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With a foreword by Christian Slater A fully illustrated and highly visual guide to everything Archer-from storyboards to character sketches to script excerpts-making it a collector's item for Archer fans everywhere, and featuring a foreword by Christian Slater. The Art of Archer is a comprehensive look behind the scenes of the award-winning animated series. Featuring 240 pages of concept art, exclusive interviews, script excerpts and the never-before-released original pitch for the series, this amazing collection offers an utterly unique view of the Archer creative process. Commentary from the crew will walk fans all the way from squiggles to the gorgeous final picture, detailing not only their process but their history as well. Exclusive interviews with the Emmy-nominated cast offer insights to their beloved characters and a glimpse of their favorite moments. With storyboards, costume designs, reference photographs, immaculate background paintings and more, this is Archer as you have never seen it. The Art of Archer is a must have companion to the groundbreaking animated series, for fans and cinephiles alike.
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.
On 30th September 1965, International Rescue successfully completed their first assignment, and the Tracy brothers imprinted themselves on a generation of captivated children. Thirty-two episodes, many repeats, sixty territories, two feature films, three albums, numerous comics, books, toys, videos and DVDs and five decades later, Thunderbirds are still saving the world from the brink of peril. Thunderbirds: The Vault will be the first ever lavishly illustrated, definitive, beautifully packaged, presentation hardback telling the story of this enduring cult phenomenon. Packed with previously unpublished material, including prop photos, design sketches, production memos and other collectible memorabilia, plus specially commissioned photography of original 60s merchandise, and new interviews with cast and crew, it's going to be a collectors' dream and a fantastic piece of British TV history.
In Herbert Zettl's field-defining text TELEVISION PRODUCTION HANDBOOK, the author emphasizes how production proceeds in the digital age -- from idea to image -- and how it moves through the three major phases, from preproduction to production to postproduction. In this context, you will learn about the necessary tools, examine what they can and cannot do, and explore how they are used to ensure maximum efficiency and effectiveness. This edition also features the latest digital equipment and production techniques, including HDV and HDTV.
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"An important contribution to our understanding of the talkshow
genre and its cultural political funtion."
"A wide-ranging exploration of some key theoretical issues in
cultural sociology centerting on subjectivity, sense-making, and
"A cogent analysis of our culture."
When "The Phil Donahue Show" topped the ratings in 1979, it ushered in a new era in daytime television. Mixing controversial social issues, light topics, and audience participation, it created a new genre, one that is still flourishing, despite being harshly criticized, over two decades later. Now, the daytime TV landscape is littered with talk shows. But why do people watch these shows? How do they make sense of them? And how do these shows affect their viewers' sense of what constitutes appropriate public debate?
In Talking Trash, Julie Engel Manga offers a fascinating exploration of these questions and reveals the wide range of reasons viewers are drawn to "trash talk." Focusing on such shows as "Oprah!, Jerry Springer, Ricki Lake, Jenny Jones," and "Maury Povitch," and drawing upon interviews with women who watch these shows, Talking Trash is the first examination of the talk show phenomenon from the viewers' perspective. In taking this approach, Manga is able to understand what talk shows mean to the women who watch them. And by refusing to judge either the shows or their viewers as good or bad, she is able to grasp how viewers relate to these shows-as escape, entertainment, uninhibited public discourse, or an accurate reflection of their ownhardships and heartaches. Manga concludes that while the form of "trash-talk" shows may be relatively new, the socio-cultural experience they embody has been with us for a long time.
Absorbing, entertaining, and keenly perceptive, Talking Trash illuminates the complex viewer response to "trash talk" and examines the cultural politics surrounding this wildly controversial popular phenomenon.
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aEverybody knows that TV is crucial to globalization. Now,
thanks to Lisa Parks and Shanti Kumar, we know why and how
television matters globally. With TV studies moving out of the
classroom and onto the world stage, this volume is an indispensable
From the 1967 live satellite program "Our World" to MTV music videos in Indonesia, from French television in Senegal to the global syndication of African American sitcoms, and from representations of terrorism on German television to the international Teletubbies phenomenon, TV lies at the nexus of globalization and transnational culture.
Planet TV provides an overview of the rapidly changing landscape of global television, combining previously published essays by pioneers of the study of television with new work by cutting-edge television scholars who refine and extend intellectual debates in the field. Organized thematically, the volume explores such issues as cultural imperialism, nationalism, postcolonialism, transnationalism, ethnicity and cultural hybridity. These themes are illuminated by concrete examples and case studies derived from empirical work on global television industries, programs, and audiences in diverse social, historical, and cultural contexts.
Developing a new critical framework for exploring the political, economic, sociological and technological dimensions of television cultures, and countering the assumption that global television is merely a result of the current dominance of the West in world affairs, Planet TV demonstrates that the global dimensions of television were imagined intoexistence very early on in its contentious history. Parks and Kumar have assembled the critical moments in television's past in order to understand its present and future.
Contributors include Ien Ang, Arjun Appadurai, Jose B. Capino, Michael Curtin, Jo Ellen Fair, John Fiske, Faye Ginsburg, R. Harindranath, Timothy Havens, Edward S. Herman, Michele Hilmes, Olaf Hoerschelmann, Shanti Kumar, Moya Luckett, Robert McChesney, Divya C. McMillin, Nicholas Mirzoeff, David Morley, Hamid Naficy, Lisa Parks, James Schwoch, John Sinclair, R. Anderson Sutton, Serra Tinic, John Tomlinson, and Mimi White.
The brilliantly funny Sunday Times top ten bestseller. Alan Carr tells his life story in his own words, from growing up in a football-mad family in Northampton to his rise as one of Britain's best-loved comedians. `Puberty had been unkind. Whereas it had come in the night and left the other boys with chiselled, stubbly chins and deep masculine voices, I'd been left with a huge pair of knockers and the voice of a pensioner.' Alan Carr Alan Carr grew up in one of the most boring towns in England - Northampton. A place known for making shoes. It was also known for its football club, Northampton Town FC. Alan's dad as manager of the club was a local hero. A dream come true for most lads, but not Alan. Alan wore glasses and had man boobs at 14. He did not like P.E. In his very first book, Alan tells his life story, (`oh and what a life') with his unique twist of natural, observational humour - `I'm not saying I'm a fantasist but there have been times when things that I've seen on television when I was younger have tended to seep into my subconscious and blended into my own life. I remember telling my Mum about the time I stopped that woman from having a diamond encrusted necklace stolen and she'd say `No Alan, that was Poirot.' With his tongue-in-cheek, end of pier humour that made him famous, Alan describes an ordinary life in bursts of technicolour. His journey from awkward schoolboy hiding his man-boobs on the pitch, drinking tea with the dinner ladies and working in a call centre, to becoming one of our best-loved comedians likened to the great Frankie Howerd, make his book a guaranteed tickler with a laugh-out-loud gag on every page.
A fascinating analysis of the psychology behind Westworld. In Michael Crichton's 1973 motion picture Westworld, people playing out fantasies find their lives in danger when robots built to entertain start to kill, creating an opportunity for viewers to examine an array of psychological phenomena. Today, the HBO television series reframes those questions and fears of technology gone awry in terms of twenty-first century concerns about rapidly evolving AI. The essays in this collection, edited by Travis Langley and Wind Goodfriend, explore those issues, offering fans an in-depth psychological exploration of the Westworld universe, including: When do synthetic people become sentient? When is artificial intelligence simply intelligence? What is the appeal of live-action role playing? Why does the Wild West intrigue us? How far will people go in pursuit of violent delights? Westworld Psychology: Violent Delights takes aim at these and many other issues.
Actor Julie Hesmondhalgh's working diary begins in November 2016 at the end of a full and exciting year of theatre-making with her company, Take Back. The company is a northern-based collective creating immediate script-in-hand responses to social and political events (of which there were many in 2016). Her work with Take Back fell between filming the third series of Broadchurch for ITV and starring in the award-winning play Wit at the Royal Exchange Theatre in Manchester. She kicks off as she prepares to start rehearsals for Mike Leigh's epic film about the Peterloo Massacre of 1819; visits schools and colleges representing Arts Emergency - an organisation set up to promote opportunities for young working-class actors; and awaits news of a possible London transfer of Wit. The book takes in Hesmondhalgh's unique experiences of working in film, theatre, TV and radio drama, and through the ups and downs of life as a working actor and producer, while balancing family life. The events described throughout take place against the backdrop of the huge political change and upheaval as Britain votes in favour of Brexit and Donald Trump is elected as US president. Throughout, Julie Hesmondhalgh considers the impact and challenges of starting a brand new chapter of her career after 16 years in Coronation Street; growing older as a woman in an industry preoccupied by youth and appearance; working with a legend of British film making; running a company; being a parent; experiencing first-hand the huge changes and pressures in the creative industries and arts education; and the lesser-known aspects of an actor's life post-production and publicity. All the while, she attempts to pass on any knowledge or experiences she might have accrued to people starting out in the business in this fascinating year-long journal.
Grab your friends and get cooking in the land of Ooo with Adventure Time: The Official Cookbook, featuring recipes from all your favourite characters and kingdoms. Finn has come together with his friends to complete a cookbook that once belonged to his mom. Are you ready to feast your eyes and prepare your stomach for the most awesome, most delicious meals this side of the Candy Kingdom?
So... the story of my life. I've often thought about this moment, about what it would be like to write my memoirs. I always thought it would make me feel important. It doesn't. If anything it makes me feel a little strange. The truth is, I should never have been this famous guy. I wasn't the cool, clever, good-looking boy at school. But I always dreamt of it, hoped for it, longed for it: throughout school when I was disruptive, in my teens when I tried to form my own boy band and through hundreds of auditions for parts which were met with constant rejection. Until finally I co-wrote Gavin and Stacey. And my whole life changed. This is that story. The story of how I found myself here, talking to you.
Discover the ultimate collection of film and TV locations with the next instalment in Lonely Planet's Spotter's Guide series. Featuring locations from more than 100 of the most iconic scenes ever committed to film, we'll show you where incredible moments from Indiana Jones, Star Wars, Thelma & Louise, Game of Thrones and many more favourites were shot. Whether you're sat in the dark of your local cinema, or curled up on the sofa, each film has the rare ability to transport you to amazing destinations around the globe. Inside this book, you'll be able to explore the real-life locations for some of the most famous productions of all time, filmed in countries including Canada, Australia, Jordan, Croatia, Iceland, Japan, New Zealand, Tunisia and India. Many of these locations effortlessly played themselves, while others were disguised as hostile, alien deserts, futuristic cityscapes, or Jedi hideaways. While a film's job is make you forget you're watching one, there are certain locations that can transport you right into the world of a movie. If you want to feel like 007 with a license to kill, you can take a boat out to James Bond Island, otherwise known as Khao Phing Kan, in Thailand, home to The Man with the Golden Gun. If you want to follow in the footsteps of Holly Golightly, then enjoy a coffee and a Danish pastry outside Tiffany's in Manhattan. Or perhaps you'd like to celebrate something momentous by running up the steps of the Philadelphia Museum like Rocky Balboa. Whether you're a film buff, a travel addict, or both, this book will help to convince you that CGI is never a substitute for the real thing. About Lonely Planet: Since 1973, Lonely Planet has become the world's leading travel media company with guidebooks to every destination, an award-winning website, mobile and digital travel products, and a dedicated traveller community. Lonely Planet covers must-see spots but also enables curious travellers to get off beaten paths to understand more of the culture of the places in which they find themselves. The world awaits! Lonely Planet guides have won the TripAdvisor Traveler's Choice Award in 2012, 2013, 2014, 2015, and 2016. 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' -- Fairfax Media 'Lonely Planet guides are, quite simply, like no other.' - New York Times
Nobody belongs anywhere, nobody exists on purpose, everybody's going to die...come do some coloring. Burrrp, we've got all your favorites: Krombopulos Michael, meeseeks, plumbuses and more. Prepare for intricate adult coloring patterns and high-concept sci-fi rigmarole in the best coloring book in dimension C-137! Peace among worlds Rick and Morty fans...peace among worlds.
In Treme, Jaimey Fisher analyzes how the HBO television series Treme treads new ground by engaging with historical events and their traumatic aftermaths, in particular, with Hurricane Katrina in 2005 and subsequent flooding in New Orleans. Instead of building up to a devastating occurrence, David Simon's much anticipated follow-up to The Wire (2002-8) unfolds with characters coping in the wake of catastrophe, in a mode of what Fisher explores as a prevailing mode of ""afterness."" Treme charts these changes while also memorializing the number of New Orleans cultures that were immediately endangered. David Simon's and Eric Overmyer's Treme (2010-13) attempts something unprecedented for a multi-season series. Although the show follows, in some ways, in the celebrated footsteps of The Wire-for example, in its elegiac tracking of the historical struggles of an American city-Fisher investigates how Treme varies from The Wire's work with genre and what replaces it: The Wire is a careful, even baroque variation on the police drama, while Treme dispenses with genre altogether. This poses considerable challenges for popular television, which Simon and Overmyer address in several ways, including offering a carefully montaged map of New Orleans and foregrounding the distance witnessing of watershed events there. Another way in which Treme sets itself apart is its memorialization of the city's inestimable contributions to American music, especially to jazz, soul, rhythm and blues, rap, rock, and funk. Treme gives such music and its many makers unprecedented attention, both in terms of screen time for music and narrative exposition around musicians. A key element of the volume is its look at the show's themes of race, crime, and civil rights as well as the corporate versus community recovery and remaking of the city. Treme's synthesizing melange of the arts in their specific geographical context, coupled with political and socio-economic analysis of the city, highlights the show's unique approach. Fans of the works of Simon and Overmyer, as well as television studies students and scholars, will enjoy this keen-eyed approach to a beloved show.
"In this unsettling look at science in America's democratic culture, Christopher Toumey shows how readily the critics of elite science have hijacked scientific authority for their own purposes and] lucidly illustrates the ways in which science has taken on multiple and contested meanings."--Ronald L. Numbers, William Coleman Professor of the History of Science and Medicine, University of Wisconsin Medical School "A fascinating and clearly written analysis of the gap between the science of scientists and its popular understandings in daily American life. . . . Toumey's work is a major contribution to anthropological understandings of science, American culture, and their convergence in the quest for meaning."--Robbie E. Davis-Floyd, University of Texas "Essential to our interrogation of science is informed cultural critique, especially that which is as readable as Conjuring Science. Toumey should be read by all who shape the twenty-first century."--James Peacock, former Presidents, American Anthropological Association What are the implications for Americans when actors who play doctors on television endorse medical products, or when an entire town in the Midwest prepares for an earthquake based on the specious advice of a zoologist? These are just two of the many questions Christopher Toumey asks in his investigation of the role of science in American culture. Toumey focuses on the ways in which the symbols of science are employed to signify scientific authority in a variety of cases, from the selling of medical products to the making of public policy about AIDS/HIV--a practice he calls "conjuring" science. It is the "conjuring" of the images and symbols of scientific authority that troubles Toumey and leads him to reflect on the history of public understanding and the perceptions of science in the United States. He argues that while most Americans invest a great deal of authority in science, there is a vacuum of understanding about scientific knowledge. This gap between belief and understanding greatly influences public policy decisions and democratic processes. Toumey argues that instead of comprehending scientific knowledge, methods, or standards, most Americans know science only in terms of symbols that stand between people and scientific understanding. He breaks this paradox down into three questions. First, what are the historical conditions that have caused the culture of science to be so estranged from other parts of American culture? Second, how does science fit into American democratic culture today? And third, if the symbols of science are being used to endorse or legitimize certain values and meanings, but not the values and meanings of science, then to what do they refer? In witty, readable prose, Toumey investigates these questions by presenting five episodes in science in American life: the fluoridation controversies; the 1986 California referendum on AIDS/HIV policy; the cold fusion controversy; the anti-evolution of creationism; and the mad-scientist stories of fiction and film. Christopher P. Toumey is the author of God's Own Scientists: Creationists in a Secular World (Rutgers University Press). His essays on the cultural meanings of science have appeared in Natural History, Social Studies of Science, and many other journals.
The first comprehensive history of rock and pop on British television, from the early days of Oh Boy and Ready Steady Go!, through the institution that was Top Of The Pops, global events like Live Aid right up to date with Jools Holland's Later.
Since the late 1970s, Australia has nurtured a creative and resilient children's television production sector with a global reputation for excellence. Providing a systematic analysis of the creative, economic, regulatory, and technological factors that shape the production of contemporary Australian children's television for digital regimes, Creativity, Culture and Commerce charts the complex new settlements in children's television that developed from 2001 to 2014 and describes the challenges inherent in producing culturally specific screen content for global markets. It also calls for new public debate around the provision of high-quality screen content for children, arguing that the creation of public value must sit at the center of these discussions.
***Axiom Business Book Award Winner!*** Something massive is shifting in the world of entertainment. Across the planet, humans spend more of their free time watching video than doing anything else. But increasingly it's not TV they're watching, but online video. In 2016, Swedish vlogger PewDiePie made a record $15 million from his YouTube videos, beating Hollywood A-listers like Harrison Ford, Julia Roberts and Amy Adams. Something massive is shifting in the world of entertainment. Since its founding in 2005, YouTube has become the first and only truly global media platform, with over a billion users worldwide. It has changed the media industry as profoundly as the development of radio, film and television. In Streampunks, YouTube's Chief Business Officer Robert Kyncl gets to the heart of this creative revolution through behind-the-scenes stories of its biggest stars - YouTubers like Tyler Oakley, Lilly Singh, and Casey Neistat-and the dealmakers brokering the future of media, like Scooter Braun, who scouted 12-year old Justin Bieber on YouTube, and Vice media mogul Shane Smith who used the platform to turn young people onto news and current affairs. By giving anyone with a smartphone their own TV channel, YouTube is fuelling a new creative boom. Not only is it generating the new faces of entertainment, but also changing how students are taught, how social issues are discussed and how small businesses advertise and develop. Streampunks is the definitive book on the modern pop-culture juggernaut Youtube, the platform remaking the face of entertainment.
Brian Viner's children are finally leaving home. Exhausted and broken, and on average GBP200,000 worse off per child, Brian felt it was time to look back on the adventure of being a father over the previous 18 years. There is nothing like the actual experience of parenting to undermine all the theories, to rip apart all the textbooks.This book provides at least some insight for the father to be, or the newly with child, into the strange and yet common, unique yet universal, condition of fatherhood. And perhaps it will offer a few crumbs of comfort. After all, if you have a teething baby or a 17-year-old stop-out giving you sleepless nights, or a relcalcitrant toddler driving you demented, or a cheeky eight-year-old giving you lip, or a sullen teenager ignoring you, and if he or she is equally capable of filling you with boundless love, joy and pride, then you are a Dad, and welcome to the club.
Robin Nelson's State of play up-dates and develops the arguments of his influential TV Drama In Transition (1997). It is equally distinctive in setting analusis of the aesethetics and compositional principles of texts within a broad conceptual framework (technologies, institutions, economics, cultural trends). Tracing "the great value shift from conduit to content" (Todreas, 1999), Nelson is relatively optimistic about the future quality of TV Drama in a global market-place. But, characteristically taking up questions of worth where others have avoided them, Nelson recognizes that certain types of "quality" are privileged for viewers able to pay, possibly at the expense of viewer preference worldwide for "local" resonances in television. The mix of arts and cultural studies methodologies makes for an unusual and insightful approach. -- .
This is the first ever international comparative study of the mythologies which popular TV series in Czechoslovakia/Czech Republic, Hungary, Poland and Romania -- made before and after the fall of communism -- disseminate in their societies. Popular television broadcasting has had an enormous impact on the general publics beliefs and values, East and West. From the outset, the communist systems of Central and East Europe used entertainment television programming to instil the regimes values in the viewer. And indeed popular television still exerts a major impact on these fairly homogeneous societies. Up to date research about current social values and factors in the formation of individual and collective identity has considerable strategic importance for decision making both in Britain and in the EU. If we are to understand how the populations of the Central and East European countries might react in the current relatively unstable political and economic situation, it is necessary to understand the indigenous political, social and cultural discourse in these countries. Comparison of samples of popular television from the 1970s, 1980s and 2000s provides strategically significant material about how these societies think and rationalise, and what their thinking is rooted in. The study proceeds from the premise that popular television series provide a fertile ground of investigation as mass media reflects and shapes social and cultural values.
In From Media Systems to Media Cultures: Understanding Socialist Television, Sabina Mihelj and Simon Huxtable delve into the fascinating world of television under communism, using it to test a new framework for comparative media analysis. To understand the societal consequences of mass communication, the authors argue that we need to move beyond the analysis of media systems, and instead focus on the role of the media in shaping cultural ideals and narratives, everyday practices and routines. Drawing on a wealth of original data derived from archival sources, programme and schedule analysis, and oral history interviews, the authors show how communist authorities managed to harness the power of television to shape new habits and rituals, yet failed to inspire a deeper belief in communist ideals. This book and their analysis contains important implications for the understanding of mass communication in non-democratic settings, and provides tools for the analysis of media cultures globally.
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