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This book maps the landscape of contemporary European premium
television fiction, offering a detailed overview of both the
changes in the digital production and distribution and the
emergence of specific national and transnational case histories.
Combining a media-production approach with a textual and audience
analysis, the volume offers a complex, stratified, systemic view of
ongoing aesthetic, sociocultural and industrial developments in
contemporary European TV. With contributions from leading experts
in the field, the book first offers an overview of the industrial,
policy and cultural context for the renaissance of European
television drama over the past decade, based on original
comparative research. This research is then supported by case study
chapters from the key contexts within which quality European
television is being produced, offering a complex and complete
picture of the industry's strengths and limitations, its traditions
and trends, its constraints and future perspectives. A European
Television Fiction Renaissance is a must-read book for TV scholars
working across Europe and beyond in the areas of media studies,
international communications and television studies, media
industries studies, production studies, European studies, and media
policy studies as well as for those with an interest in television
drama, Netflix, globalisation, pay TV and on demand.
This book maps the landscape of contemporary European premium
television fiction, offering a detailed overview of both the
changes in the digital production and distribution and the
emergence of specific national and transnational case histories.
Combining a media-production approach with a textual and audience
analysis, the volume offers a complex, stratified, systemic view of
ongoing aesthetic, sociocultural and industrial developments in
contemporary European TV. With contributions from leading experts
in the field, the book first offers an overview of the industrial,
policy and cultural context for the renaissance of European
television drama over the past decade, based on original
comparative research. This research is then supported by case study
chapters from the key contexts within which quality European
television is being produced, offering a complex and complete
picture of the industry's strengths and limitations, its traditions
and trends, its constraints and future perspectives. A European
Television Fiction Renaissance is a must-read book for TV scholars
working across Europe and beyond in the areas of media studies,
international communications and television studies, media
industries studies, production studies, European studies, and media
policy studies as well as for those with an interest in television
drama, Netflix, globalisation, pay TV and on demand.
The essays in this collection explore taboo and controversial
humour in traditional scripted (sitcoms and other comedy series,
animated series) and non-scripted forms (stand-up comedy, factual
and reality shows, and advertising) both on cable and network
television. Whilst the focus is predominantly on the US and UK, the
contributors also address more general and global issues and
different contexts of reception, in an attempt to look at this kind
of comedy from different perspectives. Over the last few decades,
taboo comedy has become a staple of television programming, thus
raising issues concerning its functions and appropriateness, and
making it an extremely relevant subject for those interested in how
both humour and television work.
The essays in this collection explore taboo and controversial
humour in traditional scripted (sitcoms and other comedy series,
animated series) and non-scripted forms (stand-up comedy, factual
and reality shows, and advertising) both on cable and network
television. Â Whilst the focus is predominantly on the US and
UK, the contributors also address more general and global issues
and different contexts of reception, in an attempt to look at this
kind of comedy from different perspectives. Over the last few
decades, taboo comedy has become a staple of television
programming, thus raising issues concerning its functions and
appropriateness, and making it an extremely relevant subject for
those interested in how both humour and television work.Â
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