Search results
This book updates and develops the arguments of TV drama in transition (1997). It sets its analysis of the aesthetics 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), the book's view 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, it recognises 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 approach.
Scotland, as being outside of ‘the “real” world of politics and economics’ (2003a, p. 77). Petrie takes a similar view on Local Hero to that expressed by McArthur. While recognizing more complexity in the film than is generally granted, Petrie argues that the film’s ‘externally constructed romantic vision of Scotland [. . .] serves to overpower the additional theme of exist ential loneliness and isolation associated with the character of MacIntyre’ as well as overshadowing several significant departures from the narrative conventions of what have become known as
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.
great variety of enquiries. Changes both in political systems and media systems, including changes in economics, technology and conventions of practice, have shifted the terms on which power questions need to be asked, even though there are also important continuities with an older agenda. 2 THEORISING MEDIA The notion of ‘power’ covers extensive territory as a way of framing theoretic and analytic concerns. ‘Form’ has an expansive ring to it too, although by pointing to questions about the communicative organisation of media artefacts and performances it suggests
office in the sky. The combination of astrology with economics allied to Happer’s odd behaviour serve to deflect attention from the economic muscle that he wields as head of a multinational oil and gas company. MacIntyre’s encounter with rural Scotland is initiated as the negotiation of a business venture that becomes an exchange between rural nature and urban culture that Duncan Petrie
oppositional cinema’ (2002: 22). With regard to Hispanic and Lusophone cinema, the work of many of these notable women filmmakers features in this volume. The contribution of women filmmakers becomes all the more noteworthy when one considers it in terms of economics. Above all, it has been hard for women to make films because their access to finance has been limited and curtailed. Further complications arise
-marketing and place-promotion literature. Film production: organisation, material production So much for the imagined rewards of visibility on the silver screen: in order to evaluate the fantasy of recognition we need a dose of realism, or at least another perspective on what filmmaking involves. The economics and organisation of filmmaking are clearly relevant here, especially if we are to examine
kitchen – was factory, shipyard and chemical works closures day after day after day, job losses after job losses after job losses. I decided to do Economics A level. The first issue of my fanzine, Kvatch (featuring Rosie as the cover star) included an interview with John Peel, reviews of books I’d been reading, interviews with several local bands, an article on youth hostels, a note that Leo’s ‘is the best nightclub’ in Harrogate, and a page and a half of fanzine reviews. ‘Zines!’ it proclaimed on the cover, so clearly I thought a good reason to buy a fanzine was to
– aesthetics, economics, institutions, cultural trends, new technologies – are bound up in each other and thus not readily separable, it will be helpful at the outset to indicate the methods adopted to address TV drama cultures and how they play out in the structure of the book. A key method is to ground the broader arguments by selecting for aesthetic and contextual analysis specific examples of “high-end” TV drama drawn primarily from American and British output. Thus a distinguishing feature of the book is the mix of cultural studies and arts approaches it takes in
definition given that entity as (1) an historical phenomenon predicated on changes in the economics of film production and confined to the years 1958–1962; (2) a generation of young, independent filmmakers who rejected the industry’s rigid hierarchies and standardised notions of professionalism; or (3) a way of seeing that questions the relationship between fiction and documentary, set and location, director and