Fred Rogers was an international celebrity. He was a pioneer in children's television, an advocate for families, and a multimedia artist and performer. He wrote the television scripts and music, performed puppetry, sang, hosted, and directed Mister Rogers' Neighborhood for more than thirty years. In his almost nine-hundred episodes, Rogers pursued dramatic topics: divorce, death, war, sibling rivalry, disabilities, racism. Rogers' direct, slow, gentle, and empathic approach is supported by his superior emotional strength, his intellectual and creative courage, and his joyful spiritual confidence. The Green Mister Rogers: Environmentalism in "Mister Rogers' Neighborhood" centers on the show's environmentalism, primarily expressed through his themed week "Caring for the Environment," produced in 1990 in coordination with the twentieth anniversary of Earth Day. Unfolding against a trash catastrophe in the Neighborhood of Make-Believe, Rogers advances an environmentalism for children that secures children in their family homes while extending their perspective to faraway places, from the local recycling center to Florida's coral reef. Rogers depicts animal wisdom and uses puppets to voice anxiety and hope and shows an interconnected world where each part of creation is valued, and love is circulated in networks of care. Ultimately, Rogers cultivates a practical wisdom that provides a way for children to confront the environmental crisis through action and hope and, in doing so, develop into adults who possess greater care for the environment and a capacious imagination for solving the ecological problems we face.

The year 1966 was when many TV viewers all over America discovered the wonders of "in living color." The 1966-1967 primetime television lineup was remarkable not only for the legendary shows that aired, but also because it was the first season in which every show on primetime, across all three major networks, was broadcast entirely in color. Celebrating this iconic year of television, this book covers every scripted episodic show that aired on the ABC, CBS, and NBC networks during the 1966-1967 season in primetime. It includes longtime favorites such as Batman, Bonanza, Voyage to the Bottom of the Sea, and The Lucy Show and the notable shows that premiered that year such as Star Trek, The Monkees, Green Hornet, Mission: Impossible, It's About Time, and the color revival of Dragnet. Organized by genre, each entry examines a show from conception to cancelation (and sometimes beyond), ratings, critical and fan reactions, and the show's use of color.

Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories-even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim, giallo is a fluid and dynamic genre that has evolved throughout the decades. This book examines the many facets of the giallo genre-narrative, style, themes, and influences. It explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, discussing their impact on society, culture and mores.

Written in an accessible, conversational tone, this book demonstrates how to efficiently multitask in the contemporary broadcast digital newsroom while remaining true to journalistic ethics. Each chapter includes specialised insights from experienced news industry professionals to mentor the reader and provide guidance on key skills including storytelling, pitching, video production, interviewing, and managing social media. Additional online resources provide students with step-by-step instructions for commonly used editing software: Adobe Premiere Pro, Final Cut Pro, Avid and DaVinci Resolve.

This book explores the relatively new genre of 'Quality Telefantasy' and how it has broadened TV taste cultures by legitimating and mainstreaming fantastical content. It also shows how the rising popularity of this genre marks a distinct and significant development in what kinds of TV are culturally dominant and critically regarded. By expanding and building on the definition of US Quality TV, this book brings together a number of popular science fiction, fantasy and horror TV series, including Game of Thrones, The Walking Dead and Westworld, as case studies which demonstrate the emergence of the Quality Telefantasy genre. It looks at the role of technology, including internet recap culture and subscription video on demand distribution, in Quality Telefantasy's swift emergence, and analyses its success internationally by considering series created outside the US like Kingdom (South Korea, Netflix) and Dark (Germany, Netflix). The book argues that Quality Telefantasy series should be considered a part of the larger Quality TV super-genre, and that the impact they are having on the global TV landscape warrants further investigation as it continues to evolve. This is a valuable text for students and scholars studying or undertaking research in the areas of television studies, new media and pop-cultural studies.

-examines the relationship between Brexit and its comedy, exploring how Brexit and comedy are connected in both Leave and Remain discourse -argues that both populism and comedy are rhetorical in nature and so are linked through their semantic structure and communicative potential -the author analyses the populism that has emerged from those incongruities in the form of ironic, ambiguous and dichotomous discourse -provides not just an advance in our understanding of political satire but also a clearer description of the nature of populism

This book examines the development of television broadcasting in Japan, Hong Kong and South Korea. It explores the policy regimes guiding the development of television broadcasting as a powerful institution and the extent to which new forms of television have become part of each country's contemporary media mix. It analyses the interests involved in key policy decisions, the institutional dynamics promoting or inhibiting new media markets, and the relative importance in the different countries of cable, satellite, digital broadcasting, and the use of the Internet for purposes associated with television broadcasting. The nature of television regimes in each of the three countries is very different, and the contrasting situations provide great insights into how television is developing, and how it could develop further, both in East Asia and worldwide.

As entertaining as it is enlightening, Creating Dialogue for TV: Screenwriters Talk Television presents interviews with five Hollywood professionals who talk about all things related to dialogue - from naturalistic style to the building of characters to swearing and dialect. Screenwriters/showrunners David Mandel (Curb Your Enthusiasm, Veep), Jane Espenson (Buffy, Battlestar Galactica, Once Upon a Time), Robert Berens (Supernatural), Sheila Lawrence (Gilmore Girls, Ugly Betty, The Marvelous Mrs Maisel), and Doris Egan (Tru Calling, House, Reign) field a linguist's inquiries about the craft of writing dialogue. This book is for anyone who has ever wondered what creative processes and attitudes lie behind the words they encounter when tuning into their favourite television show. It provides direct insights into Hollywood writers' knowledge and opinions of how language is used in television narratives, and in doing so shows how language awareness, attitudes and the craft of using words are utilised to create popular TV series. The book will appeal to students and teachers in screenwriting, creative writing and linguistics as well as lay readers.

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. This book will be of interest to scholars and students of nationalism and national identity, British imperialism, mass media and media history, and the "four nations" approach to British history. -- .

This book launches a comprehensive detailing of the dramatic expansion of the geography of television production into new cities, states, provinces, and countries, and how those responsible for shaping the "landscape" of television have been forced to adapt, taking established strategies for engaging with space and place through mediated representation and renegotiating them to account for the new map of television production. Modelling media studies research that considers the intersection of production, textuality, distribution, and reception, Myles McNutt identifies how the expansion of where television is produced has intersected with the kinds of places represented on television, and how shifts in the production, distribution, and consumption of television content have shifted the burden of representing cities and countries both locally and internationally. Representing a cross-section of media industry studies, television studies, and cultural geography, this book will appeal to scholars and students within multiple areas of media studies, including media industry studies, production studies, and audience studies, in addition to television studies broadly In addition, the book also serves discussions of media within cultural geography

Often overlooked in the history of broadcast television, The CW became a top-rated cable network in primetime during the mid-2000s, at a moment when many critics predicted the death of the medium. Launched as a joint venture and successor to The WB and UPN, The CW focused programming on an 18 to 34-year-old, predominantly female audience and soon won over viewers with shows like Gossip Girl, Jane the Virgin and the DC Arrowverse franchise. Nimbly adapting to the streaming services era, the network has strengthened new series development and its innovative distribution system. This collection of new essays examines The CW's business model, marketing strategies and most popular series.

American society centers on individualism, celebrating personal choice even at the expense of collective progress. As part of this emphasis on agency, Americans value freedom for health decisions, and individual health professionals and consumers are held responsible for the nation's health, often at the expense of improving the overall healthcare system. Such individualistic discourse, disseminated and reinforced through American media, has created resistance and hostility toward health policy initiatives such as the Affordable Care Act and other legislation aimed to improve American healthcare. Television and Health Responsibility in an Age of Individualism examines the relationship between entertainment and health responsibility in the United States. Through the analysis of contemporary television medical dramas, Foss explores how these media texts help shape and perpetuate ideologies that have and continue to encourage resistance to healthcare reform that shifts responsibility away from individuals to government and other institutions.

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

After '89 takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease argues that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalised identities purposefully left out of the rhetoric of freedom and independence. -- .

Winner of the 2001 Ray and Pat Browne National Book Award for Outstanding Textbook, given by the Popular Culture Association From Ken Burns's documentaries to historical dramas such as Roots, from A&E's Biography series to CNN, television has become the primary source for historical information for tens of millions of Americans today. Why has television become such a respected authority? What falsehoods enter our collective memory as truths? How is one to know what is real and what is imagined -- or ignored -- by producers, directors, or writers? Gary Edgerton and Peter Rollins have collected a group of essays that answer these and many other questions. The contributors examine the full spectrum of historical genres, but also institutions such as the History Channel and production histories of such series as The Jack Benny Show, which ran for fifteen years. The authors explore the tensions between popular history and professional history, and the tendency of some academics to declare the past "off limits" to nonscholars. Several of them point to the tendency for television histories to embed current concerns and priorities within the past, as in such popular shows as Quantum Leap and Dr. Quinn, Medicine Woman. The result is an insightful portrayal of the power television possesses to influence our culture.

Wes Craven's A Nightmare on Elm Street is one of the most inventive American films of the 1980s. Its sleeper success bred a series of film sequels and a syndicated television program while its villain, Freddy Krueger, became a Hollywood horror icon for the ages. In the four decades since its release, Craven's creation and subsequent franchise has become firmly established as a pop culture institution and a celebrated symbol of American cinema. This book takes readers on an engrossing journey through the history, production and themes of the Nightmare on Elm Street film series and its spin-off TV show, Freddy's Nightmares. It reveals new stories about the franchise's history and dives into some of the themes and ideas that tend to be overlooked. The book has a foreword by production designer Mick Strawn and exclusive interviews with cast and crew, including legendary Freddy Krueger actor Robert Englund; directors Jack Sholder, Chuck Russell, Mick Garris, Tom McLoughlin, Lisa Gottlieb, and William Malone; cinematographers Jacques Haitkin, Roy H. Wagner, and Steven Fierberg; and many more.

This all-new edition of the best-selling guide The TV Showrunner's Roadmap provides readers with the tools for creating, writing, and managing your own hit streaming series. Combining his 30+ years as a working screenwriter and professor, industry veteran Neil Landau expertly unpacks essential insights to the creation of a successful show and takes readers behind the scenes with exclusive and enlightening interviews with showrunners from some of TV's most lauded series, including Fargo, Better Call Saul, Watchmen, Insecure, Barry, Money Heist, Succession, Ozark, Schitt's Creek, Euphoria, PEN15, and many more. From conception to final rewrite, The TV Showrunner's Roadmap is an invaluable resource for anyone seeking to create a series that won't run out of steam after the first few episodes. This groundbreaking guide features an eResource with additional interviews and bonus materials. So grab your laptop, dig out that stalled spec script, and buckle up. Welcome to the fast lane.

Xena, Buffy, Lara Croft. WWF, The Sopranos, Witchblade, La Femme Nikita. The women of pop culture are center stage and as tough as ever. Action Chicks is a groundbreaking collection highlighting the heroines we've grown to worship. What can they tell us about women in 2003? What can they tell us about how popular culture depicts women? Do the characters escape traditional gender role expectations? Or do they adhere to sexual, racial, ethnic, and class stereotypes? The essays in Action Chicks provide fans with a new look at their favorite icons and their relationship to the popular media machine. A fascinating collection that's bound to stir up some excitement.

In defiance of the alleged "death of romantic comedy," After "Happily Ever After": Romantic Comedy in the Post-Romantic Age edited by Maria San Filippo attests to rom-com's continuing vitality in new modes and forms that reimagine and rejuvenate the genre in ideologically, artistically, and commercially innovative ways. No longer the idyllic fairy tale, today's romantic comedies ponder the realities and complexities of intimacy, fortifying the genre's gift for imagining human connection through love and laughter. It has often been observed that the rom-com's "happily ever after" trope enables the genre to avoid addressing the challenges of coupled life. This volume's contributors confront how recent rom-coms contend with a "post-romantic age" of romantic disillusionment and seismically shifting emotional and relational bonds. Fifteen chapters contemplate the resurgence of the "radical romantic comedy" and uncoupling comedy, new approaches in genre hybridity and serial narrative, and how recent rom-coms deal with divisive topical issues and contemporary sexual mores from reproductive politics and marriage equality to hook-up culture and technology-enabled sex. Rom-coms remain underappreciated and underexamined-and still largely defined within Hollywood's parameters of culturally normative coupling and its persistent marginalization of racial and sexual minorities. Making the case for taking romantic comedy seriously, this volume employs critical perspectives drawn from feminist, queer, postcolonial, and race studies to critique the genre's homogeneity and social and sexual conservatism, recognizing innovative works inclusive of LGBTQ people, people of color, and the differently aged and abled. Encompassing a rich range of screen media from the last decade, After "Happily Ever After" celebrates works that disrupt and subvert rom-com fantasy and formula so as to open audience's eyes along with our hearts. This volume is intended for all readers with an interest in film, media, and gender studies.

TV antiquity explores representations of ancient Greece and Rome throughout television history. The first comprehensive overview of the 'swords and sandals' genre on the small screen, it argues that these shows offer a distinct perspective on the ancient world. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 1960s to the most recent digital spectacles. One of its key insights is that the structure of serial television is at times better suited to exploring the complex mythic and historic plots of antiquity. Featuring a range of case studies, from popular serials like I, Claudius (1976) and Rome (2005-8) to lesser known works like The Caesars (1968) and The Eagle of the Ninth (1976), the book illustrates how broader cultural, political and economic issues have over time influenced the representation of antiquity on television. -- .

- Constitutes the first textbook the field, written specifically in relation to sound design - Contributors are world-leading researchers in their fields and come from a variety of countries and institutions. - Marries the theoretical with the practical, by offering concrete examples and case studies throughout

NBC's Grimm is an arguably underrated, under-studied series full of compelling characters, including Monroe, the charmingly knowledgeable vegetarian who looks like a werewolf; Wu, the funny cop who beats his way to the truth; Adalind, the enjoyably vengeful, risk-taking witch; Trubel, the furious young loner accused of insanity; Kelly, a powerful older warrior-woman; Nick, a compassionate detective; Hank, Juliette, Rosalee and others. This book, which includes a chapter on each key figure, explores the fascinating world of characterization in television. The storyline, as well as the dialogue, acting, costumes, scenery, lighting and music, contribute to in-depth depictions that evolve over time. Grimm's figures, sometimes going against the narrative symbolism, confound our perceptions of race, age and gender. They demonstrate the ability of television characters to build unforgettable, meaningful connections.

Unlike traditional music, film music sources are often difficult to locate and do not follow the patterns that researchers are trained to identify. Although there have been several self-described introductions to the field and articles that summarize the problems and state of research, there is no resource that gathers together all of the basic information that is vital to film music research. In this volume, Jeannie Gayle Pool and H. Stephen Wright address the difficulties scholars encounter when conducting research on film and television music. Intended as a guide for scholars and researchers in navigating the complex world of film and television music, this book provides a detailed taxonomy of film music primary sources and explains how to find and interpret them. The authors tackle the problems of determining film score authorship and working with recordings of film music. A bibliographic essay summarizes the major works and trends in film music research and provides clear pointers to the most important resources in the field. An up-to-date guide to important collections of film music sources and other research materials is also included. Designed to clarify the nature of film music source materials and how they are generated, A Research Guide to Film and Television Music in the United States provides clear signposts for scholars and identifies opportunities for further research.

Hand-Made Television explores the ongoing enchantment of many of the much-loved stop-frame children's television programmes of 1960s and 1970s Britain. The first academic work to analyse programmes such as Pogles' Wood (1966), Clangers (1969), Bagpuss (1974) (Smallfilms) and Gordon Murray's Camberwick Green (1966), Trumpton (1967) and Chigley (1969), the book connects these series to their social and historical contexts while providing in-depth analyses of their themes and hand-made aesthetics. Hand-Made Television shows that the appeal of these programmes is rooted not only in their participatory address and evocation of a pastoral English past, but also in the connection of their stop-frame aesthetics to the actions of childhood play. This book makes a significant contribution to both Animation Studies and Television Studies; combining scholarly rigour with an accessible style, it is suitable for scholars as well as fans of these iconic British children's programmes.