the way in which diverse cultures are employed as agents of multiplicity in transmedia narratives. The book addresses both commercial franchises such as superhero narratives, as well as smaller indie projects, in an attempt to elucidate the way in which key cultural symbols and concepts are utilized by writers, designers, and producers, and how these narrative choices affect audiences - both those who identify as members of the culture being represented and those who do not. Case studies include fan fiction based on Marvel's Black Panther (2018), fan fiction and art created for the Moana (2016) and Mulan (2020) films, and creations by both U.S.-based and international indie comics artists and writers. This book will appeal to scholars and students of new media, narrative theory, cultural studies, sociocultural anthropology, folkloristics, English/literary studies, and popular culture, transmedia storytelling researchers, and both creators and fans of superhero comics.

- your essential guide to getting yourself on to television - covers every genre, from reality show to makeover and quiz - full of practical advice from the industry on getting noticed and winning auditions 'teach yourself Get on TV' gives you everything you need to find, apply for and take part in any reality programme, quiz or talk show. It explains every different type of show to you, but most importantly gives you lots of practical advice from industry insiders on what to say in an application, how to audition, what to expect and how to cope with life before, during and after your15 minutes of fame.

Television has always augmented its dramatic and variety programming with sports. After covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby between 1949 and 1951, and later, college and pro football. Today, there is a multitude of pay and cable networks devoted exclusively to baseball, football, golf, hockey, tennis, ice-skating, and auto racing. Rather than focusing on live sports broadcasts, however, this book chronicles the history of sports-themed comedies and dramas, to see how our national fictions have affected our authentic sports experiences, and vice versa.

Sports dominate the television landscape today, and still the demand for more is so great that pay and cable networks continue to find funding and success, even when devoted exclusively to a single sport. But this is really nothing new: television has always augmented its dramatic and variety programming with sports. Live sports have had a tremendous impact on what we see on television, and on how we see it. Rather than focusing on live sports broadcasts, however, this book takes a critical look at sports-themed comedies and dramas, to see how our authentic sports affect our national fictions as well. From the character studies that supplement Olympic coverage, to nightly highlight reels, to reality programming on ESPN, sports both echo and help shape the myths that pervade our culture. "Sports on Television" covers the changing relationship between live sports broadcasts and television dramas, as well as the important technological developments and cultural shifts that have changed the way we view the reality of sports.

In 1949, after covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby, and later moved on to college and pro football, where humble beginnings have since developed into a national obsession. In the early sixties Jimmy Stewart played a disgraced baseball player in "Flashing Spikes"-which was also one of the rare ventures into television for veteran director John Ford. On HBO the Yankees have been the subject of both "61*" - about Roger Maris's quest to top Babe Ruth's home run record - and "The Bronx Is Burning," about the 1977 Yankees team. And there have been sports-themed TV sitcoms as well, such as "Sports Night," Aaron Sorkin's critically lauded but commercially unsuccessful project, which preceded his work on "The West Wing." Meanwhile "American Gladiators"--a strange blend of canned programming and authentic athletic endeavor that in effect puts television audiences in an arena with what amounts to professional athletes--is quickly becoming one of the most popular shows on primetime. Here, Marill gives due time to all of these unique projects.

Laugh along with Michael McIntyre as he lifts the curtain on his life in his long-awaited new autobiography.

Michael’s first book ended with his big break at the 2006 Royal Variety Performance. Waking up the next morning in the tiny rented flat he shared with his wife Kitty and their one-year-old son, he was beyond excited about the new glamorous world of show business. Unfortunately, he was also clueless . . .

In A Funny Life, Michael honestly and hilariously shares the highs and the lows of his rise to the top and desperate attempts to stay there. It’s all here, from his disastrous panel show appearances to his hit TV shows, from mistakenly thinking he’d be a good chat show host and talent judge, to finding fame and fortune beyond his wildest dreams and becoming the biggest-selling comedian in the world. Along the way he opens his man drawer, narrowly avoids disaster when his trousers fall down in front of three policemen and learns the hard way why he should always listen to his wife.

Michael has had a silly life, a stressful life, sometimes a moving and touching life, but always A Funny Life.

When Ozzie Nelson died in 1975, he was no longer a household name. For a guy who had created the longest-running TV sitcom in history, invented the rock video, and fronted one of the most successful big bands of the 1930s, it's baffling that Nelson has faded so far from American media memory. Larger than life offscreen-an attorney, college football star, cartoonist, songwriter, major band leader-Ozzie created a smaller-than-life TV persona, the bumbling average Dad who became known to the rock generation (which included his teen idol son Rick Nelson) as the essence of blandness. But America also saw Ozzie as their iconic Dad: not a "father knows best," since his pontifications usually proved flawed by the end of each episode, but the father who tried his best. This book is the only full-length biography of Ozzie Nelson since he published his memoirs in 1973. It treats the big band and early TV icon with affection and hints that American pop culture may owe more to Ozzie than is generally acknowledged.

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.

Despite the powerful anti-political impulses that have pervaded Italian society in recent years, Italian cinema has sustained and renewed its longstanding engagement with questions of politics, both in the narrow definition of the term, and in a wider understanding that takes in reflections on public life, imaginary, and national identity. This book explores these political dimensions of contemporary Italian cinema by looking at three complementary strands: the thematics of contemporary political film from a variety of perspectives; the most prominent directors currently engaged in this filone; and case studies of the films that best represent this engagement. Conceived and edited by two Italian film scholars working in radically different academic settings, Italian Political Cinema brings together a wide array of critical positions and research from Italy, France, the Netherlands, the United Kingdom, Canada, and the United States. The tripartite structure and international perspective create a volume that is an accessible entry-point into a subject that continues to attract critical and cultural attention, both inside and outside of academia.

This is the HARDBACK version. From 2000 to its final episode in 2007, Gilmore Girls raised the bar for television writing, redefined the dramatic comedy, and cultivated a dedicated fan base not seen since the heights of Buffy the Vampire Slayer. However, unlike Buffy, little has been published about what went on behind-the-scenes of Gilmore Girl. Until now. The Gilmore Girls Companion provides the first detailed account of the creation of this groundbreaking series, based on dozens of exclusive interviews with the actors and behind-the-camera talent who brought Stars Hollow to life. Also check out the blog at http: //gilmoregirlsbook.wordpress.com/ . Over 500 pages

When we think about the "pictures in our heads" that media create and perpetuate, what images are we truly referencing? Issues of media stereotypes and representation (both past and present) are crucial to advancing media literacy. Media Stereotypes: From Ageism to Xenophobia becomes one-stop shopping for synthesizing what we know within the composite of stereotyping research in the United States. Utilizing a cast of top American scholars with deep roots in asking stereotype-based questions, this book is essential reading for those wishing to understand what we know about past and present media representations as well as those wishing to take the baton and continue to advance media stereotyping research in the future. Winner of the 2021 BEA Textbook Award!

This volume addresses the relationship between irony and popular culture and the role of the consumer in determining and disseminating meaning. Arguing that in a cultural climate largely characterised by fractious communications and perilous linguistic exchanges, the very role of irony in popular culture needs to come under greater scrutiny, it focuses on the many uses, abuses, and misunderstandings of irony in contemporary popular culture, and explores the troubling political populism at the heart of many supposedly satirical and (apparently) non-satirical texts. In an environment in which irony is frequently claimed as a defence for material and behaviour judged controversial, how do we, as a society entrenched in forms of popular culture and media, interpret work that is intended as satire but which reads as unironic? How do we accurately decode works of popular film, literature, television, music, and other cultural forms which sell themselves as bitingly ironic commentaries on current society, but which are also problematic celebrations of the very issues they purport to critique? And what happens when texts intended and received in one manner are themselves ironically recontextualised in another? Bringing together studies across a range of cultural texts including popular music, film and television, Isn't it Ironic? will appeal to scholars of the social sciences and humanities with interests in cultural studies, media studies, popular culture, literary studies and sociology.

When we think about the "pictures in our heads" that media create and perpetuate, what images are we truly referencing? Issues of media stereotypes and representation (both past and present) are crucial to advancing media literacy. Media Stereotypes: From Ageism to Xenophobia becomes one-stop shopping for synthesizing what we know within the composite of stereotyping research in the United States. Utilizing a cast of top American scholars with deep roots in asking stereotype-based questions, this book is essential reading for those wishing to understand what we know about past and present media representations as well as those wishing to take the baton and continue to advance media stereotyping research in the future. Winner of the 2021 BEA Textbook Award!

In the context of a systematic overview of the possibilities of applying narratological concepts to a study of TV series, ten case studies are explored in depth, demonstrating how series such as "24, Buffy the Vampire Slayer, Twin Peaks, Star Trek, Blackadder," and "Sex and the City" make use of innovative audiovisual means of storytelling. Transgressing the traditional confines of narrative theory, the chapter authors address the question of how form, content, and function intersect in these series.

The tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series' political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show's audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.

Official art book of Seasons 1 and 2 of the anime series Pacific Rim: The Black, featuring concept art created during the development of the series. Pacific Rim: The Black burst onto TV screens in March 2021, marking a bold new chapter in the Pacific Rim franchise. Its captivating story of young siblings Taylor and Hayley and their epic trek across the desolate Australian landscape to track down their parents was captured in dynamic anime style, complete with earth-shaking Kaiju-Jaeger battles and a cast of unforgettable characters. The Art of Pacific Rim: The Black retraces Taylor and Hayley's dramatic odyssey from the perspectives of the talented producers, directors, writers and animators who created this immensely popular series. They provide fascinating insight into how the series came about, the development of the characters, the design of the Kaiju and Jaegers, and much more. This lush, coffee table hardback book is packed with stunning imagery from the series, including sketches, concept art and final renders. With an exclusive foreword from showrunner Greg Johnson and visuals covering Seasons 1 and 2, there has never been a better time to dive deeper into 'The Black'!