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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.

Cecilia Brioni

giovani : discrimination and inclusion During the period 1970–75, new forms of opposition started to appear in media representations of i giovani . The previous chapters showed how, beginning in the 1960s, popular media constructed i giovani as a homogeneous identity in opposition to ‘other’ identities. In particular, the construction of the beats and the hippies

in Fashioning Italian youth
Melodramatic and moral readings of gay conversion therapy in A Place to Call Home
Alley-Young Gordon R.

+ gay masculinity as heteronormative reproductive femininity. Similarly, Skvirsky (2008) argues that while melodrama provides satisfying moral clarity with its virtuous victims, it is not suited to contemporary injustice. Ultimately, LGBTQ+ lives are more complex than victim archetypes and discrimination is more complex than social ostracism. While APTCH participates in domesticated heteronormative constructions of LGBTQ+ relationships (e

in Diagnosing history
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Diasporic subjectivities and ‘race relations’ dramas (Supply and Demand, The Bill, Second Generation)
Geraldine Harris

which a single black face is only just visible, while over a loud musical soundtrack an upper-class voice is giving a speech. Becoming increasingly audible, the voice states ‘there must be no discrimination in the Metropolitan Police Force, no sexual or racial discrimination, what is important is professionalism, that is what makes us the finest police force in the world’. The end of this speech coincides with a reverse shot of Harrington. The initial withholding of the identity of the speaker, the cut from a wide shot to a big close-up and the speed of the edit

in Beyond representation
Open Access (free)
Beckett’s Film
Philipp Schweighauser

nature of the immune response was their strict distinction between self and not-self. In fact, this distinction between self and not-self is so central that immunology has until fairly recently been known as ‘the science of self-nonself discrimination’. 12 Again, it was Burnet who crucially shaped immunological discourse through another seminal publication: Self and Not-self: Cellular Immunology, Book One ( 1969 ). 13 For Burnet and much of the immunobiological

in Beckett and media
Continuity and change
Erin Bell
Ann Gray

.’ The response, and the interview in general, seem to deal with the question of change to and within the monarchy, an issue of some interest at the time the interview was recorded (2008) because discussion of what was to become the 2013 Succession to the Crown Act was underway, encouraged by backbench MPs such as Evan Harris, whose Royal Marriages and Succession to the Crown (Prevention of Discrimination) Bill 2008

in The British monarchy on screen
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A note on conceptual salvage
John Corner

in its capacities for political discrimination: The force of the term ideology lies in its capacity to discriminate between those power struggles which are somehow central to ‘IDEOLOGY’: A NOTE ON CONCEPTUAL SALVAGE 145 a whole form of social life and those which are not. (Eagleton, 1991: 8) The phrasing ‘somehow central’ strikes a note frequently heard throughout the book – a crucial vagueness compromises the propositional force of what appears to be a tough argument. Of the many discussions of Eagleton’s account, one of the most illuminating (and funny) is

in Theorising Media
Dr Jenny Barrett

industry. Like many other industries it’s subject to bias and discrimination. JB: You were on a panel at the BFI which decided to screen The Birth of a Nation earlier this year and that was something that was potentially quite a controversial thing to do. Could you tell us a little bit about what it was that made you

in D.W. Griffith’s The Birth of a Nation
Science, faith, the law, and the contested body and mind in The Frankenstein Chronicles and The Alienist
Wright Andrea

its fiction. Furthermore, Howard is subject to sexual harassment and discrimination, and she has to defend herself against unwanted advances and crude jokes from police officers, as well as battling her associates’ misplaced, but well-meaning, desire to protect her, as the ‘gentler sex’, from the gruesome nature of the crimes they are investigating. Howard is not alone in finding the police force resistant to

in Diagnosing history
Abstract only
Philip Braithwaite

, collapsed into a mythical grand narrative, describing the ‘natural’ development of essentialist ideas. Barthes provides an example of these concepts in the oft-cited representation of the French soldier, which Barthes came across on the cover of the magazine Paris Match . The soldier is black, saluting the French flag. As Barthes relates, ‘I see very well what it signifies to me: that France is a great Empire, that all her sons, without any colour discrimination, faithfully serve under her flag’ (114). The ideological

in Time Lords and Star Cops