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This collection of essays offers a multi-faceted exploration of audiovisual translation, both as a means of intercultural exchange and as a lens through which linguistic and cultural representations are negotiated and shaped. Examining case studies from a variety of media, including film, television, and video games, the volume focuses on different modes of audiovisual translation, including subtitling and dubbing, and the representations of linguistic and stylistic features, cultural mores, gender, and the translation process itself embedded within them. The book also meditates on issues regarding accessibility, a growing concern in audiovisual translation research. Rooted in the most up-to-date issues in both audiovisual translation and media culture today, this volume is essential reading for students and scholars in translation studies, film studies, television studies, video game studies, and media studies.
Designed to resemble the classified files and notes of Dr. Delphine Cormier, this in-world book chronicles the inner workings of the mysterious people and organizations at the heart of the TV series Orphan Black. Including classified information on the Dyad Institute, the Neolution clone program, and the Proletheans, observations from the clones' monitors and Delphine's private journal entries in a detailed and creative look at this thrilling show.
Cuteness is one of the most culturally pervasive aesthetics of the new millennium and its rapid social proliferation suggests that the affective responses it provokes find particular purchase in a contemporary era marked by intensive media saturation and spreading economic precarity. Rejecting superficial assessments that would deem the ever-expanding plethora of cute texts trivial, The Aesthetics and Affects of Cuteness directs serious scholarly attention from a variety of academic disciplines to this ubiquitous phenomenon. The sheer plasticity of this minor aesthetic is vividly on display in this collection which draws together analyses from around the world examining cuteness's fundamental role in cultural expressions stemming from such diverse sources as military cultures, high-end contemporary art worlds, and animal shelters. Pushing beyond prevailing understandings that associate cuteness solely with childhood or which posit an interpolated parental bond as its primary affective attachment, the essays in this collection variously draw connections between cuteness and the social, political, economic, and technological conditions of the early twenty-first century and in doing so generate fresh understandings of the central role cuteness plays in the recalibration of contemporary subjectivities.
ER, ""Law and Order"" and ""The Sopranos"" are just a few of the dramas that launched a new era of television at the turn of the millennium. This text gives scholars and fans alike a firsthand account of the lives, philosophy and contribution of some of the best writers and producers of the 1980s and 1990s. In one of the few books of its kind, James L. Longworth, Jr. reveals the drama behind the dramas, with producers sharing stories and observations: The producer of ""The Sopranos"" originally envisioned Robert Di Niro and Ann Bancroft as the lead characters in the successful series about mob life. ""NYPD Blue""'s co-creator was once offered the presidency of CBS by William Paley, but he turned down the job. The Emmy-winning producer of ""Homicide"" and ""Oz"" owes his discovery to Gwyneth Paltrow and her mother, Blythe Danner. The successful creator of ""Providence"" also created ""Touched by an Angel"", but was fired over a pilot episode that was never broadcast. The Oscar-winning producer of ""Shakespeare in Love"" and co-creator of ""Thirtysomething"" and ""Once and Again"", had a chance meeting with Woody Allen that helped launch his film and television career.
What is it like to make television comedy? How do writers get their ideas made, and how do commissioners and producers decide what to make? How do members of the comedy industry work with large broadcasters and production companies, and what does it mean to be creative - and stay creative? Drawing on interviews with many key writers such as Sam Bain, Paul Doolan, Graham Linehan, David Mitchell, Simon Nye and Sue Teddern, producers including Ash Atalla, Lisa Clark, Michelle Farr, Ali McPhail, Jon Plowman and Adam Tandy, and commissioners, the BBC's Shane Allen, Channel 4's Nerys Evans and Sky's Lucy Lumsden, Creativity in the British Television Comedy Industry explores the creative processes that lead to successful programme-making. With detailed discussion of the processes by which series such as People Just Do Nothing and After Hours came to our screens, this book examines how members of the comedy industry maintain careers, manage failure, develop their craft, and stay creative. Creativity in the British Television Comedy Industry is essential reading for students and researchers with an interest in comedy studies, television production, and the creative/media industries.
Even after a rise in gay and Black representation and production on TV in the 1990s, the sitcom became a "generic closet," restricting Black gay characters with narrative tropes. Drawing from 20 interviews with credited episode writers, key show-runners, and Black gay men, The Generic Closet situates Black-cast sitcoms as a unique genre that uses Black gay characters in service of the series' heterosexual main cast. Alfred L. Martin, Jr., argues that the Black community is considered to be antigay due to misrepresentation by shows that aired during the family viewing hour and that were written for the imagined, "traditional" Black family. Martin considers audience reception, industrial production practices, and authorship to unpack the claim that Black gay characters are written into Black-cast sitcoms such as Moesha, Good News, and Let's Stay Together in order to closet Black gayness. By exploring how systems of power produce ideologies about Black gayness, The Generic Closet deconstructs the concept of a monolithic Black audience and investigates whether this generic closet still exists.
The ultimate companion to anyone who believes rules were made to be broken. This amusing guide to all of WWE's rules (many published for the first time) styled as a dossier of documents, including scribbled-on scrap paper, company memos, repurposed reciepts and even decrees from Vince McMahon himself! With a foreword by Daniel Bryan and commentary, revisions, illustrations and diagrams from WWE's boldest Superstars.
Children's television is a slightly curious field. Of all entertainments, it is probably the most ambivalent in nature. Children usually love it, both the good and the bad, while parents and producers have never been totally convinced of its value. Does it teach? Does it corrupt? Is it harmless, beneficial? The soul-searching goes on and on. Here Ruth Inglis offers up the results of her own search, from the soothing tones of Howdy Doody in the 1950s to the surreal landscapes of Teletubbyland. She discusses how commercial success has vied with the need to educate, how programs such as Blue Peter tried to instill feelings of compassion as well as entertain and how series such as The Magic Roundabout set about cultivating fantasy in children's minds. It was, however, after Romper Room and Mister Rogers that the ground-breaking Sesame Street, through careful research into the learning processes of the very young, really set the standard for teaching while remaining entertaining. The book also explores developments in animation techniques, from the string-operated puppets of Howdy Doody and Woodentops to The Muppets, from Yogi Bear and the Hanna-Barbera cartoons and Lost in Space to the Ninja Mutant Turtles, The Simpsons, and South Park, to Barney and the plasticine figures of Wallace and Gromit. Specializing in educational psychology and child development, journalist Ruth Inglis is a regular contributor to many newspapers and magazines and has written on educational topics for television.
The research presented in this book, originally published in 1986, looks to pinpoint the psychological processes involved in the media violence-aggression relation. Expanding on earlier studies, the compilation of essays here delves deeply into aggression study and compares results about media influence across 5 countries. Cultural norms and programming differences are investigated as well as age and gender and other factors. What is offered overall is a psychological model in which TV violence is both a precursor and a consequence of aggression.
At the dawn of television in the early 1950s, a broad range of powerful groups and individuals-from prominent liberal intellectuals to massive corporations-saw in TV a unique capacity to influence the American masses, shaping (in the words of the American philosopher Mortimer Adler) "the ideas that should be in every citizen's mind." Formed in the shadow of the Cold War-amid the stirrings of the early civil rights movement-the potential of television as a form of unofficial government inspired corporate executives, foundation officers, and other influential leaders to approach TV sponsorship as a powerful new avenue for shaping the course of American democracy. In this compelling political history of television's formative years, media historian Anna McCarthy goes behind the scenes to bring back into view an entire era of civic-minded programming and the ideas about democratic agency from which it sprang. Based on pathbreaking archival work, The Citizen Machine poses entirely new questions about the political significance of television. At a time when TV broadcasting is in a state of crisis, and new media reform movements have entered political culture, here is an original and thought-provoking history of the assumptions that have profoundly shaped not only television but our understanding of American citizenship itself.
No generation eludes definition as much as Generation X. Rob Owens opens with a history of network and cable television since the birth of Generation X, but goes on to explore the symbiotic relationship between television and this largely misunderstood age group. From the first megahit The Brady Bunch to today's Friends, Owen unflinchingly describes the boob tube as the ubiquitous babysitter for millions of young people. Television, Owen maintains, consumes innocence as viewers encounter countless episodes of society's woes, from political strife and environmental decimation to everyday violence and crime.
I was Top Gear's script editor for 13 years and all 22 series. I basically used to check spelling and think of stupid gags about The Stig. I also got to hang around with Jeremy Clarkson, Richard Hammond and James May. It didn't feel like something you should get paid for. From the disastrous pilot show of 2002 to the sudden and unexpected ending in 2015, working on Top Gear was quite a rollercoaster ride. We crossed continents, we made space ships, we bobbed across the world's busiest shipping lane in a pick-up truck. We also got chased by an angry mob, repeatedly sparked fury in newspapers, and almost killed one of our presenters. I realised that I had quite a few stories to tell from behind the scenes on the show. I remembered whose daft idea it was to get a dog. I recalled the willfully stupid way in which we decorated our horrible office. I had a sudden flashback to the time a Bolivian drug lord threatened to kill us. I decided I should write down some of these stories. So I have. I hope you like them. And now, a quote from James May: 'Richard Porter has asked me to "write a quote" for his new book about the ancient history of Top Gear. But this is a ridiculous request. How can one "write a quote"? Surely, by definition, a quote must be extracted from a greater body of writing, for the purpose of illustrating or supporting a point in an unrelated work. I cannot "write a quote" any more than I could "film an out-take". 'Porter, like Athens, has lost his marbles.' - James May
Is it possible today to understand current genres such as drama and
theater without considering the influence of television? Elizabeth
Klaver argues that television's dominance of the entertainment
industry demands a continual negotiation of subject position from
all other cultural forms and institutions. By examining plays that
incorporate televisual discourse--from cameras and monitors to
televisual style and structure--"Performing Television" probes the
turbulent relation contemporary drama has had to television and its
negotiations for identity in a postmodern media culture.
The Writers is the only comprehensive qualitative analysis of the history of writers and writing in the film, television, and streaming media industries in America. Featuring in-depth interviews with over fifty writers - including Mel Brooks, Norman Lear, Carl Reiner, and Frank Pierson - The Writers delivers a compelling, behind-the-scenes look at the role and rights of writers in Hollywood and New York over the past century.
This book presents an examination of the television series Nurse Jackie, making connections between the representational processes and the audience consumption of the series. A key point of reference is the political and performative potential of Nurse Jackie with regards to its progressive representation of prescription drug addiction and its relationship to the concept of quality television. It deconstructs Nurse Jackie 's discursive potential, involving intersections with contemporary notions of genre, heroism, celebrity, therapy and feminism. At the same time this book foregrounds the self-refl exive educational potential of the series, largely enabled by the scriptwriters and the leading actor Edie Falco.
Over the past years, the view has emerged that Japanese TV is dominated by an infotainment mode of discourse. The book extends this view, detailing and interpreting the cultural, economic, and emotional dimensions of this communication phenomenon from an ethnographic perspective. It examines the complex ways in which infotainment works in an advanced capitalist society. As such, this is more than a book about Japan; it is a work that fits within media ethnography and cultural studies, and appeals to readers interested in the question of how television, at the heart of the global media stream, successfully turns into a persuasive, intimate, and powerful member of a televisual audience-family through carefully engineered televisual discourses, linguistic/non-linguistic component, audiovisual strategies, and economic and cultural elements. Drawing on ethnographic observations in TV stations in two major cities, Sendai and Tokyo, the book reveals several essential components embedded within infotainment discourse. Thus, this book not only provides a panoramic picture of a core phenomenon in Japanese broadcasting since the 2000s but also discusses how both cultural discourses and economic considerations influence contemporary television broadcasting.
Documenting the efforts of one grassroots organization that made a difference, Dorothy Swanson's story extends beyond the realms of television to demonstrate the rewards of making the voice of public opinion heard. An organization that began over 15 years ago with one woman's efforts to save one show, Viewers for Quality Television (VQT) has become an important force in the industry. Prior to Dorothy Swanson's founding of this group, there was no system in place where viewers could collectively voice their opinions to those responsible for the fate of programmes. On several occasions, Swanson's organization succeeded in convincing network executives to reconsider shows that would have been cancelled under normal business practices. VQT's endorsements continue to be an important part of many programmes' bids for survival.
Some of the greatest movies and television series have been written by script partners. Script Partners, Second Edition brings together the experience, knowledge, and winning techniques of Hollywood's most productive partnerships-including Lucy Alibar & Benh Zeitlin (Beasts of the Southern Wild ), Craig Borten & Melisa Wallack (Dallas Buyers Club), and Andrew Reich & Ted Cohen (Friends). Established and aspiring screenwriters will learn how to pick the right partner and the right project, co-create character and story structure, co-draft and revise a script, collaborate in film school and in the film industry, and manage both the creative and business sides of partnerships.
From Game of Thrones to Breaking Bad, the key theories and concepts in criminal justice are explained through the lens of television In Crime TV, Jonathan A. Grubb and Chad Posick bring together an eminent group of scholars to show us the ways in which crime-and the broader criminal justice system-are depicted on television. From Breaking Bad and Westworld to Mr. Robot and Homeland, this volume highlights how popular culture frames our understanding of crime, criminological theory, and the nature of justice through modern entertainment. Featuring leading criminologists, Crime TV makes the key concepts and analytical tools of criminology as engaging as possible for students and interested readers. Contributors tackle an array of exciting topics and shows, taking a fresh look at feminist criminology on The Handmaid's Tale, psychopathy on The Fall, the importance of social bonds on 13 Reasons Why, radical social change on The Walking Dead, and the politics of punishment on Game of Thrones. Crime TV offers a fresh and exciting approach to understanding the essential concepts in criminology and criminal justice and how theories of crime circulate in popular culture.
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.
This bibliography lists more than 700 articles, books, dissertations, and theses on the participation of African American women in the television industry. Includes materials on specific television personalities and programs, and black women's involvement as producers, news anchors, and editorial directors (among other topics). Also provides an extensive essay on the history of black women in television since 1939, and includes photographs of prominent African American television personalities. The appendices list African American women as Emmy, NAACP Image, and Los Angeles Black Media Coalition Technical Achievement award winners and nominees, and black women in starring and co-starring television roles. Indexing of the text covers authors, subjects, programs, films, and stations. Originally published in 1990.
This book, published originally in 1980, addressed the needs for a profile of televised violence which considered the advantages and disadvantages of various measures and for a furthering of research directions beyond the then-popular emphasis on children. The Committee on Television and Social Behavior was formed in1972 and stimulated new research in order to provide a multidimensional profile of the social effects of television programming. Chapters here look at the effect of television on adults as well as children, particularly special audiences such as the elderly and minority groups. An excellent summary of the various conceptual, substantive and methodological issues around television's influence.
The hugely popular Gareth Malone recounts the heart-warming stories and transformations behind the award-winning BBC2 series The Choir, including the new series Sing While You Work. For the first time, Gareth reveals everything he has learned from working with so many groups of memorable people, including the record-breaking Military Wives and latest series of The Choir being shown this Autumn. Gareth was an unknown Choirmaster when he arrived on British TV screens five years ago. Boyish, irrepressible and determined, Gareth took on a collection of kids from the most unlikely comprehensive and turned them into a talented performing choir. This was the beginning of a national love affair with a bow-tied and undeniably charming young man, and it was also the start of a national rediscovery of the joy to be found in choirs. Since then, each series of The Choir has gone on to even more demanding challenges, taking young offenders to Glyndebourne, regenerating disparate and far from affluent communities, and finally in an extraordinarily emotional journey, Gareth took a group of women whose partners were serving in Afghanistan to a Christmas Number One. This Autumn, in a new four-part series, Gareth will be challenging four new Choirs to compete against each other. This is his memoir of a period in which he transformed the lives of thousands but also gained a lifetime's worth of experience in human frailty and strength. Written with real joy, emotion and amusement, the twenty chapters each deal with an individual moment - both break-throughs and disasters - or an individual character that has contributed to this extraordinary adventure. Whether he is explaining the importance of biscuits or the role of the elderly in a community undertaking, remembering the scrappy kid who never quite delivered or the mother who had most to prove this is an incredibly moving journey. It is his adventure... and ours.
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