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Television for Women brings together emerging and established
scholars to reconsider the question of 'television for women'. In
the context of the 2000s, when the potential meanings of both terms
have expanded and changed so significantly, in what ways might the
concept of programming, addressed explicitly to a group identified
by gender still matter? The essays in this collection take the
existing scholarship in this field in significant new directions.
They expand its reach in terms of territory (looking beyond, for
example, the paradigmatic Anglo-American axis) and also historical
span. Additionally, whilst the influential methodological formation
of production, text and audience is still visible here, the new
research in Television for Women frequently reconfigures that
relationship. The topics included here are far-reaching; from
television as material culture at the British exhibition in the
first half of the twentieth century, women's roles in television
production past and present, to popular 1960s television such as
The Liver Birds and, in the twenty-first century, highly successful
programmes including Orange is the New Black, Call the Midwife, One
Born Every Minute and Wanted Down Under. This book presents
ground-breaking research on historical and contemporary
relationships between women and television around the world and is
an ideal resource for students of television, media and gender
studies.
Television for Women brings together emerging and established
scholars to reconsider the question of 'television for women'. In
the context of the 2000s, when the potential meanings of both terms
have expanded and changed so significantly, in what ways might the
concept of programming, addressed explicitly to a group identified
by gender still matter? The essays in this collection take the
existing scholarship in this field in significant new directions.
They expand its reach in terms of territory (looking beyond, for
example, the paradigmatic Anglo-American axis) and also historical
span. Additionally, whilst the influential methodological formation
of production, text and audience is still visible here, the new
research in Television for Women frequently reconfigures that
relationship. The topics included here are far-reaching; from
television as material culture at the British exhibition in the
first half of the twentieth century, women's roles in television
production past and present, to popular 1960s television such as
The Liver Birds and, in the twenty-first century, highly successful
programmes including Orange is the New Black, Call the Midwife, One
Born Every Minute and Wanted Down Under. This book presents
ground-breaking research on historical and contemporary
relationships between women and television around the world and is
an ideal resource for students of television, media and gender
studies.
Gothic television is the first full length study of the Gothic
released on British and US television. An historical account, the
book combines detailed archival research with analyses of key
programmes, from Mystery and Imagination and Dark Shadows, to The
Woman in White and Twin Peaks, and uncovers an aspect of television
drama history which has, until now, remained critically unexplored.
While some have seen television as too literal or homely a medium
to successfully present Gothic fictions, Gothic television argues
that the genre, in its many guises, is, and has always been,
well-suited to television as a domestic medium, given the genre's
obsessions with haunted houses and troubled families. This book
will be of interest to lecturers and students across a number of
disciplines including television studies, Gothic studies, and
adaptation studies, as well as to the general reader with an
interest in the Gothic, and in the history of television drama. --
.
Gothic television is the first full length study of the Gothic
released on British and US television. An historical account, the
book combines detailed archival research with analyses of key
programmes, from Mystery and Imagination and Dark Shadows, to The
Woman in White and Twin Peaks, and uncovers an aspect of television
drama history which has, until now, remained critically unexplored.
While some have seen television as too literal or homely a medium
to successfully present Gothic fictions, Gothic television argues
that the genre, in its many guises, is, and has always been,
well-suited to television as a domestic medium, given the genre's
obsessions with haunted houses and troubled families. This book
will be of interest to lecturers and students across a number of
disciplines including television studies, Gothic studies, and
adaptation studies, as well as to the general reader with an
interest in the Gothic, and in the history of television drama. --
.
In terms of visual impact, television has often been regarded as
inferior to cinema. It has been characterised as sound-led and
consumed by a distracted audience. Today, it is tempting to see the
rise of HD television as ushering in a new era of spectacular
television. Yet since its earliest days, the medium has been
epitomised by spectacle and offered its viewers diverse forms of
visual pleasure. Looking at the early promotion of television and
the launch of colour broadcasting, Spectacular Television traces a
history of television as spectacular attraction, from its launch to
the contemporary age of surround sound, digital effects and HD
screens. In focusing on the spectacle of nature, landscape, and
even our own bodies on television via explorations of popular
television dramas, documentary series and factual entertainment,
and ambitious natural history television, Helen Wheatley answers
the questions: what is televisual pleasure, and how has television
defined its own brand of spectacular aesthetics?
Written by leading scholars in the field, this book is an
internationally relevant, cutting-edge reassessment of both current
methods and practices in television historiography and of
assumptions and critical common places about television history
itself. The book focuses on debates about the canon, on texts, on
production and institutions, on viewers, and the interconnections
between these distinct areas. The book opens with three chapters,
which take different approaches to the notion of the 'television
canon'. Then through discussions and case studies it covers a wide
selection of themes and issues, from television's approaches to
immigration and royal events to histories of television viewing,
and the framing of television aesthetics within historiography. The
book is prefaced with the editor's overview of historical research
in the field of television studies and an appendix details the main
research resources for television historians in the UK. The book
forms an open-ended intellectual dialogue, which will be welcomed
by television historians at all levels in this burgeoning area of
exploration and analysis.
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