This book analyses the representation of North-East England in film and television. It is a response to the way a number of important British films and programmes-for example, Get Carter (1971), Whatever Happened to the Likely Lads (1973-74), Our Friends in the North (1996) and Billy Elliot (2000)-have used this particular setting to explore questions of class, identity and history. It argues for the significance and coherence of a North-East corpus of film and television through a series of case studies relating to specific eras or types of representation. These include regional writers working for television in the 1970s, the achievements of the workshop movement in the 1980s and works produced within the genres of documentary, crime drama, comedy, period drama and reality television. The book discusses how the communities and landscapes of the region have been used to explore processes of cultural change, and legacies of de-industrialisation.

This timely collection examines representations of medicine and medical practices in international period drama television. A preoccupation with medical plots and settings can be found across a range of important historical series, including Outlander, Poldark, The Knick, Call the Midwife, La Peste and A Place to Call Home. Such shows offer a critique of medical history while demonstrating how contemporary viewers access and understand the past. Topics covered in this collection include the innovations and horrors of surgery; the intersection of gender, class, race and medicine on the American frontier; psychiatry and the trauma of war; and the connections between past and present pandemics. Featuring original chapters on period television from the UK, the US, Spain and Australia, Diagnosing history offers an accessible, global and multidisciplinary contribution to both televisual and medical history. -- .

The international success of Downton Abbey has led to a revived interest in period dramas, with older programs like The Forsyte Saga being rediscovered by a new generation of fans whose tastes also include grittier fare like Ripper Street. Though often criticized as a form of escapist, conservative nostalgia, these shows can also provide a lens to examine the class and gender politics of both the past and present. In Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey, James Leggott and Julie Anne Taddeo provide a collection of essays that analyze key developments in the history of period dramas from the late 1960s to the present day. Contributors explore such issues as how the genre fulfills and disrupts notions of "quality television," the process of adaptation, the relationship between UK and U.S. television, and the connection between the period drama and wider developments in TV and popular culture. Additional essays examine how fans shape the content and reception of these dramas and how the genre has articulated or generated debates about gender, sexuality, and class. In addition to Downton Abbey and Upstairs, Downstairs, other programs discussed in this collection include Call the Midwife, Danger UXB, Mr. Selfridge, Parade's End, Piece of Cake, and Poldark. Tracing the lineage of costume drama from landmark productions of the late 1960s and 1970s to some of the most talked-about productions of recent years, Upstairs and Downstairs will be of value to students, teachers, and researchers in the areas of film, television, Victorian studies, literature, gender studies, and British history and culture.

Written by international experts from a range of disciplines, these essays examine the uniquely British contribution to science fiction film and television. Viewing British SF as a cultural phenomenon that challenges straightforward definitions of genre, nationhood, authorship and media, the editors provide a conceptual introduction placing the essays within their critical context. Essay topics include the Hammer horrors of the 1950s, the various incarnations of Doctor Who, Stanley Kubrick's A Clockwork Orange, and such 21st-century productions as 28 Days Later and Torchwood.

For over five decades, the Newcastle-based Amber Film and Photography Collective has been a critical (if often unheralded) force within British documentary filmmaking, producing a variety of innovative works focused on working-class society. Situating their acclaimed output within wider social, political, and historical contexts, In Fading Light provides an accessible introduction to Amber's output from both national and transnational perspectives, including experimental, low-budget documentaries in the 1970s; more prominent feature films in the 1980s; studies of post-industrial life in the 1990s; and the distinctive perils and opportunities posed by the digital era.

This book analyses the representation of North-East England in film and television. It is a response to the way a number of important British films and programmes-for example, Get Carter (1971), Whatever Happened to the Likely Lads (1973-74), Our Friends in the North (1996) and Billy Elliot (2000)-have used this particular setting to explore questions of class, identity and history. It argues for the significance and coherence of a North-East corpus of film and television through a series of case studies relating to specific eras or types of representation. These include regional writers working for television in the 1970s, the achievements of the workshop movement in the 1980s and works produced within the genres of documentary, crime drama, comedy, period drama and reality television. The book discusses how the communities and landscapes of the region have been used to explore processes of cultural change, and legacies of de-industrialisation.

This volume offers a detailed and comprehensive analysis of British film culture from 1997 to the present. Using a wide range of films from the Blair era and beyond as case studies--from from "Notting Hill" (1999) and "Billy Elliot "(2000) to "28 Days Later" (2002) and "The Queen" (2006)--it examines the ways in which recent British filmmaking might be regarded as distinctive, relevant and successful.

Never before has period drama offered viewers such an assortment of complex male characters, from transported felons and syphilitic detectives to shell shocked soldiers and gangland criminals. Neo-Victorian Gothic fictions like Penny Dreadful represent masculinity at its darkest, Poldark and Outlander have refashioned the romantic hero and anti-heritage series like Peaky Blinders portray masculinity in crisis, at moments when the patriarchy was being bombarded by forces like World War I, the rise of first wave feminism and the breakdown of Empire. Scholars of film, media, literature and history explore the very different types of maleness offered by contemporary television and show how the intersection of class, race, history and masculinity in period dramas has come to hold such broad appeal to twenty-first-century audiences.

This is the News Chris Morris is one of the most singular and controversial figures in recent UK media, at one point being described as the 'most hated man in Britain' for his corrosive media satire. With shows such as the notorious spoof Brass Eye, this writer, performer, DJ and director has not only pushed boundaries of taste and acceptability, but altered perceptions of current affairs broadcasting, moral panics and celebrity culture. At the same time, cult programmes such as Blue Jam, Jam and Nathan Barley have pushed conventional formats such as sketch comedy and sitcom to the limits of possibility.
In the first full-length scholarly book on the comedy of Chris Morris, writers discuss his early DJ career, his pioneering radio satire, his television mockumentary, his experimental black comedy and his more recent move into film-making. No Known Cure approaches the work of Chris Morris from a diverse range of perspectives in order to fully grapple with his wide-ranging, groundbreaking media output.

Never before has period drama offered viewers such an assortment of complex male characters, from transported felons and syphilitic detectives to shell shocked soldiers and gangland criminals. Neo-Victorian Gothic fictions like Penny Dreadful represent masculinity at its darkest, Poldark and Outlander have refashioned the romantic hero and anti-heritage series like Peaky Blinders portray masculinity in crisis, at moments when the patriarchy was being bombarded by forces like World War I, the rise of first wave feminism and the breakdown of Empire. Scholars of film, media, literature and history explore the very different types of maleness offered by contemporary television and show how the intersection of class, race, history and masculinity in period dramas has come to hold such broad appeal to twenty-first-century audiences.