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A NEW YORK TIMES BESTSELLER: with a new bonus chapter
In this collection of personal essays, the beloved star of Gilmore Girls and Parenthood reveals stories about life, love, and working as a woman in Hollywood-along with behind-the-scenes dispatches from the set of the new Gilmore Girls, where she plays the fast-talking Lorelai Gilmore once again.
In Talking As Fast As I Can, Lauren Graham hits pause for a moment and looks back on her life, sharing laugh-out-loud stories about growing up, starting out as an actress, and, years later, sitting in her trailer on the Parenthood set and asking herself, "Did you, um, make it?" She opens up about the challenges of being single in Hollywood ("Strangers were worried about me; that's how long I was single!"), the time she was asked to audition her butt for a role, and her experience being a judge onProject Runway ("It's like I had a fashion-induced blackout").
In "What It Was Like, Part One," Graham sits down for an epic Gilmore Girls marathon and reflects on being cast as the fast-talking Lorelai Gilmore. The essay "What It Was Like, Part Two" reveals how it felt to pick up the role again nine years later, and what doing so has meant to her.
Some more things you will learn about Lauren: She once tried to go vegan just to bond with Ellen DeGeneres, she's aware that meeting guys at awards shows has its pitfalls ("If you're meeting someone for the first time after three hours of hair, makeup, and styling, you've already set the bar too high"), and she's a card-carrying REI shopper ("My bungee cords now earn points!").
Including photos and excerpts from the diary Graham kept during the filming of the recent Gilmore Girls: A Year in the Life, this book is like a cozy night in, catching up with your best friend, laughing and swapping stories, and-of course-talking as fast as you can.
More than 50 years ago, with the flip of a switch and the turn of a dial, local television became an unforgettable part of New Orleans culture. For many viewers, the memories remain vivid, even if much of what they saw was in black and white. This collection of vintage photographs highlights the history of popular programs and personalities, beginning with the city's first station, WDSU-TV. After signing on the air in 1948, Channel 6 introduced favorites like Mrs. Muffin, The Great MacNutt, and Midday while building a news team that included local icons Mel Leavitt, Nash Roberts, and Alec Gifford. In 1957, WWL-TV took to the airwaves, developing a reputation for quality local programming and dominant news coverage. Channel 4 made household names out of Morgus the Magnificent, Hap Glaudi, John Pela, Phil Johnson, Bill Elder, and Angela Hill.
"Introduction to Documentary Production" is designed for students who are approaching documentary production for the first time. The book is written in an accessible style by media staff at the University of Portsmouth, UK, all of whom have backgrounds in media production or journalism. The book covers the making of documentaries from concept through production to post-production and includes close readings of documentary makers' intent and target audiences.
This is the story of a young boy from the rough side of Tunbridge Wells (yes, there is one). A boy born in black and white (as his parents couldn't afford colour) who would survive the trauma of terrifying 1960s children's TV puppet shows and public information films, a family break up and being a gay teenager through the Glam Rock 1970s to go to London and become part of the new wave of youth culture in Punk and Disco. It's the story of 70s and 80s youth subculture told through pioneering gay theatre productions, the world's first ever gay radio pirate radio broadcasts and then finally becoming the first openly gay TV presenter on the seminal rock television show, The Tube. Throughout all of these times this author's story is that of an outsider, someone who experienced extraordinary people, times and events without ever venturing too far in. This is also the story of forgotten people, other outsiders; those who took risks, fought the system and whose names and feats have slipped away into obscurity. But above all this is a book which captures the zeitgeist of a 60s childhood, a teenage 70s and the explosion of youth culture in the early 80s. From Bolan and Bowie to Frankie and Duran Duran, every cliche is there stuck rigid with nuclear hair gel and fabulous shoulder pads. If you've ever wondered what a TV presenter actually does whilst trying to figure out what's going on around him, then this is the story for you.
This work explores the way in which telenovelas (TV serial dramas) give voice to contemporary and historical Argentinian social and political issues. Telenovelas have multiple layers of socio-cultural message -- local as well as global -- and are invariably laden with appealing drama and emotion, and sometimes comedy. The discussion focuses on how telenovelas reflect society's perception of, and adjustment toward, issues of globalisation. They are a means of portraying how individuals and families rationalize and incorporate rapid social and economic changes. The book explores how telenovelas might offer a subversive interpretation of reality; or provide a channel of dialogue with the government's political aims. The author challenges the assumption that they are merely a reflection of historical, political and social circumstance. One of the many telenovela examples addressed in this book is whether the serial Padre Coraje constructs a parallel between the current Kirchner government and that of Juan Peron, fifty years earlier. The serial explores the two leaders' relationship with the Church and implicitly presents President Kirchner as Peron's successor. Explaining telenovelas as cultural texts (they are not soap operas) provides the primary basis for this study, backed by Argentinian newspaper articles and secondary sources on Latin American history, culture and economy, as well as TV and cinema studies. The result is a more profound and nuanced interpretation than hitherto of Argentinian telenovelas. Analysis enables identification of the links between the serials' storylines and contemporary political and social events. These popular culture texts bring new meaning to the Argentinian historical narrative, and for TV viewers puts the processes and effects of economic and social globalisation on a local multi-cultural level perspective.
Born on the 2nd of June 1960 to Jamaican parents, Shaun is a Londoner born and bred, and has been a devoted Chelsea fan since 1967. From the age of 12, Shaun knew he wanted to be a barrister and was determined to make it. Despite one or two setbacks along the way, he finally managed to fulfil his childhood ambition when he was called to the bar in November 1984. He has been a Criminal Defence Advocate now for nearly 34 years, and has worked tirelessly on cases ranging from murder to money laundering to firearms to drug trafficking. Shaun has also regularly appeared on British television quiz shows such as Fifteen-To-One, The Weakest Link, Greed, and Are You an Egghead?. Shaun catapulted to national prominence and recognition when, on the 5th December 2004, he became the first black person to win the BBC's renowned Mastermind. Since 2009, he has become a household name, regularly appearing as The Dark Destroyer on the smash ITV hit teatime quiz show, The Chase. Read how Shaun's passions have helped turn him into the man he is today: staunchly just and fair, ruthless when he needs to be, kind, fun, and a fiercely loyal friend.
Showcasing the unique costumes featured in the Star Trek franchise, from Mr. Spock's Starfleet uniform to Uhura's mirror universe ensemble. The book features a wardrobe gallery that explores beautiful and innovative fashions from the various film and television versions of Star Trek, including different iterations of the Starfleet uniform, exquisitely designed alien garb, and much, accompanied by exclusive interviews with costume designers and experts
The Fake Food Cookbook: Props You Can't Eat for Theatre, Film, and TV contains step by step instructions on how to create the most realistic prop food for a theatrical production. From appetizers such as oysters on a half shell and chicken wings, entrees such as lobster and honey-glazed ham, to desserts, breakfasts, and even beverages, every meal is covered in this how-to guide. Full color images of each step and finished products illustrate each recipe, along with suggestions for keeping the budget for each project low. Safety Data Sheets and links to informative videos are hosted on a companion website.
What time is it? Adventure Time[trademark]! Explore the magical world of Ooo with Jake the dog and Finn the human, along with the Ice King, Princess Bubblegum, Marceline the Vampire Queen, and all your favorite Adventure Time characters, in this first official guide to Cartoon Network's hit animated series. It is an indispensable companion to the show, written and compiled by the Lord of Evil himself.
*** The Hilarious Number One Sunday Times Bestseller! *** The follow-up autobiography to one of Britain's best loved actors and national treasures In his first book David Jason told us about himself from his early years training as an electrician through to making it as one of Britain's greatest actors. This autumn, in a follow up autobiography, he tells us about the many other lives he has lived - his characters. From Del Boy to Granville, Pop Larkin to Frost, he takes us behind the scenes and under the skins of some of the best loved acts of his career. And in the process he reflects on how those characters changed his life too. The result told with his characteristic charm and wit is both funny and poignant, honest and heart warming.
Television scholarship has substantially ignored programming aimed at Black audiences despite a few sweeping histories and critiques. In this volume, the first of its kind, contributors examine the televisual diversity, complexity, and cultural imperatives manifest in programming directed at a Black and marginalized audience. Watching While Black considers its subject from an entirely new angle in an attempt to understand the lives, motivations, distinctions, kindred lines, and individuality of various Black groups and suggest what television might be like if such diversity permeated beyond specialized enclaves. It looks at the macro structures of ownership, producing, casting, and advertising that all inform production, and then delves into television programming crafted to appeal to black audiences-historic and contemporary, domestic and worldwide. Chapters rethink such historically significant programs as Roots and Black Journal, such seemingly innocuous programs as Fat Albert and bro'Town, and such contemporary and culturally complicated programs as Noah's Arc, Treme, and The Boondocks. The book makes a case for the centrality of these programs while always recognizing the racial dynamics that continue to shape Black representation on the small screen. Painting a decidedly introspective portrait across forty years of Black television, Watching While Black sheds much-needed light on under-examined demographics, broadens common audience considerations, and gives deference to the the preferences of audiences and producers of Black-targeted programming.
Popular culture often champions freedom as the fundamentally American way of life and celebrates the virtues of independence and self-reliance. But film and television have also explored the tension between freedom and other core values, such as order and political stability. What may look like healthy, productive, and creative freedom from one point of view may look like chaos, anarchy, and a source of destructive conflict from another. Film and television continually pose the question: Can Americans deal with their problems on their own, or must they rely on political elites to manage their lives? In this groundbreaking work, Paul A. Cantor explores the ways in which television shows such as Star Trek, The X-Files, South Park, and Deadwood and films such as The Aviator and Mars Attacks! have portrayed both top-down and bottom-up models of order. Drawing on the works of John Locke, Adam Smith, Alexis de Tocqueville, and other proponents of freedom, Cantor contrasts the classical liberal vision of America -- particularly its emphasis on the virtues of spontaneous order -- with the Marxist understanding of the ""culture industry"" and the Hobbesian model of absolute state control. The Invisible Hand in Popular Culture concludes with a discussion of the impact of 9/11 on film and television, and the new anxieties emerging in contemporary alien-invasion narratives: the fear of a global technocracy that seeks to destroy the nuclear family, religious faith, local government, and other traditional bulwarks against the absolute state.
Swedish Crime Fiction became an international phenomenon in the first decade of the twenty-first century, starting first with novels but then percolating through Swedish-language television serials and films and onto English-language BBC productions and Hollywood remakes. This book looks at the rich history of 'Scandinavian noir', examines the appeal of this particular genre and attempts to reveal why it is distinct from the plethora of other crime fictions.Examining the popularity of Steig Larsson's international success with his Millennium trilogy, as well as Henning Mankell's Wallander across the various media, Peacock also tracks some lesser-known novels and television programmes. He illustrates how the bleakness of the country's 'noirs' reflects particular events and cultural and political changes, with the clash of national characteristics becoming a key feature.It will appeal to students and researchers of crime fiction and of film and television studies, as well as the many fans of the novels and dramatic representations.
THE SUNDAY TIMES BESTSELLER A sassy, frank, funny and inspirational autobiography, MOUTHY is the unfiltered, uncensored and unbelievable story of the girl you think you know from shows like TOWIE, There's Something About Megan, Celebrity Big Brother, Ex on the Beach and Britain's Got Talent. This is the story of what really goes on when the cameras stop rolling and the paparazzi have gone home, uncovering the truth behind the headlines - straight from the famous Megan McKenna mouth.
"Supernatural" premiered on September 13, 2005, on what was then
called the WB Network. Creator Eric Kripke was inspired by Jack
Kerouac's "On The Road, " putting his heroes, brothers Sam and Dean
Winchester, in a big black '67 Impala and sending them in search of
the urban legends that fascinated him. The series attracted a
passionate fan base from the start and was described as a "cultural
attractor" that tapped into the zeitgeist of the moment, reflecting
global fears of terrorism with its themes of fighting unseen evil.
The chemistry between the lead actors, Jared Padalecki and Jensen
Ackles, contributed to the show's initial success, and
"Supernatural" found its niche when it combined demon-hunting
adventures with a powerful relationship drama that explored the
intense, complicated bond between the brothers. "Supernatural" is
as much a story of familial ties, love, and loyalty as it is of
"saving people, hunting things."
Tele-ology brings together John Hartley's writings on television. Hartley assesses TV as a global and local force, a cultural and textual system and a corporate and domestic, political and artistic object of study. He draws on current critical theory in cultural studies to develop a wide-ranging and thought-provoking view of television broadcasting in Britain, Australia and the USA. The collection includes writings on TV truth and propaganda; on populism in the news; on mythologies of the audience, who, John Hartley suggests, are as fictional as the shows they watch; on TV drama as a photopoetic genre in the tradition of Shakespeare; on the peculiarities of TV continuity and TV advertising and on the cultural politics of Kylie Minogue and Madonna, The Beverley Hillbillies and Bonanza, and gardening programmes.
A living pop culture legend and one of American film and television's most enduring stars, William Shatner will forever be associated with the role of James T. Kirk, captain of the starship "Enterprise." "Star Trek Memories" is Shatner's classic behind-the-scenes look at the legendary series that continues to put forth movies, books, and series spin-offs decades after the last episode aired. A television phenomenon that suffered from shaky ratings from its first broadcast in 1966 through its entire run, "Star Trek" nevertheless exploded into a worldwide, billion-dollar industry. Avid Trekkers who were onboard at the launch, as well as fans of the later Trek incarnations, will be delighted with this eye-opening, eminently fascinating "captain's log" from James Kirk himself.
"Vision On" narrates the turbulent yet distinguished history of one of the fundamental pillars of British broadcasting& mdash;the arts. This volume chronicles the years of dynamic and often controversial collaboration between broadcasters and the Arts Council, a key player in bringing art films to the wider public audience. Beginning with the earliest TV documentaries, the arts became central to the remit of public broadcasters, and by the 1980s Channel 4 and the Arts Council were boldly redefining the relationship of the arts and the media by commissioning and airing exclusive and innovative films. With detailed discussion of the cultural role of television programmes such as "Civilisation" (1966) and "Arena" (1974 onwards), close analysis of over 25 films and exclusive access to the Arts Council's collection of the 450 films supported between 1953 and 1999, this volume illuminates the vanguard role the arts have played in the proud history of British public broadcasting, and attempts to locate the place of arts broadcasting in today's multi-channel, multi-media world.
Between 1948 and 1955, nearly two-thirds of all American families bought a television set--and a revolution in social life and popular culture was launched. In this fascinating book, Lynn Spigel chronicles the enormous impact of television in the formative years of the new medium: how, over the course of a single decade, television became an intimate part of everyday life. What did Americans expect from it? What effects did the new daily ritual of watching television have on children? Was television welcomed as an unprecedented "window on the world, " or as a "one-eyed monster" that would disrupt households and corrupt children? Drawing on an ambitious array of unconventional sources, from sitcom scripts to articles and advertisements in women's magazines, Spigel offers the fullest available account of the popular response to television in the postwar years. She chronicles the role of television as a focus for evolving debates on issues ranging from the ideal of the perfect family and changes in women's role within the household to new uses of domestic space. The arrival of television did more than turn the living room into a private theater: it offered a national stage on which to play out and resolve conflicts about the way Americans should live. Spigel chronicles this lively and contentious debate as it took place in the popular media. Of particular interest is her treatment of the way in which the phenomenon of television itself was constantly deliberated--from how programs should be watched to where the set was placed to whether Mom, Dad, or kids should control the dial. "Make Room for TV" combines a powerful analysis of the growth of electronic culture with a nuancedsocial history of family life in postwar America, offering a provocative glimpse of the way television became the mirror of so many of America's hopes and fears and dreams.
For nine years, Stephen Colbert's persona, "Colbert"-a Republican superhero and parody of conservative political pundits-informed audiences on current events, politics, social issues, and religion, while lampooning conservative political policy, biblical literalism, and religious hypocrisy. As devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, "Is Colbert a practicing Catholic in real life or is this part of his act?" America's Most Famous Catholic (According to Himself) examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as rich fodder for scores of comedians over the years. What set COLBERT apart on his Comedy Central show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005-2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how COLBERT shapes Catholicism. Brehm provides historical context by discovering how COLBERT compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to see clearly the religious elements in the work and life of comedian Stephen Colbert.
From a decidedly inauspicious start as a low-rated television
series in the 1960s that was cancelled after three seasons, "Star
Trek" has grown to a multi-billion dollar industry of spin-off
series, feature films, and merchandise. Fueling the ever-expanding
franchise are some of the most rabid and loyal fans in the
universe, known affectionately as Trekkies. Perhaps no other
community so typifies fandom as the devoted aficionados of the
"Star Trek" television series, motion pictures, novels, comic
books, and conventions. Indeed, in many respects, "Star Trek" fans
created modern fan culture and continue to push its frontiers with
elaborate fan-generated video productions, electronic fan fiction
collectives, and a proliferation of tribute sites in
Frank Peppiatt was the most popular producer of his time - a time when variety television was king. He wrote and produced shows for Jackie Gleason, Andy Williams, Judy Garland, Julie Andrews, Sonny and Cher and Perry Como. Here he recounts his own remarkable life story - a humble Canadian boy who grew up to create iconic American TV shows amid a cast of Hollywood celebs.
Who is the Doctor is a fun and insightful episode guide that explores all facets of Doctor Who's triumphant return to television. Covering the six seasons of the New Series, this is the essential companion for the most avid fan as well as the more casual viewer. Doctor Who was already the world's longest-running science fiction series when it returned in 2005 to huge success. An enormously popular series among genre fans in North America, Doctor Who encompasses horror, science fiction, comedy, action, and historical adventure, and is loved for its uniquely British wit and clever scripting. It's no wonder the series' hero, monsters, and even its theme song are pop culture icons. In this volume, Doctor Who experts Graeme Burk and Robert Smith? bring fans insights into everything from the history of everything Doctor Who, including Daleks, Cybermen, and the eight Classic Series Doctors, to a guide to every episode of the New Series. Allons-y
Pioneering Chinese American actress Anna May Wong made more than sixty films, headlined theater and vaudeville productions, and even starred in her own television show. Her work helped shape racial modernity as she embodied the dominant image of Chinese and, more generally, "Oriental" women between 1925 and 1940. In Anna May Wong, Shirley Jennifer Lim re-evaluates Wong's life and work as a consummate artist by mining an historical archive of her efforts outside of Hollywood cinema. From her pan-European films and her self-made My China Film to her encounters with artists such as Josephine Baker, Carl Van Vechten, and Walter Benjamin, Lim scrutinizes Wong's cultural production and self-fashioning. Byconsidering the salient moments of Wong's career and cultural output, Lim's analysis explores the deeper meanings, and positions the actress as an historical and cultural entrepreneur who rewrote categories of representation. Anna May Wong provides a new understanding of the actress's career as an ingenious creative artist.
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