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Wildlife documentaries on television
Thomas Austin

six.p65 126 6/28/2007, 10:40 AM 127 Wildlife documentaries on television bee, a mouse, a snake, seabirds, a frog and a butterfly.18 In important ways Springwatch resembles the established formats of both the news bulletin and the ‘magazine’ show (pioneered in the UK by Nationwide and That’s Life in the 1970s). Despite their differences, such programmes typically share a conventional formal organisation whereby presenter figures provide continuity, embodying a familiar visual and vocal framework into which a series of more or less discrete sequences, both live

in Watching the world
Popular genre film in post-Franco Spain
Barry Jordan and Rikki Morgan-Tamosunas

, Colomo has directed El efecto mariposa (1995), much indebted to his earlier La línea delcielo (1983) and financed by his own production company, with French and British participation. In the film, shot in the UK, Colomo playfully explores ‘chaos theory’, i.e. the ways in which apparently trivial events give rise to enormous consequences, the so-called butterfly effect. He does so by using the device

in Contemporary Spanish cinema
Abstract only
Love and death
Peter William Evans

income supplemented by the return on an investment in ‘The Pestered Butterfly’, a play written by their friend Chitterlow (who first drew Kipps’s attention to the notice in a newspaper calling for Kipps to claim his inheritance), the shock to his system of involvement with Helen is enough to leave doubts in the minds of protagonist and audience. Kipps may have had to scale down his delusions of grandeur, for instance, over the

in Carol Reed
Abstract only
Russ Hunter

the usual markers of distinction: several important monographs (this volume key among them), conference keynotes, numerous invitations to contribute to special editions of journals and edited collections, as well as a host of other honours. These were, of course, important milestones in Peter’s career. But Peter was much more than the sum of these professional parts. Academics can be professional butterflies, flitting from one institution to the next in search of some kind of Holy Grail of employment

in Hammer and beyond
Jonathan Bignell and Stephen Lacey

that dominant conceptions of the social meanings of Butterflies (BBC 1978–83) (Hallam) and Dad’s Army (BBC 1968–77) (Nelson) are challenged and renegotiated. Linking audience response to ideological or textual criticism and a nuanced account of modes of acting and performance, the analysis contained in both essays is complex and politically aware. For Hallam, Butterflies, for all the narrowness of the comfortable, affluent and middle-class social world it portrays, nevertheless engaged its (largely female) viewers with real-life dilemmas and was appreciated for

in Popular television drama
Directions and redirections
Jonathan Bignell and Stephen Lacey

television drama forms as contemporary urban drama, crime drama and the literary adaptation. We hope that historical analysis will further theoretical studies of how genres rise and fall in profile and popularity. Situation comedy, for example, gave rise to popular programmes such as The Rag Trade (BBC 1961–63), The Liver Birds (BBC 1969–96), Butterflies (BBC 1978–83) and Dad’s Army (BBC 1968–77). But other genres are less present today, such as the work-based series drama ( The Power Game (BBC 1965–69), The Troubleshooters (BBC 1965–72), The Brothers (BBC

in Popular television drama
Abstract only
Peter Marks

argument being that comedy works best with medium shots more redolent of television. Much of the dialogue was delivered straight to camera, Terry Jones feeling that this gave the comedy more intensity. Jabberwocky has serious aims, even as it uses comedy to make some of its points. It opens in an idyllic natural world, serenaded by a chirruping flute and symbolised by a green butterfly sitting

in Terry Gilliam
Jonathan Bignell and Stephen Lacey

nostalgia. Butterflies (BBC 1978–83) functioned for some of its women viewers, Hallam argues, as a way of negotiating changing roles for women and attitudes to domesticity, and this response to the programme was documented by respondents to her requests for memories about the programme. Nelson discusses how older viewers of Dad’s Army saw the programme as a validation of ideas about national solidarity and community, contributing to memories that informed their sense of the present. Younger viewers without that memory understood the programme somewhat differently

in Popular television drama
Horror and generic hybridity
Andy W. Smith

denotes social conformity in the high school scenario. Unlike Bender in The Breakfast Club , who raises a clenched fist on the football field in defiance of conforming to the normative value system, Zeke is assimilated into the culture of conformity. But the film finishes on an image of transmutation, as Casey photographs a butterfly. It is an apt metaphor for a film where everything changes – and

in Monstrous adaptations
Peter Marks

, Gilliam’s animated characters, if they speak at all, tend to grunt or squeal subverbally, as with the old lady who trips up the passing double-decker bus, or the haunted figure of Billy Graham who breaks out of jail, or the trench-coated caterpillar who emerges from his bed as a beautiful butterfly. The relative lack of words naturally focuses attention on the creative absurdity of the images, and this

in Terry Gilliam