This book explores the evolution of Ireland's national television service during its first tumultuous decade, addressing how the medium helped undermine the conservative political, cultural and social consensus that dominated Ireland into the 1960s. It also traces the development of the BBC and ITA in Northern Ireland, considering how television helped undermine a state that had long governed without consensus. Using a wide array of new archival sources and extensive interviews Savage illustrates how an increasingly confident television service upset political, religious and cultural elites who were profoundly uncomfortable with the changes taking place around them. Savage argues that during this period television was not a passive actor, but an active agent often times aggressively testing the limits of the medium and the patience of governments. Television helped facilitate a process of modernisation that slowly transformed Irish society during the 1960s. This book will be essential for those interested in contemporary Irish political and cultural history and readers interested in media history, and cultural studies. -- .

This concise and accessible critical introduction examines the world of popular fairy-tale television, tracing how fairy tales and their social and cultural implications manifest within series, television events, anthologies, and episodes, and as freestanding motifs. Providing a model of televisual analysis, Rudy and Greenhill emphasize that fairy-tale longevity in general, and particularly on TV, results from malleability-morphing from extremely complex narratives to the simple quotation of a name (like Cinderella) or phrase (like "happily ever after")-as well as its perennial value as a form that is good to think with. The global reach and popularity of fairy tales is reflected in the book's selection of diverse examples from genres such as political, lifestyle, reality, and science fiction TV. With a select mediagraphy, discussion questions, and detailed bibliography for further study, this book is an ideal guide for students and scholars of television studies, popular culture, and media studies, as well as dedicated fairy-tale fans.

*The Sunday Times bestseller* Fact: Did you know, over its lifespan, your sofa will witness roughly 293 arguments and 1,369 cuddles? Hiya, my name's Scarlett Moffatt and I love random facts. Almost as much as I love sitting on me sofa. You might know me best from my most famous and celebrated sit thus far on the I'm A Celebrity throne. You might also know me from all sorts of other seats, most especially my Gogglebox sofa. Well this book is my attempt at telling me life story through a whole series of them! So I'd like you right now to stop what you're doing and take a seat, whether it be in the comfort of your own home, on the top deck of the bus, on the tube (so you don't have to make eye contact with anybody) or on the throne of the house (a.k.a. the toilet). I want you to get comfortable and get ready to laugh, cry and maybe even learn a bit, as I chat to you about some of the highs and lows of me life. So grab a brew, settle down, and let's start from the very beginning...

This book explores contemporary existential science fiction media, including film, television, and video games, and their influence on society's conceptions of memory, identity, and humanity. Most poignantly, Ryan Lizardi argues, are the ways in which a recent cluster of science fiction media, including Gravity (2013), Interstellar (2014), Legion (2017-2019), Westworld (2016-present), Soma (2015), and Death Standing (2019), among others, present a vision of the future that is inextricably tied to an exploration of humanity that is more contemplative and comparative than traditional science fiction. The combination of the existential nature of this current trend in science fiction with the genre's ability to manifest these abstract concepts in a generic environment that is historically focused on new frontiers and ideas creates a powerful set of media texts that ask audiences to contemplate what it means to exist, think, and connect as human beings. Scholars of media studies, film studies, television studies, genre studies, and philosophy will find this book particularly useful.

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.

Drawing from theories of the political economy of communication, this book offers readers a comprehensive data-rich assessment of contemporary sports television and its evolution. Providing an in-depth look at the ownership and regulation of sports television in the United States, William M. Kunz analyzes a range of platforms, networks, and sports, with particular focus on the way ownership has become concentrated in five conglomerates: AT&T, CBS, Comcast, Disney and Fox. The end result of years of media consolidation is that broadcast networks are now married to cable and streaming services under a single conglomerate, which has implications for the cost of contracts and the negotiation of distribution deals. Examining multiple platforms, networks and sports in an all-inclusive manner, this volume documents the evolution and current state of affairs of sports television. With historic and current data on rights fees for sports television leagues and events as well as carriage fees and subscription levels for sports-related cable and satellite services, this comparative study offers critical information for students and scholars conducting research on sports television.

Drawing from theories of the political economy of communication, this book offers readers a comprehensive data-rich assessment of contemporary sports television and its evolution. Providing an in-depth look at the ownership and regulation of sports television in the United States, William M. Kunz analyzes a range of platforms, networks, and sports, with particular focus on the way ownership has become concentrated in five conglomerates: AT&T, CBS, Comcast, Disney and Fox. The end result of years of media consolidation is that broadcast networks are now married to cable and streaming services under a single conglomerate, which has implications for the cost of contracts and the negotiation of distribution deals. Examining multiple platforms, networks and sports in an all-inclusive manner, this volume documents the evolution and current state of affairs of sports television. With historic and current data on rights fees for sports television leagues and events as well as carriage fees and subscription levels for sports-related cable and satellite services, this comparative study offers critical information for students and scholars conducting research on sports television.

This book explores how news and information about the conflict in Northern Ireland was disseminated through the most accessible, powerful and popular form of media: television. It focuses on the BBC and considers how its broadcasts complicated the 'Troubles' by challenging decisions, policies and tactics developed by governments trying to defeat a stubborn insurgency that threatened national security. The book uses a wide array of highly original sources to consider how Britain's public service broadcaster upset the efforts of a number of governments to control the narrative of a conflict that claimed over 3,500 lives and caused deep emotional scarring to thousands of citizens in Northern Ireland, Britain and the Irish Republic. Using recently released archival material from the BBC and a variety of government archives the book addresses the contentious relationship between broadcasting officials, politicians, the army, police and civil service from the outbreak of violence throughout the 1980s. -- .

For many of his theater contemporaries, Lee J. Cobb (1911-1976) was the greatest actor of his generation. In Hollywood he became the definitive embodiment of gangsters, psychiatrists, and roaring lunatics. From 1939 until his death, Cobb contributed riveting performances to a number of films, including Boomerang, On the Waterfront, The Brothers Karamazov, 12 Angry Men, and The Exorcist. But for all of his conspicuous achievements in motion pictures, Cobb's name is most identified with the character Willy Loman in the original stage production of Arthur Miller's Death of a Salesman (1949). Directed by Elia Kazan, Cobb's Broadway performance proved to be a benchmark for American theater. In Lee J. Cobb: Characters of an Actor, Donald Dewey looks at the life and career of this versatile performer. From his Lower East Side roots in New York City-where he was born Leo Jacob-to multiple accolades on stage and the big and small screens, Cobb's life proved to be a tumultuous rollercoaster of highs and lows. As a leading man of the theater, he gave a number of compelling performances in such plays as Golden Boy and King Lear. For the Hollywood studios, Cobb fit the description of the "character actor." No one better epitomized the performer who suddenly appears on the screen and immediately grabs the audience's attention. During his forty-five-year career, there wasn't a significant star-from Humphrey Bogart and James Stewart to Paul Newman and Clint Eastwood-with whom he didn't work. Cobb was also followed by controversy: he appeared before the House Un-American Activities Committee in the 1950s and was a witness to a movie-set murder case in the 1970s. Through it all, he never lost his taste for fast cars and gin rummy. A bear of a man with a voice that equally accommodated growls and sibilant sympathies, Cobb was undeniably an actor to be reckoned with. In this fascinating book, Dewey captures all of the drama that surrounded Cobb, both on screen and off.

This book argues that Doctor Who, the world's longest-running science fiction series often considered to be about distant planets and monsters, is in reality just as much about Britain and Britishness. Danny Nicol explores how the show, through science fiction allegory and metaphor, constructs national identity in an era in which identities are precarious, ambivalent, transient and elusive. It argues that Doctor Who's projection of Britishness is not merely descriptive but normative-putting forward a vision of what the British ought to be. The book interrogates the substance of Doctor Who's Britishness in terms of individualism, entrepreneurship, public service, class, gender, race and sexuality. It analyses the show's response to the pressures on British identity wrought by devolution and separatist currents in Scotland and Wales, globalisation, foreign policy adventures and the unrelenting rise of the transnational corporation.

Dear Angela includes fourteen critical essays that examine the brief-lived but landmark television series, My So-Called Life (1994-1995). Though certainly not the first young woman to be the center of a television series, Angela Chase and the show about her life were doing something new on television and influenced many of the shows about young people that followed. Michele Byers and David Lavery bring together enthusiastic and engaging voices that bear on a series that continues to be hailed as a breakthrough moment in television, even though more than a decade has passed since its cancellation. Tackling a broad range of topics_from identity politics, to music, to infidelity, and death_each essay builds upon a belief that My So-Called Life is a particularly rich text worth studying for the clues it offers about a particular moment in cultural and television history. Dear Angela offers a sophisticated analysis of the show's legacy and cultural relevance that will appeal to media studies scholars and fans alike.

In terms of both public relations and advertising, organizations that use the opportunities of digital media might differentiate from others. This differentiation can provide advantages for organizations. However, there may be threats as well as the opportunities of the digital media. In this regard, it is tried to investigate how organizations benefit from digital media on the researches presented in this book.

Television directors remain an enigma to most students of the mass media; traditionally, their function has been little understood by scholars and the viewing public. In this book, John Ravage studies the role of the director in the producer-dominated medium of commercial television. Built around lengthy interviews with twelve of the leading directors of commercial programs-representing all the genres of "prime time"-the book analyzes the major issues facing television, its past, present, and portents for the future, and the audience that watches it.

This book focuses on the significantly under-explored relationship between televisual culture and adaptation studies in what is now commonly regarded as the 'Golden Age' of contemporary TV drama. Adaptable TV: Rewiring the Text does not simply concentrate on traditional types of adaptation, such as reboots, remakes and sequels, but broadens the scope of enquiry to examine a diverse range of experimental adaptive types that are emerging within an ever-changing TV landscape. With a particular focus on the serial narrative form, and with case studies that include Penny Dreadful, Fargo, The Night Of and Orange is the New Black, this study is essential reading for anyone who is interested in the complex interplay between television studies and adaptation studies.

In 2005, Scarecrow published Movies Made for Television, 1964-2004, a five-volume reference set commemorating 40 years of every made for TV film since See How They Run debuted in 1964. These books provided a comprehensive listing of every television film and mini-series, detailing each film's original network, airdate, and length of broadcast. In this latest volume, Marill adds another five years of television films, providing information for an additional 400 works produced between 2005 and 2009. Along with a brief summary, entries also include extensive production credits (director, writer, producer, composer, director of photography, and editor) and a complete cast and character listing. With a chronology of the films, an appendix of movies adapted from other sources, and separate indexes for actors and directors, Movies Made for Television, 2005-2009 is a welcome addition to a resource highly regarded by scholars and historians of television and popular culture.

Starring internationally renowned actors Martin Landau, Barbara Bain, Barry Morse and Catherine Schell, the British-made Space: 1999 was the only truly original space adventure of the mid-1970s. Sandwiched between the demise of the original Star Trek and the opening of the Stars Wars series on the big screen, Space: 1999 featured a richly-visualized world where space was terrifying and mysterious, where not all problems were solvable by technology and the space travelers were very human. From the science fiction show's conception in 1973 to its cancellation in 1977, this reference work covers each of the 48 episodes in depth, including a full plot synopsis, writer, director, guest star credits, and critical commentary that examines both the episode and other shows that have used similar plotlines. The popularity of Space: 1999 memorabilia and its many fan clubs are fully discussed, along with the possibility of a future movie or reunion show that would tie up the loose ends caused by the show's abrupt cancellation.

Byronic Heroes in Nineteenth-Century Women's Writing and Screen Adaptation charts a new chapter in the changing fortunes of a unique cultural phenomenon. This book examines the afterlives of the Byronic hero through the work of nineteenth-century women writers and screen adaptations of their fiction. It is a timely reassessment of Byron's enduring legacy during the nineteenth century and beyond, focusing on the charged and unstable literary dialogues between Jane Austen, Elizabeth Gaskell, George Eliot and a Romantic icon whose presence takes centre stage in recent screen adaptations of their most celebrated novels. The broad interdisciplinary lens employed in this book concentrates on the conflicted rewritings of Byron's poetry, his 'heroic' protagonists, and the cult of Byronism in nineteenth-century novels from Pride and Prejudice to Middlemarch, and extends outwards to the reappearance of Byronic heroes on film and in television series over the last two decades.

Multilingualism is a phenomenon that has become increasingly visible in popular cinema and thus is currently a very novel object of academic inquiry. The present volume is a cutting-edge collection of cross- and transdisciplinary takes on this phenomenon and its different aspects. Its topics range from translation theory to political and aesthetic quandaries of audiovisual translation and subtitling, to narratological function of multilingualism in fiction, to language ideologies and language poetics onscreen. Its authorship is a worldwide body of perspectives, whose contributions span a distinctive collection of international, national and regional film traditions.

This collection explores how film and television depict the complex and diverse milieu of the eighteenth century as a literary, historical, and cultural space. Topics range from adaptations of Austen's Sense and Sensibility and Defoe's Robinson Crusoe (The Martian) to historical fiction on the subjects of slavery (Belle), piracy (Crossbones and Black Sails), monarchy (The Madness of King George and The Libertine), print culture (Blackadder and National Treasure), and the role of women (Marie Antoinette, The Duchess, and Outlander). This interdisciplinary collection draws from film theory and literary theory to discuss how film and television allows for critical re-visioning as well as revising of the cultural concepts in literary and extra-literary writing about the historical period.

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields-the philosophy of film and television aesthetics-there is little scholarship on television, in general, as an art form. This book aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans-namely the comprehension, interpretation, and evaluation of specific televisual artworks.

The Routledge Companion to Asian American Media offers readers a comprehensive examination of the way that Asian Americans have engaged with media, from the long history of Asian American actors and stories that have been featured in mainstream film and television, to the birth and development of a distinctly Asian American cinema, to the ever-shifting frontiers of Asian American digital media. Contributor essays focus on new approaches to the study of Asian American media including explorations of transnational and diasporic media, studies of intersectional identities encompassed by queer or mixed race Asian Americans, and examinations of new media practices that challenge notions of representation, participation, and community. Expertly organized to represent work across disciplines, this companion is an essential reference for the study of Asian American media and cultural studies.

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.

Since the early 2000s, Disney Channel has been dominated by original live-action programming popular among tween girls. The shows' successes rely not only on their popularity among girl audiences, but also on the development of star personae by girl performers, such as Raven-Symone, Miley Cyrus, and Selena Gomez. In addition, these programs and their performers have spawned lucrative media and merchandising franchises for the Walt Disney Company. This book includes analyses of this Disney Channel programming, as well as Disney corporate reports and executive statements, together with Disney Channel stars' performances, promotional appearances, media production, philanthropic efforts, and entrepreneurism. Analyzing these texts, performances, activities, and personae, it considers the ways in which they reproduce celebrity, visibility, and feminine performativity as central to successful twenty-first century girlhood.

Popular film and television hold valuable potential for learning about sex and sexuality beyond the information-based model of sex education currently in schools. This book argues that the representation of complicated-or "messy"-relationships in these popular cultural forms makes them potent as affective pedagogical moments. It endeavours to develop new sexual literacies by contemplating how pedagogical moments, that is, fleeting moments which disrupt expectations or create discomfort, might enrich the available discourses of sexuality and gender, especially those available to adolescents. In Part One, Clarke critiques the heteronormative discourses of sex education that produce youth in particularly gendered ways, noting that "rationality" is often expected to govern experiences that are embodied and arguably inherently incoherent. Part Two explores public intimacy, contemplating the often overlapping and confused boundaries between public and private.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries. Audience 'engagement' has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is 'engaging' and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced. Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.