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BBC Songs of Praise is a compilation of the greatest traditional hymns, the best hymns from today's writers, and the finest examples of contemporary worship songs. It offers to churches and schools the core music required for worship in a wide range of situations. The breadth and diversity of the material ensures the BBC Songs of Praise can be the key resource for any worshipping community.
Enjoy the taste of the cult classic TV series Twin Peaks with more than 100 recipes inspired by the show's scenes and characters - including Maple Ham Pancakes, Coffee Donuts, Icelandic Hangikjot, Percolator Fish Supper and Chocolate Chestnut Log. Along the way you'll discover fun facts and features - such as how to tie cherry stems in your mouth, and how to fold origami owls - and a diner jukebox selection inspired by the show that you can enjoy with a slice of damn fine cherry pie. This publication has not been prepared, approved or licensed by any entity or individual that created or produced the well-known TV programme Twin Peaks.
Music in Television is a collection of essays examining television's production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide range of scholars, the essays range from historical-analytical surveys of TV sound and genre designations to studies of the music in individual programs, including South Park and Dr. Who.
The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set 's status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with television without ever turning a television set on.
Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of the television audience Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry 's development of emerging new media technologies, and what television now means for its audiences.
In this original study, Thompson explores the complicated relationships between Americans and television during the 1950s, as seen and effected through popular humor. Parody and Taste in Postwar American Television Culture documents how Americans grew accustomed to understanding politics, current events, and popular culture through comedy that is simultaneously critical, commercial, and funny. Along with the rapid growth of television in the 1950s, an explosion of satire and parody took place across a wide field of American culture in magazines, comic books, film, comedy albums, and on television itself. Taken together, these case studies don t just analyze and theorize the production and consumption of parody and television, but force us to revisit and revise our notions of postwar "consensus" culture as well.
Fetishes, his sustained peep inside an upscale Manhattan S&M parlour, was commissioned - and then banned - by Channel Four. Biggie and Tupac, his investigation into the gaudy and short-lived lives of rap stars Biggy Smalls and Tupac Shakur, pointed the finger of guilt at the police. His diptych of films about female serial killer Aileen Wuornos inspired the feature film Monster. And even before these explosive works hit the screen, Broomfield was already known as the sacred monster of British television, the on-camera documentarian in headphones, toting his own boom-stick as he pursued the likes of Margaret Thatcher (Tracking Down Maggie) and South African white supremacist Eugene Terreblanche (The Leader, His Driver, and The Driver's Wife.) As more and more feature-length documentaries are crossing over and capturing mainstream cinema audiences, the time is right to survey the career of Britain's most important exponent of the documentary art, and look back across the extraordinary gallery of individuals whom he has doggedly chased down and shot. This is Broomfield in his own words, as frank and revealing as his inimitable films.
From viral videos on YouTube to mobile television on smartphones and beyond, TV has overflowed its boundaries. If Raymond Williams' concept of flow challenges the idea of a discrete television text, then convergence destabilizes the notion of television as a discrete object.
Flow TV examines television in an age of technological, economic, and cultural convergence. Seeking to frame a new set of concerns for television studies in the 21st century, this collection of all new essays establishes television's continued importance in a shifting media culture. Considering television and new media not as solely technical devices, but also as social technologies, the essays in this anthology insist that we turn our attention to the social, political, and cultural practices that surround and inform those devices' use. The contributors examine television through a range of critical approaches from formal and industrial analysis to critical technology studies, reception studies, political economy, and critiques of television's transnational flows. This volume grows out of the critical community formed around the popular online journal Flow: A Critical Form on Television and Media Culture (flowtv.org). It is ideal for courses in television studies or media convergence.
Alesha Dixon has one of the most incredible stories of any star, yet she remains an enigma. Behind the fabulous smile and signature laugh is a private woman whose childhood was blighted by domestic violence, poverty and a lack of confidence. As a beautiful young woman, she has struggled to overcome professional failure and the devastating effect of her husband's infidelity. The UK's leading celebrity biographer Sean Smith has travelled to her home town to uncover the truth about her upbringing, her unconditional love for her mother, her loyalty to her extended family, her feud with her elder brother and her unsettled relationship with her Jamaican father, who left home for good when she was four. He discovers a sensitive and secretive woman, who managed to keep her long-term relationship with a member of one of the country's best-known boy bands hidden from public scrutiny. For the first time that love affair can now be revealed. He examines the circumstances that led to the break-up of her marriage to rapper MC Harvey and the effect that unhappy time has had on her life. Aleshadescribes a roller-coaster career that began when she was 'discovered' at a dance class in Central London. She achieved huge early success with Mis-Teeq, who had seven consecutive top ten hits before their record label went bust. Her subsequent solo career stalled when she was dropped by Polydor before her debut album was even released, but she turned things around with a spectacular victory on Strictly Come Dancing. Sean Smith lays bare her subsequent TV career, including the row over her appointment as a judge on the programme, as well as her triumphant switch to Britain's Got Talentin 2012. Aleshais the dramatic and uplifting account of her journey from a humble start in life and how she overcame all obstacles in her way to become an inspiration to women everywhere.
In Riding the Elephant, Craig regales readers with new essays, rendered in the voice fans have come to love. In lyrical prose that is at once hilarious and unexpectedly moving, he discusses his deep love for his native Glasgow, the psychological changes of fatherhood, and looks at aging and mortality with a perspective that he was incapable of as a younger man. Each story is strung together in a colourful tapestry that ultimately reveals a complicated man and the personal progress he s made. For fans of Craig, comedy, and inventive storytelling, Riding the Elephant is a must-read memoir.
Exploring the history of comic books adapted for the screen, the authors explain how the US TV show 'Heroes' has been affected by the decades of comic book superheroes before it. Also analysed are the archetypal characters of the show, its huge fan base and the link to other series such as 'Lost'.
The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. Fromthe meth-dealing but devoted family man Walter White of AMC's Breaking Bad,to the part-time basketball coach, part-time gigolo Ray Drecker of HBO's Hung,depictions of male characters perplexed by societal expectations of men andanxious about changing American masculinity have become standard across thetelevision landscape. Engaging with a wide variety of shows, including TheLeague, Dexter, and Nip/Tuck, among many others, Amanda D. Lotzidentifies the gradual incorporation of second-wave feminism into prevailinggender norms as the catalyst for the contested masculinities on display incontemporary cable dramas. Examiningthe emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiatingmodern masculinities, Lotz analyzes how these shows combine feminist approachesto fatherhood and marriage with more traditional constructions of masculineidentity that emphasize men's role as providers. She explores the dynamics ofclose male friendships both in groups, as in Entourage and Men of aCertain Age, wherein characters test the boundaries between the homosocialand homosexual in their relationships with each other, and in the dyadicintimacy depicted in Boston Legal and Scrubs. Cable Guys provides amuch needed look into the under-considered subject of how constructions of masculinitycontinue to evolve on television.
As his Aunt Marie is dying, homicide Detective Nick Burkhardt discovers he is descended from an elite line of criminal profilers known as "Grimms", who keep the balance between humanity and mythological creatures. As well as inheriting the "gift" from his aunt of being able to see the creatures' true forms, he also inherits useful artefacts, including the Book of Lore.
The past decade has seen an explosion of lifestyle makeover TV shows. Audiences around the world are being urged to `renovate' everything from their homes to their pets and children while lifestyle experts on TV now tell us what not to eat and what not to wear. Makeover television and makeover culture is now ubiquitous and yet, compared with reality TV shows like Big Brother and Survivor, there has been relatively little critical attention paid to this format. This exciting collection of essays written by leading media scholars from the UK, US and Australia aims to reveal the reasons for the huge popularity and influence of the makeover show. Written in a lively and accessible manner, the essays brought together here will help readers `make sense' of makeover TV by offering a range of different approaches to understanding the emergence of this popular cultural phenomenon. Looking at a range of shows from The Biggest Loser to Trinny and Susannah Undress, essays include an analysis of how and why makeover TV shows have migrated across such a range of TV cultures, the social significance of the rise of home renovation shows, the different ways in which British versus American audiences identify with makeover shows, and the growing role of lifestyle TV in the context of neo-liberalism in educating us to be `good' citizens. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.
Peter Bowles was born in London to parents who were servants to two of the most influential families in Britain. From New York's Broadway in 1956 to London's Theatre Royal Haymarket in 2006, Peter has starred in many successful plays, whilst playing villains in such iconic TV series as THE SAINT, THE AVENGERS, THE PERSUADERS, SPACE 1999 and THE PRISONER. He has also starred in many hit TV series including RUMPOLE OF THE BAILEY, ONLY WHEN I LAUGH, THE IRISH R.M., LYTTON'S DIARY and, of course, TO THE MANOR BORN. ASK ME IF I'M HAPPY is the personal story of an actor who was told on leaving drama school that he would never play an Englishman (and didn't), to becoming known as the quintessential Englishman (and isn't).
The rise of more commercially-based, global media has significant implicaitons for the child audience. Many are concerned that the public service tradition of children's television is threatened, and that quality and diversity in programming will be impossible to sustain. This book challenges the romantic nostalgia that surrounds contemporary discussions of the subject. Based on an extensive research project, it provides a critical review of the history of children's television in the UK, and a realistic assessment of its future prospects. It looks at how broadcasters have defined the child audience; at the changing nature of children's programming; at the impact of commercial competition and new technologies; and at the role of audience research. The books contributes towards debates about the regulation of children's television; and it offers a case study that will be of more general interest to students and academics in the field.
David Attenborough is one of the most influential, admired and best-liked figures in television. When, aged 26, he applied for a job in the BBC - which then meant radio - he was promptly turned down. But someone saw his rejected application letter and asked, would he like to try television? He would, and almost 60 years later he is still at it. Elegantly told and often very funny, his story includes how he introduced colour television to Britain, and the background to his epic series, such as Life on Earth and Life in Cold Blood. 16 CDs. 19 hrs 23 mins.
The Great War has ended, but Downton Abbey is far from peaceful...
"Americans can't get enough of 'Downton Abbey, '" said "The Boston
Globe. "As Season 3 of the award-winning TV series opens, it is
1920 and Downton Abbey is waking up to a world changed forever by
World War I. New characters arrive and new intrigues thrive as the
old social order is challenged by new expectations.
Some have seen philosophy embedded in episodes of The Simpsons; others have detected elements of psychology and religion. Simon Singh, bestselling author of Fermat's Last Theorem, The Code Book and The Big Bang, instead makes the compelling case that what The Simpsons' writers are most passionate about is mathematics. He reveals how the writers have drip-fed morsels of number theory into the series over the last twenty-five years; indeed, there are so many mathematical references in The Simpsons, and in its sister program, Futurama, that they could form the basis of an entire university course. Using specific episodes as jumping off points - from 'Bart the Genius' to 'Treehouse of Horror VI' - Simon Singh brings to life the most intriguing and meaningful mathematical concepts, ranging from pi and the paradox of infinity to the origins of numbers and the most profound outstanding problems that haunt today's generation of mathematicians. In the process, he introduces us to The Simpsons' brilliant writing team - the likes of Ken Keeler, Al Jean, Jeff Westbrook, and Stewart Burns - who are not only comedy geniuses, but who also hold advanced degrees in mathematics.This eye-opening book will give anyone who reads it an entirely new mathematical insight into the most successful show in television history.
How forty-one women-including Dorothy Parker, Gypsy Rose Lee, and Lena Horne-were forced out of American television and radio in the 1950s "Red Scare." At the dawn of the Cold War era, forty-one women working in American radio and television were placed on a media blacklist and forced from their industry. The ostensible reason: so-called Communist influence. But in truth these women-among them Dorothy Parker, Lena Horne, and Gypsy Rose Lee-were, by nature of their diversity and ambition, a threat to the traditional portrayal of the American family on the airwaves. This book from Goldsmiths Press describes what American radio and television lost when these women were blacklisted, documenting their aspirations and achievements. Through original archival research and access to FBI blacklist documents, The Broadcast 41 details the blacklisted women's attempts in the 1930s and 1940s to depict America as diverse, complicated, and inclusive. The book tells a story about what happens when non-male, non-white perspectives are excluded from media industries, and it imagines what the new medium of television might have looked like had dissenting viewpoints not been eliminated at such a formative moment. The all-white, male-dominated Leave it to Beaver America about which conservative politicians wax nostalgic existed largely because of the forcible silencing of these forty-one women and others like them. For anyone concerned with the ways in which our cultural narrative is constructed, this book offers an urgent reminder of the myths we perpetuate when a select few dominate the airwaves.
This kit includes a Starship Enterprise with a cool light-up feature, and a 32-page book on the history of the Enterprise ,a must-have item for Star Trek fans!
For more than 75 years, television shows have used their fictional or real settings as major characters. When you think of shows like Seinfeld, E.R., The Mary Tyler Moore Show, and The Golden Girls you can t not think of New York City, Chicago, Minneapolis, and Miami (to say nothing of shows like Chicago Hope, WKRP in Cincinnati, Hot in Cleveland, L.A. Law, It s Always Sunny in Philadelphia, The King of Queens, LA to Vegas, Sex and the City, Brooklyn Nine-Nine, The Middle, or even Gilligan s Island. From comedies to dramedies to dramas, every state in the union (and Washington, D.C.) can claim a show (or two or dozens) as their own. TV USA is the first ever fully illustrated atlas of the in-world restaurants, businesses, and notable locations featured in everyone s favourite television shows. In TV USA, readers will embark on a fully illustrated pop culture road trip from sea to televised sea (check local listings for times). Having a medical emergency in Seattle? Rush over to Gray Sloan Memorial Hospital. Owned and operated by its staff of top-notch doctors, this Level-1 Trauma Center is nationally recognized as a top healthcare provider. (Gray s Anatomy); Looking for a cosy inn in Vermont? You can t go wrong with Dick and Joanna Louden s Stratford Inn. (Newhart); Visiting New York? You must stop by Rockefeller Plaza to catch a free taping of TGS with Tracy Jordan. There s never a line, so seats are always available (30 Rock). TV USA is the perfect guided tour for the whole family, without the trauma of having your dad threaten to turn the car around.
Part tell-all, part cautionary tale, this emotionally charged memoir from a former video vixen nicknamed 'Superhead' goes beyond the glamour of celebrity to reveal the inner workings of the hip-hop dancer industry-from the physical and emotional abuse that's rampant in the industry, and which marked her own life-to the excessive use of drugs, sex and bling. Once the sought-after video girl, this sexy siren has helped multi-platinum artists, such as Jay-Z, R. Kelly and LL Cool J, sell millions of albums with her sensual dancing. In a word, Karrine was H-O-T. So hot that she made as much as $2500 a day in videos and was selected by well-known film director F. Gary Gray to co-star in his film, A Man Apart, starring Vin Diesel. But the film and music video sets, swanky Hollywood and New York restaurants and trysts with the celebrities featured in the pages of People and In Touch magazines only touches the surface of Karrine Steffans' life. Her journey is filled with physical abuse, rape, drug and alcohol abuse, homelessness and single motherhood-all by the age of 26. By sharing her story, Steffans hopes to shed light on an otherwise romanticised industry and help young women avoid the same pitfalls she encountered. If they're already in danger, she hopes to inspire them to find a way to dig themselves out of what she knows first-hand to be a cycle of hopelessness and despair.
With the popularity of crime dramas like CSI focusing on forensic science, and increasing numbers of police and prosecutors making wide-spread use of DNA, high-tech science seems to have become the handmaiden of law enforcement. But this is a myth,asserts law professor and nationally known expert on police profiling David A. Harris. In fact, most of law enforcement does not embrace science-it rejects it instead, resisting it vigorously. The question at the heart of this book is why. "" Eyewitness identifications procedures using simultaneous lineups-showing the witness six persons together,as police have traditionally done-produces a significant number of incorrect identifications. "" Interrogations that include threats of harsh penalties and untruths about the existence of evidence proving the suspect's guilt significantly increase the prospect of an innocent person confessing falsely. "" Fingerprint matching does not use probability calculations based on collected and standardized data to generate conclusions, but rather human interpretation and judgment.Examiners generally claim a zero rate of error - an untenable claim in the face of publicly known errors by the best examiners in the U.S. Failed Evidence explores the real reasons that police and prosecutors resist scientific change, and it lays out a concrete plan to bring law enforcement into the scientific present. Written in a crisp and engaging style, free of legal and scientific jargon, Failed Evidence will explain to police and prosecutors, political leaders and policy makers, as well as other experts and anyone else who cares about how law enforcement does its job, where we should go from here. Because only if we understand why law enforcement resists science will we be able to break through this resistance and convince police and prosecutors to rely on the best that science has to offer. Justice demands no less. Visit the author's blog here.
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