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Joseph Oldham

Kennedy Martin, the larger creative role given to the director saw a partial dilution of the assumption that television was predominantly a writer’s medium. Edge of Darkness, along with other prestige dramas of the time, embraced the other strand of televisuality identified by Caldwell, that of the ‘cinematic’, which ‘brought to television spectacle, high-production values, and feature-style cinematography’.32 Shot entirely on 16mm film with extensive location shooting and expressive lighting design, this is a far more integrated style of televisuality by comparison

in Paranoid visions
Abstract only
Philip Hammond

the same edition’s leader column argued that the television spectacle ‘should not obscure the seriousness of the enterprise’. In the Times (9 December), Martin Fletcher and Sam Kiley also made it clear that the media circus did not diminish the value of the operation: ‘“This is just great!” said one unidentified Somali. “What a relief.”’ It is notable that the August 1992 US airlift occasioned only

in Framing post-Cold War conflicts
Helen Wheatley

television: The cinematic refers, obviously, to a film look in television. Exhibitionist television in the 1980s meant more than shooting on film, however, since many nondescript shows have been shot on film since the 1950s. Rather, cinematic values brought to television spectacle, high production values

in Gothic television