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Sound / image
Jonathan Bignell
Sarah Cardwell
, and
Lucy Fife Donaldson

performance and voice, some drama conforms closely to what the television director Don Taylor ( 1998 : 38) argued was the ‘essence’ of drama for the television medium: ‘long, developing scenes, where the actors can work without interference from the director's camera’, prioritising the ways that actors’ bodies and nuances of dialogue work to express character. This aesthetic exploits the intimacy that television can offer to performance, and it is especially significant in serial forms that encourage and reward viewer engagement with characters over a lengthy span of time

in Sound / image
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Swords, sandals, blood and sand

TV antiquity explores representations of ancient Greece and Rome throughout television history. It is the first comprehensive overview of the genre in television. More specifically, the author argues that serial television set in antiquity offers a perspective on the ancient world quite distinct from their cinematic counterparts. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 1960s to the most recent digital spectacles. A key argument explored throughout the book is that the structure of serial television (with its focus on intimacy and narrative complexity) is at times better suited to explore the complex mythic and historic plots of antiquity. Therefore, the book consciously focuses on multipart television dramas rather than made-for-TV feature films. This enables the author to explore the specific narrative and aesthetic possibilities of this format. The book features a range of insightful case studies, from the high-profile serials I, Claudius (1976) and Rome (2005–8) to lesser-known works like The Caesars (1968) or The Eagle of the Ninth (1976) and popular entertainment shows such as Hercules: The Legendary Journeys (1995–99) and STARZ Spartacus (2010–13). Each of the case studies also teases out broader issues of the specific decade under consideration. Consequently, the book highlights the creative interplay between television genres and production environments and illustrates how cultural and political events have influenced the representations of antiquity in television.

Art and feminist performance politics in Yugoslavia
Jasmina Tumbas

. Artists contending with the national body as implicitly male, especially in relation to Tito and the ideology of socialism; in this section, I focus on the site of the bed as an exploration of socialist politics in sexism, sexual pleasure, visions of female intimacy in the home, and as a place of emancipation and freedom. Artists situating their bodies within the political discourse of Yugoslav socialism by embracing and critiquing some of the country's most prominent signifiers of power: the Yugoslav socialist flag and Tito himself

in “I am Jugoslovenka!”

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.


This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Don Fairservice

identical method of producing a mix of intimacy and distance. British comedian Max Miller built his act on just this premise. He would constantly make glancing looks towards the wings as his act progressed, generating a sense of artificial tension, as if at any moment the stage manager would come on and drag him off for telling such risqué jokes; almost as if he should not be there at all, and that it was all the audience

in Film editing: history, theory and practice
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Beth Johnson

are interconnected methodologically through close textual analysis and production research. Chapter 6 focuses on the ongoing and highly successful drama series Shameless. Written, created and executively produced by Abbott, Shameless is an outstanding, poignant and philosophical drama focused upon the chaotic intimacies of the Gallagher family. Set on a housing estate on the fringes of Manchester – ‘the Chatsworth estate’– Shameless represents both the personal and popular departures of Abbott’s early life via the interwoven, tragicomic and purposefully amoral

in Paul Abbott
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Intimate constructions of a ‘bonheur collectif’
Julia Dobson

intimacy. Marc and Héléne are finally reconciled, united in their mutual horror of death which is repudiated by the surrounding images of natural abundance and joie de vivre epitomised in the lengthy, sensual close-up of the huge pink lollipops eagerly devoured by children. Cabrera again employs a technological device, in parallel to the use of the photographer’s camera in Un Air d ’ aimer

in Negotiating the auteur
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Stephanie Dennison
Lisa Shaw

even greater degree of intimacy, especially if those who do not share it are the butt of it as well as not understanding what is going on ... Thus what we see occur at the border established by the divide between comprehension and its opposite is a process of inclusion and exclusion with respect to some section or dimension of the social order. 3

in Popular cinema in Brazil, 1930–2001